1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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11 @node Keyboard and other multi-staff instruments
12 @section Keyboard and other multi-staff instruments
14 @lilypondfile[quote]{keyboard-headword.ly}
16 This section discusses several aspects of music notation that are
17 unique to keyboard instruments and other instruments notated on
18 many staves, such as harps and vibraphones. For the purposes of
19 this section this entire group of multi-staff instruments is called
20 @qq{keyboards} for short, even though some of them do not have a
24 * Common notation for keyboards::
30 @node Common notation for keyboards
31 @subsection Common notation for keyboards
33 This section discusses notation issues that may arise for most
37 * References for keyboards::
38 * Changing staff manually::
39 * Changing staff automatically::
40 * Staff-change lines::
44 @node References for keyboards
45 @unnumberedsubsubsec References for keyboards
49 @cindex staves, keyboard instruments
50 @cindex staves, keyed instruments
51 @cindex keyboard instrument staves
52 @cindex keyed instrument staves
56 Keyboard instruments are usually notated with Piano staves. These
57 are two or more normal staves coupled with a brace. The same
58 notation is also used for other keyed instruments.
59 Organ music is normally written with two staves inside a
60 @code{PianoStaff} group and third, normal staff for the pedals.
62 The staves in keyboard music are largely independent, but
63 sometimes voices can cross between the two staves. This
64 section discusses notation techniques particular to keyboard
67 Several common issues in keyboard music are covered elsewhere:
71 @item Keyboard music usually contains multiple voices and the
72 number of voices may change regularly; this is described in
73 @ref{Collision resolution}.
75 @item Keyboard music can be written in parallel, as described in
76 @ref{Writing music in parallel}.
78 @item Fingerings are indicated with @ref{Fingering instructions}.
80 @item Organ pedal indications are inserted as articulations, see
81 @ref{List of articulations}.
83 @item Vertical grid lines can be shown with @ref{Grid lines}.
85 @item Keyboard music often contains @notation{Laissez vibrer} ties
86 as well as ties on arpeggios and tremolos, described in
89 @item Placing arpeggios across multiple voices and staves is
90 covered in @ref{Arpeggio}.
92 @item Tremolo marks are described in @ref{Tremolo repeats}.
94 @item Several of the tweaks that can occur in keyboard music are
95 demonstrated in @rlearning{Real music example}.
97 @item Hidden notes can be used to produce ties that cross voices,
98 as shown in @rlearning{Other uses for tweaks}.
103 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
104 @c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly}
105 @c http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312
109 @rlearning{Real music example},
110 @rlearning{Other uses for tweaks}.
113 @ref{Grouping staves},
114 @ref{Instrument names},
115 @ref{Collision resolution},
116 @ref{Writing music in parallel},
117 @ref{Fingering instructions},
118 @ref{List of articulations},
122 @ref{Tremolo repeats}.
125 @rinternals{PianoStaff}.
133 @cindex keyboard music, centering dynamics
134 @cindex dynamics, centered in keyboard music
135 @cindex piano music, centering dynamics
136 @cindex centered dynamics in piano music
137 @funindex staff-padding
139 Dynamics are not automatically centered, but workarounds do exist. One
140 option is the @q{piano centered dynamics} template under
141 @rlearning{Piano templates}; another option is to increase the
142 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
145 @node Changing staff manually
146 @unnumberedsubsubsec Changing staff manually
148 @cindex changing staff manually
149 @cindex manual staff changes
150 @cindex staff changes, manual
151 @cindex cross-staff notes
152 @cindex notes, cross-staff
153 @cindex cross-staff beams
154 @cindex beams, cross-staff
159 Voices can be switched between staves manually, using the command
162 \change Staff = @var{staffname}
166 The string @var{staffname} is the name of the staff. It switches
167 the current voice from its current staff to the staff called
168 @var{staffname}. Typical values for @var{staffname} are
169 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
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
202 @rlearning{Fixing overlapping notation}.
206 @ref{Automatic beams}.
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 other 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 up command.
520 @rinternals{SustainPedal},
521 @rinternals{SustainPedalLineSpanner},
522 @rinternals{SustainEvent},
523 @rinternals{SostenutoPedal},
524 @rinternals{SostenutoPedalLineSpanner},
525 @rinternals{SostenutoEvent},
526 @rinternals{UnaCordaPedal},
527 @rinternals{UnaCordaPedalLineSpanner},
528 @rinternals{UnaCordaEvent},
529 @rinternals{PianoPedalBracket},
530 @rinternals{Piano_pedal_engraver}.
534 @subsection Accordion
538 This section discusses notation that is unique to the accordion.
544 @node Discant symbols
545 @unnumberedsubsubsec Discant symbols
547 @cindex accordion discant symbols
548 @cindex discant symbols, accordion
549 @cindex accordion shifts
550 @cindex accordion shift symbols
552 Accordions are often built with more than one set of reeds that may be
553 in unison with, an octave above, or an octave below the written pitch.
554 Each accordion maker has different names for the @notation{shifts} that
555 select the various reed combinations, such as @notation{oboe},
556 @notation{musette}, or @notation{bandonium}, so a system of symbols has
557 come into use to simplify the performance instructions.
561 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
562 {accordion-discant-symbols.ly}
573 This section discusses notation issues that are unique to the harp.
576 * References for harps::
580 @node References for harps
581 @unnumberedsubsubsec References for harps
585 Some common characteristics of harp music are covered elsewhere:
589 @item The glissando is the most characterisic harp technique,
592 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
595 @item Natural harmonics are covered under @ref{Harmonics}.
597 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
603 @ref{Tremolo repeats}
609 @unnumberedsubsubsec Harp pedals
612 @cindex harp pedal diagrams
614 @cindex pedal diagrams, harp
616 Harps have seven strings per octave that may be sounded at the natural,
617 flattened, or sharpened pitch. In lever harps, each string is adjusted
618 individually, but in pedal harps every string with the same pitch name
619 is controlled by a single pedal. From the player's left to right, the
620 pedals are D, C, and B on the left and E, F, G, and A on the right.
621 The position of the pedals may be indicated with text marks:
623 @lilypond[quote,verbatim,relative=2]
625 cis1_\markup \concat \vcenter { [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
626 c!1_\markup \concat \vcenter {[ C \natural ]}
631 @lilypond[quote,verbatim,relative=2]
633 cis1_\markup { \harp-pedal #"^v-|vv-^" }
634 c!1_\markup { \harp-pedal #"^o--|vv-^" }
637 The @code{\harp-pedal} command accepts a string of characters, where
638 @code{^} is the highest pedal position (flattened pitch), @code{-} is
639 the middle pedal postion (natural pitch), @code{v} is the lowest pedal
640 position (sharpened pitch), and @code{|} is the divider. A prefixed
641 @code{o} will circle the following pedal symbol.
646 @ref{Instrument Specific Markup}