+to serve as a reminder that these parts are written in C.
+
+
+@seealso
+
+Notation Reference: @ref{Quoting other voices}, @ref{Transpose}.
+
+Snippets: @lsrdir{pitches}.
+
+
+@node Automatic accidentals
+@unnumberedsubsubsec Automatic accidentals
+@cindex automatic accidentals
+
+@funindex set-accidental-style
+
+There are many different conventions on how to typeset accidentals.
+LilyPond provides a function to specify which such accidental style to
+use. This function is called as follows
+
+@example
+\new Staff <<
+ #(set-accidental-style 'voice)
+ @{ @dots{} @}
+>>
+@end example
+
+The accidental style applies to the current @code{Staff} by default
+(with the exception of the styles @code{piano} and
+@code{piano-cautionary}, see below.
+Optionally, the function can take second argument which determines in
+which scope the style should be changed. For example, to use the same
+style in all staves of the current @code{StaffGroup}, use
+
+@example
+#(set-accidental-style 'voice 'StaffGroup)
+@end example
+
+The following accidental styles are supported. To demonstrate
+each style, we use the following example:
+
+@lilypond[verbatim,quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ %%% change the next line as desired:
+ #(set-accidental-style 'default)
+ \musicA
+ }
+ \context Staff = "down" {
+ %%% change the next line as desired:
+ #(set-accidental-style 'default)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+Note that the last lines of this example can be replaced by the
+followin, as long as the same accidental style should be used in both
+staves.
+@example
+\new PianoStaff @{
+ <<
+ \context Staff = "up" @{
+ %%% change the next line as desired:
+ #(set-accidental-style 'default 'Score)
+ \musicA
+ @}
+ \context Staff = "down" @{
+ \musicB
+ @}
+ >>
+@}
+@end example
+
+
+@c don't use verbatim in this table.
+@table @code
+@item default
+This is the default typesetting behavior. It corresponds to
+eighteenth-century common practice: Accidentals are remembered to
+the end of the measure in which they occur and only on their own
+octave. Thus, in the example below, no natural signs are printed
+before the@tie{}@code{b} in the second measure or the
+last@tie{}@code{c}:
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'default)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'default)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item voice
+The normal behavior is to remember the accidentals on
+Staff-level. This variable, however, typesets accidentals
+individually for each voice. Apart from that, the rule is similar
+to @code{default}.
+
+As a result, accidentals from one voice do not get canceled in
+other voices, which is often an unwanted result: in the following
+example, it is hard to determine whether the second@tie{}@code{a}
+should be played natural or sharp. The @code{voice} option should
+therefore be used only if the voices are to be read solely by
+individual musicians. If the staff is to be used by one musician
+(e.g., a conductor or in a piano score) then @code{modern} or
+@code{modern-cautionary} should be used instead.
+
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'voice)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'voice)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item modern
+@funindex modern style accidentals
+
+This rule corresponds to the common practice in the twentieth
+century. It prints the same accidentals as @code{default}, with
+two exceptions which serve to avoid ambiguity: after temporary
+accidentals, cancellation marks are printed also in the following
+measure (for notes in the same octave) and, in the same measure,
+for notes in other octaves. Hence the naturals before
+the@tie{}@code{b} and the@tie{}@code{c} in the second measure of
+the upper staff:
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'modern)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'modern)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item modern-cautionary
+@funindex modern-cautionary
+
+This rule is similar to @code{modern}, but the @q{extra}
+accidentals (the ones not typeset by @code{default}) are typeset
+as cautionary accidentals. They are by default printed with
+parentheses, but they can also be printed in reduced size by
+defining the @code{cautionary-style} property of
+@code{AccidentalSuggestion}.
+
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'modern-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'modern-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item modern-voice
+@funindex modern-voice
+
+This rule is used for multivoice accidentals to be read both by
+musicians playing one voice and musicians playing all voices.
+Accidentals are typeset for each voice, but they @emph{are}
+canceled across voices in the same @code{Staff}. Hence,
+the@tie{}@code{a} in the last measure is canceled because the
+previous cancellation was in a different voice, and
+the@tie{}@code{d} in the lower staff is canceled because of the
+accidental in a different voice in the previous measure:
+
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'modern-voice)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'modern-voice)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@funindex modern-voice-cautionary
+@item modern-voice-cautionary
+
+This rule is the same as @code{modern-voice}, but with the extra
+accidentals (the ones not typeset by @code{voice}) typeset
+as cautionaries. Even though all accidentals typeset by
+@code{default} @emph{are} typeset by this variable,
+some of them are typeset as cautionaries.
