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
6 version that you are working on. For details, see the Contributors'
7 Guide, node Updating translation committishes..
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 and hairpins must be
81 attached to the chord rather than to notes within the chord,
82 otherwise they will not print. Other notation like fingerings and
83 slurs will get placed markedly different when attached to notes
84 within a chord rather than to whole chords or single notes.
86 @lilypond[verbatim,quote]
88 <a'\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
89 <a c e>\< <a c e> <a c e>\!
94 @cindex placeholder events
96 A chord acts merely as a container for its notes, its articulations and
97 other attached elements. Consequently, a chord without notes inside
98 does not actually have a duration. Any attached articulations will
99 happen at the same musical time as the next following note or chord and
100 be combined with them (for more complex possibilities of combining such
101 elements, see @ref{Simultaneous expressions}):
103 @lilypond[verbatim,quote]
106 <> ) \p \< -. -\markup \italic "sempre staccato"
107 \repeat unfold 4 { c4 e } c1\f
111 @cindex relative pitch, chords
112 @cindex chords, relative pitch
114 Relative mode can be used for pitches in chords. The first note of
115 each chord is always relative to the first note of the chord that
116 came before it, or in the case where no preceding chord exists, the
117 pitch of the last note that came before the chord. All remaining notes
118 in the chord are relative to the note that came before it
119 @emph{within the same chord}.
121 @lilypond[verbatim,quote]
123 <a' c e>1 <f a c> <a c e> <f' a c> <b, e b,>
127 For more information about chords, see @ref{Chord notation}.
134 @rlearning{Combining notes into chords}.
137 @ref{Chord notation},
138 @ref{Articulations and ornamentations},
139 @ref{Relative octave entry},
140 @ref{Multiple voices}.
143 @rlsr{Simultaneous notes}.
146 Chords containing more than two pitches within a staff space,
147 such as @samp{<e f! fis!>}, create overlapping noteheads.
148 Depending on the situation, better representations might involve
153 temporary use of @ref{Multiple voices},
154 @samp{<< f! \\ <e fis!> >>},
157 enharmonic transcription of one or more pitches,
166 @node Chord repetition
167 @unnumberedsubsubsec Chord repetition
169 @cindex chord, repetition
170 @cindex repetition, using @code{q}
171 @cindex @code{q}, chord repetition
173 In order to save typing, a shortcut can be used to repeat the preceding
174 chord. The chord repetition symbol is @code{q}:
176 @lilypond[verbatim,quote]
178 <a' c e>1 q <f a c>2 q
182 As with regular chords, the chord repetition symbol can be used with
183 durations, articulations, markups, slurs, beams, etc. as only the
184 pitches of the previous chord are duplicated.
186 @lilypond[verbatim,quote]
188 <a' c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
192 The chord repetition symbol always remembers the last instance of
193 a chord so it is possible to repeat the most recent chord even if
194 other non-chorded notes or rests have been added since.
196 @lilypond[verbatim,quote]
198 <a' c e>1 c'4 q2 r8 q8 |
203 However, the chord repetition symbol does not retain any dynamics,
204 articulation or ornamentation within, or attached to, the previous
207 @lilypond[verbatim,quote]
209 <a'-. c\prall e>1\sfz c'4 q2 r8 q8 |
214 To have some of them retained, the @code{\chordRepeats} function can be
215 be called explicitly with an extra argument specifying a list of
216 @var{event types} to keep unless events of that type are already
217 present on the @code{q} chord itself.
219 @lilypond[verbatim,quote]
221 \chordRepeats #'(articulation-event)
222 { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
227 Here using @code{\chordRepeats} inside of a @code{\relative} construction
228 produces unexpected results: once chord events have been expanded, they
229 are indistinguishable from having been entered as regular chords, making
230 @code{\relative} assign an octave based on their current context.
232 Since nested instances of @code{\relative} don't affect one another,
233 another @code{\relative} inside of @code{\chordRepeats} can be used for
234 establishing the octave relations before expanding the repeat chords.
