1 @c -*- coding: utf-8; mode: texinfo; -*-
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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
44 @cindex staves, keyboard instruments
45 @cindex staves, keyed instruments
46 @cindex keyboard instrument staves
47 @cindex keyed instrument staves
51 Keyboard instruments are usually notated with Piano staves. These
52 are two or more normal staves coupled with a brace. The same
53 notation is also used for other keyed instruments.
54 Organ music is normally written with two staves inside a
55 @code{PianoStaff} group and third, normal staff for the pedals.
57 The staves in keyboard music are largely independent, but
58 sometimes voices can cross between the two staves. This
59 section discusses notation techniques particular to keyboard
62 Several common issues in keyboard music are covered elsewhere:
66 @item Keyboard music usually contains multiple voices and the
67 number of voices may change regularly; this is described in
68 @ref{Collision resolution}.
70 @item Keyboard music can be written in parallel, as described in
71 @ref{Writing music in parallel}.
73 @item Fingerings are indicated with @ref{Fingering instructions}.
75 @item Organ pedal indications are inserted as articulations, see
76 @ref{List of articulations}.
78 @item Vertical grid lines can be shown with @ref{Grid lines}.
80 @item Keyboard music often contains @notation{Laissez vibrer} ties
81 as well as ties on arpeggios and tremolos, described in
84 @item Placing arpeggios across multiple voices and staves is
85 covered in @ref{Arpeggio}.
87 @item Tremolo marks are described in @ref{Tremolo repeats}.
89 @item Several of the tweaks that can occur in keyboard music are
90 demonstrated in @rlearning{Real music example}.
92 @item Hidden notes can be used to produce ties that cross voices,
93 as shown in @rlearning{Other uses for tweaks}.
100 @rlearning{Real music example},
101 @rlearning{Other uses for tweaks}.
104 @ref{Grouping staves},
105 @ref{Instrument names},
106 @ref{Collision resolution},
107 @ref{Writing music in parallel},
108 @ref{Fingering instructions},
109 @ref{List of articulations},
113 @ref{Tremolo repeats}.
116 @rinternals{PianoStaff}.
123 @cindex keyboard music, centering dynamics
124 @cindex dynamics, centered in keyboard music
125 @cindex piano music, centering dynamics
126 @cindex centered dynamics in piano music
127 @funindex staff-padding
129 Dynamics are not automatically centered, but workarounds do exist. One
130 option is the @q{piano centered dynamics} template under
131 @rlearning{Piano templates}; another option is to increase the
132 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
135 @node Changing staff manually
136 @unnumberedsubsubsec Changing staff manually
138 @cindex changing staff manually
139 @cindex manual staff changes
140 @cindex staff changes, manual
141 @cindex cross-staff notes
142 @cindex notes, cross-staff
143 @cindex cross-staff beams
144 @cindex beams, cross-staff
149 Voices can be switched between staves manually, using the command
152 \change Staff = @var{staffname}
156 The string @var{staffname} is the name of the staff. It switches
157 the current voice from its current staff to the staff called
158 @var{staffname}. Typical values for @var{staffname} are
159 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
161 Cross-staff notes are beamed automatically:
163 @lilypond[verbatim,quote]
167 \change Staff = "down"
171 \change Staff = "down"
175 \new Staff = "down" {
183 If the beaming needs to be tweaked, make any changes to the stem
184 directions first. The beam positions are then measured from the
185 center of the staff that is closest to the beam. For a simple
186 example of beam tweaking, see @rlearning{Fixing overlapping
192 @rlearning{Fixing overlapping notation}.
196 @ref{Automatic beams}.
203 @rinternals{ContextChange}.
206 @node Changing staff automatically
207 @unnumberedsubsubsec Changing staff automatically
209 @cindex changing staff automatically
210 @cindex automatic staff changes
211 @cindex staff changes, automatic
213 @funindex \autochange
217 Voices can be made to switch automatically between the top and the
218 bottom staff. The syntax for this is
221 \autochange @dots{}@var{music}@dots{}
225 This will create two staves inside the current staff group
226 (usually a @code{PianoStaff}), called @code{"up"} and
227 @code{"down"}. The lower staff will be in the bass clef by default.
228 The autochanger switches on the basis of the pitch (middle@tie{}C is the
229 turning point), and it looks ahead skipping over rests to switch
232 @lilypond[quote,verbatim]
241 @cindex relative music and autochange
242 @cindex autochange and relative music
247 A @code{\relative} section that is outside of @code{\autochange}
248 has no effect on the pitches of the music, so if necessary, put
249 @code{\relative} inside @code{\autochange}.
251 If additional control is needed over the individual staves, they
252 can be created manually with the names @code{"up"} and
253 @code{"down"}. The @code{\autochange} command will then switch
254 its voice between the existing staves. For example, this is
255 necessary to place a key signature in the lower staff:
257 @lilypond[quote,verbatim]
260 \new Voice = "melOne" {
262 \autochange \relative c' {
268 \new Staff = "down" {
278 @ref{Changing staff manually}.