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'modern-voice-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'modern-voice-cautionary)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item piano
+@funindex piano accidentals
+
+This rule reflects twentieth-century practice for piano notation.
+Its behavior is very similar to @code{modern} style, but here
+accidentals also get canceled across the staves in the same
+GrandStaff or PianoStaff, hence all the cancellations of the final
+notes.
+
+This accidental style applies to the current @code{GrandStaff} or
+@code{PianoStaff} by default.
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'piano)
+ \musicA
+ }
+ \context Staff = "down" {
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item piano-cautionary
+@funindex #(set-accidental-style 'piano-cautionary)
+
+Same as @code{#(set-accidental-style 'piano)} but with the extra
+accidentals typeset as cautionaries.
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'piano-cautionary)
+ \musicA
+ }
+ \context Staff = "down" {
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item no-reset
+@funindex no-reset accidental style
+
+This is the same as @code{default} but with accidentals lasting
+@q{forever} and not only within the same measure:
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'no-reset)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'no-reset)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+
+@item forget
+@funindex forget accidental style
+
+This is the opposite of @code{no-reset}: Accidentals are not
+remembered at all -- and hence all accidentals are typeset
+relative to the key signature, regardless of what was before in
+the music:
+
+@lilypond[quote,ragged-right]
+musicA = {
+ <<
+ \relative c' {
+ cis'8 fis, d'4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 |
+ }
+ \\
+ \relative c' {
+ ais'2 cis, |
+ fis8 b a4 cis2 |
+ }
+ >>
+}
+
+musicB = {
+ \clef bass
+ \new Voice {
+ \voiceTwo \relative c' {
+ <fis, a cis>4
+ \change Staff = up
+ cis'
+ \change Staff = down
+ <fis, a>
+ \change Staff = up
+ dis' |
+ \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new PianoStaff {
+ <<
+ \context Staff = "up" {
+ #(set-accidental-style 'forget)
+ \musicA
+ }
+ \context Staff = "down" {
+ #(set-accidental-style 'forget)
+ \musicB
+ }
+ >>
+}
+@end lilypond
+@end table
+
+
+@seealso
+
+Snippets: @lsrdir{pitches}.
+
+Internals reference: @internalsref{Accidental_engraver},
+@internalsref{Accidental}, @internalsref{AccidentalSuggestion},
+@internalsref{AccidentalPlacement}, @internalsref{GrandStaff} and
+@internalsref{PianoStaff}, @internalsref{Staff}.
+
+
+@refbugs
+
+Simultaneous notes are considered to be entered in sequential
+mode. This means that in a chord the accidentals are typeset as
+if the notes in the chord happen one at a time, in the order in
+which they appear in the input file. This is a problem when
+accidentals in a chord depend on each other, which does not happen
+for the default accidental style. The problem can be solved by
+manually inserting@tie{}@code{!} and@tie{}@code{?} for the
+problematic notes.
+
+
+@node Ambitus
+@unnumberedsubsubsec Ambitus
+@cindex ambitus
+
+The term @notation{ambitus} or @notation{ambit} denotes a range of
+pitches for a given voice in a part of music. It may also denote
+the pitch range that a musical instrument is capable of playing.
+Ambits are printed on vocal parts, so performers can easily
+determine if it matches their capabilities.
+
+Ambits are denoted at the beginning of a piece near the initial
+clef. The range is graphically specified by two note heads that
+represent the minimum and maximum pitch. Accidentals are only
+printed if they are not part of the key signature.
+
+@lilypond[verbatim,quote,ragged-right]
+\layout {
+ \context {
+ \Voice
+ \consists Ambitus_engraver
+ }
+}
+
+\relative c'' {
+ aes c e2 cis,2
+}
+@end lilypond
+
+
+@commonprop
+
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/adding-ambiti-per-voice.ly}
+
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/ambiti-multiple-voices.ly}
+
+
+@seealso
+
+Snippets: @lsrdir{pitches}.
+
+Internals reference: @internalsref{Ambitus},
+@internalsref{AmbitusLine}, @internalsref{AmbitusNoteHead},
+@internalsref{AmbitusAccidental}, @internalsref{Ambitus_engraver},
+@internalsref{Staff}, @internalsref{Voice}.
+
+
+@refbugs
+
+There is no collision handling in the case of multiple per-voice
+ambitus.
