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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,lilyquote,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
201 @rlearning{Fixing overlapping notation}.
205 @ref{Automatic beams},
206 @ref{Keeping contexts alive}.
213 @rinternals{ContextChange}.
216 @node Changing staff automatically
217 @unnumberedsubsubsec Changing staff automatically
219 @cindex changing staff automatically
220 @cindex automatic staff changes
221 @cindex staff changes, automatic
223 @funindex \autochange
227 Voices can be made to switch automatically between the top and the
228 bottom staff. The syntax for this is
231 \autochange @dots{}@var{music}@dots{}
235 This will create two staves inside the current staff group
236 (usually a @code{PianoStaff}), called @code{"up"} and
237 @code{"down"}. The lower staff will be in the bass clef by default.
238 The autochanger switches on the basis of the pitch (middle@tie{}C is the
239 turning point), and it looks ahead skipping over rests to switch
242 @lilypond[quote,verbatim]
251 @cindex relative music and autochange
252 @cindex autochange and relative music
257 A @code{\relative} section that is outside of @code{\autochange}
258 has no effect on the pitches of the music, so if necessary, put
259 @code{\relative} inside @code{\autochange}.
261 If additional control is needed over the individual staves, they
262 can be created manually with the names @code{"up"} and
263 @code{"down"}. The @code{\autochange} command will then switch
264 its voice between the existing staves.
266 @warning{If staves are created manually, they @emph{must} be named
267 @code{"up"} and @code{"down"}.}
269 For example, staves must be created manually in order to place a
270 key signature in the lower staff:
272 @lilypond[quote,verbatim]
275 \new Voice = "melOne" {
277 \autochange \relative c' {
283 \new Staff = "down" {
293 @ref{Changing staff manually}.
299 @rinternals{AutoChangeMusic}.
304 @cindex chords, splitting across staves with \autochange
306 The staff switches may not end up in optimal places. For high
307 quality output, staff switches should be specified manually.
309 Chords will not be split across the staves; they will be assigned to a
310 staff based on the first note named in the chord construct.
312 @node Staff-change lines
313 @unnumberedsubsubsec Staff-change lines
315 @cindex staff-change line
316 @cindex staff change line
317 @cindex cross-staff line
318 @cindex cross staff line
319 @cindex line, staff-change follower
320 @cindex line, cross-staff
321 @cindex line, staff-change
323 @cindex voice, following
324 @cindex staff switching
327 @funindex followVoice
328 @funindex \showStaffSwitch
329 @funindex showStaffSwitch
330 @funindex \hideStaffSwitch
331 @funindex hideStaffSwitch
333 Whenever a voice switches to another staff, a line connecting the
334 notes can be printed automatically:
336 @lilypond[quote,verbatim,relative=1]
341 \change Staff = "two"
353 @code{\showStaffSwitch},
354 @code{\hideStaffSwitch}.
363 @rinternals{Note_head_line_engraver},
364 @rinternals{VoiceFollower}.
367 @node Cross-staff stems
368 @unnumberedsubsubsec Cross-staff stems
370 @cindex cross-staff notes
371 @cindex cross staff notes
372 @cindex notes, cross-staff
373 @cindex cross-staff stems
374 @cindex cross staff stems
375 @cindex stems, cross-staff
376 @cindex chords, cross-staff
377 @cindex cross-staff chords
378 @cindex cross staff chords
381 @funindex cross-staff
385 Chords that cross staves may be produced:
387 @lilypond[verbatim,quote]
