1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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13 @node Simultaneous notes
14 @section Simultaneous notes
16 @lilypondfile[quote,ragged-right,line-width=16\cm]{simultaneous-headword.ly}
18 Polyphony in music refers to having more than one voice occurring
19 in a piece of music. Polyphony in LilyPond refers to having more
20 than one voice on the same staff.
29 @subsection Single voice
31 This section discusses simultaneous notes inside the same voice.
36 * Simultaneous expressions::
42 @unnumberedsubsubsec Chorded notes
45 @cindex brackets, angle
51 A chord is formed by enclosing a set of pitches between @code{<}
52 and @code{>}. A chord may be followed by a duration just like simple
55 @lilypond[verbatim,quote]
57 <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
61 Chords may also be followed by articulations, again just like simple
64 @lilypond[verbatim,quote]
66 <a' c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
70 The notes within the chord themselves can also be followed by articulation
73 @lilypond[verbatim,quote]
75 <a' c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
76 <a-+ c-->8. <g\fermata c e\turn>16
80 However some notation, such as dynamics, hairpins and slurs must be
81 attached to the chord, rather than notes within the chord, otherwise
84 @lilypond[verbatim,quote]
86 <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
87 <a c e>\< <a c e> <a c e>\!
92 @cindex placeholder events
94 A chord acts merely as a container for its notes, its articulations and
95 other attached elements. Consequently, a chord without notes inside
96 does not actually have a duration. Any attached articulations will
97 happen at the same musical time as the next following note or chord and
98 be combined with them (for more complex possibilities of combining such
99 elements, see @ref{Simultaneous expressions}):
101 @lilypond[verbatim,quote]
104 <> ) \p \< -. -\markup \italic "sempre staccato"
105 \repeat unfold 4 { c4 e } c1\f
109 @cindex relative pitch, chords
110 @cindex chords, relative pitch
112 Relative mode can be used for pitches in chords. The first note of
113 each chord is always relative to the first note of the chord that
114 came before it, or in the case where no preceding chord exists, the
115 pitch of the last note that came before the chord. All remaining notes
116 in the chord are relative to the note that came before it
117 @emph{within the same chord}.
119 @lilypond[verbatim,quote]
121 <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
125 For more information about chords, see @ref{Chord notation}.
132 @rlearning{Combining notes into chords}.
135 @ref{Chord notation},
136 @ref{Articulations and ornamentations},
137 @ref{Relative octave entry},
138 @ref{Multiple voices}.
141 @rlsr{Simultaneous notes}.
144 Chords containing more than two pitches within a staff space,
145 such as @samp{<e f! fis!>}, create overlapping noteheads.
146 Depending on the situation, better representations might involve
151 temporary use of @ref{Multiple voices},
152 @samp{<< f! \\ <e fis!> >>},
155 enharmonic transcription of one or more pitches,
164 @node Chord repetition
165 @unnumberedsubsubsec Chord repetition
167 @cindex chord, repetition
168 @cindex repetition, using @code{q}
169 @cindex @code{q}, chord repetition
171 In order to save typing, a shortcut can be used to repeat the preceding
172 chord. The chord repetition symbol is @code{q}:
174 @lilypond[verbatim,quote]
176 <a' c e>1 q <f a c>2 q
180 As with regular chords, the chord repetition symbol can be used with
181 durations, articulations, markups, slurs, beams, etc. as only the
182 pitches of the previous chord are duplicated.
184 @lilypond[verbatim,quote]
186 <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
190 The chord repetition symbol always remembers the last instance of
191 a chord so it is possible to repeat the most recent chord even if
192 other non-chorded notes or rests have been added since.
194 @lilypond[verbatim,quote]
196 <a' c e>1 c'4 q2 r8 q8 |
201 However, the chord repetition symbol does not retain any dynamics,
202 articulation or ornamentation within, or attached to, the previous
205 @lilypond[verbatim,quote]
207 <a'-. c\prall e>1\sfz c'4 q2 r8 q8 |
212 To have some of them retained, the @code{\chordRepeats} function can be
213 be called explicitly with an extra argument specifying a list of
214 @var{event types} to keep unless events of that type are already
215 present on the @code{q} chord itself.