235 In that case, the whole content of the inner @code{\relative} does not
236 affect the outer one; hence the different octave entry of the final note
239 @lilypond[verbatim,quote]
241 \chordRepeats #'(articulation-event)
243 { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
248 Interactions with @code{\relative} occur only with explicit calls of
249 @code{\chordRepeats}: the implicit expansion at the start of typesetting
250 is done at a time where all instances of @code{\relative} have already
255 @ref{Chord notation},
256 @ref{Articulations and ornamentations}.
259 @file{ly/chord-repetition-init.ly}.
262 @node Simultaneous expressions
263 @unnumberedsubsubsec Simultaneous expressions
265 One or more music expressions enclosed in double angle brackets are
266 taken to be simultaneous. If the first expression begins with a
267 single note or if the whole simultaneous expression appears
268 explicitly within a single voice, the whole expression is placed on
269 a single staff; otherwise the elements of the simultaneous
270 expression are placed on separate staves.
272 The following examples show simultaneous expressions on one staff:
274 @lilypond[quote,verbatim]
275 \new Voice { % explicit single voice
276 << \relative { a'4 b g2 }
277 \relative { d'4 g c,2 } >>
281 @lilypond[quote,verbatim]
284 a' << \relative { a'4 b g }
285 \relative { d'4 g c, } >>
289 This can be useful if the simultaneous sections have identical
290 rhythms, but attempts to attach notes with different durations to
291 the same stem will cause errors. Notes, articulations, and property
292 changes in a @emph{single} @samp{Voice} are collected and engraved in
295 @lilypond[quote,verbatim]
297 <a' c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
301 Multiple stems or beams or different note durations or properties at
302 the same musical time require the use of multiple voices.
304 The following example shows how simultaneous expressions can
305 generate multiple staves implicitly:
307 @lilypond[quote,verbatim]
308 % no single first note
309 << \relative { a'4 b g2 }
310 \relative { d'4 g2 c,4 } >>
313 Here different rhythms cause no problems because they are
314 interpreted in different voices.
316 @cindex collisions, ignoring
319 If notes from two or more voices, with no shifts specified,
320 have stems in the same direction, the message
323 warning: This voice needs a \voiceXx or \shiftXx setting
326 will appear during compilation. This message can be suppressed by:
329 \override NoteColumn.ignore-collision = ##t
332 However, this not only suppresses the warning but will prevent any
333 collision resolution whatsover and may have other unintended effects
334 (also see @emph{Known Issues} in @ref{Collision resolution}).
338 @unnumberedsubsubsec Clusters
343 @funindex \makeClusters
344 @funindex makeClusters
346 A cluster indicates a continuous range of pitches to be played.
347 They can be denoted as the envelope of a set of notes. They are
348 entered by applying the function @code{\makeClusters} to a sequence
351 @lilypond[quote,verbatim]
352 \relative \makeClusters { <g' b>2 <c g'> }
355 Ordinary notes and clusters can be put together in the same staff,
356 even simultaneously. In such a case no attempt is made to
357 automatically avoid collisions between ordinary notes and clusters.
364 @rlsr{Simultaneous notes}.
367 @rinternals{ClusterSpanner},
368 @rinternals{ClusterSpannerBeacon},
369 @rinternals{Cluster_spanner_engraver}.
372 Clusters look good only if they span at least two chords; otherwise
373 they appear too narrow.
375 Clusters do not have a stem and cannot indicate durations by
376 themselves, but the length of the printed cluster is determined by
377 the durations of the defining chords. Separate clusters need a
378 separating rest between them.
