1 @c -*- coding: utf-8; mode: texinfo; -*-
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13 @node Simultaneous notes
14 @section Simultaneous notes
16 @lilypondfile[quote]{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,relative=2]
56 <a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
59 Chords may also be followed by articulations, again just like simple
62 @lilypond[verbatim,quote,relative=2]
63 <a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
66 The notes within the chord themselves can also be followed by articulation
69 @lilypond[verbatim,quote,relative=2]
70 <a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
73 However some notation, such as dynamics, hairpins and slurs must be
74 attached to the chord, rather than notes within the chord, otherwise
77 @lilypond[verbatim,quote,relative=2]
78 <a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
81 @cindex relative pitch, chords
82 @cindex chords, relative pitch
84 Relative mode can be used for pitches in chords. The first note of
85 each chord is always relative to the first note of the chord that
86 came before it, or in the case where no preceding chord exists, the
87 pitch of the last note that came before the chord. All remaining notes
88 in the chord are relative to the note that came before it
89 @emph{within the same chord}.
91 @lilypond[verbatim,quote,relative=2]
92 <a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
95 For more information about chords, see @ref{Chord notation}.
102 @rlearning{Combining notes into chords}.
105 @ref{Chord notation},
106 @ref{Articulations and ornamentations},
107 @ref{Relative octave entry},
108 @ref{Multiple voices}.
111 @rlsr{Simultaneous notes}.
114 Chords containing more than two pitches within a staff space,
115 such as @samp{<e f! fis!>}, create overlapping noteheads.
116 Depending on the situation, better representations might involve
121 temporary use of @ref{Multiple voices},
122 @samp{<< f! \\ <e fis!> >>},
125 enharmonic transcription of one or more pitches,
133 @node Chord repetition
134 @unnumberedsubsubsec Chord repetition
136 In order to save typing, a shortcut can be used to repeat the preceding
137 chord. The chord repetition symbol is @code{q}:
139 @lilypond[verbatim,quote,relative=2]
140 <a c e>1 q <f a c>2 q
143 As with regular chords, the chord repetition symbol can be used with
144 durations, articulations, markups, slurs, beams, etc. as only the
145 pitches of the previous chord are duplicated.
147 @lilypond[verbatim,quote,relative=2]
148 <a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
151 The chord repetition symbol always remembers the last instance of
152 a chord so it is possible to repeat the most recent chord even if
153 other non-chorded notes or rests have been added since.
155 @lilypond[verbatim,quote,relative=2]
159 However, the chord repetition symbol does not retain any dynamics,
160 articulation or ornamentation within, or attached to the previous chord.
162 @lilypond[verbatim,quote,relative=2]
163 <a-. c\prall e>1\sfz c4 q2 r8 q8
168 @ref{Chord notation},
169 @ref{Articulations and ornamentations}.
172 @file{ly/chord-repetition-init.ly}.
175 @node Simultaneous expressions
176 @unnumberedsubsubsec Simultaneous expressions
178 One or more music expressions enclosed in double angle brackets are
179 taken to be simultaneous. If the first expression begins with a
180 single note or if the whole simultaneous expression appears
181 explicitly within a single voice, the whole expression is placed on
182 a single staff; otherwise the elements of the simultaneous
183 expression are placed on separate staves.
185 The following examples show simultaneous expressions on one staff:
187 @lilypond[quote,verbatim,relative=2]
188 \new Voice { % explicit single voice
189 << { a4 b g2 } { d4 g c,2 } >>
193 @lilypond[quote,verbatim,relative=2]
195 a << { a4 b g } { d4 g c, } >>
198 This can be useful if the simultaneous sections have identical
199 rhythms, but attempts to attach notes with different durations
200 to the same stem will cause errors.