217 @lilypond[verbatim,quote]
219 \chordRepeats #'(articulation-event)
220 { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
225 Here using @code{\chordRepeats} inside of a @code{\relative} construction
226 produces unexpected results: once chord events have been expanded, they
227 are indistinguishable from having been entered as regular chords, making
228 @code{\relative} assign an octave based on their current context.
230 Since nested instances of @code{\relative} don't affect one another,
231 another @code{\relative} inside of @code{\chordRepeats} can be used for
232 establishing the octave relations before expanding the repeat chords.
233 In that case, the whole content of the inner @code{\relative} does not
234 affect the outer one; hence the different octave entry of the final note
237 @lilypond[verbatim,quote]
239 \chordRepeats #'(articulation-event)
241 { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
246 Interactions with @code{\relative} occur only with explicit calls of
247 @code{\chordRepeats}: the implicit expansion at the start of typesetting
248 is done at a time where all instances of @code{\relative} have already
253 @ref{Chord notation},
254 @ref{Articulations and ornamentations}.
257 @file{ly/chord-repetition-init.ly}.
260 @node Simultaneous expressions
261 @unnumberedsubsubsec Simultaneous expressions
263 One or more music expressions enclosed in double angle brackets are
264 taken to be simultaneous. If the first expression begins with a
265 single note or if the whole simultaneous expression appears
266 explicitly within a single voice, the whole expression is placed on
267 a single staff; otherwise the elements of the simultaneous
268 expression are placed on separate staves.
270 The following examples show simultaneous expressions on one staff:
272 @lilypond[quote,verbatim]
273 \new Voice { % explicit single voice
274 << \relative { a'4 b g2 }
275 \relative { d'4 g c,2 } >>
279 @lilypond[quote,verbatim]
282 a' << \relative { a'4 b g }
283 \relative { d'4 g c, } >>
287 This can be useful if the simultaneous sections have identical
288 rhythms, but attempts to attach notes with different durations to
289 the same stem will cause errors. Notes, articulations, and property
290 changes in a @emph{single} @samp{Voice} are collected and engraved in
293 @lilypond[quote,verbatim]
295 <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
299 Multiple stems or beams or different note durations or properties at
300 the same musical time require the use of multiple voices.
302 The following example shows how simultaneous expressions can
303 generate multiple staves implicitly:
305 @lilypond[quote,verbatim]
306 % no single first note
307 << \relative { a'4 b g2 }
308 \relative { d'4 g2 c,4 } >>
311 Here different rhythms cause no problems because they are
312 interpreted in different voices.
314 @cindex collisions, ignoring
317 If notes from two or more voices, with no shifts specified,
318 have stems in the same direction, the message
321 warning: This voice needs a \voiceXx or \shiftXx setting
324 will appear during compilation. This message can be suppressed by:
327 \override NoteColumn.ignore-collision = ##t
330 However, this not only suppresses the warning but will prevent any
331 collision resolution whatsover and may have other unintended effects
332 (also see @emph{Known Issues} in @ref{Collision resolution}).
336 @unnumberedsubsubsec Clusters
341 @funindex \makeClusters
342 @funindex makeClusters
344 A cluster indicates a continuous range of pitches to be played.
345 They can be denoted as the envelope of a set of notes. They are
346 entered by applying the function @code{\makeClusters} to a sequence
349 @lilypond[quote,verbatim]
350 \relative \makeClusters { <g' b>2 <c g'> }
353 Ordinary notes and clusters can be put together in the same staff,
354 even simultaneously. In such a case no attempt is made to
355 automatically avoid collisions between ordinary notes and clusters.
362 @rlsr{Simultaneous notes}.
365 @rinternals{ClusterSpanner},
366 @rinternals{ClusterSpannerBeacon},
367 @rinternals{Cluster_spanner_engraver}.
370 Clusters look good only if they span at least two chords; otherwise
371 they appear too narrow.
373 Clusters do not have a stem and cannot indicate durations by
374 themselves, but the length of the printed cluster is determined by
375 the durations of the defining chords. Separate clusters need a
376 separating rest between them.
