1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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11 @node Keyboard and other multi-staff instruments
12 @section Keyboard and other multi-staff instruments
14 @lilypondfile[quote]{keyboard-headword.ly}
16 This section discusses several aspects of music notation that are
17 unique to keyboard instruments and other instruments notated on
18 many staves, such as harps and vibraphones. For the purposes of
19 this section this entire group of multi-staff instruments is called
20 @qq{keyboards} for short, even though some of them do not have a
24 * Common notation for keyboards::
30 @node Common notation for keyboards
31 @subsection Common notation for keyboards
33 This section discusses notation issues that may arise for most
37 * References for keyboards::
38 * Changing staff manually::
39 * Changing staff automatically::
40 * Staff-change lines::
44 @node References for keyboards
45 @unnumberedsubsubsec References for keyboards
49 @cindex staves, keyboard instruments
50 @cindex staves, keyed instruments
51 @cindex keyboard instrument staves
52 @cindex keyed instrument staves
56 Keyboard instruments are usually notated with Piano staves. These
57 are two or more normal staves coupled with a brace. The same
58 notation is also used for other keyed instruments.
59 Organ music is normally written with two staves inside a
60 @code{PianoStaff} group and third, normal staff for the pedals.
62 The staves in keyboard music are largely independent, but
63 sometimes voices can cross between the two staves. This
64 section discusses notation techniques particular to keyboard
67 Several common issues in keyboard music are covered elsewhere:
71 @item Keyboard music usually contains multiple voices and the
72 number of voices may change regularly; this is described in
73 @ref{Collision resolution}.
75 @item Keyboard music can be written in parallel, as described in
76 @ref{Writing music in parallel}.
78 @item Fingerings are indicated with @ref{Fingering instructions}.
80 @item Organ pedal indications are inserted as articulations, see
81 @ref{List of articulations}.
83 @item Vertical grid lines can be shown with @ref{Grid lines}.
85 @item Keyboard music often contains @notation{Laissez vibrer} ties
86 as well as ties on arpeggios and tremolos, described in
89 @item Placing arpeggios across multiple voices and staves is
90 covered in @ref{Arpeggio}.
92 @item Tremolo marks are described in @ref{Tremolo repeats}.
94 @item Several of the tweaks that can occur in keyboard music are
95 demonstrated in @rlearning{Real music example}.
97 @item Hidden notes can be used to produce ties that cross voices,
98 as shown in @rlearning{Other uses for tweaks}.
103 @c @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
104 @c {forcing-visibility-of-systems-with-multi-bar-rests-when-using-\RemoveEmptyStaffContext.ly}
105 @c http://lsr.dsi.unimi.it/LSR/Item?u=1&id=312
109 @rlearning{Real music example},
110 @rlearning{Other uses for tweaks}.
113 @ref{Grouping staves},
114 @ref{Instrument names},
115 @ref{Collision resolution},
116 @ref{Writing music in parallel},
117 @ref{Fingering instructions},
118 @ref{List of articulations},
122 @ref{Tremolo repeats}.
125 @rinternals{PianoStaff}.
133 @cindex keyboard music, centering dynamics
134 @cindex dynamics, centered in keyboard music
135 @cindex piano music, centering dynamics
136 @cindex centered dynamics in piano music
137 @funindex staff-padding
139 Dynamics are not automatically centered, but workarounds do exist. One
140 option is the @q{piano centered dynamics} template under
141 @rlearning{Piano templates}; another option is to increase the
142 @code{staff-padding} of dynamics as discussed in @rlearning{Moving
145 @node Changing staff manually
146 @unnumberedsubsubsec Changing staff manually
148 @cindex changing staff manually
149 @cindex manual staff changes
150 @cindex staff changes, manual
151 @cindex cross-staff notes
152 @cindex notes, cross-staff
153 @cindex cross-staff beams
154 @cindex beams, cross-staff
159 Voices can be switched between staves manually, using the command
162 \change Staff = @var{staffname}
166 The string @var{staffname} is the name of the staff. It switches
167 the current voice from its current staff to the staff called
168 @var{staffname}. Typical values for @var{staffname} are
169 @code{"up"} and @code{"down"}, or @code{"RH"} and @code{"LH"}.
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
202 @rlearning{Fixing overlapping notation}.
206 @ref{Automatic beams}.
