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
44 @cindex staves, keyboard instruments
45 @cindex staves, keyed instruments
46 @cindex keyboard instrument staves
47 @cindex keyed instrument staves
50 Keyboard instruments are usually notated with Piano staves. These
51 are two or more normal staves coupled with a brace. The same
52 notation is also used for other keyed instruments.
53 Organ music is normally written with two staves inside a
54 @code{PianoStaff} group and third, normal staff for the pedals.
56 The staves in keyboard music are largely independent, but
57 sometimes voices can cross between the two staves. This
58 section discusses notation techniques particular to keyboard
61 Several common issues in keyboard music are covered elsewhere:
65 @item Keyboard music usually contains multiple voices and the
66 number of voices may change regularly; this is described in
67 @ref{Collision resolution}.
69 @item Keyboard music can be written in parallel, as described in
70 @ref{Writing music in parallel}.
72 @item Fingerings are indicated with @ref{Fingering instructions}.
74 @item Organ pedal indications are inserted as articulations, see
75 @ref{List of articulations}.
77 @item Vertical grid lines can be shown with @ref{Grid lines}.
79 @item Keyboard music often contains @notation{Laissez vibrer} ties
80 as well as ties on arpeggios and tremolos, described in
83 @item Placing arpeggios across multiple voices and staves is
84 covered in @ref{Arpeggio}.
86 @item Tremolo marks are described in @ref{Tremolo repeats}.
88 @item Several of the tweaks that can occur in keyboard music are
89 demonstrated in @rlearning{Real music example}.
91 @item Hidden notes can be used to produce ties that cross voices,
92 as shown in @rlearning{Other uses for tweaks}.
99 @rlearning{Real music example},
100 @rlearning{Other uses for tweaks}.
103 @ref{Grouping staves},
104 @ref{Instrument names},
105 @ref{Collision resolution},
106 @ref{Writing music in parallel},
107 @ref{Fingering instructions},
108 @ref{List of articulations},
112 @ref{Tremolo repeats}.
115 @rinternals{PianoStaff}.
122 @cindex keyboard music, centering dynamics
123 @cindex dynamics, centered in keyboard music
124 @cindex piano music, centering dynamics
125 @cindex centered dynamics in piano music
126 @funindex staff-padding
128 Dynamics are not automatically centered, but workarounds do exist. One
129 option is the @q{piano centered dynamics} template under
130 @rlearning{Piano templates}; another option is to increase the
131 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
134 @node Changing staff manually
135 @unnumberedsubsubsec Changing staff manually
137 @cindex changing staff manually
138 @cindex manual staff changes
139 @cindex staff changes, manual
140 @cindex cross-staff notes
141 @cindex notes, cross-staff
142 @cindex cross-staff beams
143 @cindex beams, cross-staff
147 Voices can be switched between staves manually, using the command
150 \change Staff = @var{staffname}
154 The string @var{staffname} is the name of the staff. It switches
155 the current voice from its current staff to the staff called
156 @var{staffname}. Typical values for @var{staffname} are
157 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
159 Cross-staff notes are beamed automatically:
161 @lilypond[verbatim,quote]
165 \change Staff = "down"
169 \change Staff = "down"
173 \new Staff = "down" {
181 If the beaming needs to be tweaked, make any changes to the stem
182 directions first. The beam positions are then measured from the
183 center of the staff that is closest to the beam. For a simple
184 example of beam tweaking, see @rlearning{Fixing overlapping
190 @rlearning{Fixing overlapping notation}.
194 @ref{Automatic beams}.
201 @rinternals{ContextChange}.
204 @node Changing staff automatically
205 @unnumberedsubsubsec Changing staff automatically
207 @cindex changing staff automatically
208 @cindex automatic staff changes
209 @cindex staff changes, automatic
210 @funindex \autochange
214 Voices can be made to switch automatically between the top and the
215 bottom staff. The syntax for this is
218 \autochange @dots{}@var{music}@dots{}
222 This will create two staves inside the current staff group
223 (usually a @code{PianoStaff}), called @code{"up"} and
224 @code{"down"}. The lower staff will be in the bass clef by default.
225 The autochanger switches on the basis of the pitch (middle@tie{}C is the
226 turning point), and it looks ahead skipping over rests to switch
229 @lilypond[quote,verbatim]
238 @cindex relative music and autochange
239 @cindex autochange and relative music
243 A @code{\relative} section that is outside of @code{\autochange}
244 has no effect on the pitches of the music, so if necessary, put
245 @code{\relative} inside @code{\autochange}.
247 If additional control is needed over the individual staves, they
248 can be created manually with the names @code{"up"} and
249 @code{"down"}. The @code{\autochange} command will then switch
250 its voice between the existing staves. For example, this is
251 necessary to place a key signature in the lower staff:
253 @lilypond[quote,verbatim]
256 \new Voice = "melOne" {
258 \autochange \relative c' {
264 \new Staff = "down" {
274 @ref{Changing staff manually}.
