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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}.
141 @node Changing staff manually
142 @unnumberedsubsubsec Changing staff manually
144 @cindex changing staff manually
145 @cindex manual staff changes
146 @cindex staff changes, manual
147 @cindex cross-staff notes
148 @cindex notes, cross-staff
149 @cindex cross-staff beams
150 @cindex beams, cross-staff
155 Voices can be switched between staves manually, using the command
158 \change Staff = @var{staffname}
162 The string @var{staffname} is the name of the staff. It switches
163 the current voice from its current staff to the staff called
164 @var{staffname}. Typical values for @var{staffname} are
165 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
167 The staff to which the voice is being switched must exist at the
168 time of the switch. If necessary, staves should be @qq{kept alive},
169 see @ref{Keeping contexts alive}.
171 Cross-staff notes are beamed automatically:
173 @lilypond[verbatim,quote]
177 \change Staff = "down"
181 \change Staff = "down"
185 \new Staff = "down" {
193 If the beaming needs to be tweaked, make any changes to the stem
194 directions first. The beam positions are then measured from the
195 center of the staff that is closest to the beam. For a simple
196 example of beam tweaking, see @rlearning{Fixing overlapping
199 @cindex cross-staff collisions
200 @cindex collisions, cross-staff voices
202 Overlapping notation can result when voices cross staves:
204 @lilypond[verbatim,quote]
208 % Make space for fingering in the cross-staff voice
209 \once\override DynamicLineSpanner #'staff-padding = #3.4
210 e''2\p\< d''\> s1*0\!
212 \new Staff = "down" <<
215 s4. e,8\rest g,2\rest
225 The stem and slur overlap the intervening line of dynamics
226 because automatic collision resolution is suspended for beams, slurs
227 and other spanners that connect notes on different staves,
228 as well as for stems and articulations if their placement is
229 affected by a cross-staff spanner.
230 The resulting collisions must be resolved manually, where necessary,
231 using the methods in @rlearning{Fixing overlapping notation}.
235 @rlearning{Fixing overlapping notation}.
239 @ref{Automatic beams},
240 @ref{Keeping contexts alive}.
247 @rinternals{ContextChange}.
250 Beam collision avoidance does not work for automatic beams that end
251 right before a change in staff. In this case use manual beams.
254 @node Changing staff automatically
255 @unnumberedsubsubsec Changing staff automatically
257 @cindex changing staff automatically
258 @cindex automatic staff changes
259 @cindex staff changes, automatic
261 @funindex \autochange
265 Voices can be made to switch automatically between the top and the
266 bottom staff. The syntax for this is
269 \autochange @dots{}@var{music}@dots{}
273 This will create two staves inside the current staff group
274 (usually a @code{PianoStaff}), called @code{"up"} and
275 @code{"down"}. The lower staff will be in the bass clef by default.
276 The autochanger switches on the basis of the pitch (middle@tie{}C is the
277 turning point), and it looks ahead skipping over rests to switch
280 @lilypond[quote,verbatim]
289 @cindex relative music and autochange
290 @cindex autochange and relative music
295 A @code{\relative} section that is outside of @code{\autochange}
296 has no effect on the pitches of the music, so if necessary, put
297 @code{\relative} inside @code{\autochange}.
299 If additional control is needed over the individual staves, they
300 can be created manually with the names @code{"up"} and
301 @code{"down"}. The @code{\autochange} command will then switch
302 its voice between the existing staves.
304 @warning{If staves are created manually, they @emph{must} be named
305 @code{"up"} and @code{"down"}.}
307 For example, staves must be created manually in order to place a
308 key signature in the lower staff:
310 @lilypond[quote,verbatim]
313 \new Voice = "melOne" {
315 \autochange \relative c' {
321 \new Staff = "down" {
330 @ref{Changing staff manually}.
336 @rinternals{AutoChangeMusic}.
340 @cindex chords, splitting across staves with \autochange
342 The staff switches may not end up in optimal places. For high
343 quality output, staff switches should be specified manually.
345 Chords will not be split across the staves; they will be assigned to a
346 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}.
399 @rinternals{Note_head_line_engraver},
400 @rinternals{VoiceFollower}.
403 @node Cross-staff stems
404 @unnumberedsubsubsec Cross-staff stems
406 @cindex cross-staff notes
407 @cindex cross staff notes
408 @cindex notes, cross-staff
409 @cindex cross-staff stems
410 @cindex cross staff stems
411 @cindex stems, cross-staff
412 @cindex chords, cross-staff
413 @cindex cross-staff chords
414 @cindex cross staff chords
417 @funindex cross-staff
421 Chords that cross staves may be produced:
423 @lilypond[verbatim,quote]
434 % stems may overlap the other staff
435 \override Stem #'cross-staff = ##t
436 % extend the stems to reach the other staff
437 \override Stem #'length = #12
438 % do not print extra flags
439 \override Flag #'style = #'no-flag
440 % prevent beaming as needed
441 a8 g4 f8 f bes\noBeam g4
453 @lilypondfile[verbatim,quote,texidoc,doctitle]
