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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12 @node Simultaneous notes
13 @section Simultaneous notes
15 @lilypondfile[quote]{simultaneous-headword.ly}
17 Polyphony in music refers to having more than one voice occurring
18 in a piece of music. Polyphony in LilyPond refers to having more
19 than one voice on the same staff.
28 @subsection Single voice
30 This section discusses simultaneous notes inside the same voice.
34 * Simultaneous expressions::
40 @unnumberedsubsubsec Chorded notes
43 @cindex brackets, angle
44 @cindex angle brackets
45 @cindex relative pitch in chords
51 A chord is formed by enclosing a set of pitches between @code{<}
52 and @code{>}. A chord may be followed by a duration and/or a set
53 of articulations, just like simple notes:
55 @lilypond[verbatim,quote,relative=1]
56 <c e g>2 <c f a>4-> <e g c>-.
59 Relative mode can be used for pitches in chords. The octave of each
60 pitch is chosen using the preceding pitch as a reference except in
61 the case of the first pitch in a chord: the reference for the first
62 pitch is the @emph{first} pitch of the preceding chord.
64 For more information about chords, see @ref{Chord notation}.
72 @rlearning{Combining notes into chords}.
78 @rlsr{Simultaneous notes}.
81 @node Simultaneous expressions
82 @unnumberedsubsubsec Simultaneous expressions
84 One or more music expressions enclosed in double angle brackets are
85 taken to be simultaneous. If the first expression begins with a
86 single note or if the whole simultaneous expression appears
87 explicitly within a single voice, the whole expression is placed on
88 a single staff; otherwise the elements of the simultaneous
89 expression are placed on separate staves.
91 The following examples show simultaneous expressions on one staff:
93 @lilypond[quote,verbatim,relative=2]
94 \new Voice { % explicit single voice
95 << { a4 b g2 } { d4 g c,2 } >>
99 @lilypond[quote,verbatim,relative=2]
101 a << { a4 b g } { d4 g c, } >>
104 This can be useful if the simultaneous sections have identical
105 rhythms, but attempts to attach notes with different durations
106 to the same stem will cause errors.
108 The following example shows how simultaneous expressions can
109 generate multiple staves implicitly:
111 @lilypond[quote,verbatim,relative=2]
112 % no single first note
113 << { a4 b g2 } { d4 g2 c,4 } >>
116 Here different rhythms cause no problems.
120 @unnumberedsubsubsec Clusters
125 @funindex \makeClusters
126 @funindex makeClusters
128 A cluster indicates a continuous range of pitches to be played.
129 They can be denoted as the envelope of a set of notes. They are
130 entered by applying the function @code{\makeClusters} to a sequence
133 @lilypond[quote,relative=2,verbatim]
134 \makeClusters { <g b>2 <c g'> }
137 Ordinary notes and clusters can be put together in the same staff,
138 even simultaneously. In such a case no attempt is made to
139 automatically avoid collisions between ordinary notes and clusters.
147 @rlsr{Simultaneous notes}.
150 @rinternals{ClusterSpanner},
151 @rinternals{ClusterSpannerBeacon},
152 @rinternals{Cluster_spanner_engraver}.
157 Clusters look good only if they span at least two chords; otherwise
158 they appear too narrow.
160 Clusters do not have a stem and cannot indicate durations by
161 themselves, but the length of the printed cluster is determined by
162 the durations of the defining chords. Separate clusters need a
163 separating rest between them.
165 Clusters do not produce MIDI output.
167 @node Multiple voices
168 @subsection Multiple voices
170 This section discusses simultaneous notes in multiple voices or
174 * Single-staff polyphony::
176 * Collision resolution::
177 * Automatic part combining::
178 * Writing music in parallel::
182 @node Single-staff polyphony
183 @unnumberedsubsubsec Single-staff polyphony
185 @cindex single-staff polyphony
186 @cindex polyphony, single-staff
188 @cindex lyrics assigned to one voice
192 @funindex \voiceOne ... \voiceFour
197 @strong{@i{Explicitly instantiating voices}}
199 The basic structure needed to achieve multiple independent
200 voices in a single staff is illustrated in the following example:
202 @lilypond[quote,relative=3,verbatim]
205 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
207 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
212 Here, voices are instantiated explicitly and are given names. The
213 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices
214 so that first and third voices get stems up, second and fourth
215 voices get stems down, third and fourth voice note heads are
216 horizontally shifted, and rests in the respective voices are
217 automatically moved to avoid collisions. The @code{\oneVoice}
218 command returns all the voice settings to the neutral default
221 @strong{@i{Temporary polyphonic passages}}
223 A temporary polyphonic passage can be created with the following
227 << @{ \voiceOne ... @}
228 \new Voice @{ \voiceTwo ... @}
233 Here, the first expression within a temporary polyphonic passage is
234 placed into the @code{Voice} context which was in use immediately
235 before the polyphonic passage, and that same @code{Voice} context
236 continues after the temporary section. Other expressions within
237 the angle brackets are assigned to distinct temporary voices.