378 Clusters do not produce MIDI output.
381 @node Multiple voices
382 @subsection Multiple voices
384 This section discusses simultaneous notes in multiple voices or
388 * Single-staff polyphony::
390 * Collision resolution::
391 * Automatic part combining::
392 * Writing music in parallel::
396 @node Single-staff polyphony
397 @unnumberedsubsubsec Single-staff polyphony
399 @cindex single-staff polyphony
400 @cindex polyphony, single-staff
402 @cindex lyrics assigned to one voice
406 @funindex \voiceOne ... \voiceFour
411 @subsubsubheading Explicitly instantiating voices
413 The basic structure needed to achieve multiple independent
414 voices in a single staff is illustrated in the following example:
416 @lilypond[quote,verbatim]
419 \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
421 \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
426 Here, voices are instantiated explicitly and are given names. The
427 @code{\voiceOne} @dots{} @code{\voiceFour} commands set up the voices
428 so that first and third voices get stems up, second and fourth
429 voices get stems down, third and fourth voice note heads are
430 horizontally shifted, and rests in the respective voices are
431 automatically moved to avoid collisions. The @code{\oneVoice}
432 command returns all the voice settings to the neutral default
435 @subsubsubheading Temporary polyphonic passages
437 A temporary polyphonic passage can be created with the following
441 << @{ \voiceOne @dots{} @}
442 \new Voice @{ \voiceTwo @dots{} @}
447 Here, the first expression within a temporary polyphonic passage is
448 placed into the @code{Voice} context which was in use immediately
449 before the polyphonic passage, and that same @code{Voice} context
450 continues after the temporary section. Other expressions within
451 the angle brackets are assigned to distinct temporary voices.
452 This allows lyrics to be assigned to one continuing voice before,
453 during and after a polyphonic section:
455 @lilypond[quote,verbatim]
457 \new Voice = "melody" {
472 \new Lyrics \lyricsto "melody" {
479 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
480 required to define the settings of each voice.
482 @subsubsubheading The double backslash construct
484 The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} construct, where the two (or
485 more) expressions are separated by double backslashes, behaves
486 differently to the similar construct without the double backslashes:
487 @emph{all} the expressions within this construct are assigned
488 to new @code{Voice} contexts. These new @code{Voice} contexts
489 are created implicitly and are given the fixed names @code{"1"},
492 The first example could be typeset as follows:
494 @lilypond[quote,verbatim]
496 \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
498 \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
502 This syntax can be used where it does not matter that temporary
503 voices are created and then discarded. These implicitly created
504 voices are given the settings equivalent to the effect of the
505 @code{\voiceOne} @dots{} @code{\voiceFour} commands, in the order in
506 which they appear in the code.
508 In the following example, the intermediate voice has stems up,
509 therefore we enter it in the third place, so it becomes voice
510 three, which has the stems up as desired. Spacer rests are
511 used to avoid printing doubled rests.
513 @lilypond[quote,verbatim]
515 \relative { r8 g'' g g g f16 ees f8 d }
517 \relative { ees'8 r ees r d r d r }
519 \relative { d''8 s c s bes s a s }
523 In all but the simplest works it is advisable to create explicit
524 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
525 @rlearning{Explicitly instantiating voices}.
527 @subsubsubheading Voice order
529 When entering multiple voices in the input file, use the following
535 Voice 3: second highest
536 Voice 4: second lowest
537 Voice 5: third highest
538 Voice 6: third lowest
542 Though this may seem counterintuitive, it simplifies the automatic
543 layout process. Note that the odd-numbered voices are given
544 upstems, and the even-numbered voices are given downstems:
546 @lilypond[quote,verbatim]
549 { f''2 } % 1: highest
553 { d''2 } % 3: second-highest
555 { e'2 } % 4: second-lowest
557 { b'2 } % 5: third-highest
559 { g'2 } % 6: third-lowest
563 @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
564 created @q{across} voices.}
566 @subsubsubheading Identical rhythms
568 In the special case that we want to typeset parallel pieces of music
569 that have the same rhythm, we can combine them into a single
570 @code{Voice} context, thus forming chords. To achieve this, enclose
571 them in a simple simultaneous music construct within an explicit voice:
573 @lilypond[quote,verbatim]
575 \relative { e''4 f8 d e16 f g8 d4 }
576 \relative { c''4 d8 b c16 d e8 b4 }
580 This method leads to strange beamings and warnings if the pieces of
581 music do not have the same rhythm.
