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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
213 \new Staff = "down" <<
216 s4. e,8\rest g,2\rest
228 The stem and slur overlap the intervening line of dynamics
229 because automatic collision resolution is suspended for beams, slurs
230 and other spanners that connect notes on different staves,
231 as well as for stems and articulations if their placement is
232 affected by a cross-staff spanner.
233 The resulting collisions must be resolved manually, where necessary,
234 using the methods in @rlearning{Fixing overlapping notation}.
238 @rlearning{Fixing overlapping notation}.
242 @ref{Automatic beams},
243 @ref{Keeping contexts alive}.
250 @rinternals{ContextChange}.
253 Beam collision avoidance does not work for automatic beams that end
254 right before a change in staff. In this case use manual beams.
257 @node Changing staff automatically
258 @unnumberedsubsubsec Changing staff automatically
260 @cindex changing staff automatically
261 @cindex automatic staff changes
262 @cindex staff changes, automatic
264 @funindex \autochange
268 Voices can be made to switch automatically between the top and the
269 bottom staff. The syntax for this is
272 \autochange @dots{}@var{music}@dots{}
276 This will create two staves inside the current staff group
277 (usually a @code{PianoStaff}), called @code{"up"} and
278 @code{"down"}. The lower staff will be in the bass clef by default.
279 The autochanger switches on the basis of the pitch (middle@tie{}C is the
280 turning point), and it looks ahead skipping over rests to switch
283 @lilypond[quote,verbatim]
292 @cindex relative music and autochange
293 @cindex autochange and relative music
298 A @code{\relative} section that is outside of @code{\autochange}
299 has no effect on the pitches of the music, so if necessary, put
300 @code{\relative} inside @code{\autochange}.
302 If additional control is needed over the individual staves, they
303 can be created manually with the names @code{"up"} and
304 @code{"down"}. The @code{\autochange} command will then switch
305 its voice between the existing staves.
307 @warning{If staves are created manually, they @emph{must} be named
308 @code{"up"} and @code{"down"}.}
310 For example, staves must be created manually in order to place a
311 key signature in the lower staff:
313 @lilypond[quote,verbatim]
316 \new Voice = "melOne" {
318 \autochange \relative c' {
324 \new Staff = "down" {
333 @ref{Changing staff manually}.
339 @rinternals{AutoChangeMusic}.
343 @cindex chords, splitting across staves with \autochange
345 The staff switches may not end up in optimal places. For high
346 quality output, staff switches should be specified manually.
348 Chords will not be split across the staves; they will be assigned to a
349 staff based on the first note named in the chord construct.
352 @node Staff-change lines
353 @unnumberedsubsubsec Staff-change lines
355 @cindex staff-change line
356 @cindex staff change line
357 @cindex cross-staff line
358 @cindex cross staff line
359 @cindex line, staff-change follower
360 @cindex line, cross-staff
361 @cindex line, staff-change
363 @cindex voice, following
364 @cindex staff switching
367 @funindex followVoice
368 @funindex \showStaffSwitch
369 @funindex showStaffSwitch
370 @funindex \hideStaffSwitch
371 @funindex hideStaffSwitch
373 Whenever a voice switches to another staff, a line connecting the
374 notes can be printed automatically:
376 @lilypond[quote,verbatim,relative=1]
381 \change Staff = "two"
393 @code{\showStaffSwitch},
394 @code{\hideStaffSwitch}.
402 @rinternals{Note_head_line_engraver},
403 @rinternals{VoiceFollower}.
406 @node Cross-staff stems
407 @unnumberedsubsubsec Cross-staff stems
409 @cindex cross-staff notes
410 @cindex cross staff notes
411 @cindex notes, cross-staff
412 @cindex cross-staff stems
413 @cindex cross staff stems
414 @cindex stems, cross-staff
415 @cindex chords, cross-staff
416 @cindex cross-staff chords
417 @cindex cross staff chords
420 @funindex \crossStaff
421 @funindex \autoBeamOff
422 @funindex Span_stem_engraver
424 Chords that cross staves may be produced using the
425 @code{Span_stem_engraver}. Care must be taken to ensure that
426 automatic beams do not beam the notes on one staff when it’s not
427 required on the other.
