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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
34 many-stringed instruments.
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}.
105 @rlearning{Real music example},
106 @rlearning{Other uses for tweaks}.
109 @ref{Grouping staves},
110 @ref{Instrument names},
111 @ref{Collision resolution},
112 @ref{Writing music in parallel},
113 @ref{Fingering instructions},
114 @ref{List of articulations},
118 @ref{Tremolo repeats}.
121 @rinternals{PianoStaff}.
129 @cindex keyboard music, centering dynamics
130 @cindex dynamics, centered in keyboard music
131 @cindex piano music, centering dynamics
132 @cindex centered dynamics in piano music
133 @funindex staff-padding
135 Dynamics are not automatically centered, but workarounds do exist. One
136 option is the @q{piano centered dynamics} template under
137 @rlearning{Piano templates}; another option is to increase the
138 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
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 Cross-staff notes are beamed automatically:
169 @lilypond[verbatim,quote]
173 \change Staff = "down"
177 \change Staff = "down"
181 \new Staff = "down" {
189 If the beaming needs to be tweaked, make any changes to the stem
190 directions first. The beam positions are then measured from the
191 center of the staff that is closest to the beam. For a simple
192 example of beam tweaking, see @rlearning{Fixing overlapping
198 @rlearning{Fixing overlapping notation}.
202 @ref{Automatic beams}.
209 @rinternals{ContextChange}.
212 @node Changing staff automatically
213 @unnumberedsubsubsec Changing staff automatically
215 @cindex changing staff automatically
216 @cindex automatic staff changes
217 @cindex staff changes, automatic
219 @funindex \autochange
223 Voices can be made to switch automatically between the top and the
224 bottom staff. The syntax for this is
227 \autochange @dots{}@var{music}@dots{}
231 This will create two staves inside the current staff group
232 (usually a @code{PianoStaff}), called @code{"up"} and
233 @code{"down"}. The lower staff will be in the bass clef by default.
234 The autochanger switches on the basis of the pitch (middle@tie{}C is the
235 turning point), and it looks ahead skipping over rests to switch
238 @lilypond[quote,verbatim]
247 @cindex relative music and autochange
248 @cindex autochange and relative music
253 A @code{\relative} section that is outside of @code{\autochange}
254 has no effect on the pitches of the music, so if necessary, put
255 @code{\relative} inside @code{\autochange}.
257 If additional control is needed over the individual staves, they
258 can be created manually with the names @code{"up"} and
259 @code{"down"}. The @code{\autochange} command will then switch
260 its voice between the existing staves. For example, this is
261 necessary to place a key signature in the lower staff:
263 @lilypond[quote,verbatim]
266 \new Voice = "melOne" {
268 \autochange \relative c' {
274 \new Staff = "down" {
284 @ref{Changing staff manually}.
290 @rinternals{AutoChangeMusic}.
295 @cindex chords, splitting across staves with \autochange
297 The staff switches may not end up in optimal places. For high
298 quality output, staff switches should be specified manually.
300 Chords will not be split across the staves; they will be assigned to a
301 staff based on the first note named in the chord construct.
303 @node Staff-change lines
304 @unnumberedsubsubsec Staff-change lines
306 @cindex staff-change line
307 @cindex staff change line
308 @cindex cross-staff line
309 @cindex cross staff line
310 @cindex line, staff-change follower
311 @cindex line, cross-staff
312 @cindex line, staff-change
314 @cindex voice, following
315 @cindex staff switching
318 @funindex followVoice
319 @funindex \showStaffSwitch
320 @funindex showStaffSwitch
321 @funindex \hideStaffSwitch
322 @funindex hideStaffSwitch
324 Whenever a voice switches to another staff, a line connecting the
325 notes can be printed automatically:
327 @lilypond[quote,verbatim,relative=1]
332 \change Staff = "two"
344 @code{\showStaffSwitch},
345 @code{\hideStaffSwitch}.
354 @rinternals{Note_head_line_engraver},
355 @rinternals{VoiceFollower}.
