1 @c -*- coding: utf-8; mode: texinfo; -*-
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11 @node Keyboard and other multi-staff instruments
12 @section Keyboard and other multi-staff instruments
14 @lilypondfile[quote]{keyboard-headword.ly}
16 This section discusses several aspects of music notation that are
17 unique to keyboard instruments and other instruments notated on
18 many staves, such as harps and vibraphones. For the purposes of
19 this section this entire group of multi-staff instruments is called
20 @qq{keyboards} for short, even though some of them do not have a
24 * Common notation for keyboards::
30 @node Common notation for keyboards
31 @subsection Common notation for keyboards
33 This section discusses notation issues that may arise for most
37 * References for keyboards::
38 * Changing staff manually::
39 * Changing staff automatically::
40 * Staff-change lines::
44 @node References for keyboards
45 @unnumberedsubsubsec References for keyboards
49 @cindex staves, keyboard instruments
50 @cindex staves, keyed instruments
51 @cindex keyboard instrument staves
52 @cindex keyed instrument staves
56 Keyboard instruments are usually notated with Piano staves. These
57 are two or more normal staves coupled with a brace. The same
58 notation is also used for other keyed instruments.
59 Organ music is normally written with two staves inside a
60 @code{PianoStaff} group and third, normal staff for the pedals.
62 The staves in keyboard music are largely independent, but
63 sometimes voices can cross between the two staves. This
64 section discusses notation techniques particular to keyboard
67 Several common issues in keyboard music are covered elsewhere:
71 @item Keyboard music usually contains multiple voices and the
72 number of voices may change regularly; this is described in
73 @ref{Collision resolution}.
75 @item Keyboard music can be written in parallel, as described in
76 @ref{Writing music in parallel}.
78 @item Fingerings are indicated with @ref{Fingering instructions}.
80 @item Organ pedal indications are inserted as articulations, see
81 @ref{List of articulations}.
83 @item Vertical grid lines can be shown with @ref{Grid lines}.
85 @item Keyboard music often contains @notation{Laissez vibrer} ties
86 as well as ties on arpeggios and tremolos, described in
89 @item Placing arpeggios across multiple voices and staves is
90 covered in @ref{Arpeggio}.
92 @item Tremolo marks are described in @ref{Tremolo repeats}.
94 @item Several of the tweaks that can occur in keyboard music are
95 demonstrated in @rlearning{Real music example}.
97 @item Hidden notes can be used to produce ties that cross voices,
98 as shown in @rlearning{Other uses for tweaks}.
103 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
104 @c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly}
105 @c http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312
109 @rlearning{Real music example},
110 @rlearning{Other uses for tweaks}.
113 @ref{Grouping staves},
114 @ref{Instrument names},
115 @ref{Collision resolution},
116 @ref{Writing music in parallel},
117 @ref{Fingering instructions},
118 @ref{List of articulations},
122 @ref{Tremolo repeats}.
125 @rinternals{PianoStaff}.
133 @cindex keyboard music, centering dynamics
134 @cindex dynamics, centered in keyboard music
135 @cindex piano music, centering dynamics
136 @cindex centered dynamics in piano music
137 @funindex staff-padding
139 Dynamics are not automatically centered, but workarounds do exist. One
140 option is the @q{piano centered dynamics} template under
141 @rlearning{Piano templates}; another option is to increase the
142 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
145 @node Changing staff manually
146 @unnumberedsubsubsec Changing staff manually
148 @cindex changing staff manually
149 @cindex manual staff changes
150 @cindex staff changes, manual
151 @cindex cross-staff notes
152 @cindex notes, cross-staff
153 @cindex cross-staff beams
154 @cindex beams, cross-staff
159 Voices can be switched between staves manually, using the command
162 \change Staff = @var{staffname}
166 The string @var{staffname} is the name of the staff. It switches
167 the current voice from its current staff to the staff called
168 @var{staffname}. Typical values for @var{staffname} are
169 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
171 The staff to which the voice is being switched must exist at the
172 time of the switch. If necessary, staves should be @qq{kept alive},
173 see @ref{Keeping contexts alive}.