238 This allows lyrics to be assigned to one continuing voice before,
239 during and after a polyphonic section:
241 @lilypond[quote, verbatim, relative=2]
243 \new Voice = "melody" {
258 \new Lyrics \lyricsto "melody" {
265 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
266 required to define the settings of each voice.
268 @strong{@i{The double backslash construct}}
270 The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
271 more) expressions are separated by double backslashes, behaves
272 differently to the similar construct without the double backslashes:
273 @emph{all} the expressions within this contruct are assigned
274 to new @code{Voice} contexts. These new @code{Voice} contexts
275 are created implicitly and are given the fixed names @code{"1"},
278 The first example could be typeset as follows:
280 @lilypond[quote,relative=3,verbatim]
282 { r8 r16 g e8. f16 g8[ c,] f e16 d }
284 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
288 This syntax can be used where it does not matter that temporary
289 voices are created and then discarded. These implicitly created
290 voices are given the settings equivalent to the effect of the
291 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in
292 which they appear in the code.
294 In the following example, the intermediate voice has stems up,
295 therefore we enter it in the third place, so it becomes voice
296 three, which has the stems up as desired. Spacer rests are
297 used to avoid printing doubled rests.
299 @lilypond[quote,relative=3,verbatim]
301 { r8 g g g g f16 ees f8 d }
303 { ees,8 r ees r d r d r }
305 { d'8 s c s bes s a s }
309 In all but the simplest works it is advisable to create explicit
310 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
311 @rlearning{Explicitly instantiating voices}.
313 @strong{@i{Identical rhythms}}
315 In the special case that we want to typeset parallel pieces of music
316 that have the same rhythm, we can combine them into a single
317 @code{Voice} context, thus forming chords. To achieve this, enclose
318 them in a simple simultaneous music construct within an explicit voice:
320 @lilypond[quote,relative=2,verbatim]
322 { e4 f8 d e16 f g8 d4 }
323 { c4 d8 b c16 d e8 b4 }
327 This method leads to strange beamings and warnings if the pieces of
328 music do not have the same rhythm.
342 @rlearning{Voices contain music},
343 @rlearning{Explicitly instantiating voices}.
346 @ref{Percussion staves},
347 @ref{Invisible rests},
351 @rlsr{Simultaneous notes}.
355 @unnumberedsubsubsec Voice styles
358 @cindex styles, voice
359 @cindex coloring voices
360 @funindex \voiceOneStyle
361 @funindex \voiceTwoStyle
362 @funindex \voiceThreeStyle
363 @funindex \voiceFourStyle
364 @funindex \voiceNeutralStyle
366 Voices may be given distinct colors and shapes, allowing them to be
369 @lilypond[quote,relative=2,verbatim]
371 { \voiceOneStyle d4 c2 b4 }
373 { \voiceTwoStyle e,2 e }
375 { \voiceThreeStyle b2. c4 }
377 { \voiceFourStyle g'2 g }
381 The @code{\voiceNeutralstyle} command is used to revert to the
382 standard presentation.
386 @code{\voiceOneStyle},
387 @code{\voiceTwoStyle},
388 @code{\voiceThreeStyle},
389 @code{\voiceFourStyle},
390 @code{\voiceNeutralStyle}.
396 @rlearning{I'm hearing Voices},
397 @rlearning{Other sources of information}.
400 @rlsr{Simultaneous notes}.
