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12 @node Keyboard and other multi-staff instruments
13 @section Keyboard and other multi-staff instruments
15 @lilypondfile[quote]{keyboard-headword.ly}
17 This section discusses several aspects of music notation that are
18 unique to keyboard instruments and other instruments notated on
19 many staves, such as harps and vibraphones. For the purposes of
20 this section this entire group of multi-staff instruments is called
21 @qq{keyboards} for short, even though some of them do not have a
25 * Common notation for keyboards::
31 @node Common notation for keyboards
32 @subsection Common notation for keyboards
34 This section discusses notation issues that may arise for most
38 * References for keyboards::
39 * Changing staff manually::
40 * Changing staff automatically::
41 * Staff-change lines::
45 @node References for keyboards
46 @unnumberedsubsubsec References for keyboards
50 @cindex staves, keyboard instruments
51 @cindex staves, keyed instruments
52 @cindex keyboard instrument staves
53 @cindex keyed instrument staves
54 @cindex keyboard music, centering dynamics
55 @cindex dynamics, centered in keyboard music
56 @cindex piano music, centering dynamics
57 @cindex centered dynamics in piano music
61 Keyboard instruments are usually notated with Piano staves. These
62 are two or more normal staves coupled with a brace. The same
63 notation is also used for other keyed instruments.
64 Organ music is normally written with two staves inside a
65 @code{PianoStaff} group and third, normal staff for the pedals.
67 The staves in keyboard music are largely independent, but
68 sometimes voices can cross between the two staves. This
69 section discusses notation techniques particular to keyboard
72 Several common issues in keyboard music are covered elsewhere:
76 @item Keyboard music usually contains multiple voices and the
77 number of voices may change regularly; this is described in
78 @ref{Collision resolution}.
80 @item Keyboard music can be written in parallel, as described in
81 @ref{Writing music in parallel}.
83 @item Dynamics may be placed in a @code{Dynamics} context,
84 between the two @code{Staff} contexts
85 to align the dynamic marks on a horizontal line
86 centered between the staves; see @ref{Dynamics}.
88 @item Fingerings are indicated with @ref{Fingering instructions}.
90 @item Organ pedal indications are inserted as articulations, see
91 @ref{List of articulations}.
93 @item Vertical grid lines can be shown with @ref{Grid lines}.
95 @item Keyboard music often contains @notation{Laissez vibrer} ties
96 as well as ties on arpeggios and tremolos, described in
99 @item Placing arpeggios across multiple voices and staves is
100 covered in @ref{Arpeggio}.
102 @item Tremolo marks are described in @ref{Tremolo repeats}.
104 @item Several of the tweaks that can occur in keyboard music are
105 demonstrated in @rlearning{Real music example}.
107 @item Hidden notes can be used to produce ties that cross voices,
108 as shown in @rlearning{Other uses for tweaks}.
113 @c @lilypondfile[verbatim,quote,texidoc,doctitle]
114 @c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly}
115 @c http://lsr.di.unimi.it/LSR/Item?u=1&id=312
119 @rlearning{Real music example},
120 @rlearning{Other uses for tweaks}.
123 @ref{Grouping staves},
124 @ref{Instrument names},
125 @ref{Collision resolution},
126 @ref{Writing music in parallel},
127 @ref{Fingering instructions},
128 @ref{List of articulations},
132 @ref{Tremolo repeats}.
135 @rinternals{PianoStaff}.
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 The staff to which the voice is being switched must exist at the
168 time of the switch. If necessary, staves should be @qq{kept alive},
169 see @ref{Keeping contexts alive}.
171 Cross-staff notes are beamed automatically:
173 @lilypond[verbatim,quote]
177 \change Staff = "down"
181 \change Staff = "down"
185 \new Staff = "down" {
193 If the beaming needs to be tweaked, make any changes to the stem
194 directions first. The beam positions are then measured from the
195 center of the staff that is closest to the beam. For a simple
196 example of beam tweaking, see @rlearning{Fixing overlapping
199 @cindex cross-staff collisions
200 @cindex collisions, cross-staff voices
202 Overlapping notation can result when voices cross staves:
204 @lilypond[verbatim,quote]
208 % Make space for fingering in the cross-staff voice
209 \once\override DynamicLineSpanner.staff-padding = #4
213 \new Staff = "down" <<
216 s4. e,8\rest g,2\rest
228 The stem and slur overlap the intervening line of dynamics
229 because automatic collision resolution is suspended for beams, slurs
230 and other spanners that connect notes on different staves,
231 as well as for stems and articulations if their placement is
232 affected by a cross-staff spanner.