175 Cross-staff notes are beamed automatically:
177 @lilypond[verbatim,quote]
181 \change Staff = "down"
185 \change Staff = "down"
189 \new Staff = "down" {
197 If the beaming needs to be tweaked, make any changes to the stem
198 directions first. The beam positions are then measured from the
199 center of the staff that is closest to the beam. For a simple
200 example of beam tweaking, see @rlearning{Fixing overlapping
206 @rlearning{Fixing overlapping notation}.
210 @ref{Automatic beams},
211 @ref{Keeping contexts alive}.
218 @rinternals{ContextChange}.
221 @node Changing staff automatically
222 @unnumberedsubsubsec Changing staff automatically
224 @cindex changing staff automatically
225 @cindex automatic staff changes
226 @cindex staff changes, automatic
228 @funindex \autochange
232 Voices can be made to switch automatically between the top and the
233 bottom staff. The syntax for this is
236 \autochange @dots{}@var{music}@dots{}
240 This will create two staves inside the current staff group
241 (usually a @code{PianoStaff}), called @code{"up"} and
242 @code{"down"}. The lower staff will be in the bass clef by default.
243 The autochanger switches on the basis of the pitch (middle@tie{}C is the
244 turning point), and it looks ahead skipping over rests to switch
247 @lilypond[quote,verbatim]
256 @cindex relative music and autochange
257 @cindex autochange and relative music
262 A @code{\relative} section that is outside of @code{\autochange}
263 has no effect on the pitches of the music, so if necessary, put
264 @code{\relative} inside @code{\autochange}.
266 If additional control is needed over the individual staves, they
267 can be created manually with the names @code{"up"} and
268 @code{"down"}. The @code{\autochange} command will then switch
269 its voice between the existing staves.
271 @warning{If staves are created manually, they @emph{must} be named
272 @code{"up"} and @code{"down"}.}
274 For example, staves must be created manually in order to place a
275 key signature in the lower staff:
277 @lilypond[quote,verbatim]
280 \new Voice = "melOne" {
282 \autochange \relative c' {
288 \new Staff = "down" {
298 @ref{Changing staff manually}.
304 @rinternals{AutoChangeMusic}.
309 @cindex chords, splitting across staves with \autochange
311 The staff switches may not end up in optimal places. For high
312 quality output, staff switches should be specified manually.
314 Chords will not be split across the staves; they will be assigned to a
315 staff based on the first note named in the chord construct.
317 @node Staff-change lines
318 @unnumberedsubsubsec Staff-change lines
320 @cindex staff-change line
321 @cindex staff change line
322 @cindex cross-staff line
323 @cindex cross staff line
324 @cindex line, staff-change follower
325 @cindex line, cross-staff
326 @cindex line, staff-change
328 @cindex voice, following
329 @cindex staff switching
332 @funindex followVoice
333 @funindex \showStaffSwitch
334 @funindex showStaffSwitch
335 @funindex \hideStaffSwitch
336 @funindex hideStaffSwitch
338 Whenever a voice switches to another staff, a line connecting the
339 notes can be printed automatically:
341 @lilypond[quote,verbatim,relative=1]
346 \change Staff = "two"
358 @code{\showStaffSwitch},
359 @code{\hideStaffSwitch}.
368 @rinternals{Note_head_line_engraver},
369 @rinternals{VoiceFollower}.
372 @node Cross-staff stems
373 @unnumberedsubsubsec Cross-staff stems
375 @cindex cross-staff notes
376 @cindex cross staff notes
377 @cindex notes, cross-staff
378 @cindex cross-staff stems
379 @cindex cross staff stems
380 @cindex stems, cross-staff
381 @cindex chords, cross-staff
382 @cindex cross-staff chords
383 @cindex cross staff chords
386 @funindex cross-staff
390 Chords that cross staves may be produced:
392 @lilypond[verbatim,quote]