+
+
+@node Note heads
+@subsection Note heads
+
+@menu
+* Easy notation note heads::
+* Shape note heads::
+* Improvisation::
+* Special noteheads::
+@end menu
+
+@node Easy notation note heads
+@unnumberedsubsubsec Easy notation note heads
+
+@cindex note heads, practice
+@cindex note heads, easy notation
+@cindex easy notation
+@cindex Hal Leonard
+
+The @q{easy play} note head includes a note name inside the head.
+It is used in music for beginners
+
+@lilypond[verbatim,quote,ragged-right,fragment,staffsize=26]
+\setEasyHeads
+c'2 e'4 f' |
+g'1
+@end lilypond
+
+The command @code{\setEasyHeads} overrides settings for the
+@code{NoteHead} object. To make the letters readable, it
+has to be printed in a large font size. To print with a larger
+font, see @ref{Setting the staff size}.
+
+@refcommands
+
+@funindex \setEasyHeads
+@code{\setEasyHeads}
+
+@seealso
+
+Notation Reference: @ref{Setting the staff size}.
+
+Snippets: @lsrdir{pitches},
+
+Internals reference: @internalsref{NoteHead}.
+
+
+@node Shape note heads
+@unnumberedsubsubsec Shape note heads
+
+@cindex note heads, shape
+
+In shape note head notation, the shape of the note head
+corresponds to the harmonic function of a note in the scale. This
+notation was popular in nineteenth-century American song books.
+
+Shape note heads can be produced by setting @code{\aikenHeads} or
+@code{\sacredHarpHeads}, depending on the style desired.
+
+@lilypond[verbatim,fragment,relative=1]
+\aikenHeads
+c8 d4 e8 a2 g1
+\sacredHarpHeads
+c,8 d4 e8 a2 g1
+@end lilypond
+
+Shapes are typeset according to the step in the scale, where
+the base of the scale is determined by the @code{\key} command.
+
+@funindex \key
+@funindex shapeNoteStyles
+@funindex \aikenHeads
+@funindex \sacredHarpHeads
+
+Shape note heads are implemented through the
+@code{shapeNoteStyles} property. Its value is a vector of
+symbols. The k-th element indicates the style to use for the k-th
+step of the scale. Arbitrary combinations are possible, e.g.:
+
+@lilypond[verbatim,fragment,relative=1]
+\set shapeNoteStyles =
+ ##(cross triangle fa #f mensural xcircle diamond)
+c8 d4 e8 a2 g1
+@end lilypond
+
+@commonprop
+
+@lilypondfile[quote,ragged-right,texidoc]
+{pitches/applying-noteheads-styles-depending-on-the-step-of-the-scale.ly}
+
+
+@seealso
+
+Snippets: @lsrdir{pitches}.
+
+
+@node Improvisation
+@unnumberedsubsubsec Improvisation
+
+Improvisation is sometimes denoted with slashed note heads. Such
+note heads can be created by adding a @code{Pitch_squash_engraver}
+to the @code{Voice} context. Then, the following command
+
+@example
+\set squashedPosition = #0
+\override NoteHead #'style = #'slash
+@end example
+
+@noindent
+switches on the slashes.
+
+There are shortcuts @code{\improvisationOn} (and an accompanying
+@code{\improvisationOff}) for this command sequence. They are
+used in the following example:
+
+@lilypond[verbatim,quote,ragged-right]
+\new Voice \with {
+ \consists Pitch_squash_engraver
+} \transpose c c' {
+ e8 e g a a16(bes)(a8) g
+ \improvisationOn
+ e8
+ ~e2~e8 f4 fis8
+ ~fis2
+ \improvisationOff
+ a16(bes) a8 g e
+}
+@end lilypond
+
+@seealso
+
+Snippets: @lsrdir{pitches}.
+
+Internals reference: @internalsref{Pitch_squash_engraver} and
+@internalsref{Voice}.
+
+@node Special noteheads
+@unnumberedsubsubsec Special noteheads
+
+@cindex note heads, special
+
+Different noteheads are used by various instruments for various
+meanings -- crosses are used for @q{parlato} with vocalists,
+stopped notes on guitar; diamonds are used for harmonics on string
+instruments, etc. There is a shorthand (@code{\harmonic}) for
+diamond shapes; the other notehead styles are produced by tweaking
+the property:
+
+@lilypond[verbatim,quote,ragged-right,fragment,relative=1]
+c4 d
+\override NoteHead #'style = #'cross
+e f
+\revert NoteHead #'style
+e d <c f\harmonic> <d a'\harmonic>
+@end lilypond
+
+@noindent
+To see all notehead styles, please see @ref{Note head styles}.
+
+
+@seealso