X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fkeyboards.itely;h=846a27443a10c49d8f3a7dbdfcfee2de5abb0c6c;hb=a8c9e8a7ca320ab0df5fd32e717fd62cd7635ce6;hp=0e70855c7566425ec5da32681af39780b211ad1c;hpb=b564ce610c98a3af74b9a606bc154defdd0fea9e;p=lilypond.git diff --git a/Documentation/user/keyboards.itely b/Documentation/user/keyboards.itely index 0e70855c75..846a27443a 100644 --- a/Documentation/user/keyboards.itely +++ b/Documentation/user/keyboards.itely @@ -6,16 +6,19 @@ version that you are working on. See TRANSLATION for details. @end ignore -@c \version "2.11.61" +@c \version "2.12.0" -@node Keyboard and other many-stringed instruments -@section Keyboard and other many-stringed instruments +@node Keyboard and other multi-staff instruments +@section Keyboard and other multi-staff instruments @lilypondfile[quote]{keyboard-headword.ly} -This section discusses several aspects of music notation that are unique -to keyboard instruments and other instruments with many strings, such as -the harp. +This section discusses several aspects of music notation that are +unique to keyboard instruments and other instruments notated on +many staves, such as harps and vibraphones. For the purposes of +this section this entire group of multi-staff instruments is called +@qq{keyboards} for short, even though some of them do not have a +keyboard. @menu * Common notation for keyboards:: @@ -28,7 +31,7 @@ the harp. @subsection Common notation for keyboards This section discusses notation issues that may arise for most -many-stringed instruments. +keyboard instruments. @menu * References for keyboards:: @@ -96,8 +99,12 @@ as shown in @rlearning{Other uses for tweaks}. @end itemize -@seealso +@c @snippets +@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly} +@c http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312 +@seealso Learning Manual: @rlearning{Real music example}, @rlearning{Other uses for tweaks}. @@ -120,6 +127,7 @@ Internals Reference: Snippets: @rlsr{Keyboards}. + @knownissues @cindex keyboard music, centering dynamics @@ -188,8 +196,8 @@ center of the staff that is closest to the beam. For a simple example of beam tweaking, see @rlearning{Fixing overlapping notation}. -@seealso +@seealso Learning Manual: @rlearning{Fixing overlapping notation}. @@ -253,8 +261,13 @@ 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. For example, this is -necessary to place a key signature in the lower staff: +its voice between the existing staves. + +@warning{If staves are created manually, they @emph{must} be named +@code{"up"} and @code{"down"}.} + +For example, staves must be created manually in order to place a +key signature in the lower staff: @lilypond[quote,verbatim] \new PianoStaff << @@ -274,8 +287,8 @@ necessary to place a key signature in the lower staff: >> @end lilypond -@seealso +@seealso Notation Reference: @ref{Changing staff manually}. @@ -285,6 +298,7 @@ Snippets: Internals Reference: @rinternals{AutoChangeMusic}. + @knownissues @cindex chords, splitting across staves with \autochange @@ -334,12 +348,14 @@ notes can be printed automatically: >> @end lilypond + @predefined +@code{\showStaffSwitch}, +@code{\hideStaffSwitch}. +@endpredefined -@code{\showStaffSwitch}, @code{\hideStaffSwitch}. @seealso - Snippets: @rlsr{Keyboards}. @@ -401,14 +417,15 @@ Chords that cross staves may be produced: @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {indicating-cross-staff-chords-with-arpeggio-bracket.ly} -@seealso +@seealso Snippets: @rlsr{Keyboards}. Internals Reference: @rinternals{Stem}. + @node Piano @subsection Piano @@ -491,8 +508,8 @@ 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 up command. -@seealso +@seealso Notation Reference: @ref{Ties}. @@ -512,6 +529,7 @@ Internals Reference: @rinternals{PianoPedalBracket}, @rinternals{Piano_pedal_engraver}. + @node Accordion @subsection Accordion @@ -543,8 +561,8 @@ come into use to simplify the performance instructions. @lilypondfile[verbatim,lilyquote,texidoc,doctitle] {accordion-discant-symbols.ly} -@seealso +@seealso Snippets: @rlsr{Keyboards}. @@ -552,22 +570,77 @@ Snippets: @node Harp @subsection Harp -TBC +This section discusses notation issues that are unique to the harp. -@ignore -Some possibilities: -- glissandi -- tremolo (for bisbigliando) -- natural harmonics -- directional arpeggio and non-arpeggio -- workaroung for keeping both staves visible in an orchestral - score, -http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00386.html -and http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312 - -An LSR snippet could be used to demonstrate the main items; in the -case of glissandi, it would be desirable to have a demonstration -of different styles. +@menu +* References for harps:: +* Harp pedals:: +@end menu -@end ignore +@node References for harps +@unnumberedsubsubsec References for harps +@cindex harps +@cindex bisbiglando + +Some common characteristics of harp music are covered elsewhere: + +@itemize + +@item The glissando is the most characterisic harp technique, +@ref{Glissando}. + +@item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo +repeats} +@item Natural harmonics are covered under @ref{Harmonics}. + +@item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}. + +@end itemize + +@seealso +Notation Reference: +@ref{Tremolo repeats} +@ref{Glissando} +@ref{Arpeggio} +@ref{Harmonics} + +@node Harp pedals +@unnumberedsubsubsec Harp pedals + +@cindex harp pedals +@cindex harp pedal diagrams +@cindex pedals, harp +@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 +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 +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 ]} +@end lilypond + +or pedal diagrams: + +@lilypond[quote,verbatim,relative=2] +\textLengthOn +cis1_\markup { \harp-pedal #"^v-|vv-^" } +c!1_\markup { \harp-pedal #"^o--|vv-^" } +@end lilypond + +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 +@code{o} will circle the following pedal symbol. + +@seealso +Notation Reference: +@ref{Text scripts} +@ref{Instrument Specific Markup}