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 centered, but workarounds do exist. See the
117 @q{piano centered dynamics} template in @rlearning{Piano templates}.
119 @c TODO Find out status of the dynamics engravers
121 @node Changing staff manually
122 @subsubsection Changing staff manually
124 @cindex changing staff manually
125 @cindex manual staff changes
126 @cindex staff changes, manual
127 @cindex cross-staff notes
128 @cindex notes, cross-staff
129 @cindex cross-staff beams
130 @cindex beams, cross-staff
133 Voices can be switched between staves manually, using the command
136 \change Staff = @var{staffname}
140 The string @var{staffname} is the name of the staff. It switches
141 the current voice from its current staff to the Staff called
142 @var{staffname}. Typical values for @var{staffname} are
143 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
145 Cross-staff notes are beamed automatically:
147 @lilypond[verbatim,quote,ragged-right]
159 \new Staff = "down" {
161 s1 % keep staff alive
166 If the beaming needs to be tweaked, make any changes to the stem
167 directions first. The beam positions are then measured from the
168 center of the staff that is closest to the beam. For a simple
169 example of beam tweaking, see @rlearning{Fixing overlapping
175 @rlearning{Fixing overlapping notation}.
179 @ruser{Automatic beams}.
188 @node Changing staff automatically
189 @subsubsection Changing staff automatically
191 @cindex changing staff automatically
192 @cindex automatic staff changes
193 @cindex staff changes, automatic
194 @funindex \autochange
196 Voices can be made to switch automatically between the top and the
197 bottom staff. The syntax for this is
200 \autochange @dots{}@var{music}@dots{}
204 This will create two staves inside the current staff group
205 (usually a @code{PianoStaff}), called @code{"up"} and
206 @code{"down"}. The lower staff will be in bass clef by default.
207 The autochanger switches on basis of the pitch (middle C is the
208 turning point), and it looks ahead skipping over rests to switch
211 @lilypond[quote,verbatim,ragged-right]
219 A @code{\relative} section that is outside of @code{\autochange}
220 has no effect on the pitches of the music, so if necessary, put
221 @code{\relative} inside @code{\autochange}.
223 If additional control is needed over the individual staves, they
224 can be created manually with the names @code{"up"} and
225 @code{"down"}. The @code{\autochange} command will then switch
226 its voice between the existing staves. For example, this is
227 necessary to place a key signature in the lower staff:
229 @lilypond[quote,verbatim,ragged-right]
232 \new Voice = "melOne" {
234 \autochange \relative c' {
240 \new Staff = "down" {
250 @ref{Changing staff manually}.
256 @rinternals{AutoChangeMusic}.
260 The staff switches may not end up in optimal places. For high
261 quality output, staff switches should be specified manually.
263 Chords will not be split across the staves; the staff will be
264 chosen by the first note named in the chord.
267 @node Staff-change lines
268 @subsubsection Staff-change lines
270 @cindex staff-change lines
271 @cindex cross-staff lines
272 @cindex lines, staff-change follower
274 @cindex staff switching
276 @funindex followVoice
278 Whenever a voice switches to another staff, a line connecting the
279 notes can be printed automatically:
281 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
289 \new Staff = "two" { \clef bass s1*2 }
295 @funindex \showStaffSwitch
296 @funindex \hideStaffSwitch
297 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
305 @rinternals{VoiceFollower}.
308 @node Cross-staff stems
309 @subsubsection Cross-staff stems
311 @cindex cross-staff notes
312 @cindex notes, cross-staff
313 @cindex cross-staff stems
314 @cindex stems, cross-staff
316 Chords that cross staves may be produced by increasing the length
317 of the stem in the lower staff, so it reaches the stem in the upper
318 staff, or vice versa.
320 @lilypond[ragged-right,verbatim,quote]
322 \new Staff \relative c' {
325 \new Staff \relative c' {
329 \override Stem #'length = #12
330 \override Stem #'cross-staff = ##t
331 \override Stem #'flag-style = #'no-flag
341 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
342 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
362 @subsubsection Piano pedals
365 Pianos have pedals that alter the way sound is produced. Generally, a
366 piano has three pedals, sustain, una corda, and sostenuto.
369 Piano pedal instruction can be expressed by attaching
370 @code{\sustainDown}, @code{\sustainUp}, @code{\unaCorda},
371 @code{\treCorde}, @code{\sostenutoDown} and @code{\sostenutoUp} to a
374 @lilypond[quote,ragged-right,fragment,verbatim]
375 c'4\sustainDown c'4\sustainUp
378 What is printed can be modified by setting @code{pedal@var{X}Strings},
379 where @var{X} is one of the pedal types: @code{Sustain},
380 @code{Sostenuto} or @code{UnaCorda}. Refer to
381 @rinternals{SustainPedal} in the program reference for more
384 Pedals can also be indicated by a sequence of brackets, by setting the
385 @code{pedalSustainStyle} property to bracket objects
387 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
388 \set Staff.pedalSustainStyle = #'bracket
390 b\sustainUp\sustainDown
391 b g \sustainUp a \sustainDown \bar "|."
394 A third style of pedal notation is a mixture of text and brackets,
395 obtained by setting the @code{pedalSustainStyle} property to
398 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
399 \set Staff.pedalSustainStyle = #'mixed
401 b\sustainUp\sustainDown
402 b g \sustainUp a \sustainDown \bar "|."
405 The default @q{*Ped.} style for sustain and damper pedals corresponds to
406 style @code{#'text}. The sostenuto pedal uses @code{mixed} style by
409 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
410 c\sostenutoDown d e c, f g a\sostenutoUp
413 For fine-tuning the appearance of a pedal bracket, the properties
414 @code{edge-width}, @code{edge-height}, and @code{shorten-pair} of
415 @code{PianoPedalBracket} objects (see
416 @rinternals{PianoPedalBracket} in the Internals Reference) can be
417 modified. For example, the bracket may be extended to the right edge
420 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
421 \override Staff.PianoPedalBracket #'shorten-pair = #'(0 . -1.0)
422 c\sostenutoDown d e c, f g a\sostenutoUp
426 Note that overrides must be placed before the note at which the
427 pedal bracket starts.
429 @c TODO Check relative positions of the sustain pedal and
430 @c dynamics are correct (they collided in 2.11.44).
431 @c Give example showing this.
435 Notation Reference: @ref{Ties} (laissez vibrer).
438 @subsection Accordion
446 @node Discant symbols
447 @subsubsection Discant symbols
448 @cindex accordion discant symbols
449 @cindex discant symbols, accordion
450 @cindex accordion shifts
452 @c FIXME: use @notation, not @q.
454 Accordions are often built with more than one set of reeds that may be
455 in unison with, an octave above, or an octave below the written pitch.
456 Each accordian maker has different names for the @q{shifts} that
457 select the various reed combinations, such as @q{oboe}, @q{musette}, or
458 @q{bandonium}, so a system of symbols has come into use to simplify
459 the performance instructions.
463 @c FIXME: invalid snippet name. Check the GDP snippet list.
464 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
465 @c {accordion-discant-symbols.ly}