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12 @node Keyboard and other multi-staff instruments
13 @section Keyboard and other multi-staff instruments
15 @lilypondfile[quote]{keyboard-headword.ly}
17 This section discusses several aspects of music notation that are
18 unique to keyboard instruments and other instruments notated on
19 many staves, such as harps and vibraphones. For the purposes of
20 this section this entire group of multi-staff instruments is called
21 @qq{keyboards} for short, even though some of them do not have a
25 * Common notation for keyboards::
31 @node Common notation for keyboards
32 @subsection Common notation for keyboards
34 This section discusses notation issues that may arise for most
38 * References for keyboards::
39 * Changing staff manually::
40 * Changing staff automatically::
41 * Staff-change lines::
45 @node References for keyboards
46 @unnumberedsubsubsec References for keyboards
50 @cindex staves, keyboard instruments
51 @cindex staves, keyed instruments
52 @cindex keyboard instrument staves
53 @cindex keyed instrument staves
54 @cindex keyboard music, centering dynamics
55 @cindex dynamics, centered in keyboard music
56 @cindex piano music, centering dynamics
57 @cindex centered dynamics in piano music
61 Keyboard instruments are usually notated with Piano staves. These
62 are two or more normal staves coupled with a brace. The same
63 notation is also used for other keyed instruments.
64 Organ music is normally written with two staves inside a
65 @code{PianoStaff} group and third, normal staff for the pedals.
67 The staves in keyboard music are largely independent, but
68 sometimes voices can cross between the two staves. This
69 section discusses notation techniques particular to keyboard
72 Several common issues in keyboard music are covered elsewhere:
76 @item Keyboard music usually contains multiple voices and the
77 number of voices may change regularly; this is described in
78 @ref{Collision resolution}.
80 @item Keyboard music can be written in parallel, as described in
81 @ref{Writing music in parallel}.
83 @item Dynamics may be placed in a @code{Dynamics} context,
84 between the two @code{Staff} contexts
85 to align the dynamic marks on a horizontal line
86 centered between the staves; see @ref{Dynamics}.
88 @item Fingerings are indicated with @ref{Fingering instructions}.
90 @item Organ pedal indications are inserted as articulations, see
91 @ref{List of articulations}.
93 @item Vertical grid lines can be shown with @ref{Grid lines}.
95 @item Keyboard music often contains @notation{Laissez vibrer} ties
96 as well as ties on arpeggios and tremolos, described in
99 @item Placing arpeggios across multiple voices and staves is
100 covered in @ref{Arpeggio}.
102 @item Tremolo marks are described in @ref{Tremolo repeats}.
104 @item Several of the tweaks that can occur in keyboard music are
105 demonstrated in @rlearning{Real music example}.
107 @item Hidden notes can be used to produce ties that cross voices,
108 as shown in @rlearning{Other uses for tweaks}.
113 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
114 @c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly}
115 @c http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312
119 @rlearning{Real music example},
120 @rlearning{Other uses for tweaks}.
123 @ref{Grouping staves},
124 @ref{Instrument names},
125 @ref{Collision resolution},
126 @ref{Writing music in parallel},
127 @ref{Fingering instructions},
128 @ref{List of articulations},
132 @ref{Tremolo repeats}.
135 @rinternals{PianoStaff}.
140 @node Changing staff manually
141 @unnumberedsubsubsec Changing staff manually
143 @cindex changing staff manually
144 @cindex manual staff changes
145 @cindex staff changes, manual
146 @cindex cross-staff notes
147 @cindex notes, cross-staff
148 @cindex cross-staff beams
149 @cindex beams, cross-staff
154 Voices can be switched between staves manually, using the command
157 \change Staff = @var{staffname}
161 The string @var{staffname} is the name of the staff. It switches
162 the current voice from its current staff to the staff called
163 @var{staffname}. Typical values for @var{staffname} are
164 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
166 The staff to which the voice is being switched must exist at the
167 time of the switch. If necessary, staves should be @qq{kept alive},
168 see @ref{Keeping contexts alive}.
170 Cross-staff notes are beamed automatically:
172 @lilypond[verbatim,quote]
176 \change Staff = "down"
180 \change Staff = "down"
184 \new Staff = "down" {
192 If the beaming needs to be tweaked, make any changes to the stem
193 directions first. The beam positions are then measured from the
194 center of the staff that is closest to the beam. For a simple
195 example of beam tweaking, see @rlearning{Fixing overlapping
198 @cindex cross-staff collisions
199 @cindex collisions, cross-staff voices
201 Overlapping notation can result when voices cross staves:
203 @lilypond[verbatim,quote]
207 % Make space for fingering in the cross-staff voice
208 \once\override DynamicLineSpanner #'staff-padding = #3.4
209 e''2\p\< d''\> s1*0\!