284 @rinternals{AutoChangeMusic}.
288 @cindex chords, splitting across staves with \autochange
290 The staff switches may not end up in optimal places. For high
291 quality output, staff switches should be specified manually.
293 Chords will not be split across the staves; they will be assigned to a
294 staff based on the first note named in the chord construct.
296 @node Staff-change lines
297 @unnumberedsubsubsec Staff-change lines
299 @cindex staff-change line
300 @cindex staff change line
301 @cindex cross-staff line
302 @cindex cross staff line
303 @cindex line, staff-change follower
304 @cindex line, cross-staff
305 @cindex line, staff-change
307 @cindex voice, following
308 @cindex staff switching
311 @funindex followVoice
312 @funindex \showStaffSwitch
313 @funindex showStaffSwitch
314 @funindex \hideStaffSwitch
315 @funindex hideStaffSwitch
317 Whenever a voice switches to another staff, a line connecting the
318 notes can be printed automatically:
320 @lilypond[quote,verbatim,relative=1]
325 \change Staff = "two"
337 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
345 @rinternals{Note_head_line_engraver},
346 @rinternals{VoiceFollower}.
349 @node Cross-staff stems
350 @unnumberedsubsubsec Cross-staff stems
352 @cindex cross-staff notes
353 @cindex cross staff notes
354 @cindex notes, cross-staff
355 @cindex cross-staff stems
356 @cindex cross staff stems
357 @cindex stems, cross-staff
358 @cindex chords, cross-staff
359 @cindex cross-staff chords
360 @cindex cross staff chords
363 @funindex cross-staff
367 Chords that cross staves may be produced:
369 @lilypond[verbatim,quote]
380 % stems may overlap the other staff
381 \override Stem #'cross-staff = ##t
382 % extend the stems to reach other other staff
383 \override Stem #'length = #12
384 % do not print extra flags
385 \override Stem #'flag-style = #'no-flag
386 % prevent beaming as needed
387 a8 g4 f8 f bes\noBeam g4
399 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
400 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
413 This section discusses notation issues that relate most directly to the
421 @unnumberedsubsubsec Piano pedals
424 @cindex pedals, piano
425 @cindex sustain pedal
426 @cindex pedal, sustain
427 @cindex sostenuto pedal
428 @cindex pedal, sostenuto
436 @funindex \sustainOff
438 @funindex \sostenutoOn
439 @funindex sostenutoOn
440 @funindex \sostenutoOff
441 @funindex sostenutoOff
447 Pianos generally have three pedals that alter the way sound is
448 produced: @notation{sustain}, @notation{sostenuto}
449 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
450 Sustain pedals are also found on vibraphones and celestas.
452 @lilypond[quote,verbatim,relative=2]
455 c4\sostenutoOn e g c,
456 <bes d f>1\sostenutoOff
461 @cindex pedal indication styles
462 @cindex pedal indication, text
463 @cindex pedal indication, bracket
464 @cindex pedal indication, mixed
465 @cindex pedal sustain style
466 @cindex sustain pedal style
468 @funindex pedalSustainStyle
473 There are three styles of pedal indications: text, bracket, and mixed.
474 The sustain pedal and the una corda pedal use the text style by default
475 while the sostenuto pedal uses mixed by default.
477 @lilypond[quote,verbatim,relative=2]
478 c4\sustainOn g c2\sustainOff
479 \set Staff.pedalSustainStyle = #'mixed
481 d\sustainOff\sustainOn g, c2\sustainOff
482 \set Staff.pedalSustainStyle = #'bracket
484 d\sustainOff\sustainOn g, c2
488 The placement of the pedal commands matches the physical movement of the
489 sustain pedal during piano performance. Pedalling to the final bar line
490 is indicated by omitting the final pedal up command.
501 @rinternals{SustainPedal},
502 @rinternals{SustainPedalLineSpanner},
503 @rinternals{SustainEvent},
504 @rinternals{SostenutoPedal},
505 @rinternals{SostenutoPedalLineSpanner},
506 @rinternals{SostenutoEvent},
507 @rinternals{UnaCordaPedal},
508 @rinternals{UnaCordaPedalLineSpanner},
509 @rinternals{UnaCordaEvent},
510 @rinternals{PianoPedalBracket},
511 @rinternals{Piano_pedal_engraver}.
514 @subsection Accordion
518 This section discusses notation that is unique to the accordion.
524 @node Discant symbols
525 @unnumberedsubsubsec Discant symbols
527 @cindex accordion discant symbols
528 @cindex discant symbols, accordion
529 @cindex accordion shifts
530 @cindex accordion shift symbols
532 Accordions are often built with more than one set of reeds that may be
533 in unison with, an octave above, or an octave below the written pitch.
534 Each accordion maker has different names for the @notation{shifts} that
535 select the various reed combinations, such as @notation{oboe},
536 @notation{musette}, or @notation{bandonium}, so a system of symbols has
537 come into use to simplify the performance instructions.
541 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
542 {accordion-discant-symbols.ly}