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 @c "I have finished the first draft." -AH
13 @node Keyboard instruments
14 @section Keyboard instruments
16 @lilypondfile[quote]{keyboard-headword.ly}
21 * Common notation for keyboards::
26 @node Common notation for keyboards
27 @subsection Common notation for keyboards
32 * References for keyboards::
33 * Changing staff manually::
34 * Changing staff automatically::
35 * Staff-change lines::
39 @node References for keyboards
40 @subsubsection References for keyboards
42 Keyboard instruments are usually notated with Piano staves. These
43 are two or more normal staves coupled with a brace. The same
44 notation is also used for harps and other keyed instruments.
45 Organ music is normally written with two staves inside a
46 @code{PianoStaff} group and third, normal staff for the pedals.
48 The staves in keyboard music are largely independent, but
49 sometimes voices can cross between the two staves. In this
50 section we discuss some notation techniques particular to keyboard
53 Several common issues in keyboard music are covered elsewhere:
56 @item Keyboard music usually contains multiple voices and the
57 number of voices may change regularly; this is described in
58 @ref{Collision resolution}.
60 @item Keyboard music can be written in parallel, as described in
61 @ref{Writing music in parallel}.
63 @item Fingerings are indicated with @ref{Fingering instructions}.
65 @item Organ pedal indications are inserted as articulations, see
66 @ref{List of articulations}.
68 @item Vertical grid lines can be shown with @ref{Grid lines}.
70 @item Keyboard music often contains @notation{Laissez vibrer} ties
71 as well as ties on arpeggios and tremelos, described in
74 @item Placing arpeggios across multiple voices and staves is
75 covered in @ref{Arpeggio}.
77 @item Tremolo marks are described in @ref{Tremolo repeats}.
79 @item Several of the tweaks that can occur in keyboard music are
80 demonstrated in @rlearning{Real music example}.
82 @item Hidden notes can be used to produce ties that cross voices,
83 as shown in @rlearning{Other uses for tweaks}.
88 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
89 @c {creating-slurs-across-voices.ly}
94 @rlearning{Real music example},
95 @rlearning{Other uses for tweaks}.
98 @ref{Grouping staves},
99 @ref{Instrument names},
100 @ref{Writing music in parallel},
101 @ref{Fingering instructions},
105 @ref{Tremolo repeats},
106 @ref{List of articulations}.
109 @rinternals{PianoStaff}.
116 Dynamics are not automatically centered, but workarounds do exist. One
117 option is the @q{piano centered dynamics} template under
118 @rlearning{Piano templates}; another option is to add dynamics
119 normally and then increase their staff-paddingm as discussed in
120 @rlearning{Moving objects}.
122 @node Changing staff manually
123 @subsubsection Changing staff manually
125 @cindex changing staff manually
126 @cindex manual staff changes
127 @cindex staff changes, manual
128 @cindex cross-staff notes
129 @cindex notes, cross-staff
130 @cindex cross-staff beams
131 @cindex beams, cross-staff
134 Voices can be switched between staves manually, using the command
137 \change Staff = @var{staffname}
141 The string @var{staffname} is the name of the staff. It switches
142 the current voice from its current staff to the Staff called
143 @var{staffname}. Typical values for @var{staffname} are
144 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
146 Cross-staff notes are beamed automatically:
148 @lilypond[verbatim,quote,ragged-right]
160 \new Staff = "down" {
162 s1 % keep staff alive
167 If the beaming needs to be tweaked, make any changes to the stem
168 directions first. The beam positions are then measured from the
169 center of the staff that is closest to the beam. For a simple
170 example of beam tweaking, see @rlearning{Fixing overlapping
176 @rlearning{Fixing overlapping notation}.
180 @ruser{Automatic beams}.
189 @node Changing staff automatically
190 @subsubsection Changing staff automatically
192 @cindex changing staff automatically
193 @cindex automatic staff changes
194 @cindex staff changes, automatic
195 @funindex \autochange
197 Voices can be made to switch automatically between the top and the
198 bottom staff. The syntax for this is
201 \autochange @dots{}@var{music}@dots{}
205 This will create two staves inside the current staff group
206 (usually a @code{PianoStaff}), called @code{"up"} and
207 @code{"down"}. The lower staff will be in bass clef by default.
208 The autochanger switches on basis of the pitch (middle C is the
209 turning point), and it looks ahead skipping over rests to switch
212 @lilypond[quote,verbatim,ragged-right]
220 A @code{\relative} section that is outside of @code{\autochange}
221 has no effect on the pitches of the music, so if necessary, put
222 @code{\relative} inside @code{\autochange}.