211 \new Staff = "down" <<
214 s4. e,8\rest g,2\rest
224 The stem and slur overlap the intervening line of dynamics
225 because automatic collision resolution is suspended for beams, slurs
226 and other spanners that connect notes on different staves,
227 as well as for stems and articulations if their placement is
228 affected by a cross-staff spanner.
229 The resulting collisions must be resolved manually, where necessary,
230 using the methods in @rlearning{Fixing overlapping notation}.
234 @rlearning{Fixing overlapping notation}.
238 @ref{Automatic beams},
239 @ref{Keeping contexts alive}.
246 @rinternals{ContextChange}.
249 Beam collision avoidance does not work for automatic beams that end
250 right before a change in staff. In this case use manual beams.
253 @node Changing staff automatically
254 @unnumberedsubsubsec Changing staff automatically
256 @cindex changing staff automatically
257 @cindex automatic staff changes
258 @cindex staff changes, automatic
260 @funindex \autochange
264 Voices can be made to switch automatically between the top and the
265 bottom staff. The syntax for this is
268 \autochange @dots{}@var{music}@dots{}
272 This will create two staves inside the current staff group
273 (usually a @code{PianoStaff}), called @code{"up"} and
274 @code{"down"}. The lower staff will be in the bass clef by default.
275 The autochanger switches on the basis of the pitch (middle@tie{}C is the
276 turning point), and it looks ahead skipping over rests to switch
279 @lilypond[quote,verbatim]
288 @cindex relative music and autochange
289 @cindex autochange and relative music
294 A @code{\relative} section that is outside of @code{\autochange}
295 has no effect on the pitches of the music, so if necessary, put
296 @code{\relative} inside @code{\autochange}.
298 If additional control is needed over the individual staves, they
299 can be created manually with the names @code{"up"} and
300 @code{"down"}. The @code{\autochange} command will then switch
301 its voice between the existing staves.
303 @warning{If staves are created manually, they @emph{must} be named
304 @code{"up"} and @code{"down"}.}
306 For example, staves must be created manually in order to place a
307 key signature in the lower staff:
309 @lilypond[quote,verbatim]
312 \new Voice = "melOne" {
314 \autochange \relative c' {
320 \new Staff = "down" {
330 @ref{Changing staff manually}.
336 @rinternals{AutoChangeMusic}.
341 @cindex chords, splitting across staves with \autochange
343 The staff switches may not end up in optimal places. For high
344 quality output, staff switches should be specified manually.
346 Chords will not be split across the staves; they will be assigned to a
347 staff based on the first note named in the chord construct.
349 @node Staff-change lines
350 @unnumberedsubsubsec Staff-change lines
352 @cindex staff-change line
353 @cindex staff change line
354 @cindex cross-staff line
355 @cindex cross staff line
356 @cindex line, staff-change follower
357 @cindex line, cross-staff
358 @cindex line, staff-change
360 @cindex voice, following
361 @cindex staff switching
364 @funindex followVoice
365 @funindex \showStaffSwitch
366 @funindex showStaffSwitch
367 @funindex \hideStaffSwitch
368 @funindex hideStaffSwitch
370 Whenever a voice switches to another staff, a line connecting the
371 notes can be printed automatically:
373 @lilypond[quote,verbatim,relative=1]
378 \change Staff = "two"
390 @code{\showStaffSwitch},
391 @code{\hideStaffSwitch}.
400 @rinternals{Note_head_line_engraver},
401 @rinternals{VoiceFollower}.
404 @node Cross-staff stems
405 @unnumberedsubsubsec Cross-staff stems
407 @cindex cross-staff notes
408 @cindex cross staff notes
409 @cindex notes, cross-staff
410 @cindex cross-staff stems
411 @cindex cross staff stems
412 @cindex stems, cross-staff
413 @cindex chords, cross-staff
414 @cindex cross-staff chords
415 @cindex cross staff chords
418 @funindex cross-staff
422 Chords that cross staves may be produced:
424 @lilypond[verbatim,quote]
435 % stems may overlap the other staff
436 \override Stem #'cross-staff = ##t
437 % extend the stems to reach the other staff
438 \override Stem #'length = #12
439 % do not print extra flags
440 \override Flag #'style = #'no-flag
441 % prevent beaming as needed
442 a8 g4 f8 f bes\noBeam g4
454 @lilypondfile[verbatim,quote,texidoc,doctitle]