380 Clusters do not produce MIDI output.
383 @node Multiple voices
384 @subsection Multiple voices
386 This section discusses simultaneous notes in multiple voices or
390 * Single-staff polyphony::
392 * Collision resolution::
393 * Automatic part combining::
394 * Writing music in parallel::
398 @node Single-staff polyphony
399 @unnumberedsubsubsec Single-staff polyphony
401 @cindex single-staff polyphony
402 @cindex polyphony, single-staff
404 @cindex lyrics assigned to one voice
408 @funindex \voiceOne ... \voiceFour
413 @subsubsubheading Explicitly instantiating voices
415 The basic structure needed to achieve multiple independent
416 voices in a single staff is illustrated in the following example:
418 @lilypond[quote,verbatim]
421 \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
423 \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
428 Here, voices are instantiated explicitly and are given names. The
429 @code{\voiceOne} @dots{} @code{\voiceFour} commands set up the voices
430 so that first and third voices get stems up, second and fourth
431 voices get stems down, third and fourth voice note heads are
432 horizontally shifted, and rests in the respective voices are
433 automatically moved to avoid collisions. The @code{\oneVoice}
434 command returns all the voice settings to the neutral default
437 @subsubsubheading Temporary polyphonic passages
439 A temporary polyphonic passage can be created with the following
443 << @{ \voiceOne @dots{} @}
444 \new Voice @{ \voiceTwo @dots{} @}
449 Here, the first expression within a temporary polyphonic passage is
450 placed into the @code{Voice} context which was in use immediately
451 before the polyphonic passage, and that same @code{Voice} context
452 continues after the temporary section. Other expressions within
453 the angle brackets are assigned to distinct temporary voices.
454 This allows lyrics to be assigned to one continuing voice before,
455 during and after a polyphonic section:
457 @lilypond[quote,verbatim]
459 \new Voice = "melody" {
474 \new Lyrics \lyricsto "melody" {
481 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
482 required to define the settings of each voice.
484 @subsubsubheading The double backslash construct
486 The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} construct, where the two (or
487 more) expressions are separated by double backslashes, behaves
488 differently to the similar construct without the double backslashes:
489 @emph{all} the expressions within this construct are assigned
490 to new @code{Voice} contexts. These new @code{Voice} contexts
491 are created implicitly and are given the fixed names @code{"1"},
494 The first example could be typeset as follows:
496 @lilypond[quote,verbatim]
498 \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
500 \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
504 This syntax can be used where it does not matter that temporary
505 voices are created and then discarded. These implicitly created
506 voices are given the settings equivalent to the effect of the
507 @code{\voiceOne} @dots{} @code{\voiceFour} commands, in the order in
508 which they appear in the code.
510 In the following example, the intermediate voice has stems up,
511 therefore we enter it in the third place, so it becomes voice
512 three, which has the stems up as desired. Spacer rests are
513 used to avoid printing doubled rests.
515 @lilypond[quote,verbatim]
517 \relative { r8 g'' g g g f16 ees f8 d }
519 \relative { ees'8 r ees r d r d r }
521 \relative { d''8 s c s bes s a s }
525 In all but the simplest works it is advisable to create explicit
526 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
527 @rlearning{Explicitly instantiating voices}.
529 @subsubsubheading Voice order
531 When entering multiple voices in the input file, use the following
537 Voice 3: second highest
538 Voice 4: second lowest
539 Voice 5: third highest
540 Voice 6: third lowest
544 Though this may seem counterintuitive, it simplifies the automatic
545 layout process. Note that the odd-numbered voices are given
546 upstems, and the even-numbered voices are given downstems:
548 @lilypond[quote,verbatim]
551 { f''2 } % 1: highest
555 { d''2 } % 3: second-highest
557 { e'2 } % 4: second-lowest
559 { b'2 } % 5: third-highest
561 { g'2 } % 6: third-lowest
565 @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
566 created @q{across} voices.}
568 @subsubsubheading Identical rhythms
570 In the special case that we want to typeset parallel pieces of music
571 that have the same rhythm, we can combine them into a single
572 @code{Voice} context, thus forming chords. To achieve this, enclose
573 them in a simple simultaneous music construct within an explicit voice:
575 @lilypond[quote,verbatim]
577 \relative { e''4 f8 d e16 f g8 d4 }
578 \relative { c''4 d8 b c16 d e8 b4 }
582 This method leads to strange beamings and warnings if the pieces of
583 music do not have the same rhythm.
596 @rlearning{Voices contain music},
597 @rlearning{Explicitly instantiating voices}.