358 @node Cross-staff stems
359 @unnumberedsubsubsec Cross-staff stems
361 @cindex cross-staff notes
362 @cindex cross staff notes
363 @cindex notes, cross-staff
364 @cindex cross-staff stems
365 @cindex cross staff stems
366 @cindex stems, cross-staff
367 @cindex chords, cross-staff
368 @cindex cross-staff chords
369 @cindex cross staff chords
372 @funindex cross-staff
376 Chords that cross staves may be produced:
378 @lilypond[verbatim,quote]
389 % stems may overlap the other staff
390 \override Stem #'cross-staff = ##t
391 % extend the stems to reach other other staff
392 \override Stem #'length = #12
393 % do not print extra flags
394 \override Stem #'flag-style = #'no-flag
395 % prevent beaming as needed
396 a8 g4 f8 f bes\noBeam g4
408 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
409 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
423 This section discusses notation issues that relate most directly to the
431 @unnumberedsubsubsec Piano pedals
434 @cindex pedals, piano
435 @cindex sustain pedal
436 @cindex pedal, sustain
437 @cindex sostenuto pedal
438 @cindex pedal, sostenuto
446 @funindex \sustainOff
448 @funindex \sostenutoOn
449 @funindex sostenutoOn
450 @funindex \sostenutoOff
451 @funindex sostenutoOff
457 Pianos generally have three pedals that alter the way sound is
458 produced: @notation{sustain}, @notation{sostenuto}
459 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
460 Sustain pedals are also found on vibraphones and celestas.
462 @lilypond[quote,verbatim,relative=2]
465 c4\sostenutoOn e g c,
466 <bes d f>1\sostenutoOff
471 @cindex pedal indication styles
472 @cindex pedal indication, text
473 @cindex pedal indication, bracket
474 @cindex pedal indication, mixed
475 @cindex pedal sustain style
476 @cindex sustain pedal style
478 @funindex pedalSustainStyle
483 There are three styles of pedal indications: text, bracket, and mixed.
484 The sustain pedal and the una corda pedal use the text style by default
485 while the sostenuto pedal uses mixed by default.
487 @lilypond[quote,verbatim,relative=2]
488 c4\sustainOn g c2\sustainOff
489 \set Staff.pedalSustainStyle = #'mixed
491 d\sustainOff\sustainOn g, c2\sustainOff
492 \set Staff.pedalSustainStyle = #'bracket
494 d\sustainOff\sustainOn g, c2
498 The placement of the pedal commands matches the physical movement of the
499 sustain pedal during piano performance. Pedalling to the final bar line
500 is indicated by omitting the final pedal up command.
511 @rinternals{SustainPedal},
512 @rinternals{SustainPedalLineSpanner},
513 @rinternals{SustainEvent},
514 @rinternals{SostenutoPedal},
515 @rinternals{SostenutoPedalLineSpanner},
516 @rinternals{SostenutoEvent},
517 @rinternals{UnaCordaPedal},
518 @rinternals{UnaCordaPedalLineSpanner},
519 @rinternals{UnaCordaEvent},
520 @rinternals{PianoPedalBracket},
521 @rinternals{Piano_pedal_engraver}.
525 @subsection Accordion
529 This section discusses notation that is unique to the accordion.
535 @node Discant symbols
536 @unnumberedsubsubsec Discant symbols
538 @cindex accordion discant symbols
539 @cindex discant symbols, accordion
540 @cindex accordion shifts
541 @cindex accordion shift symbols
543 Accordions are often built with more than one set of reeds that may be
544 in unison with, an octave above, or an octave below the written pitch.
545 Each accordion maker has different names for the @notation{shifts} that
546 select the various reed combinations, such as @notation{oboe},
547 @notation{musette}, or @notation{bandonium}, so a system of symbols has
548 come into use to simplify the performance instructions.
552 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
553 {accordion-discant-symbols.ly}
570 @unnumberedsubsubsec Harp notation
577 - tremolo (for bisbigliando)
579 - directional arpeggio and non-arpeggio
580 - workaroung for keeping both staves visible in an orchestral
582 http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00386.html
583 and http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312
585 An LSR snippet could be used to demonstrate the main items; in the
586 case of glissandi, it would be desirable to have a demonstration
591 @unnumberedsubsubsec Harp pedals
594 @cindex harp pedal diagrams
596 @cindex pedal diagrams, harp
598 Harps have seven strings per octave that may be sounded at the natural,
599 flattened, or sharpened pitch. In lever harps, each string is adjusted
600 individually, but in pedal harps every string with the same pitch name
601 is controlled by a single pedal. From the player's left to right, the
602 pedals are D, C, and B on the left and E, F, G, and A on the right.
603 The position of the pedals may be indicated with text marks:
605 @lilypond[quote,verbatim,relative=2]
607 cis1_\markup \concat \vcenter { [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
608 c!1_\markup \concat \vcenter {[ C \natural ]}
613 @lilypond[quote,verbatim,relative=2]
615 cis1_\markup { \harp-pedal #"^v-|vv-^" }
616 c!1_\markup { \harp-pedal #"^o--|vv-^" }
619 The @code{\harp-pedal} command accepts a string of characters, where
620 @code{^} is the highest pedal position (flattened pitch), @code{-} is
621 the middle pedal postion (natural pitch), @code{v} is the lowest pedal
622 position (sharpened pitch), and @code{|} is the divider. A prefixed
623 @code{o} will circle the following pedal symbol.