455 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
469 This section discusses notation issues that relate most directly to the
477 @unnumberedsubsubsec Piano pedals
480 @cindex pedals, piano
481 @cindex sustain pedal
482 @cindex pedal, sustain
483 @cindex sostenuto pedal
484 @cindex pedal, sostenuto
492 @funindex \sustainOff
494 @funindex \sostenutoOn
495 @funindex sostenutoOn
496 @funindex \sostenutoOff
497 @funindex sostenutoOff
503 Pianos generally have three pedals that alter the way sound is
504 produced: @notation{sustain}, @notation{sostenuto}
505 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
506 Sustain pedals are also found on vibraphones and celestas.
508 @lilypond[quote,verbatim,relative=2]
511 c4\sostenutoOn e g c,
512 <bes d f>1\sostenutoOff
517 @cindex pedal indication styles
518 @cindex pedal indication, text
519 @cindex pedal indication, bracket
520 @cindex pedal indication, mixed
521 @cindex pedal sustain style
522 @cindex sustain pedal style
524 @funindex pedalSustainStyle
529 There are three styles of pedal indications: text, bracket, and mixed.
530 The sustain pedal and the una corda pedal use the text style by default
531 while the sostenuto pedal uses mixed by default.
533 @lilypond[quote,verbatim,relative=2]
534 c4\sustainOn g c2\sustainOff
535 \set Staff.pedalSustainStyle = #'mixed
537 d\sustainOff\sustainOn g, c2\sustainOff
538 \set Staff.pedalSustainStyle = #'bracket
540 d\sustainOff\sustainOn g, c2
544 The placement of the pedal commands matches the physical movement of the
545 sustain pedal during piano performance. Pedalling to the final bar line
546 is indicated by omitting the final pedal off command.
548 Pedal indications may be placed in a @code{Dynamics} context,
549 which aligns them on a horizontal line.
559 @rinternals{SustainPedal},
560 @rinternals{SustainPedalLineSpanner},
561 @rinternals{SustainEvent},
562 @rinternals{SostenutoPedal},
563 @rinternals{SostenutoPedalLineSpanner},
564 @rinternals{SostenutoEvent},
565 @rinternals{UnaCordaPedal},
566 @rinternals{UnaCordaPedalLineSpanner},
567 @rinternals{UnaCordaEvent},
568 @rinternals{PianoPedalBracket},
569 @rinternals{Piano_pedal_engraver}.
573 @subsection Accordion
577 This section discusses notation that is unique to the accordion.
583 @node Discant symbols
584 @unnumberedsubsubsec Discant symbols
586 @cindex accordion discant symbols
587 @cindex discant symbols, accordion
588 @cindex accordion shifts
589 @cindex accordion shift symbols
591 Accordions are often built with more than one set of reeds that may be
592 in unison with, an octave above, or an octave below the written pitch.
593 Each accordion maker has different names for the @notation{shifts} that
594 select the various reed combinations, such as @notation{oboe},
595 @notation{musette}, or @notation{bandonium}, so a system of symbols has
596 come into use to simplify the performance instructions.
600 @lilypondfile[verbatim,quote,texidoc,doctitle]
601 {accordion-discant-symbols.ly}
612 This section discusses notation issues that are unique to the harp.
615 * References for harps::
619 @node References for harps
620 @unnumberedsubsubsec References for harps
624 Some common characteristics of harp music are covered elsewhere:
628 @item The glissando is the most characteristic harp technique,
631 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
634 @item Natural harmonics are covered under @ref{Harmonics}.
636 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
642 @ref{Tremolo repeats},
648 @unnumberedsubsubsec Harp pedals
651 @cindex harp pedal diagrams
653 @cindex pedal diagrams, harp
655 Harps have seven strings per octave that may be sounded at the natural,
656 flattened, or sharpened pitch. In lever harps, each string is adjusted
657 individually, but in pedal harps every string with the same pitch name
658 is controlled by a single pedal. From the player's left to right, the
659 pedals are D, C, and B on the left and E, F, G, and A on the right.
660 The position of the pedals may be indicated with text marks:
662 @lilypond[quote,verbatim,relative=2]
664 cis1_\markup \concat \vcenter {
665 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
666 c!1_\markup \concat \vcenter {
672 @lilypond[quote,verbatim,relative=2]
674 cis1_\markup { \harp-pedal #"^v-|vv-^" }
675 c!1_\markup { \harp-pedal #"^o--|vv-^" }
678 The @code{\harp-pedal} command accepts a string of characters, where
679 @code{^} is the highest pedal position (flattened pitch), @code{-} is
680 the middle pedal position (natural pitch), @code{v} is the lowest pedal
681 position (sharpened pitch), and @code{|} is the divider. A prefixed
682 @code{o} will circle the following pedal symbol.
687 @ref{Instrument Specific Markup}.