213 @rinternals{ContextChange}.
216 @node Changing staff automatically
217 @unnumberedsubsubsec Changing staff automatically
219 @cindex changing staff automatically
220 @cindex automatic staff changes
221 @cindex staff changes, automatic
223 @funindex \autochange
227 Voices can be made to switch automatically between the top and the
228 bottom staff. The syntax for this is
231 \autochange @dots{}@var{music}@dots{}
235 This will create two staves inside the current staff group
236 (usually a @code{PianoStaff}), called @code{"up"} and
237 @code{"down"}. The lower staff will be in the bass clef by default.
238 The autochanger switches on the basis of the pitch (middle@tie{}C is the
239 turning point), and it looks ahead skipping over rests to switch
242 @lilypond[quote,verbatim]
251 @cindex relative music and autochange
252 @cindex autochange and relative music
257 A @code{\relative} section that is outside of @code{\autochange}
258 has no effect on the pitches of the music, so if necessary, put
259 @code{\relative} inside @code{\autochange}.
261 If additional control is needed over the individual staves, they
262 can be created manually with the names @code{"up"} and
263 @code{"down"}. The @code{\autochange} command will then switch
264 its voice between the existing staves. For example, this is
265 necessary to place a key signature in the lower staff:
267 @lilypond[quote,verbatim]
270 \new Voice = "melOne" {
272 \autochange \relative c' {
278 \new Staff = "down" {
288 @ref{Changing staff manually}.
294 @rinternals{AutoChangeMusic}.
299 @cindex chords, splitting across staves with \autochange
301 The staff switches may not end up in optimal places. For high
302 quality output, staff switches should be specified manually.
304 Chords will not be split across the staves; they will be assigned to a
305 staff based on the first note named in the chord construct.
307 @node Staff-change lines
308 @unnumberedsubsubsec Staff-change lines
310 @cindex staff-change line
311 @cindex staff change line
312 @cindex cross-staff line
313 @cindex cross staff line
314 @cindex line, staff-change follower
315 @cindex line, cross-staff
316 @cindex line, staff-change
318 @cindex voice, following
319 @cindex staff switching
322 @funindex followVoice
323 @funindex \showStaffSwitch
324 @funindex showStaffSwitch
325 @funindex \hideStaffSwitch
326 @funindex hideStaffSwitch
328 Whenever a voice switches to another staff, a line connecting the
329 notes can be printed automatically:
331 @lilypond[quote,verbatim,relative=1]
336 \change Staff = "two"
348 @code{\showStaffSwitch},
349 @code{\hideStaffSwitch}.
358 @rinternals{Note_head_line_engraver},
359 @rinternals{VoiceFollower}.
362 @node Cross-staff stems
363 @unnumberedsubsubsec Cross-staff stems
365 @cindex cross-staff notes
366 @cindex cross staff notes
367 @cindex notes, cross-staff
368 @cindex cross-staff stems
369 @cindex cross staff stems
370 @cindex stems, cross-staff
371 @cindex chords, cross-staff
372 @cindex cross-staff chords
373 @cindex cross staff chords
376 @funindex cross-staff
380 Chords that cross staves may be produced:
382 @lilypond[verbatim,quote]
393 % stems may overlap the other staff
394 \override Stem #'cross-staff = ##t
395 % extend the stems to reach other other staff
396 \override Stem #'length = #12
397 % do not print extra flags
398 \override Stem #'flag-style = #'no-flag
399 % prevent beaming as needed
400 a8 g4 f8 f bes\noBeam g4
412 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
413 {indicating-cross-staff-chords-with-arpeggio-bracket.ly}
427 This section discusses notation issues that relate most directly to the
435 @unnumberedsubsubsec Piano pedals
438 @cindex pedals, piano
439 @cindex sustain pedal
440 @cindex pedal, sustain
441 @cindex sostenuto pedal
442 @cindex pedal, sostenuto
450 @funindex \sustainOff
452 @funindex \sostenutoOn
453 @funindex sostenutoOn
454 @funindex \sostenutoOff
455 @funindex sostenutoOff
461 Pianos generally have three pedals that alter the way sound is
462 produced: @notation{sustain}, @notation{sostenuto}
463 (@notation{sos.}), and @notation{una corda} (@notation{U.C.}).