594 @rlearning{Voices contain music},
595 @rlearning{Explicitly instantiating voices}.
598 @ref{Percussion staves},
599 @ref{Invisible rests},
603 @rlsr{Simultaneous notes}.
607 @unnumberedsubsubsec Voice styles
610 @cindex styles, voice
611 @cindex coloring voices
612 @funindex \voiceOneStyle
613 @funindex \voiceTwoStyle
614 @funindex \voiceThreeStyle
615 @funindex \voiceFourStyle
616 @funindex \voiceNeutralStyle
618 Voices may be given distinct colors and shapes, allowing them to be
621 @lilypond[quote,verbatim]
623 \relative { \voiceOneStyle d''4 c2 b4 }
625 \relative { \voiceTwoStyle e'2 e }
627 \relative { \voiceThreeStyle b2. c4 }
629 \relative { \voiceFourStyle g'2 g }
633 The @code{\voiceNeutralStyle} command is used to revert to the
634 standard presentation.
638 @code{\voiceOneStyle},
639 @code{\voiceTwoStyle},
640 @code{\voiceThreeStyle},
641 @code{\voiceFourStyle},
642 @code{\voiceNeutralStyle}.
647 @rlearning{I'm hearing Voices},
648 @rlearning{Other sources of information}.
651 @rlsr{Simultaneous notes}.
654 @node Collision resolution
655 @unnumberedsubsubsec Collision resolution
657 @cindex merging notes
658 @cindex note collisions
661 @cindex multiple voices
662 @cindex voices, multiple
663 @cindex polyphonic music
664 @cindex shifting voices
665 @cindex voices, multiple
666 @cindex shift rest, automatic
675 @funindex \mergeDifferentlyDottedOn
676 @funindex mergeDifferentlyDottedOn
677 @funindex \mergeDifferentlyDottedOff
678 @funindex mergeDifferentlyDottedOff
679 @funindex \mergeDifferentlyHeadedOn
680 @funindex mergeDifferentlyHeadedOn
681 @funindex \mergeDifferentlyHeadedOff
682 @funindex mergeDifferentlyHeadedOff
684 The note heads of notes in different voices with the same pitch,
685 same note head and opposite stem direction are automatically
686 merged, but notes with different note heads or the same stem
687 direction are not. Rests opposite a stem in a different voice
688 are shifted vertically. The following example shows three
689 different circumstances, on beats 1 and 3 in bar 1 and beat 1
690 in bar 2, where the automatic merging fails.
692 @lilypond[quote,verbatim]
710 Notes with different note heads may be merged as shown
711 below. In this example the note heads on beat 1 of bar 1 are now merged:
713 @lilypond[quote,verbatim]
716 \mergeDifferentlyHeadedOn
732 Quarter and half notes are not merged in this way, since it would be difficult
735 Note heads with different dots as shown in beat 3 of bar 1 may be
738 @lilypond[quote,verbatim]
741 \mergeDifferentlyHeadedOn
742 \mergeDifferentlyDottedOn
758 The half note and eighth note at the start of the second measure
759 are incorrectly merged because the automatic merge cannot
760 successfully complete the merge when three or more notes line up in
761 the same note column, and in this case the merged note head is
762 incorrect. To allow the merge to select the correct note head
763 a @code{\shift} must be applied to the note that should not be
764 merged. Here, @code{\shiftOn} is applied to move the top
765 @notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
768 @lilypond[quote,verbatim]
771 \mergeDifferentlyHeadedOn
772 \mergeDifferentlyDottedOn
789 The @code{\shiftOn} command allows (but does not force) the notes
790 in a voice to be shifted. When @code{\shiftOn} is applied to a
791 voice, a note or chord in that voice is shifted only if its stem
792 would otherwise collide with a stem from another voice, and only
793 if the colliding stems point in the same direction. The
794 @code{\shiftOff} command prevents this type of shifting from
797 By default, the outer voices (normally voices one and two) have
798 @code{\shiftOff} specified, while the inner voices (three and
799 above) have @code{\shiftOn} specified. When a shift is applied,
800 voices with upstems (odd-numbered voices) are shifted to the
801 right, and voices with downstems (even-numbered voices) are
804 Here is an example to help you visualize how an abbreviated
805 polyphonic expression would be expanded internally.
