1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
11 @node Keyboard instruments
12 @section Keyboard instruments
14 @lilypondfile[quote]{keyboard-headword.ly}
16 This section discusses several aspects of music notation that are unique
17 to keyboard instruments.
20 * Common notation for keyboards::
25 @node Common notation for keyboards
26 @subsection Common notation for keyboards
28 This section discusses notation issues that may arise for most keyboard
32 * References for keyboards::
33 * Changing staff manually::
34 * Changing staff automatically::
35 * Staff-change lines::
39 @node References for keyboards
40 @unnumberedsubsubsec References for keyboards
42 Keyboard instruments are usually notated with Piano staves. These
43 are two or more normal staves coupled with a brace. The same
44 notation is also used for other keyed instruments.
45 Organ music is normally written with two staves inside a
46 @code{PianoStaff} group and third, normal staff for the pedals.
48 The staves in keyboard music are largely independent, but
49 sometimes voices can cross between the two staves. This
50 section discusses notation techniques particular to keyboard
53 Several common issues in keyboard music are covered elsewhere:
56 @item Keyboard music usually contains multiple voices and the
57 number of voices may change regularly; this is described in
58 @ref{Collision resolution}.
60 @item Keyboard music can be written in parallel, as described in
61 @ref{Writing music in parallel}.
63 @item Fingerings are indicated with @ref{Fingering instructions}.
65 @item Organ pedal indications are inserted as articulations, see
66 @ref{List of articulations}.
68 @item Vertical grid lines can be shown with @ref{Grid lines}.
70 @item Keyboard music often contains @notation{Laissez vibrer} ties
71 as well as ties on arpeggios and tremolos, described in
74 @item Placing arpeggios across multiple voices and staves is
75 covered in @ref{Arpeggio}.
77 @item Tremolo marks are described in @ref{Tremolo repeats}.
79 @item Several of the tweaks that can occur in keyboard music are
80 demonstrated in @rlearning{Real music example}.
82 @item Hidden notes can be used to produce ties that cross voices,
83 as shown in @rlearning{Other uses for tweaks}.
90 @rlearning{Real music example},
91 @rlearning{Other uses for tweaks}.
94 @ref{Grouping staves},
95 @ref{Instrument names},
96 @ref{Collision resolution},
97 @ref{Writing music in parallel},
98 @ref{Fingering instructions},
99 @ref{List of articulations},
103 @ref{Tremolo repeats}.
106 @rinternals{PianoStaff}.
113 Dynamics are not automatically centered, but workarounds do exist. One
114 option is the @q{piano centered dynamics} template under
115 @rlearning{Piano templates}; another option is to increase the
116 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
119 @node Changing staff manually
120 @unnumberedsubsubsec Changing staff manually
122 @cindex changing staff manually
123 @cindex manual staff changes
124 @cindex staff changes, manual
125 @cindex cross-staff notes
126 @cindex notes, cross-staff
127 @cindex cross-staff beams
128 @cindex beams, cross-staff
131 Voices can be switched between staves manually, using the command
134 \change Staff = @var{staffname}
138 The string @var{staffname} is the name of the staff. It switches
139 the current voice from its current staff to the staff called
140 @var{staffname}. Typical values for @var{staffname} are
141 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
143 Cross-staff notes are beamed automatically:
145 @lilypond[verbatim,quote]
149 \change Staff = "down"
153 \change Staff = "down"
157 \new Staff = "down" {
165 If the beaming needs to be tweaked, make any changes to the stem
166 directions first. The beam positions are then measured from the
167 center of the staff that is closest to the beam. For a simple
168 example of beam tweaking, see @rlearning{Fixing overlapping
174 @rlearning{Fixing overlapping notation}.
178 @ruser{Automatic beams}.
185 @rinternals{ContextChange}.
188 @node Changing staff automatically
189 @unnumberedsubsubsec Changing staff automatically
191 @cindex changing staff automatically
192 @cindex automatic staff changes
193 @cindex staff changes, automatic
194 @funindex \autochange
196 Voices can be made to switch automatically between the top and the
197 bottom staff. The syntax for this is
200 \autochange @dots{}@var{music}@dots{}
204 This will create two staves inside the current staff group
205 (usually a @code{PianoStaff}), called @code{"up"} and
206 @code{"down"}. The lower staff will be in the bass clef by default.
207 The autochanger switches on the basis of the pitch (middle@tie{}C is the
208 turning point), and it looks ahead skipping over rests to switch
211 @lilypond[quote,verbatim]
220 A @code{\relative} section that is outside of @code{\autochange}
221 has no effect on the pitches of the music, so if necessary, put
222 @code{\relative} inside @code{\autochange}.