233 The resulting collisions must be resolved manually, where necessary,
234 using the methods in @rlearning{Fixing overlapping notation}.
238 @rlearning{Fixing overlapping notation}.
242 @ref{Automatic beams},
243 @ref{Keeping contexts alive}.
250 @rinternals{ContextChange}.
253 Beam collision avoidance does not work for automatic beams that end
254 right before a change in staff. In this case use manual beams.
257 @node Changing staff automatically
258 @unnumberedsubsubsec Changing staff automatically
260 @cindex changing staff automatically
261 @cindex automatic staff changes
262 @cindex staff changes, automatic
264 @funindex \autochange
268 Voices can be made to switch automatically between the top and the
269 bottom staff. The syntax for this is
272 \autochange @dots{}@var{music}@dots{}
276 This will create two staves inside the current staff group
277 (usually a @code{PianoStaff}), called @code{"up"} and
278 @code{"down"}. The lower staff will be in the bass clef by default.
279 The autochanger switches on the basis of the pitch (middle@tie{}C is the
280 turning point), and it looks ahead skipping over rests to switch
283 @lilypond[quote,verbatim]
293 It is possible to specify other pitches for the turning point.
294 If the staves are not instantiated explicitly, other clefs may be used.
296 @lilypond[quote,verbatim]
298 g8 b a c' b8 d' c'8 e'
302 \autochange d' \music
303 \autochange b \with { \clef soprano } \music
304 \autochange d' \with { \clef alto } \with { \clef tenor } \music
307 @cindex relative music and autochange
308 @cindex autochange and relative music
313 A @code{\relative} section that is outside of @code{\autochange}
314 has no effect on the pitches of the music, so if necessary, put
315 @code{\relative} inside @code{\autochange}.
317 If additional control is needed over the individual staves, they
318 can be created manually with the names @code{"up"} and
319 @code{"down"}. The @code{\autochange} command will then switch
320 its voice between the existing staves.
322 @warning{If staves are created manually, they @emph{must} be named
323 @code{"up"} and @code{"down"}.}
325 For example, staves must be created manually in order to place a
326 key signature in the lower staff:
328 @lilypond[quote,verbatim]
331 \new Voice = "melOne" {
333 \autochange \relative {
339 \new Staff = "down" {
348 @ref{Changing staff manually}.
354 @rinternals{AutoChangeMusic}.
358 @cindex chords, splitting across staves with \autochange
360 The staff switches may not end up in optimal places. For high
361 quality output, staff switches should be specified manually.
363 Chords will not be split across the staves; they will be assigned to a
364 staff based on the first note named in the chord construct.
367 @node Staff-change lines
368 @unnumberedsubsubsec Staff-change lines
370 @cindex staff-change line
371 @cindex staff change line
372 @cindex cross-staff line
373 @cindex cross staff line
374 @cindex line, staff-change follower
375 @cindex line, cross-staff
376 @cindex line, staff-change
378 @cindex voice, following
379 @cindex staff switching
382 @funindex followVoice
383 @funindex \showStaffSwitch
384 @funindex showStaffSwitch
385 @funindex \hideStaffSwitch
386 @funindex hideStaffSwitch
388 Whenever a voice switches to another staff, a line connecting the
389 notes can be printed automatically:
391 @lilypond[quote,verbatim]
396 \change Staff = "two"
408 @code{\showStaffSwitch},
409 @code{\hideStaffSwitch}.
417 @rinternals{Note_head_line_engraver},
418 @rinternals{VoiceFollower}.
421 @node Cross-staff stems
422 @unnumberedsubsubsec Cross-staff stems
424 @cindex cross-staff notes
425 @cindex cross staff notes
426 @cindex notes, cross-staff
427 @cindex cross-staff stems
428 @cindex cross staff stems
429 @cindex stems, cross-staff
430 @cindex chords, cross-staff
431 @cindex cross-staff chords
432 @cindex cross staff chords
435 @funindex \crossStaff
436 @funindex \autoBeamOff
437 @funindex Span_stem_engraver
439 Chords that cross staves may be produced using the
440 @code{Span_stem_engraver}. Care must be taken to ensure that
441 automatic beams do not beam the notes on one staff when it’s not
442 required on the other.
444 @lilypondfile[verbatim,quote]
445 {cross-staff-stems.ly}
447 For the time being, this engraver can not be specified by its name in
448 double quotes, but rather prefixing its name with a hash symbol
449 @code{#}, due to the way it is implemented.