807 @warning{Note that with three or more voices, the vertical order
808 of voices in your input file should not be the same as the
809 vertical order of voices on the staff!}
811 @lilypond[quote,verbatim]
812 \new Staff \relative {
815 { f''2 } % 1: highest
819 { d'2 } % 3: upper middle
821 { b2 } % 4: lower middle
823 %% internal expansion of the above
825 \new Voice = "1" { \voiceOne \shiftOff f'2 }
826 \new Voice = "2" { \voiceTwo \shiftOff g,2 }
827 \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
828 \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
833 Two additional commands, @code{\shiftOnn} and @code{\shiftOnnn}
834 provide further shift levels which may be specified temporarily to
835 resolve collisions in complex situations -- see
836 @rlearning{Real music example}.
838 Notes are only merged if they have opposing stem directions (as
839 they have, for example, in voices one and two by default or when
840 the stems are explicitly set in opposite directions).
843 @code{\mergeDifferentlyDottedOn},
844 @code{\mergeDifferentlyDottedOff},
845 @code{\mergeDifferentlyHeadedOn},
846 @code{\mergeDifferentlyHeadedOff}.
855 @lilypondfile[verbatim,quote,texidoc,doctitle]
856 {additional-voices-to-avoid-collisions.ly}
858 @lilypondfile[verbatim,quote,texidoc,doctitle]
859 {forcing-horizontal-shift-of-notes.ly}
866 @rlearning{Multiple notes at once},
867 @rlearning{Voices contain music},
868 @rlearning{Real music example}.
871 @rlsr{Simultaneous notes}.
874 @rinternals{NoteColumn},
875 @rinternals{NoteCollision},
876 @rinternals{RestCollision}.
878 @cindex collisions, ignoring
881 Using @code{\override NoteColumn.ignore-collision = ##t} will cause
882 differently headed notes in different voices to merge incorrectly.
884 @lilypond[quote,verbatim,fragment]
885 \mergeDifferentlyHeadedOn
886 << \relative { c'16 a' b a } \\ \relative { c'2 } >>
887 \override NoteColumn.ignore-collision = ##t
888 << \relative { c'16 a' b a } \\ \relative { c'2 } >>
893 @c TODO investigate! Sometimes it works, sometimes not. --FV
894 The requirements for successfully merging different note heads that
895 are at the same time differently dotted are not clear.
899 @node Automatic part combining
900 @unnumberedsubsubsec Automatic part combining
902 @cindex automatic part combining
903 @cindex part combiner
904 @cindex combining parts
907 @funindex \partcombine
908 @funindex partcombine
910 Automatic part combining is used to merge two separate parts of music
911 onto a single staff. This can be especially helpful when typesetting
912 orchestral scores. A single @code{Voice} is printed while the two parts
913 of music are the same, but in places where they differ, a second
914 @code{Voice} is printed. Stem directions are set up & down accordingly
915 while Solo and @notation{a due} parts are also identified and marked
918 The syntax for automatic part combining is:
921 \partcombine @var{musicexpr1} @var{musicexpr2}
924 The following example demonstrates the basic functionality, putting
925 parts on a single staff as polyphony and setting stem directions
926 accordingly. The same variables are used for the independent parts and
929 @lilypond[quote,verbatim]
930 instrumentOne = \relative {
938 instrumentTwo = \relative {
947 \new Staff \instrumentOne
948 \new Staff \instrumentTwo
949 \new Staff \partcombine \instrumentOne \instrumentTwo
953 Both parts have identical notes in the third measure, so only one
954 instance of the notes is printed. Stem, slur, and tie directions are
955 set automatically, depending on whether the parts are playing solo or in
956 unison. When needed in polyphony situations, the first part (with
957 context called @code{one}) gets @qq{up} stems, while the second (called
958 @code{two}) always gets @qq{down} stems. In solo situations, the first
959 and second parts get marked with @qq{Solo} and @qq{Solo II},
960 respectively. The unison (@notation{a due}) parts are marked with the
963 By default, the partcombiner merges two notes of the same pitch as an
964 @notation{a due} note, combines notes with the same
965 rhythm less than a ninth apart as chords and separates notes more than
966 a ninth apart (or when the voices cross) into
967 separate voices. This can be overridden with an optional argument of a pair
968 of numbers after the @code{\partcombine} command: the first specifies
969 the interval where notes start to be combined (the default is zero) and the
970 second where the notes are split into separate voices. Setting the second
971 argument to zero means that the partcombiner splits notes with an interval of
972 a second or more, setting it to one splits notes of a third or more, and so on.