224 If additional control is needed over the individual staves, they
225 can be created manually with the names @code{"up"} and
226 @code{"down"}. The @code{\autochange} command will then switch
227 its voice between the existing staves. For example, this is
228 necessary to place a key signature in the lower staff:
230 @lilypond[quote,verbatim]
233 \new Voice = "melOne" {
235 \autochange \relative c' {
241 \new Staff = "down" {
251 @ref{Changing staff manually}.
257 @rinternals{AutoChangeMusic}.
261 The staff switches may not end up in optimal places. For high
262 quality output, staff switches should be specified manually.
264 Chords will not be split across the staves; they will be assigned to a
265 staff based on the first note named in the chord construct.
267 @node Staff-change lines
268 @unnumberedsubsubsec Staff-change lines
270 @cindex staff-change lines
271 @cindex cross-staff lines
272 @cindex lines, staff-change follower
274 @cindex staff switching
276 @funindex followVoice
278 Whenever a voice switches to another staff, a line connecting the
279 notes can be printed automatically:
281 @lilypond[quote,verbatim,relative=1]
286 \change Staff = "two"
298 @funindex \showStaffSwitch
299 @funindex \hideStaffSwitch
300 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
308 @rinternals{Note_head_line_engraver},
309 @rinternals{VoiceFollower}.
312 @node Cross-staff stems
313 @unnumberedsubsubsec Cross-staff stems
315 @cindex cross-staff notes
316 @cindex notes, cross-staff
317 @cindex cross-staff stems
318 @cindex stems, cross-staff
320 Chords that cross staves may be produced:
322 @lilypond[verbatim,quote]
333 % stems may overlap the other staff
334 \override Stem #'cross-staff = ##t
335 % extend the stems to reach other other staff
336 \override Stem #'length = #12
337 % do not print extra flags
338 \override Stem #'flag-style = #'no-flag
351 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
352 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
365 This section discusses notation issues that relate most directly to the
373 @unnumberedsubsubsec Piano pedals
375 @cindex pedals, piano
376 @cindex sustain pedal
377 @cindex sostenuto pedal
381 @funindex \sustainOff
382 @funindex \sostenutoOn
383 @funindex \sostenutoOff
387 Pianos generally have three pedals that alter the way sound is
388 produced: @notation{sustain}, @notation{sostenuto}
389 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
390 Sustain pedals are also found on vibraphones and celestas.
392 @lilypond[quote,verbatim,relative=2]
395 c4\sostenutoOn e g c,
396 <bes d f>1\sostenutoOff
401 There are three styles of pedal indications: text, bracket, and mixed.
402 The sustain pedal and the una corda pedal use the text style by default
403 while the sostenuto pedal uses mixed by default.
405 @lilypond[quote,verbatim,relative=2]
406 c4\sustainOn g c2\sustainOff
407 \set Staff.pedalSustainStyle = #'mixed
409 d\sustainOff\sustainOn g, c2\sustainOff
410 \set Staff.pedalSustainStyle = #'bracket
412 d\sustainOff\sustainOn g, c2
416 The placement of the pedal commands matches the physical movement of the
417 sustain pedal during piano performance. Pedalling to the final bar line
418 is indicated by omitting the final pedal up command.
429 @rinternals{SustainPedal},
430 @rinternals{SustainPedalLineSpanner},
431 @rinternals{SustainEvent},
432 @rinternals{SostenutoPedal},
433 @rinternals{SostenutoPedalLineSpanner},
434 @rinternals{SostenutoEvent},
435 @rinternals{UnaCordaPedal},
436 @rinternals{UnaCordaPedalLineSpanner},
437 @rinternals{UnaCordaEvent},
438 @rinternals{PianoPedalBracket},
439 @rinternals{Piano_pedal_engraver}.
442 @subsection Accordion
444 This section discusses notation that is unique to the accordion.
450 @node Discant symbols
451 @unnumberedsubsubsec Discant symbols
452 @cindex accordion discant symbols
453 @cindex discant symbols, accordion
454 @cindex accordion shifts
456 Accordions are often built with more than one set of reeds that may be
457 in unison with, an octave above, or an octave below the written pitch.
458 Each accordion maker has different names for the @notation{shifts} that
459 select the various reed combinations, such as @notation{oboe},
460 @notation{musette}, or @notation{bandonium}, so a system of symbols has
461 come into use to simplify the performance instructions.
465 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
466 {accordion-discant-symbols.ly}