600 @ref{Percussion staves},
601 @ref{Invisible rests},
605 @rlsr{Simultaneous notes}.
609 @unnumberedsubsubsec Voice styles
612 @cindex styles, voice
613 @cindex coloring voices
614 @funindex \voiceOneStyle
615 @funindex \voiceTwoStyle
616 @funindex \voiceThreeStyle
617 @funindex \voiceFourStyle
618 @funindex \voiceNeutralStyle
620 Voices may be given distinct colors and shapes, allowing them to be
623 @lilypond[quote,verbatim]
625 \relative { \voiceOneStyle d''4 c2 b4 }
627 \relative { \voiceTwoStyle e'2 e }
629 \relative { \voiceThreeStyle b2. c4 }
631 \relative { \voiceFourStyle g'2 g }
635 The @code{\voiceNeutralStyle} command is used to revert to the
636 standard presentation.
640 @code{\voiceOneStyle},
641 @code{\voiceTwoStyle},
642 @code{\voiceThreeStyle},
643 @code{\voiceFourStyle},
644 @code{\voiceNeutralStyle}.
649 @rlearning{I'm hearing Voices},
650 @rlearning{Other sources of information}.
653 @rlsr{Simultaneous notes}.
656 @node Collision resolution
657 @unnumberedsubsubsec Collision resolution
659 @cindex merging notes
660 @cindex note collisions
663 @cindex multiple voices
664 @cindex voices, multiple
665 @cindex polyphonic music
666 @cindex shifting voices
667 @cindex voices, multiple
668 @cindex shift rest, automatic
677 @funindex \mergeDifferentlyDottedOn
678 @funindex mergeDifferentlyDottedOn
679 @funindex \mergeDifferentlyDottedOff
680 @funindex mergeDifferentlyDottedOff
681 @funindex \mergeDifferentlyHeadedOn
682 @funindex mergeDifferentlyHeadedOn
683 @funindex \mergeDifferentlyHeadedOff
684 @funindex mergeDifferentlyHeadedOff
686 The note heads of notes in different voices with the same pitch,
687 same note head and opposite stem direction are automatically
688 merged, but notes with different note heads or the same stem
689 direction are not. Rests opposite a stem in a different voice
690 are shifted vertically. The following example shows three
691 different circumstances, on beats 1 and 3 in bar 1 and beat 1
692 in bar 2, where the automatic merging fails.
694 @lilypond[quote,verbatim]
712 Notes with different note heads may be merged as shown
713 below. In this example the note heads on beat 1 of bar 1 are now merged:
715 @lilypond[quote,verbatim]
718 \mergeDifferentlyHeadedOn
734 Quarter and half notes are not merged in this way, since it would be difficult
737 Note heads with different dots as shown in beat 3 of bar 1 may be
740 @lilypond[quote,verbatim]
743 \mergeDifferentlyHeadedOn
744 \mergeDifferentlyDottedOn
760 The half note and eighth note at the start of the second measure
761 are incorrectly merged because the automatic merge cannot
762 successfully complete the merge when three or more notes line up in
763 the same note column, and in this case the merged note head is
764 incorrect. To allow the merge to select the correct note head
765 a @code{\shift} must be applied to the note that should not be
766 merged. Here, @code{\shiftOn} is applied to move the top
767 @notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
770 @lilypond[quote,verbatim]
773 \mergeDifferentlyHeadedOn
774 \mergeDifferentlyDottedOn
791 The @code{\shiftOn} command allows (but does not force) the notes
792 in a voice to be shifted. When @code{\shiftOn} is applied to a
793 voice, a note or chord in that voice is shifted only if its stem
794 would otherwise collide with a stem from another voice, and only
795 if the colliding stems point in the same direction. The
796 @code{\shiftOff} command prevents this type of shifting from
799 By default, the outer voices (normally voices one and two) have
800 @code{\shiftOff} specified, while the inner voices (three and
801 above) have @code{\shiftOn} specified. When a shift is applied,
802 voices with upstems (odd-numbered voices) are shifted to the
803 right, and voices with downstems (even-numbered voices) are
806 Here is an example to help you visualize how an abbreviated
807 polyphonic expression would be expanded internally.