974 @lilypond[quote,verbatim]
975 instrumentOne = \relative {
981 instrumentTwo = \relative {
988 \new Staff \partcombine \instrumentOne \instrumentTwo
989 \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
994 Both arguments to @code{\partcombine} will be interpreted as separate
995 @code{Voice} contexts, so if the music is being specified in relative
996 mode then @emph{both} parts must contain a @code{\relative} function,
1001 \relative @dots{} @var{musicexpr1}
1002 \relative @dots{} @var{musicexpr2}
1006 A @code{\relative} section that encloses a @code{\partcombine} has no
1007 effect on the pitches of @code{@var{musicexpr1}} or
1008 @code{@var{musicexpr2}}.
1010 @funindex \partcombineChords
1011 @funindex partcombineChords
1012 @funindex \partcombineApart
1013 @funindex partcombineApart
1014 @funindex \partcombineUnisono
1015 @funindex partcombineUnisono
1016 @funindex \partcombineSoloI
1017 @funindex partcombineSoloI
1018 @funindex \partcombineSoloII
1019 @funindex partcombineSoloII
1020 @funindex \partcombineAutomatic
1021 @funindex partcombineAutomatic
1023 In professional scores, voices are often kept apart from each other for
1024 long passages of music even if some of the notes are the same in both
1025 voices, and could just as easily be printed as unison. Combining notes
1026 into a chord, or showing one voice as solo is, therefore, not ideal as
1027 the @code{\partcombine} function considers each note separately. In this
1028 case the @code{\partcombine} function can be overriden with the
1031 Commands ending in @code{@dots{}Once} apply only to the next note in the
1036 @code{\partcombineApart} and @code{\partcombineApartOnce} keep the
1037 notes as two separate voices, even if they can be combined into a chord
1041 @code{\partcombineChords} and @code{\partcombineChordsOnce} combine the
1045 @code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
1046 both voices as @qq{unison}.
1049 @code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
1050 voice one, and mark it as a @qq{Solo}.
1053 @code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
1054 voice two and mark it as a @qq{Solo}.
1057 @code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
1058 the functions of the commands above, and revert back to the standard
1059 @code{\partcombine} functionality.
1062 @lilypond[quote,verbatim]
1063 instrumentOne = \relative c' {
1064 \partcombineApart c2^"apart" e |
1065 \partcombineAutomatic e2^"auto" e |
1066 \partcombineChords e'2^"chord" e |
1067 \partcombineAutomatic c2^"auto" c |
1068 \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
1071 instrumentTwo = \relative {
1081 \new Staff { \instrumentOne }
1082 \new Staff { \instrumentTwo }
1083 \new Staff { \partcombine \instrumentOne \instrumentTwo }
1088 @subsubsubheading Using \partcombine with lyrics
1090 @cindex \partcombine and lyrics
1092 The @code{\partcombine} command is not designed to work with
1093 lyrics; if one of the voices is explicitly named in order to
1094 attach lyrics to it, the partcombiner will stop working. However,
1095 this effect can be achieved using a @code{NullVoice} context. See
1096 @ref{Polyphony with shared lyrics}.
