X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fkeyboards.itely;h=77c8e9b98fed97a0057a502a7b4d2814f0963b6f;hb=2055f35c47a045a50a01ff4dba8524322cfc3b48;hp=c1adb583b674c4bfbd1483957e51aeb3634b27fb;hpb=1c859650b6ff11a7dbe829328fd5cae3816b9231;p=lilypond.git

diff --git a/Documentation/notation/keyboards.itely b/Documentation/notation/keyboards.itely
index c1adb583b6..77c8e9b98f 100644
--- a/Documentation/notation/keyboards.itely
+++ b/Documentation/notation/keyboards.itely
@@ -3,10 +3,11 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.12.0"
+@c \version "2.14.0"
 
 @node Keyboard and other multi-staff instruments
 @section Keyboard and other multi-staff instruments
@@ -50,6 +51,10 @@ keyboard instruments.
 @cindex staves, keyed instruments
 @cindex keyboard instrument staves
 @cindex keyed instrument staves
+@cindex keyboard music, centering dynamics
+@cindex dynamics, centered in keyboard music
+@cindex piano music, centering dynamics
+@cindex centered dynamics in piano music
 
 @funindex PianoStaff
 
@@ -75,6 +80,11 @@ number of voices may change regularly; this is described in
 @item Keyboard music can be written in parallel, as described in
 @ref{Writing music in parallel}.
 
+@item Dynamics may be placed in a @code{Dynamics} context,
+between the two @code{Staff} contexts
+to align the dynamic marks on a horizontal line
+centered between the staves; see @ref{Dynamics}.
+
 @item Fingerings are indicated with @ref{Fingering instructions}.
 
 @item Organ pedal indications are inserted as articulations, see
@@ -127,21 +137,6 @@ Internals Reference:
 Snippets:
 @rlsr{Keyboards}.
 
-
-@knownissues
-
-@cindex keyboard music, centering dynamics
-@cindex dynamics, centered in keyboard music
-@cindex piano music, centering dynamics
-@cindex centered dynamics in piano music
-@funindex staff-padding
-
-Dynamics are not automatically centered, but workarounds do exist.  One
-option is the @q{piano centered dynamics} template under
-@rlearning{Piano templates}; another option is to increase the
-@code{staff-padding} of dynamics as discussed in @rlearning{Moving
-objects}.
-
 @node Changing staff manually
 @unnumberedsubsubsec Changing staff manually
 
@@ -200,6 +195,44 @@ center of the staff that is closest to the beam.  For a simple
 example of beam tweaking, see @rlearning{Fixing overlapping
 notation}.
 
+@cindex cross-staff collisions
+@cindex collisions, cross-staff voices
+
+Overlapping notation can result when voices cross staves:
+
+@lilypond[verbatim,quote]
+\new PianoStaff <<
+  \new Staff = "up" {
+    \voiceOne
+    % Make space for fingering in the cross-staff voice
+    \once\override DynamicLineSpanner #'staff-padding = #3.4
+    e''2\p\< d''\> s1*0\!
+  }
+  \new Staff = "down" <<
+    {
+      \clef bass
+      s4. e,8\rest g,2\rest
+    } \\ {
+      c8\( g c'
+      \change Staff = "up"
+      e' g' b'-3 a' g'\)
+    }
+  >>
+>>
+@end lilypond
+
+The stem and slur overlap the intervening line of dynamics
+because automatic collision resolution is suspended for beams, slurs
+and other spanners that connect notes on different staves,
+as well as for stems and articulations if their placement is
+affected by a cross-staff spanner.
+The resulting collisions must be resolved manually, where necessary,
+using the methods in @rlearning{Fixing overlapping notation}.
+
+@knownissues
+Beam collision avoidance does not work for automatic beams that end
+right before a change in staff. To make the latter work, use manual
+beaming.
 
 @seealso
 Learning Manual:
@@ -266,7 +299,7 @@ has no effect on the pitches of the music, so if necessary, put
 If additional control is needed over the individual staves, they
 can be created manually with the names @code{"up"} and
 @code{"down"}.  The @code{\autochange} command will then switch
-its voice between the existing staves.  
+its voice between the existing staves.
 
 @warning{If staves are created manually, they @emph{must} be named
 @code{"up"} and @code{"down"}.}
@@ -402,7 +435,7 @@ Chords that cross staves may be produced:
         \clef bass
         % stems may overlap the other staff
         \override Stem #'cross-staff = ##t
-        % extend the stems to reach other other staff
+        % extend the stems to reach the other staff
         \override Stem #'length = #12
         % do not print extra flags
         \override Stem #'flag-style = #'no-flag
@@ -513,6 +546,8 @@ The placement of the pedal commands matches the physical movement of the
 sustain pedal during piano performance.  Pedalling to the final bar line
 is indicated by omitting the final pedal off command.
 
+Pedal indications may be placed in a @code{Dynamics} context,
+which aligns them on a horizontal line.
 
 @seealso
 Notation Reference:
@@ -591,11 +626,11 @@ Some common characteristics of harp music are covered elsewhere:
 
 @itemize
 
-@item The glissando is the most characterisic harp technique,
+@item The glissando is the most characteristic harp technique,
 @ref{Glissando}.
 
 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
-repeats}
+repeats}.
 
 @item Natural harmonics are covered under @ref{Harmonics}.
 
@@ -605,10 +640,10 @@ repeats}
 
 @seealso
 Notation Reference:
-@ref{Tremolo repeats}
-@ref{Glissando}
-@ref{Arpeggio}
-@ref{Harmonics}
+@ref{Tremolo repeats},
+@ref{Glissando},
+@ref{Arpeggio},
+@ref{Harmonics}.
 
 @node Harp pedals
 @unnumberedsubsubsec Harp pedals
@@ -619,16 +654,18 @@ Notation Reference:
 @cindex pedal diagrams, harp
 
 Harps have seven strings per octave that may be sounded at the natural,
-flattened, or sharpened pitch. In lever harps, each string is adjusted
+flattened, or sharpened pitch.  In lever harps, each string is adjusted
 individually, but in pedal harps every string with the same pitch name
-is controlled by a single pedal. From the player's left to right, the
+is controlled by a single pedal.  From the player's left to right, the
 pedals are D, C, and B on the left and E, F, G, and A on the right.
 The position of the pedals may be indicated with text marks:
 
 @lilypond[quote,verbatim,relative=2]
 \textLengthOn
-cis1_\markup \concat \vcenter { [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
-c!1_\markup \concat \vcenter {[ C \natural ]}
+cis1_\markup \concat \vcenter {
+  [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
+c!1_\markup \concat \vcenter {
+  [ C \natural ] }
 @end lilypond
 
 or pedal diagrams:
@@ -641,11 +678,11 @@ c!1_\markup { \harp-pedal #"^o--|vv-^" }
 
 The @code{\harp-pedal} command accepts a string of characters, where
 @code{^} is the highest pedal position (flattened pitch), @code{-} is
-the middle pedal postion (natural pitch), @code{v} is the lowest pedal
-position (sharpened pitch), and @code{|} is the divider. A prefixed
+the middle pedal position (natural pitch), @code{v} is the lowest pedal
+position (sharpened pitch), and @code{|} is the divider.  A prefixed
 @code{o} will circle the following pedal symbol.
 
 @seealso
 Notation Reference:
-@ref{Text scripts}
-@ref{Instrument Specific Markup}
+@ref{Text scripts},
+@ref{Instrument Specific Markup}.