809 @warning{Note that with three or more voices, the vertical order
810 of voices in your input file should not be the same as the
811 vertical order of voices on the staff!}
813 @lilypond[quote,verbatim]
814 \new Staff \relative {
817 { f''2 } % 1: highest
821 { d'2 } % 3: upper middle
823 { b2 } % 4: lower middle
825 %% internal expansion of the above
827 \new Voice = "1" { \voiceOne \shiftOff f'2 }
828 \new Voice = "2" { \voiceTwo \shiftOff g,2 }
829 \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
830 \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
835 Two additional commands, @code{\shiftOnn} and @code{\shiftOnnn}
836 provide further shift levels which may be specified temporarily to
837 resolve collisions in complex situations -- see
838 @rlearning{Real music example}.
840 Notes are only merged if they have opposing stem directions (as
841 they have, for example, in voices one and two by default or when
842 the stems are explicitly set in opposite directions).
845 @code{\mergeDifferentlyDottedOn},
846 @code{\mergeDifferentlyDottedOff},
847 @code{\mergeDifferentlyHeadedOn},
848 @code{\mergeDifferentlyHeadedOff}.
857 @lilypondfile[verbatim,quote,texidoc,doctitle]
858 {additional-voices-to-avoid-collisions.ly}
860 @lilypondfile[verbatim,quote,texidoc,doctitle]
861 {forcing-horizontal-shift-of-notes.ly}
868 @rlearning{Multiple notes at once},
869 @rlearning{Voices contain music},
870 @rlearning{Real music example}.
873 @rlsr{Simultaneous notes}.
876 @rinternals{NoteColumn},
877 @rinternals{NoteCollision},
878 @rinternals{RestCollision}.
880 @cindex collisions, ignoring
883 Using @code{\override NoteColumn.ignore-collision = ##t} will cause
884 differently headed notes in different voices to merge incorrectly.
886 @lilypond[quote,verbatim,fragment]
887 \mergeDifferentlyHeadedOn
888 << \relative { c'16 a' b a } \\ \relative { c'2 } >>
889 \override NoteColumn.ignore-collision = ##t
890 << \relative { c'16 a' b a } \\ \relative { c'2 } >>
895 @c TODO investigate! Sometimes it works, sometimes not. --FV
896 The requirements for successfully merging different note heads that
897 are at the same time differently dotted are not clear.
901 @node Automatic part combining
902 @unnumberedsubsubsec Automatic part combining
904 @cindex automatic part combining
905 @cindex part combiner
906 @cindex combining parts
909 @funindex \partcombine
910 @funindex partcombine
912 Automatic part combining is used to merge two separate parts of music
913 onto a single staff. This can be especially helpful when typesetting
914 orchestral scores. A single @code{Voice} is printed while the two parts
915 of music are the same, but in places where they differ, a second
916 @code{Voice} is printed. Stem directions are set up & down accordingly
917 while Solo and @notation{a due} parts are also identified and marked
920 The syntax for automatic part combining is:
923 \partcombine @var{musicexpr1} @var{musicexpr2}
926 The following example demonstrates the basic functionality, putting
927 parts on a single staff as polyphony and setting stem directions
928 accordingly. The same variables are used for the independent parts and
931 @lilypond[quote,verbatim]
932 instrumentOne = \relative {
940 instrumentTwo = \relative {
949 \new Staff \instrumentOne
950 \new Staff \instrumentTwo
951 \new Staff \partcombine \instrumentOne \instrumentTwo
955 Both parts have identical notes in the third measure, so only one
956 instance of the notes is printed. Stem, slur, and tie directions are
957 set automatically, depending on whether the parts are playing solo or in
958 unison. When needed in polyphony situations, the first part (with
959 context called @code{one}) gets @qq{up} stems, while the second (called
960 @code{two}) always gets @qq{down} stems. In solo situations, the first
961 and second parts get marked with @qq{Solo} and @qq{Solo II},
962 respectively. The unison (@notation{a due}) parts are marked with the
965 By default, the partcombiner merges two notes of the same pitch as an
966 @notation{a due} note, combines notes with the same
967 rhythm less than a ninth apart as chords and separates notes more than
968 a ninth apart (or when the voices cross) into
969 separate voices. This can be overridden with an optional argument of a pair
970 of numbers after the @code{\partcombine} command: the first specifies
971 the interval where notes start to be combined (the default is zero) and the
972 second where the notes are split into separate voices. Setting the second
973 argument to zero means that the partcombiner splits notes with an interval of
974 a second or more, setting it to one splits notes of a third or more, and so on.