1101 @lilypondfile[verbatim,quote,texidoc,doctitle]
1102 {combining-two-parts-on-the-same-staff.ly}
1104 @lilypondfile[verbatim,quote,texidoc,doctitle]
1105 {changing-partcombine-texts.ly}
1113 @ref{Writing parts}.
1116 @rlsr{Simultaneous notes}.
1118 Internals Reference:
1119 @rinternals{PartCombineMusic},
1123 All @code{\partcombine@dots{}} functions can only accept two voices.
1125 @code{\partcombine@dots{}} functions cannot be placed inside a @code{\tuplet}
1126 or @code{\relative} block.
1128 If @code{printPartCombineTexts} is set and the two voices play the same
1129 notes @qq{on and off}, in the same measure, the part combiner may
1130 typeset @code{a2} more than once in that measure.
1132 @code{\partcombine} only knows when a note starts in a @code{Voice}; it
1133 cannot, for example, remember if a note in one @code{Voice} has already
1134 started when combining notes that have just started in the other
1135 @code{Voice}. This can lead to a number of unexpected issues including
1136 @qq{Solo} or @qq{Unison} marks being printed incorrectly.
1138 @code{\partcombine} keeps all spanners (slurs, ties, hairpins etc.) in
1139 the same @code{Voice} so that if any such spanners start or end in a
1140 different @code{Voice}, they may not be printed properly or at all.
1142 If the @code{\partcombine} function cannot combine both music
1143 expressions (i.e. when both voices have different durations), it will
1144 give the voices, internally, its own custom names: @code{one} and
1145 @code{two} respectively. This means if there is any @qq{switch} to a
1146 differently named @code{Voice} context, the events in that differently
1147 named @code{Voice} will be ignored.
1149 Refer also to @emph{Known issues and warnings} when using
1150 @code{\partcombine} with tablature in @ref{Default tablatures} and the
1151 @emph{Note} in @ref{Automatic beams} when using automatic beaming.
1154 @node Writing music in parallel
1155 @unnumberedsubsubsec Writing music in parallel
1157 @cindex writing music in parallel
1158 @cindex interleaved music
1159 @cindex parallel music
1160 @funindex \parallelMusic
1161 @funindex parallelMusic
1163 Music for multiple parts can be interleaved in input code. The
1164 function @code{\parallelMusic} accepts a list with the names of a
1165 number of variables to be created, and a musical expression. The
1166 content of alternate measures from the expression become the value
1167 of the respective variables, so you can use them afterwards to
1170 @warning{Bar checks @code{|} must be used, and the measures must
1171 be of the same length.}
1173 @lilypond[quote,verbatim]
1174 \parallelMusic #'(voiceA voiceB voiceC) {
1176 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
1177 r16 e'8.~ 4 r16 e'8.~ 4 |
1181 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
1182 r16 d'8.~ 4 r16 d'8.~ 4 |
1187 \new Staff << \voiceA \\ \voiceB >>
1188 \new Staff { \clef bass \voiceC }
1192 Relative mode may be used. Note that the @code{\relative} command
1193 is not used inside @code{\parallelMusic} itself. The notes are
1194 relative to the preceding note in the voice, not to the previous
1195 note in the input -- in other words, relative notes for
1196 @code{voiceA} ignore the notes in @code{voiceB}.
1198 @lilypond[quote,verbatim]
1199 \parallelMusic #'(voiceA voiceB voiceC) {
1201 r8 g16 c e g, c e r8 g,16 c e g, c e |
1202 r16 e8.~ 4 r16 e8.~ 4 |
1206 r8 a,16 d f a, d f r8 a,16 d f a, d f |
1207 r16 d8.~ 4 r16 d8.~ 4 |
1212 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
1213 \new Staff \relative c' { \clef bass \voiceC }
1217 This works quite well for piano music. This example maps four
1218 consecutive measures to four variables:
1220 @lilypond[quote,verbatim]
1226 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1230 c16 d e fis d e fis g |
1236 e16 fis g a fis g a b |
1247 \relative c'' \voiceA
1249 \relative c' \voiceB
1266 @rlearning{Organizing pieces with variables}.
1269 @rlsr{Simultaneous notes}.