398 % stems may overlap the other staff
399 \override Stem #'cross-staff = ##t
400 % extend the stems to reach the other staff
401 \override Stem #'length = #12
402 % do not print extra flags
403 \override Stem #'flag-style = #'no-flag
404 % prevent beaming as needed
405 a8 g4 f8 f bes\noBeam g4
417 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
418 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
432 This section discusses notation issues that relate most directly to the
440 @unnumberedsubsubsec Piano pedals
443 @cindex pedals, piano
444 @cindex sustain pedal
445 @cindex pedal, sustain
446 @cindex sostenuto pedal
447 @cindex pedal, sostenuto
455 @funindex \sustainOff
457 @funindex \sostenutoOn
458 @funindex sostenutoOn
459 @funindex \sostenutoOff
460 @funindex sostenutoOff
466 Pianos generally have three pedals that alter the way sound is
467 produced: @notation{sustain}, @notation{sostenuto}
468 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
469 Sustain pedals are also found on vibraphones and celestas.
471 @lilypond[quote,verbatim,relative=2]
474 c4\sostenutoOn e g c,
475 <bes d f>1\sostenutoOff
480 @cindex pedal indication styles
481 @cindex pedal indication, text
482 @cindex pedal indication, bracket
483 @cindex pedal indication, mixed
484 @cindex pedal sustain style
485 @cindex sustain pedal style
487 @funindex pedalSustainStyle
492 There are three styles of pedal indications: text, bracket, and mixed.
493 The sustain pedal and the una corda pedal use the text style by default
494 while the sostenuto pedal uses mixed by default.
496 @lilypond[quote,verbatim,relative=2]
497 c4\sustainOn g c2\sustainOff
498 \set Staff.pedalSustainStyle = #'mixed
500 d\sustainOff\sustainOn g, c2\sustainOff
501 \set Staff.pedalSustainStyle = #'bracket
503 d\sustainOff\sustainOn g, c2
507 The placement of the pedal commands matches the physical movement of the
508 sustain pedal during piano performance. Pedalling to the final bar line
509 is indicated by omitting the final pedal off command.
511 Pedal indications may be placed in a @code{Dynamics} context,
512 which aligns them on a horizontal line.
522 @rinternals{SustainPedal},
523 @rinternals{SustainPedalLineSpanner},
524 @rinternals{SustainEvent},
525 @rinternals{SostenutoPedal},
526 @rinternals{SostenutoPedalLineSpanner},
527 @rinternals{SostenutoEvent},
528 @rinternals{UnaCordaPedal},
529 @rinternals{UnaCordaPedalLineSpanner},
530 @rinternals{UnaCordaEvent},
531 @rinternals{PianoPedalBracket},
532 @rinternals{Piano_pedal_engraver}.
536 @subsection Accordion
540 This section discusses notation that is unique to the accordion.
546 @node Discant symbols
547 @unnumberedsubsubsec Discant symbols
549 @cindex accordion discant symbols
550 @cindex discant symbols, accordion
551 @cindex accordion shifts
552 @cindex accordion shift symbols
554 Accordions are often built with more than one set of reeds that may be
555 in unison with, an octave above, or an octave below the written pitch.
556 Each accordion maker has different names for the @notation{shifts} that
557 select the various reed combinations, such as @notation{oboe},
558 @notation{musette}, or @notation{bandonium}, so a system of symbols has
559 come into use to simplify the performance instructions.
563 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
564 {accordion-discant-symbols.ly}
575 This section discusses notation issues that are unique to the harp.
578 * References for harps::
582 @node References for harps
583 @unnumberedsubsubsec References for harps
587 Some common characteristics of harp music are covered elsewhere:
591 @item The glissando is the most characteristic harp technique,
594 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
597 @item Natural harmonics are covered under @ref{Harmonics}.
599 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
605 @ref{Tremolo repeats},
611 @unnumberedsubsubsec Harp pedals
614 @cindex harp pedal diagrams
616 @cindex pedal diagrams, harp
618 Harps have seven strings per octave that may be sounded at the natural,
619 flattened, or sharpened pitch. In lever harps, each string is adjusted
620 individually, but in pedal harps every string with the same pitch name
621 is controlled by a single pedal. From the player's left to right, the
622 pedals are D, C, and B on the left and E, F, G, and A on the right.
623 The position of the pedals may be indicated with text marks:
625 @lilypond[quote,verbatim,relative=2]
627 cis1_\markup \concat \vcenter {
628 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
629 c!1_\markup \concat \vcenter {
635 @lilypond[quote,verbatim,relative=2]
637 cis1_\markup { \harp-pedal #"^v-|vv-^" }
638 c!1_\markup { \harp-pedal #"^o--|vv-^" }
641 The @code{\harp-pedal} command accepts a string of characters, where
642 @code{^} is the highest pedal position (flattened pitch), @code{-} is
643 the middle pedal position (natural pitch), @code{v} is the lowest pedal
644 position (sharpened pitch), and @code{|} is the divider. A prefixed
645 @code{o} will circle the following pedal symbol.
650 @ref{Instrument Specific Markup}.