454 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
467 This section discusses notation issues that relate most directly to the
475 @unnumberedsubsubsec Piano pedals
478 @cindex pedals, piano
479 @cindex sustain pedal
480 @cindex pedal, sustain
481 @cindex sostenuto pedal
482 @cindex pedal, sostenuto
490 @funindex \sustainOff
492 @funindex \sostenutoOn
493 @funindex sostenutoOn
494 @funindex \sostenutoOff
495 @funindex sostenutoOff
501 Pianos generally have three pedals that alter the way sound is
502 produced: @notation{sustain}, @notation{sostenuto}
503 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
504 Sustain pedals are also found on vibraphones and celestas.
506 @lilypond[quote,verbatim,relative=2]
509 c4\sostenutoOn e g c,
510 <bes d f>1\sostenutoOff
515 @cindex pedal indication styles
516 @cindex pedal indication, text
517 @cindex pedal indication, bracket
518 @cindex pedal indication, mixed
519 @cindex pedal sustain style
520 @cindex sustain pedal style
522 @funindex pedalSustainStyle
527 There are three styles of pedal indications: text, bracket, and mixed.
528 The sustain pedal and the una corda pedal use the text style by default
529 while the sostenuto pedal uses mixed by default.
531 @lilypond[quote,verbatim,relative=2]
532 c4\sustainOn g c2\sustainOff
533 \set Staff.pedalSustainStyle = #'mixed
535 d\sustainOff\sustainOn g, c2\sustainOff
536 \set Staff.pedalSustainStyle = #'bracket
538 d\sustainOff\sustainOn g, c2
542 The placement of the pedal commands matches the physical movement of the
543 sustain pedal during piano performance. Pedalling to the final bar line
544 is indicated by omitting the final pedal off command.
546 Pedal indications may be placed in a @code{Dynamics} context,
547 which aligns them on a horizontal line.
557 @rinternals{SustainPedal},
558 @rinternals{SustainPedalLineSpanner},
559 @rinternals{SustainEvent},
560 @rinternals{SostenutoPedal},
561 @rinternals{SostenutoPedalLineSpanner},
562 @rinternals{SostenutoEvent},
563 @rinternals{UnaCordaPedal},
564 @rinternals{UnaCordaPedalLineSpanner},
565 @rinternals{UnaCordaEvent},
566 @rinternals{PianoPedalBracket},
567 @rinternals{Piano_pedal_engraver}.
571 @subsection Accordion
575 This section discusses notation that is unique to the accordion.
581 @node Discant symbols
582 @unnumberedsubsubsec Discant symbols
584 @cindex accordion discant symbols
585 @cindex discant symbols, accordion
586 @cindex accordion shifts
587 @cindex accordion shift symbols
589 Accordions are often built with more than one set of reeds that may be
590 in unison with, an octave above, or an octave below the written pitch.
591 Each accordion maker has different names for the @notation{shifts} that
592 select the various reed combinations, such as @notation{oboe},
593 @notation{musette}, or @notation{bandonium}, so a system of symbols has
594 come into use to simplify the performance instructions.
598 @lilypondfile[verbatim,quote,texidoc,doctitle]
599 {accordion-discant-symbols.ly}
609 This section discusses notation issues that are unique to the harp.
612 * References for harps::
616 @node References for harps
617 @unnumberedsubsubsec References for harps
621 Some common characteristics of harp music are covered elsewhere:
625 @item The glissando is the most characteristic harp technique,
628 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
631 @item Natural harmonics are covered under @ref{Harmonics}.
633 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
639 @ref{Tremolo repeats},
646 @unnumberedsubsubsec Harp pedals
649 @cindex harp pedal diagrams
651 @cindex pedal diagrams, harp
653 Harps have seven strings per octave that may be sounded at the natural,
654 flattened, or sharpened pitch. In lever harps, each string is adjusted
655 individually, but in pedal harps every string with the same pitch name
656 is controlled by a single pedal. From the player's left to right, the
657 pedals are D, C, and B on the left and E, F, G, and A on the right.
658 The position of the pedals may be indicated with text marks:
660 @lilypond[quote,verbatim,relative=2]
662 cis1_\markup \concat \vcenter {
663 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
664 c!1_\markup \concat \vcenter {
670 @lilypond[quote,verbatim,relative=2]
672 cis1_\markup { \harp-pedal #"^v-|vv-^" }
673 c!1_\markup { \harp-pedal #"^o--|vv-^" }
676 The @code{\harp-pedal} command accepts a string of characters, where
677 @code{^} is the highest pedal position (flattened pitch), @code{-} is
678 the middle pedal position (natural pitch), @code{v} is the lowest pedal
679 position (sharpened pitch), and @code{|} is the divider. A prefixed
680 @code{o} will circle the following pedal symbol.
685 @ref{Instrument Specific Markup}.