464 Sustain pedals are also found on vibraphones and celestas.
466 @lilypond[quote,verbatim,relative=2]
469 c4\sostenutoOn e g c,
470 <bes d f>1\sostenutoOff
475 @cindex pedal indication styles
476 @cindex pedal indication, text
477 @cindex pedal indication, bracket
478 @cindex pedal indication, mixed
479 @cindex pedal sustain style
480 @cindex sustain pedal style
482 @funindex pedalSustainStyle
487 There are three styles of pedal indications: text, bracket, and mixed.
488 The sustain pedal and the una corda pedal use the text style by default
489 while the sostenuto pedal uses mixed by default.
491 @lilypond[quote,verbatim,relative=2]
492 c4\sustainOn g c2\sustainOff
493 \set Staff.pedalSustainStyle = #'mixed
495 d\sustainOff\sustainOn g, c2\sustainOff
496 \set Staff.pedalSustainStyle = #'bracket
498 d\sustainOff\sustainOn g, c2
502 The placement of the pedal commands matches the physical movement of the
503 sustain pedal during piano performance. Pedalling to the final bar line
504 is indicated by omitting the final pedal up command.
515 @rinternals{SustainPedal},
516 @rinternals{SustainPedalLineSpanner},
517 @rinternals{SustainEvent},
518 @rinternals{SostenutoPedal},
519 @rinternals{SostenutoPedalLineSpanner},
520 @rinternals{SostenutoEvent},
521 @rinternals{UnaCordaPedal},
522 @rinternals{UnaCordaPedalLineSpanner},
523 @rinternals{UnaCordaEvent},
524 @rinternals{PianoPedalBracket},
525 @rinternals{Piano_pedal_engraver}.
529 @subsection Accordion
533 This section discusses notation that is unique to the accordion.
539 @node Discant symbols
540 @unnumberedsubsubsec Discant symbols
542 @cindex accordion discant symbols
543 @cindex discant symbols, accordion
544 @cindex accordion shifts
545 @cindex accordion shift symbols
547 Accordions are often built with more than one set of reeds that may be
548 in unison with, an octave above, or an octave below the written pitch.
549 Each accordion maker has different names for the @notation{shifts} that
550 select the various reed combinations, such as @notation{oboe},
551 @notation{musette}, or @notation{bandonium}, so a system of symbols has
552 come into use to simplify the performance instructions.
556 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
557 {accordion-discant-symbols.ly}
568 This section discusses notation issues that are unique to the harp.
571 * References for harps::
575 @node References for harps
576 @unnumberedsubsubsec References for harps
580 Some common characteristics of harp music are covered elsewhere:
584 @item The glissando is the most characterisic harp technique,
587 @item A @notation{bisbigliando} is written as a tremelo @ref{Tremolo
590 @item Natural harmonics are covered under @ref{Harmonics}.
592 @item For directional arpeggios and non-arpeggios, see @ref{Arpeggio}.
598 @ruser{Tremolo repeats}
604 @unnumberedsubsubsec Harp pedals
607 @cindex harp pedal diagrams
609 @cindex pedal diagrams, harp
611 Harps have seven strings per octave that may be sounded at the natural,
612 flattened, or sharpened pitch. In lever harps, each string is adjusted
613 individually, but in pedal harps every string with the same pitch name
614 is controlled by a single pedal. From the player's left to right, the
615 pedals are D, C, and B on the left and E, F, G, and A on the right.
616 The position of the pedals may be indicated with text marks:
618 @lilypond[quote,verbatim,relative=2]
620 cis1_\markup \concat \vcenter { [D \flat C \sharp B|E \sharp F \sharp G A \flat] }
621 c!1_\markup \concat \vcenter {[ C \natural ]}
626 @lilypond[quote,verbatim,relative=2]
628 cis1_\markup { \harp-pedal #"^v-|vv-^" }
629 c!1_\markup { \harp-pedal #"^o--|vv-^" }
632 The @code{\harp-pedal} command accepts a string of characters, where
633 @code{^} is the highest pedal position (flattened pitch), @code{-} is
634 the middle pedal postion (natural pitch), @code{v} is the lowest pedal
635 position (sharpened pitch), and @code{|} is the divider. A prefixed
636 @code{o} will circle the following pedal symbol.
641 @ruser{Instrument Specific Markup}