976 @lilypond[quote,verbatim]
977 instrumentOne = \relative {
983 instrumentTwo = \relative {
990 \new Staff \partcombine \instrumentOne \instrumentTwo
991 \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
996 Both arguments to @code{\partcombine} will be interpreted as separate
997 @code{Voice} contexts, so if the music is being specified in relative
998 mode then @emph{both} parts must contain a @code{\relative} function,
1003 \relative @dots{} @var{musicexpr1}
1004 \relative @dots{} @var{musicexpr2}
1008 A @code{\relative} section that encloses a @code{\partcombine} has no
1009 effect on the pitches of @code{@var{musicexpr1}} or
1010 @code{@var{musicexpr2}}.
1012 @funindex \partcombineChords
1013 @funindex partcombineChords
1014 @funindex \partcombineApart
1015 @funindex partcombineApart
1016 @funindex \partcombineUnisono
1017 @funindex partcombineUnisono
1018 @funindex \partcombineSoloI
1019 @funindex partcombineSoloI
1020 @funindex \partcombineSoloII
1021 @funindex partcombineSoloII
1022 @funindex \partcombineAutomatic
1023 @funindex partcombineAutomatic
1025 In professional scores, voices are often kept apart from each other for
1026 long passages of music even if some of the notes are the same in both
1027 voices, and could just as easily be printed as unison. Combining notes
1028 into a chord, or showing one voice as solo is, therefore, not ideal as
1029 the @code{\partcombine} function considers each note separately. In this
1030 case the @code{\partcombine} function can be overridden with one of the
1031 following commands. All of the commands may be preceded with
1032 @code{\once} in order to have them only apply to the next note in
1033 the music expression.
1037 @code{\partcombineApart} keeps the
1038 notes as two separate voices, even if they can be combined into a chord
1042 @code{\partcombineChords} combines the
1046 @code{\partcombineUnisono} combines
1047 both voices as @qq{unison}.
1050 @code{\partcombineSoloI} prints only
1051 voice one, and marks it as a @qq{Solo}.
1054 @code{\partcombineSoloII} prints only
1055 voice two and marks it as a @qq{Solo}.
1058 @code{\partcombineAutomatic} ends
1059 the functions of the commands above, and reverts back to the standard
1060 @code{\partcombine} functionality.
1063 @lilypond[quote,verbatim]
1064 instrumentOne = \relative c' {
1065 \partcombineApart c2^"apart" e |
1066 \partcombineAutomatic e2^"auto" e |
1067 \partcombineChords e'2^"chord" e |
1068 \partcombineAutomatic c2^"auto" c |
1069 \partcombineApart c2^"apart" \once \partcombineChords e^"chord once" |
1072 instrumentTwo = \relative {
1082 \new Staff { \instrumentOne }
1083 \new Staff { \instrumentTwo }
1084 \new Staff { \partcombine \instrumentOne \instrumentTwo }
1089 @subsubsubheading Using \partcombine with lyrics
1091 @cindex \partcombine and lyrics
1093 The @code{\partcombine} command is not designed to work with
1094 lyrics; if one of the voices is explicitly named in order to
1095 attach lyrics to it, the partcombiner will stop working. However,
1096 this effect can be achieved using a @code{NullVoice} context. See
1097 @ref{Polyphony with shared lyrics}.
