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
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11 @node Keyboard instruments
12 @section Keyboard instruments
14 @lilypondfile[quote]{keyboard-headword.ly}
16 This section discusses several aspects of music notation that are unique
17 to keyboard instruments.
20 * Common notation for keyboards::
25 @node Common notation for keyboards
26 @subsection Common notation for keyboards
28 This section discusses notation issues that may arise for most keyboard
32 * References for keyboards::
33 * Changing staff manually::
34 * Changing staff automatically::
35 * Staff-change lines::
39 @node References for keyboards
40 @unnumberedsubsubsec 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}.
90 @rlearning{Real music example},
91 @rlearning{Other uses for tweaks}.
94 @ref{Grouping staves},
95 @ref{Instrument names},
96 @ref{Writing music in parallel},
97 @ref{Fingering instructions},
101 @ref{Tremolo repeats},
102 @ref{List of articulations}.
105 @rinternals{PianoStaff}.
112 Dynamics are not automatically centered, but workarounds do exist. One
113 option is the @q{piano centered dynamics} template under
114 @rlearning{Piano templates}; another option is to increase the
115 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
118 @node Changing staff manually
119 @unnumberedsubsubsec Changing staff manually
121 @cindex changing staff manually
122 @cindex manual staff changes
123 @cindex staff changes, manual
124 @cindex cross-staff notes
125 @cindex notes, cross-staff
126 @cindex cross-staff beams
127 @cindex beams, cross-staff
130 Voices can be switched between staves manually, using the command
133 \change Staff = @var{staffname}
137 The string @var{staffname} is the name of the staff. It switches
138 the current voice from its current staff to the Staff called
139 @var{staffname}. Typical values for @var{staffname} are
140 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
142 Cross-staff notes are beamed automatically:
144 @lilypond[verbatim,quote,ragged-right]
156 \new Staff = "down" {
158 s1 % keep staff alive
163 If the beaming needs to be tweaked, make any changes to the stem
164 directions first. The beam positions are then measured from the
165 center of the staff that is closest to the beam. For a simple
166 example of beam tweaking, see @rlearning{Fixing overlapping
172 @rlearning{Fixing overlapping notation}.
176 @ruser{Automatic beams}.
185 @node Changing staff automatically
186 @unnumberedsubsubsec Changing staff automatically
188 @cindex changing staff automatically
189 @cindex automatic staff changes
190 @cindex staff changes, automatic
191 @funindex \autochange
193 Voices can be made to switch automatically between the top and the
194 bottom staff. The syntax for this is
197 \autochange @dots{}@var{music}@dots{}
201 This will create two staves inside the current staff group
202 (usually a @code{PianoStaff}), called @code{"up"} and
203 @code{"down"}. The lower staff will be in bass clef by default.
204 The autochanger switches on basis of the pitch (middle C is the
205 turning point), and it looks ahead skipping over rests to switch
208 @lilypond[quote,verbatim,ragged-right]
216 A @code{\relative} section that is outside of @code{\autochange}
217 has no effect on the pitches of the music, so if necessary, put
218 @code{\relative} inside @code{\autochange}.
220 If additional control is needed over the individual staves, they
221 can be created manually with the names @code{"up"} and
222 @code{"down"}. The @code{\autochange} command will then switch
223 its voice between the existing staves. For example, this is
224 necessary to place a key signature in the lower staff:
226 @lilypond[quote,verbatim,ragged-right]
229 \new Voice = "melOne" {
231 \autochange \relative c' {
237 \new Staff = "down" {
247 @ref{Changing staff manually}.
253 @rinternals{AutoChangeMusic}.
257 The staff switches may not end up in optimal places. For high
258 quality output, staff switches should be specified manually.
260 Chords will not be split across the staves; they will be assigned to a
261 staff based on the first note named in the chord construct.
263 @node Staff-change lines
264 @unnumberedsubsubsec Staff-change lines
266 @cindex staff-change lines
267 @cindex cross-staff lines
268 @cindex lines, staff-change follower
270 @cindex staff switching
272 @funindex followVoice
274 Whenever a voice switches to another staff, a line connecting the
275 notes can be printed automatically:
277 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
285 \new Staff = "two" { \clef bass s1*2 }
291 @funindex \showStaffSwitch
292 @funindex \hideStaffSwitch
293 @code{\showStaffSwitch}, @code{\hideStaffSwitch}.
301 @rinternals{VoiceFollower}.
304 @node Cross-staff stems
305 @unnumberedsubsubsec Cross-staff stems
307 @cindex cross-staff notes
308 @cindex notes, cross-staff
309 @cindex cross-staff stems
310 @cindex stems, cross-staff
312 Chords that cross staves may be produced by increasing the length
313 of the stem in the lower staff, so it reaches the stem in the upper
314 staff, or vice versa.
316 @lilypond[ragged-right,verbatim,quote]
318 \new Staff \relative c' {
321 \new Staff \relative c' {
325 \override Stem #'length = #12
326 \override Stem #'cross-staff = ##t
327 \override Stem #'flag-style = #'no-flag
337 @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
338 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
351 This section discusses notation issues that relate most directly to the
359 @unnumberedsubsubsec Piano pedals
361 @cindex pedals, piano
362 @cindex sustain pedal
363 @cindex sostenuto pedal
367 @funindex \sustainOff
368 @funindex \sostenutoOn
369 @funindex \sostenutoOff
373 Pianos generally have three pedals that alter the way sound is
374 produced: @notation{sustain}, @notation{sostenuto}
375 (@notation{sos.}), and @notation{una corde} (@notation{U.C.}).
376 Sustain pedals are also found on vibraphones and celestas.
378 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
381 c4\sostenutoOn e g c,
382 <bes d f>1\sostenutoOff
387 There are three styles of pedal indications: text, bracket, and mixed.
388 The sustain pedal and the una corda pedal use the text style by default
389 while the sostenuto pedal uses mixed by default.
391 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
392 c4\sustainOn g c2\sustainOff
393 \set Staff.pedalSustainStyle = #'mixed
395 d\sustainOff\sustainOn g, c2\sustainOff
396 \set Staff.pedalSustainStyle = #'bracket
398 d\sustainOff\sustainOn g, c2
402 The placement of the pedal commands matches the physical movement of the
403 sustain pedal during piano performance. Pedalling to the final bar line
404 is indicated by omitting the final pedal up command.
415 @rinternals{SustainPedal},
416 @rinternals{SustainPedalLineSpanner},
417 @rinternals{SostenutoPedal},
418 @rinternals{SostenutoPedalLineSpanner},
419 @rinternals{UnaCordaPedal},
420 @rinternals{UnaCordaPedalLineSpanner},
421 @rinternals{PianoPedalBracket},
422 @rinternals{Piano_pedal_engraver}.
425 @subsection Accordion
427 This section discusses notation that is unique to the accordion.
433 @node Discant symbols
434 @unnumberedsubsubsec Discant symbols
435 @cindex accordion discant symbols
436 @cindex discant symbols, accordion
437 @cindex accordion shifts
439 Accordions are often built with more than one set of reeds that may be
440 in unison with, an octave above, or an octave below the written pitch.
441 Each accordion maker has different names for the @notation{shifts} that
442 select the various reed combinations, such as @notation{oboe},
443 @notation{musette}, or @notation{bandonium}, so a system of symbols has
444 come into use to simplify the performance instructions.
448 @c FIXME: Neil, uncomment when fixed.
449 @c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc]
450 @c {accordion-discant-symbols.ly}