403 % stems may overlap the other staff
404 \override Stem #'cross-staff = ##t
405 % extend the stems to reach other other staff
406 \override Stem #'length = #12
407 % do not print extra flags
408 \override Stem #'flag-style = #'no-flag
409 % prevent beaming as needed
410 a8 g4 f8 f bes\noBeam g4
422 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
423 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
437 This section discusses notation issues that relate most directly to the
445 @unnumberedsubsubsec Piano pedals
448 @cindex pedals, piano
449 @cindex sustain pedal
450 @cindex pedal, sustain
451 @cindex sostenuto pedal
452 @cindex pedal, sostenuto
460 @funindex \sustainOff
462 @funindex \sostenutoOn
463 @funindex sostenutoOn
464 @funindex \sostenutoOff
465 @funindex sostenutoOff
471 Pianos generally have three pedals that alter the way sound is
472 produced: @notation{sustain}, @notation{sostenuto}
473 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
474 Sustain pedals are also found on vibraphones and celestas.
476 @lilypond[quote,verbatim,relative=2]
479 c4\sostenutoOn e g c,
480 <bes d f>1\sostenutoOff
485 @cindex pedal indication styles
486 @cindex pedal indication, text
487 @cindex pedal indication, bracket
488 @cindex pedal indication, mixed
489 @cindex pedal sustain style
490 @cindex sustain pedal style
492 @funindex pedalSustainStyle
497 There are three styles of pedal indications: text, bracket, and mixed.
498 The sustain pedal and the una corda pedal use the text style by default
499 while the sostenuto pedal uses mixed by default.
501 @lilypond[quote,verbatim,relative=2]
502 c4\sustainOn g c2\sustainOff
503 \set Staff.pedalSustainStyle = #'mixed
505 d\sustainOff\sustainOn g, c2\sustainOff
506 \set Staff.pedalSustainStyle = #'bracket
508 d\sustainOff\sustainOn g, c2
512 The placement of the pedal commands matches the physical movement of the
513 sustain pedal during piano performance. Pedalling to the final bar line
514 is indicated by omitting the final pedal off command.
525 @rinternals{SustainPedal},
526 @rinternals{SustainPedalLineSpanner},
527 @rinternals{SustainEvent},
528 @rinternals{SostenutoPedal},
529 @rinternals{SostenutoPedalLineSpanner},
530 @rinternals{SostenutoEvent},
531 @rinternals{UnaCordaPedal},
532 @rinternals{UnaCordaPedalLineSpanner},
533 @rinternals{UnaCordaEvent},
534 @rinternals{PianoPedalBracket},
535 @rinternals{Piano_pedal_engraver}.
539 @subsection Accordion
543 This section discusses notation that is unique to the accordion.
549 @node Discant symbols
550 @unnumberedsubsubsec Discant symbols
552 @cindex accordion discant symbols
553 @cindex discant symbols, accordion
554 @cindex accordion shifts
555 @cindex accordion shift symbols
557 Accordions are often built with more than one set of reeds that may be
558 in unison with, an octave above, or an octave below the written pitch.
559 Each accordion maker has different names for the @notation{shifts} that
560 select the various reed combinations, such as @notation{oboe},
561 @notation{musette}, or @notation{bandonium}, so a system of symbols has
562 come into use to simplify the performance instructions.
566 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
567 {accordion-discant-symbols.ly}
578 This section discusses notation issues that are unique to the harp.
581 * References for harps::
585 @node References for harps
586 @unnumberedsubsubsec References for harps
590 Some common characteristics of harp music are covered elsewhere:
594 @item The glissando is the most characterisic harp technique,
597 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
600 @item Natural harmonics are covered under @ref{Harmonics}.
602 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
608 @ref{Tremolo repeats},
614 @unnumberedsubsubsec Harp pedals
617 @cindex harp pedal diagrams
619 @cindex pedal diagrams, harp
621 Harps have seven strings per octave that may be sounded at the natural,
622 flattened, or sharpened pitch. In lever harps, each string is adjusted
623 individually, but in pedal harps every string with the same pitch name
624 is controlled by a single pedal. From the player's left to right, the
625 pedals are D, C, and B on the left and E, F, G, and A on the right.
626 The position of the pedals may be indicated with text marks:
628 @lilypond[quote,verbatim,relative=2]
630 cis1_\markup \concat \vcenter {
631 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
632 c!1_\markup \concat \vcenter {
638 @lilypond[quote,verbatim,relative=2]
640 cis1_\markup { \harp-pedal #"^v-|vv-^" }
641 c!1_\markup { \harp-pedal #"^o--|vv-^" }
644 The @code{\harp-pedal} command accepts a string of characters, where
645 @code{^} is the highest pedal position (flattened pitch), @code{-} is
646 the middle pedal postion (natural pitch), @code{v} is the lowest pedal
647 position (sharpened pitch), and @code{|} is the divider. A prefixed
648 @code{o} will circle the following pedal symbol.
653 @ref{Instrument Specific Markup}.