1102 @lilypondfile[verbatim,quote,texidoc,doctitle]
1103 {combining-two-parts-on-the-same-staff.ly}
1105 @lilypondfile[verbatim,quote,texidoc,doctitle]
1106 {changing-partcombine-texts.ly}
1114 @ref{Writing parts}.
1117 @rlsr{Simultaneous notes}.
1119 Internals Reference:
1120 @rinternals{PartCombineMusic},
1124 All @code{\partcombine@dots{}} functions can only accept two voices.
1126 @code{\partcombine@dots{}} functions cannot be placed inside a @code{\tuplet}
1127 or @code{\relative} block.
1129 If @code{printPartCombineTexts} is set and the two voices play the same
1130 notes @qq{on and off}, in the same measure, the part combiner may
1131 typeset @code{a2} more than once in that measure.
1133 @code{\partcombine} only knows when a note starts in a @code{Voice}; it
1134 cannot, for example, remember if a note in one @code{Voice} has already
1135 started when combining notes that have just started in the other
1136 @code{Voice}. This can lead to a number of unexpected issues including
1137 @qq{Solo} or @qq{Unison} marks being printed incorrectly.
1139 @code{\partcombine} keeps all spanners (slurs, ties, hairpins etc.) in
1140 the same @code{Voice} so that if any such spanners start or end in a
1141 different @code{Voice}, they may not be printed properly or at all.
1143 If the @code{\partcombine} function cannot combine both music
1144 expressions (i.e. when both voices have different durations), it will
1145 give the voices, internally, its own custom names: @code{one} and
1146 @code{two} respectively. This means if there is any @qq{switch} to a
1147 differently named @code{Voice} context, the events in that differently
1148 named @code{Voice} will be ignored.
1150 Refer also to @emph{Known issues and warnings} when using
1151 @code{\partcombine} with tablature in @ref{Default tablatures} and the
1152 @emph{Note} in @ref{Automatic beams} when using automatic beaming.
1155 @node Writing music in parallel
1156 @unnumberedsubsubsec Writing music in parallel
1158 @cindex writing music in parallel
1159 @cindex interleaved music
1160 @cindex parallel music
1161 @funindex \parallelMusic
1162 @funindex parallelMusic
1164 Music for multiple parts can be interleaved in input code. The
1165 function @code{\parallelMusic} accepts a list with the names of a
1166 number of variables to be created, and a musical expression. The
1167 content of alternate measures from the expression become the value
1168 of the respective variables, so you can use them afterwards to
1171 @warning{Bar checks @code{|} must be used, and the measures must
1172 be of the same length.}
1174 @lilypond[quote,verbatim]
1175 \parallelMusic #'(voiceA voiceB voiceC) {
1177 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
1178 r16 e'8.~ 4 r16 e'8.~ 4 |
1182 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
1183 r16 d'8.~ 4 r16 d'8.~ 4 |
1188 \new Staff << \voiceA \\ \voiceB >>
1189 \new Staff { \clef bass \voiceC }
1193 Relative mode may be used. Note that the @code{\relative} command
1194 is not used inside @code{\parallelMusic} itself. The notes are
1195 relative to the preceding note in the voice, not to the previous
1196 note in the input -- in other words, relative notes for
1197 @code{voiceA} ignore the notes in @code{voiceB}.
1199 @lilypond[quote,verbatim]
1200 \parallelMusic #'(voiceA voiceB voiceC) {
1202 r8 g16 c e g, c e r8 g,16 c e g, c e |
1203 r16 e8.~ 4 r16 e8.~ 4 |
1207 r8 a,16 d f a, d f r8 a,16 d f a, d f |
1208 r16 d8.~ 4 r16 d8.~ 4 |
1213 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
1214 \new Staff \relative c' { \clef bass \voiceC }
1218 This works quite well for piano music. This example maps four
1219 consecutive measures to four variables:
1221 @lilypond[quote,verbatim]
1227 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1231 c16 d e fis d e fis g |
1237 e16 fis g a fis g a b |
1248 \relative c'' \voiceA
1250 \relative c' \voiceB
1267 @rlearning{Organizing pieces with variables}.
1270 @rlsr{Simultaneous notes}.