403 @node Collision resolution
404 @unnumberedsubsubsec Collision resolution
406 @cindex merging notes
407 @cindex note collisions
410 @cindex multiple voices
411 @cindex voices, multiple
412 @cindex polyphonic music
413 @cindex shifting voices
414 @cindex voices, multiple
415 @cindex shift rest, automatic
424 @funindex \mergeDifferentlyDottedOn
425 @funindex mergeDifferentlyDottedOn
426 @funindex \mergeDifferentlyDottedOff
427 @funindex mergeDifferentlyDottedOff
428 @funindex \mergeDifferentlyHeadedOn
429 @funindex mergeDifferentlyHeadedOn
430 @funindex \mergeDifferentlyHeadedOff
431 @funindex mergeDifferentlyHeadedOff
433 The note heads of notes in different voices with the same pitch,
434 same note head and opposite stem direction are automatically
435 merged, but notes with different note heads or the same stem
436 direction are not. Rests opposite a stem in a different voice
437 are shifted vertically.
439 @lilypond[quote,verbatim,relative=2]
455 Notes with different note heads may be merged, with the
456 exception of half-note heads and quarter-note heads:
458 @lilypond[quote,verbatim,relative=2]
461 \mergeDifferentlyHeadedOn
475 Note heads with different dots may be merged:
477 @lilypond[quote,relative=2,verbatim]
480 \mergeDifferentlyHeadedOn
481 \mergeDifferentlyDottedOn
496 The half note and eighth note at the start of the second measure
497 are incorrectly merged because @code{\mergeDifferentlyHeadedOn}
498 cannot successfully complete the merge when three or more notes
499 line up in the same column, and in this case a warning is given.
500 To allow the merge to work properly a @code{\shift} must be applied
501 to the note that should not be merged. Here, @code{\shiftOn} is
502 applied to move the top @notation{g} out of the column, and
503 @code{\mergeDifferentlyHeadedOn} then works properly.
505 @lilypond[quote,relative=2,verbatim]
508 \mergeDifferentlyHeadedOn
509 \mergeDifferentlyDottedOn
525 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
526 commands specify the degree to which chords of the current voice
527 should be shifted. The outer voices (normally: voices one and
528 two) have @code{\shiftOff}, while the inner voices (three and
529 four) have @code{\shiftOn}. @code{\shiftOnn} and
530 @code{\shiftOnnn} define further shift levels.
532 Notes are only merged if they have opposing stem directions (e.g. in
533 @code{Voice} 1 and 2).
537 @code{\mergeDifferentlyDottedOn},
538 @code{\mergeDifferentlyDottedOff},
539 @code{\mergeDifferentlyHeadedOn},
540 @code{\mergeDifferentlyHeadedOff}.
551 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
552 {additional-voices-to-avoid-collisions.ly}
554 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
555 {forcing-horizontal-shift-of-notes.ly}
563 @rlearning{Multiple notes at once},
564 @rlearning{Voices contain music},
565 @rlearning{Collisions of objects}.
568 @rlsr{Simultaneous notes}.
571 @rinternals{NoteColumn},
572 @rinternals{NoteCollision},
573 @rinternals{RestCollision}.
579 @c TODO investigate! Sometimes it works, sometimes not. --FV
580 The requirements for successfully merging different note heads that
581 are at the same time differently dotted are not clear.
584 There is no support for chords where the same note occurs with
585 different accidentals in the same chord. In this case, it is
586 recommended to use enharmonic transcription, or to use special
587 cluster notation (see @ref{Clusters}).
590 @node Automatic part combining
591 @unnumberedsubsubsec Automatic part combining
593 @cindex automatic part combining
594 @cindex part combiner
595 @cindex combining parts
598 @funindex \partcombine
599 @funindex partcombine
601 Automatic part combining is used to merge two parts of music onto
602 a staff. It is aimed at typesetting orchestral scores. When the
603 two parts are identical for a period of time, only one is shown.
604 In places where the two parts differ, they are typeset as separate
605 voices, and stem directions are set automatically. Also, solo and
606 @notation{a due} parts are identified and marked by default.
608 The syntax for part combining is:
611 \partcombine @var{musicexpr1} @var{musicexpr2}
614 The following example demonstrates the basic functionality of the
615 part combiner: putting parts on one staff and setting stem
616 directions and polyphony. The same variables are used for the
617 independent parts and the combined staff.