280 @rinternals{AutoChangeMusic}.
284 @cindex chords, splitting across staves with \autochange
286 The staff switches may not end up in optimal places. For high
287 quality output, staff switches should be specified manually.
289 Chords will not be split across the staves; they will be assigned to a
290 staff based on the first note named in the chord construct.
292 @node Staff-change lines
293 @unnumberedsubsubsec Staff-change lines
295 @cindex staff-change line
296 @cindex staff change line
297 @cindex cross-staff line
298 @cindex cross staff line
299 @cindex line, staff-change follower
300 @cindex line, cross-staff
301 @cindex line, staff-change
303 @cindex staff switching
305 @funindex followVoice
306 @funindex \showStaffSwitch
307 @funindex showStaffSwitch
308 @funindex \hideStaffSwitch
309 @funindex hideStaffSwitch
311 Whenever a voice switches to another staff, a line connecting the
312 notes can be printed automatically:
314 @lilypond[quote,verbatim,relative=1]
319 \change Staff = "two"
331 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
339 @rinternals{Note_head_line_engraver},
340 @rinternals{VoiceFollower}.
343 @node Cross-staff stems
344 @unnumberedsubsubsec Cross-staff stems
346 @cindex cross-staff notes
347 @cindex cross staff notes
348 @cindex notes, cross-staff
349 @cindex cross-staff stems
350 @cindex cross staff stems
351 @cindex stems, cross-staff
352 @cindex chords, cross-staff
353 @cindex cross-staff chords
354 @cindex cross staff chords
356 @funindex cross-staff
360 Chords that cross staves may be produced:
362 @lilypond[verbatim,quote]
373 % stems may overlap the other staff
374 \override Stem #'cross-staff = ##t
375 % extend the stems to reach other other staff
376 \override Stem #'length = #12
377 % do not print extra flags
378 \override Stem #'flag-style = #'no-flag
391 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
392 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
405 This section discusses notation issues that relate most directly to the
413 @unnumberedsubsubsec Piano pedals
416 @cindex pedals, piano
417 @cindex sustain pedal
418 @cindex sostenuto pedal
425 @funindex \sustainOff
427 @funindex \sostenutoOn
428 @funindex sostenutoOn
429 @funindex \sostenutoOff
430 @funindex sostenutoOff
436 Pianos generally have three pedals that alter the way sound is
437 produced: @notation{sustain}, @notation{sostenuto}
438 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
439 Sustain pedals are also found on vibraphones and celestas.
441 @lilypond[quote,verbatim,relative=2]
444 c4\sostenutoOn e g c,
445 <bes d f>1\sostenutoOff
450 @cindex pedal indication styles
451 @cindex pedal indication, text
452 @cindex pedal indication, bracket
453 @cindex pedal indication, mixed
454 @cindex pedal sustain style
455 @cindex sustain pedal style
456 @funindex pedalSustainStyle
461 There are three styles of pedal indications: text, bracket, and mixed.
462 The sustain pedal and the una corda pedal use the text style by default
463 while the sostenuto pedal uses mixed by default.
465 @lilypond[quote,verbatim,relative=2]
466 c4\sustainOn g c2\sustainOff
467 \set Staff.pedalSustainStyle = #'mixed
469 d\sustainOff\sustainOn g, c2\sustainOff
470 \set Staff.pedalSustainStyle = #'bracket
472 d\sustainOff\sustainOn g, c2
476 The placement of the pedal commands matches the physical movement of the
477 sustain pedal during piano performance. Pedalling to the final bar line
478 is indicated by omitting the final pedal up command.
489 @rinternals{SustainPedal},
490 @rinternals{SustainPedalLineSpanner},
491 @rinternals{SustainEvent},
492 @rinternals{SostenutoPedal},
493 @rinternals{SostenutoPedalLineSpanner},
494 @rinternals{SostenutoEvent},
495 @rinternals{UnaCordaPedal},
496 @rinternals{UnaCordaPedalLineSpanner},
497 @rinternals{UnaCordaEvent},
498 @rinternals{PianoPedalBracket},
499 @rinternals{Piano_pedal_engraver}.
502 @subsection Accordion
506 This section discusses notation that is unique to the accordion.
512 @node Discant symbols
513 @unnumberedsubsubsec Discant symbols
514 @cindex accordion discant symbols
515 @cindex discant symbols, accordion
516 @cindex accordion shifts
517 @cindex accordion shift symbols
519 Accordions are often built with more than one set of reeds that may be
520 in unison with, an octave above, or an octave below the written pitch.
521 Each accordion maker has different names for the @notation{shifts} that
522 select the various reed combinations, such as @notation{oboe},
523 @notation{musette}, or @notation{bandonium}, so a system of symbols has
524 come into use to simplify the performance instructions.
528 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
529 {accordion-discant-symbols.ly}