452 @lilypondfile[verbatim,quote,texidoc,doctitle]
453 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
466 This section discusses notation issues that relate most directly to the
474 @unnumberedsubsubsec Piano pedals
477 @cindex pedals, piano
478 @cindex sustain pedal
479 @cindex pedal, sustain
480 @cindex sostenuto pedal
481 @cindex pedal, sostenuto
489 @funindex \sustainOff
491 @funindex \sostenutoOn
492 @funindex sostenutoOn
493 @funindex \sostenutoOff
494 @funindex sostenutoOff
500 Pianos generally have three pedals that alter the way sound is
501 produced: @notation{sustain}, @notation{sostenuto}
502 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
503 Sustain pedals are also found on vibraphones and celestas.
505 @lilypond[quote,verbatim]
509 c4\sostenutoOn e g c,
510 <bes d f>1\sostenutoOff
516 @cindex pedal indication styles
517 @cindex pedal indication, text
518 @cindex pedal indication, bracket
519 @cindex pedal indication, mixed
520 @cindex pedal sustain style
521 @cindex sustain pedal style
523 @funindex pedalSustainStyle
528 There are three styles of pedal indications: text, bracket, and mixed.
529 The sustain pedal and the una corda pedal use the text style by default
530 while the sostenuto pedal uses mixed by default.
532 @lilypond[quote,verbatim]
534 c''4\sustainOn g c2\sustainOff
535 \set Staff.pedalSustainStyle = #'mixed
537 d\sustainOff\sustainOn g, c2\sustainOff
538 \set Staff.pedalSustainStyle = #'bracket
540 d\sustainOff\sustainOn g, c2
545 The placement of the pedal commands matches the physical movement of the
546 sustain pedal during piano performance. Pedalling to the final bar line
547 is indicated by omitting the final pedal off command.
549 Pedal indications may be placed in a @code{Dynamics} context,
550 which aligns them on a horizontal line.
560 @rinternals{SustainPedal},
561 @rinternals{SustainPedalLineSpanner},
562 @rinternals{SustainEvent},
563 @rinternals{SostenutoPedal},
564 @rinternals{SostenutoPedalLineSpanner},
565 @rinternals{SostenutoEvent},
566 @rinternals{UnaCordaPedal},
567 @rinternals{UnaCordaPedalLineSpanner},
568 @rinternals{UnaCordaEvent},
569 @rinternals{PianoPedalBracket},
570 @rinternals{Piano_pedal_engraver}.
574 @subsection Accordion
578 This section discusses notation that is unique to the accordion.
584 @node Discant symbols
585 @unnumberedsubsubsec Discant symbols
587 @cindex accordion discant symbols
588 @cindex discant symbols, accordion
589 @cindex accordion shifts
590 @cindex accordion shift symbols
592 Accordions are often built with more than one set of reeds that may be
593 in unison with, an octave above, or an octave below the written pitch.
594 Each accordion maker has different names for the @notation{shifts} that
595 select the various reed combinations, such as @notation{oboe},
596 @notation{musette}, or @notation{bandonium}, so a system of symbols has
597 come into use to simplify the performance instructions.
601 @lilypondfile[verbatim,quote,texidoc,doctitle]
602 {accordion-register-symbols.ly}
612 This section discusses notation issues that are unique to the harp.
615 * References for harps::
619 @node References for harps
620 @unnumberedsubsubsec References for harps
624 Some common characteristics of harp music are covered elsewhere:
628 @item The glissando is the most characteristic harp technique,
631 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
634 @item Natural harmonics are covered under @ref{Harmonics}.
636 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
642 @ref{Tremolo repeats},
649 @unnumberedsubsubsec Harp pedals
652 @cindex harp pedal diagrams
654 @cindex pedal diagrams, harp
656 Harps have seven strings per octave that may be sounded at the natural,
657 flattened, or sharpened pitch. In lever harps, each string is adjusted
658 individually, but in pedal harps every string with the same pitch name
659 is controlled by a single pedal. From the player's left to right, the
660 pedals are D, C, and B on the left and E, F, G, and A on the right.
661 The position of the pedals may be indicated with text marks:
663 @lilypond[quote,verbatim,fragment]
665 cis''1_\markup \concat \vcenter {
666 [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
667 c''!1_\markup \concat \vcenter {
673 @lilypond[quote,verbatim,fragment]
675 cis''1_\markup { \harp-pedal #"^v-|vv-^" }
676 c''!1_\markup { \harp-pedal #"^o--|vv-^" }
679 The @code{\harp-pedal} command accepts a string of characters, where
680 @code{^} is the highest pedal position (flattened pitch), @code{-} is
681 the middle pedal position (natural pitch), @code{v} is the lowest pedal
682 position (sharpened pitch), and @code{|} is the divider. A prefixed
683 @code{o} will circle the following pedal symbol.
688 @ref{Instrument Specific Markup}.