than one voice on the same staff.
@menu
-* Single voice::
-* Multiple voices::
+* Single voice::
+* Multiple voices::
@end menu
This section discusses simultaneous notes inside the same voice.
@menu
-* Chorded notes::
-* Clusters::
+* Chorded notes::
+* Parallel notes::
+* Clusters::
@end menu
@node Chorded notes
@code{<g a>8 <e a>8}.
@end ignore
+@node Parallel notes
+@subsubsection Parallel notes
+
+@ignore
+Pieces of music having the same rhythm form chords when
+combined in parallel into the same @code{Voice} context by enclosing
+them into double angle brackets:
+@end ignore
+
+Parallel pieces of music can be combined into a single
+@code{Voice} context, thus forming chords if they have the same
+rhythm. To achieve this, enclose them in a simultaneous music
+construction:
+
+@lilypond[quote,relative=2,verbatim]
+\new Voice <<
+ { e4 f8 d e16 f g8 d4 }
+ { c4 d8 b c16 d e8 b4 }
+>>
+@end lilypond
+
+@seealso
+
+Learning Manual:
+@rlearning{Voices contain music}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
+
+@knownissues
+
+This method leads to strange beamings and warnings if the pieces of
+music do not have the same rhythm.
+
@node Clusters
@subsubsection Clusters
multiple staves.
@menu
-* Collision resolution::
-* Automatic part combining::
-* Writing music in parallel::
+* Collision resolution::
+* Voice styles::
+* Automatic part combining::
+* Writing music in parallel::
@end menu
@node Collision resolution
>>
@end lilypond
-Note heads with different note heads may be merged, with the exception
-of half-note heads and quarter-note heads:
+Note heads with different note heads may be merged, with the
+exception of half-note heads and quarter-note heads:
@lilypond[quote,verbatim,relative=2]
<<
@cindex shift note
The collision on the second measure happens because
-@code{merge-differently-headed} cannot successfully complete the merge
-when three or more notes line up in the same column -- in fact, you
-will obtain a warning for this reason. To allow the merge to work
-properly, apply a @code{\shift} to the note that should not be merged.
-Here, @code{\shiftOn} is applied to move the top @code{g} out of the
-column, and @code{merge-differently-headed} works properly.
+@code{merge-differently-headed} cannot successfully complete the
+merge when three or more notes line up in the same column -- in
+fact, you will obtain a warning for this reason. To allow the
+merge to work properly, apply a @code{\shift} to the note that
+should not be merged. Here, @code{\shiftOn} is applied to move
+the top @code{g} out of the column, and
+@code{merge-differently-headed} works properly.
@lilypond[quote,relative=2,verbatim]
<<
>>
@end lilypond
-The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn} commands
-specify the degree to which chords of the current voice should be
-shifted. The outer voices (normally: voices one and two) have
-@code{\shiftOff}, while the inner voices (three and four) have
-@code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define
-further shift levels.
+The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
+commands specify the degree to which chords of the current voice
+should be shifted. The outer voices (normally: voices one and
+two) have @code{\shiftOff}, while the inner voices (three and
+four) have @code{\shiftOn}. @code{\shiftOnn} and
+@code{\shiftOnnn} define further shift levels.
Notes are only merged if they have opposing stem directions (i.e., in
@code{Voice} 1 and 2).
+
@cindex multiple voices
@cindex polyphonic music
@cindex shifting voices
@code{\mergeDifferentlyHeadedOn},
@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-
+
@funindex \oneVoice
@code{\oneVoice},
@funindex \voiceOne
@funindex \voiceFour
@code{\voiceFour}.
-@funindex \voiceNeutralStyle
-@code{\voiceNeutralStyle},
-@funindex \voiceOneStyle
-@code{\voiceOneStyle},
-@funindex \voiceTwoStyle
-@code{\voiceTwoStyle},
-@funindex \voiceThreeStyle
-@code{\voiceThreeStyle},
-@funindex \voiceFourStyle
-@code{\voiceFourStyle}.
@funindex \shiftOn
@code{\shiftOn},
@rlsr{Simultaneous notes}.
Internals Reference:
-@rinternals{NoteColumn}.
-The objects responsible for resolving collisions
-are
-@rinternals{NoteCollision} and
+@rinternals{NoteColumn},
+@rinternals{NoteCollision},
@rinternals{RestCollision}.