619 @lilypond[quote,verbatim]
620 instrumentOne = \relative c' {
628 instrumentTwo = \relative g' {
637 \new Staff \instrumentOne
638 \new Staff \instrumentTwo
639 \new Staff \partcombine \instrumentOne \instrumentTwo
643 The notes in the third measure appear only once, although they were
644 specified in both parts. Stem, slur, and tie directions are set
645 automatically, depending whether there is a solo or unison. When
646 needed in polyphony situations, the first part (with context called
647 @code{one}) always gets up stems, while the second (called @code{two})
648 always gets down stems. In solo situations, the first and second
649 parts get marked with @q{Solo} and @q{Solo II}, respectively. The
650 unisono (@notation{a due}) parts are marked by default with the text
653 Both arguments to @code{\partcombine} will be interpreted as
654 @code{Voice} contexts. If using relative octaves,
655 @code{\relative} should be specified for both music expressions,
660 \relative @dots{} @var{musicexpr1}
661 \relative @dots{} @var{musicexpr2}
665 A @code{\relative} section that is outside of @code{\partcombine}
666 has no effect on the pitches of @var{musicexpr1} and
671 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
672 {combining-two-parts-on-the-same-staff.ly}
674 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
675 {changing-partcombine-texts.ly}
687 @rlsr{Simultaneous notes}.
690 @rinternals{PartCombineMusic},
696 @code{\partcombine} can only accept two voices.
698 When @code{printPartCombineTexts} is set, if the two voices play
699 the same notes on and off, the part combiner may typeset @code{a2}
700 more than once in a measure.
702 @code{\partcombine} cannot be inside @code{\times}.
704 @code{\partcombine} cannot be inside @code{\relative}.
706 Internally, the @code{\partcombine} interprets both arguments as
707 @code{Voice}s and decides when the parts can be combined. When they have
708 different durations they cannot be combined and are given the names
709 @code{one} and @code{two}. Consequently, if the arguments switch to
710 differently named @rinternals{Voice} contexts, the events in those will
711 be ignored. Likewise, partcombining isn't designed to work with lyrics;
712 when one of the voices is explicitly named in order to attach lyrics to
713 it, the partcombining stops working.
715 @code{\partcombine} only observes onset times of notes. It cannot
716 determine whether a previously started note is playing or not, leading
720 @node Writing music in parallel
721 @unnumberedsubsubsec Writing music in parallel
723 @cindex writing music in parallel
724 @cindex interleaved music
725 @cindex parallel music
726 @funindex \parallelMusic
727 @funindex parallelMusic
729 Music for multiple parts can be interleaved in input code. The
730 function @code{\parallelMusic} accepts a list with the names of a
731 number of variables to be created, and a musical expression. The
732 content of alternate measures from the expression become the value
733 of the respective variables, so you can use them afterwards to
736 @warning{Bar checks @code{|} must be used, and the measures must
737 be of the same length.}
739 @lilypond[quote,verbatim]
740 \parallelMusic #'(voiceA voiceB voiceC) {
742 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
743 r16 e'8.~ e'4 r16 e'8.~ e'4 |
747 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
748 r16 d'8.~ d'4 r16 d'8.~ d'4 |
753 \new Staff << \voiceA \\ \voiceB >>
754 \new Staff { \clef bass \voiceC }
758 Relative mode may be used. Note that the @code{\relative} command
759 is not used inside @code{\parallelMusic} itself. The notes are
760 relative to the preceding note in the voice, not to the previous
761 note in the input -- in other words, relative notes for
762 @code{voiceA} ignore the notes in @code{voiceB}.
764 @lilypond[quote,verbatim]
765 \parallelMusic #'(voiceA voiceB voiceC) {
767 r8 g16 c e g, c e r8 g,16 c e g, c e |
768 r16 e8.~ e4 r16 e8.~ e4 |
772 r8 a,16 d f a, d f r8 a,16 d f a, d f |
773 r16 d8.~ d4 r16 d8.~ d4 |
778 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
779 \new Staff \relative c' { \clef bass \voiceC }
783 This works quite well for piano music. This example maps four
784 consecutive measures to four variables:
786 @lilypond[quote,verbatim]
792 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
796 c16 d e fis d e fis g |
802 e16 fis g a fis g a b |
813 \relative c'' \voiceA
833 @rlearning{Organizing pieces with variables}.
836 @rlsr{Simultaneous notes}.