429 @lilypondfile[verbatim,quote]
430 {cross-staff-stems.ly}
433 @lilypondfile[verbatim,quote,texidoc,doctitle]
434 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
447 This section discusses notation issues that relate most directly to the
455 @unnumberedsubsubsec Piano pedals
458 @cindex pedals, piano
459 @cindex sustain pedal
460 @cindex pedal, sustain
461 @cindex sostenuto pedal
462 @cindex pedal, sostenuto
470 @funindex \sustainOff
472 @funindex \sostenutoOn
473 @funindex sostenutoOn
474 @funindex \sostenutoOff
475 @funindex sostenutoOff
481 Pianos generally have three pedals that alter the way sound is
482 produced: @notation{sustain}, @notation{sostenuto}
483 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
484 Sustain pedals are also found on vibraphones and celestas.
486 @lilypond[quote,verbatim,relative=2]
489 c4\sostenutoOn e g c,
490 <bes d f>1\sostenutoOff
495 @cindex pedal indication styles
496 @cindex pedal indication, text
497 @cindex pedal indication, bracket
498 @cindex pedal indication, mixed
499 @cindex pedal sustain style
500 @cindex sustain pedal style
502 @funindex pedalSustainStyle
507 There are three styles of pedal indications: text, bracket, and mixed.
508 The sustain pedal and the una corda pedal use the text style by default
509 while the sostenuto pedal uses mixed by default.
511 @lilypond[quote,verbatim,relative=2]
512 c4\sustainOn g c2\sustainOff
513 \set Staff.pedalSustainStyle = #'mixed
515 d\sustainOff\sustainOn g, c2\sustainOff
516 \set Staff.pedalSustainStyle = #'bracket
518 d\sustainOff\sustainOn g, c2
522 The placement of the pedal commands matches the physical movement of the
523 sustain pedal during piano performance. Pedalling to the final bar line
524 is indicated by omitting the final pedal off command.
526 Pedal indications may be placed in a @code{Dynamics} context,
527 which aligns them on a horizontal line.
537 @rinternals{SustainPedal},
538 @rinternals{SustainPedalLineSpanner},
539 @rinternals{SustainEvent},
540 @rinternals{SostenutoPedal},
541 @rinternals{SostenutoPedalLineSpanner},
542 @rinternals{SostenutoEvent},
543 @rinternals{UnaCordaPedal},
544 @rinternals{UnaCordaPedalLineSpanner},
545 @rinternals{UnaCordaEvent},
546 @rinternals{PianoPedalBracket},
547 @rinternals{Piano_pedal_engraver}.
551 @subsection Accordion
555 This section discusses notation that is unique to the accordion.
561 @node Discant symbols
562 @unnumberedsubsubsec Discant symbols
564 @cindex accordion discant symbols
565 @cindex discant symbols, accordion
566 @cindex accordion shifts
567 @cindex accordion shift symbols
569 Accordions are often built with more than one set of reeds that may be
570 in unison with, an octave above, or an octave below the written pitch.
571 Each accordion maker has different names for the @notation{shifts} that
572 select the various reed combinations, such as @notation{oboe},
573 @notation{musette}, or @notation{bandonium}, so a system of symbols has
574 come into use to simplify the performance instructions.
578 @lilypondfile[verbatim,quote,texidoc,doctitle]
579 {accordion-discant-symbols.ly}
589 This section discusses notation issues that are unique to the harp.
592 * References for harps::
596 @node References for harps
597 @unnumberedsubsubsec References for harps
601 Some common characteristics of harp music are covered elsewhere:
605 @item The glissando is the most characteristic harp technique,
608 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
611 @item Natural harmonics are covered under @ref{Harmonics}.
613 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
619 @ref{Tremolo repeats},
626 @unnumberedsubsubsec Harp pedals
629 @cindex harp pedal diagrams
631 @cindex pedal diagrams, harp
633 Harps have seven strings per octave that may be sounded at the natural,
634 flattened, or sharpened pitch. In lever harps, each string is adjusted
635 individually, but in pedal harps every string with the same pitch name
636 is controlled by a single pedal. From the player's left to right, the
637 pedals are D, C, and B on the left and E, F, G, and A on the right.
638 The position of the pedals may be indicated with text marks:
640 @lilypond[quote,verbatim,relative=2]
642 cis1_\markup \concat \vcenter {
643 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
644 c!1_\markup \concat \vcenter {
650 @lilypond[quote,verbatim,relative=2]
652 cis1_\markup { \harp-pedal #"^v-|vv-^" }
653 c!1_\markup { \harp-pedal #"^o--|vv-^" }
656 The @code{\harp-pedal} command accepts a string of characters, where
657 @code{^} is the highest pedal position (flattened pitch), @code{-} is
658 the middle pedal position (natural pitch), @code{v} is the lowest pedal
659 position (sharpened pitch), and @code{|} is the divider. A prefixed
660 @code{o} will circle the following pedal symbol.
665 @ref{Instrument Specific Markup}.