@knownissues
-When using @code{merge-differently-headed} with an upstem eighth or a
-shorter note, and a downstem half note, the eighth note stem gets a
-slightly wrong offset because of the different width of the half note
-head symbol.
+When using @code{merge-differently-headed} with an upstem eighth
+or a shorter note, and a downstem half note, the eighth note stem
+gets a slightly wrong offset because of the different width of the
+half note head symbol.
@c investigate! Sometimes it works, sometimes not. --FV
It is not clear in which circumpstances you can succesfully merge
recommended to use enharmonic transcription, or to use special
cluster notation (see @ref{Clusters}).
+@node Voice styles
+@subsubsection Voice styles
+
+@cindex voice styles
+@cindex styles, voice
+@cindex coloring voices
+
+Voices may be given distinct colors and shapes, allowing them to be
+easily identified:
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ {
+ a1
+ \voiceOneStyle
+ f2 g
+ \voiceNeutralStyle
+ a1
+ } \\ {
+ f1
+ \voiceTwoStyle
+ f4 f2 e4
+ \voiceNeutralStyle
+ f1
+ }
+>>
+@end lilypond
+
+@predefined
+
+@funindex \voiceOneStyle
+@code{\voiceOneStyle},
+@funindex \voiceTwoStyle
+@code{\voiceTwoStyle},
+@funindex \voiceThreeStyle
+@code{\voiceThreeStyle},
+@funindex \voiceFourStyle
+@code{\voiceFourStyle},
+@funindex \voiceNeutralStyle
+@code{\voiceNeutralStyle}.
+
+@seealso
+
+Lerning Manual:
+@rlearning{I'm hearing Voices}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
@node Automatic part combining
@subsubsection Automatic part combining
@cindex combining parts
@funindex \partcombine
-Automatic part combining is used to merge two parts of music onto a
-staff. It is aimed at typesetting orchestral scores. When the two
-parts are identical for a period of time, only one is shown. In
-places where the two parts differ, they are typeset as separate
+Automatic part combining is used to merge two parts of music onto
+a staff. It is aimed at typesetting orchestral scores. When the
+two parts are identical for a period of time, only one is shown.
+In places where the two parts differ, they are typeset as separate
voices, and stem directions are set automatically. Also, solo and
@notation{a due} parts are identified and marked by default.
\partcombine @var{musicexpr1} @var{musicexpr2}
@end example
-The following example demonstrates the basic functionality of the part
-combiner: putting parts on one staff and setting stem directions and
-polyphony. The same variables are used for the independent
-parts and the combined staff.
+The following example demonstrates the basic functionality of the
+part combiner: putting parts on one staff and setting stem
+directions and polyphony. The same variables are used for the
+independent parts and the combined staff.
@lilypond[quote,verbatim]
instrumentOne = \relative c' {
>>
@end lilypond
-The notes in the third measure appear only once, although they were
-specified in both parts. Stem, slur, and tie directions are set
-automatically, depending whether there is a solo or unison. When
-needed in polyphony situations, the first part (with context called
-@code{one}) always gets up stems, while the second (called @code{two})
-always gets down stems. In solo situations, the parts get marked with
-@q{Solo} and @q{Solo II}, respectively. The unisono (@notation{a due})
-parts are marked by default with the text @qq{a2}.
+The notes in the third measure appear only once, although they
+were specified in both parts. Stem, slur, and tie directions are
+set automatically, depending whether there is a solo or unison.
+When needed in polyphony situations, the first part (with context
+called @code{one}) always gets up stems, while the second (called
+@code{two}) always gets down stems. In solo situations, the parts
+get marked with @q{Solo} and @q{Solo II}, respectively. The
+unisono (@notation{a due}) parts are marked by default with the
+text @qq{a2}.
Both arguments to @code{\partcombine} will be interpreted as
@code{Voice} contexts. If using relative octaves,
Music for multiple parts can be interleaved in input code. The
function @code{\parallelMusic} accepts a list with the names of a
number of variables to be created, and a musical expression. The
-content of alternate measures from the expression become the value of
-the respective variables, so you can use them afterwards to print the
-music.
+content of alternate measures from the expression become the value
+of the respective variables, so you can use them afterwards to
+print the music.
@warning{Bar checks @code{|} must be used, and the measures must
be of the same length.}
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