224 If additional control is needed over the individual staves, they
225 can be created manually with the names @code{"up"} and
226 @code{"down"}. The @code{\autochange} command will then switch
227 its voice between the existing staves. For example, this is
228 necessary to place a key signature in the lower staff:
230 @lilypond[quote,verbatim,ragged-right]
233 \new Voice = "melOne" {
235 \autochange \relative c' {
241 \new Staff = "down" {
251 @ref{Changing staff manually}.
257 @rinternals{AutoChangeMusic}.
261 The staff switches may not end up in optimal places. For high
262 quality output, staff switches should be specified manually.
264 Chords will not be split across the staves; the staff will be
265 chosen by the first note named in the chord.
268 @node Staff-change lines
269 @subsubsection Staff-change lines
271 @cindex staff-change lines
272 @cindex cross-staff lines
273 @cindex lines, staff-change follower
275 @cindex staff switching
277 @funindex followVoice
279 Whenever a voice switches to another staff, a line connecting the
280 notes can be printed automatically:
282 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
290 \new Staff = "two" { \clef bass s1*2 }
296 @funindex \showStaffSwitch
297 @funindex \hideStaffSwitch
298 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
306 @rinternals{VoiceFollower}.
309 @node Cross-staff stems
310 @subsubsection Cross-staff stems
312 @cindex cross-staff notes
313 @cindex notes, cross-staff
314 @cindex cross-staff stems
315 @cindex stems, cross-staff
317 Chords that cross staves may be produced by increasing the length
318 of the stem in the lower staff, so it reaches the stem in the upper
319 staff, or vice versa.
321 @lilypond[ragged-right,verbatim,quote]
323 \new Staff \relative c' {
326 \new Staff \relative c' {
330 \override Stem #'length = #12
331 \override Stem #'cross-staff = ##t
332 \override Stem #'flag-style = #'no-flag
342 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
343 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
361 @subsubsection Piano pedals
363 @cindex pedals, piano
364 @cindex sustain pedal
365 @cindex sostenuto pedal
368 @funindex \sustainDown
370 @funindex \sostenutoDown
371 @funindex \sostenutoUp
375 Pianos generally have three pedals that alter the way sound is
376 produced: @notation{sustain}, @notation{sostenuto}
377 (@notation{sos.}), and @notation{una corde} (@notation{U.C.}).
378 Sustain pedals are also found on vibraphones and celestas.
380 FIXME: see policy for allowed lilypond[] options.
381 (ie use [relative=2])
383 @lilypond[quote,ragged-right,fragment,verbatim]
387 c4\sostenutoDown e g c,
388 <bes d f>1\sostenutoUp
394 There are three styles of pedal indications: text, bracket, and mixed.
395 The sustain pedal and the una corda pedal use the text style by default
396 while the sostenuto pedal uses mixed by default.
398 @lilypond[quote,ragged-right,fragment,verbatim]
400 c4\sustainDown g c2\sustainUp
401 \set Staff.pedalSustainStyle = #'mixed
403 d\sustainUp\sustainDown g, c2\sustainUp
404 \set Staff.pedalSustainStyle = #'bracket
406 d\sustainUp\sustainDown g, c2
411 The placement of the pedal commands matches the physical movement of the
412 sustain pedal during piano performance. Pedalling to the final barline
413 is indicated by omitting the final pedal up command.
424 @rinternals{SustainPedal},
425 @rinternals{SustainPedalLineSpanner},
426 @rinternals{SostenutoPedal},
427 @rinternals{SostenutoPedalLineSpanner},
428 @rinternals{UnaCordaPedal},
429 @rinternals{UnaCordaPedalLineSpanner},
430 @rinternals{PianoPedalBracket},
431 @rinternals{Piano_pedal_engraver}.
434 @subsection Accordion
442 @node Discant symbols
443 @subsubsection Discant symbols
444 @cindex accordion discant symbols
445 @cindex discant symbols, accordion
446 @cindex accordion shifts
448 @c FIXME: use @notation, not @q.
449 @c FIXME: you might want to submit some of these terms to the MG.
450 @c If so, send an email to Kurt about this.
452 Accordions are often built with more than one set of reeds that may be
453 in unison with, an octave above, or an octave below the written pitch.
454 Each accordian maker has different names for the @q{shifts} that
455 select the various reed combinations, such as @q{oboe}, @q{musette}, or
456 @q{bandonium}, so a system of symbols has come into use to simplify
457 the performance instructions.
461 @c FIXME: invalid snippet name. Check the GDP snippet list.
462 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
463 @c {accordion-discant-symbols.ly}