202 The following example shows how simultaneous expressions can
203 generate multiple staves implicitly:
205 @lilypond[quote,verbatim,relative=2]
206 % no single first note
207 << { a4 b g2 } { d4 g2 c,4 } >>
210 Here different rhythms cause no problems.
213 If notes from two or more voices, with stems in the same direction, are
214 placed at the same position on the staff and have no shift (or have the
215 same shift specified), the message:
218 warning: ignoring too many clashing note columns
221 will appear during compilation. This message can be suppressed by:
224 \override NoteColumn #'ignore-collision = ##t
227 However, this does not only suppress the warning but will prevent any
228 collision resolution, so may have unintended results.
232 @unnumberedsubsubsec Clusters
237 @funindex \makeClusters
238 @funindex makeClusters
240 A cluster indicates a continuous range of pitches to be played.
241 They can be denoted as the envelope of a set of notes. They are
242 entered by applying the function @code{\makeClusters} to a sequence
245 @lilypond[quote,relative=2,verbatim]
246 \makeClusters { <g b>2 <c g'> }
249 Ordinary notes and clusters can be put together in the same staff,
250 even simultaneously. In such a case no attempt is made to
251 automatically avoid collisions between ordinary notes and clusters.
259 @rlsr{Simultaneous notes}.
262 @rinternals{ClusterSpanner},
263 @rinternals{ClusterSpannerBeacon},
264 @rinternals{Cluster_spanner_engraver}.
269 Clusters look good only if they span at least two chords; otherwise
270 they appear too narrow.
272 Clusters do not have a stem and cannot indicate durations by
273 themselves, but the length of the printed cluster is determined by
274 the durations of the defining chords. Separate clusters need a
275 separating rest between them.
277 Clusters do not produce MIDI output.
279 @node Multiple voices
280 @subsection Multiple voices
282 This section discusses simultaneous notes in multiple voices or
286 * Single-staff polyphony::
288 * Collision resolution::
289 * Automatic part combining::
290 * Writing music in parallel::
294 @node Single-staff polyphony
295 @unnumberedsubsubsec Single-staff polyphony
297 @cindex single-staff polyphony
298 @cindex polyphony, single-staff
300 @cindex lyrics assigned to one voice
304 @funindex \voiceOne ... \voiceFour
309 @strong{@i{Explicitly instantiating voices}}
311 The basic structure needed to achieve multiple independent
312 voices in a single staff is illustrated in the following example:
314 @lilypond[quote,relative=3,verbatim]
317 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
319 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
324 Here, voices are instantiated explicitly and are given names. The
325 @code{\voiceOne} @dots{} @code{\voiceFour} commands set up the voices
326 so that first and third voices get stems up, second and fourth
327 voices get stems down, third and fourth voice note heads are
328 horizontally shifted, and rests in the respective voices are
329 automatically moved to avoid collisions. The @code{\oneVoice}
330 command returns all the voice settings to the neutral default
333 @strong{@i{Temporary polyphonic passages}}
335 A temporary polyphonic passage can be created with the following
339 << @{ \voiceOne ... @}
340 \new Voice @{ \voiceTwo ... @}
345 Here, the first expression within a temporary polyphonic passage is
346 placed into the @code{Voice} context which was in use immediately
347 before the polyphonic passage, and that same @code{Voice} context
348 continues after the temporary section. Other expressions within
349 the angle brackets are assigned to distinct temporary voices.
350 This allows lyrics to be assigned to one continuing voice before,
351 during and after a polyphonic section:
353 @lilypond[quote, verbatim, relative=2]
355 \new Voice = "melody" {
370 \new Lyrics \lyricsto "melody" {
377 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
378 required to define the settings of each voice.
380 @strong{@i{The double backslash construct}}
382 The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
383 more) expressions are separated by double backslashes, behaves
384 differently to the similar construct without the double backslashes:
385 @emph{all} the expressions within this construct are assigned
386 to new @code{Voice} contexts. These new @code{Voice} contexts
387 are created implicitly and are given the fixed names @code{"1"},
390 The first example could be typeset as follows:
392 @lilypond[quote,relative=3,verbatim]
394 { r8 r16 g e8. f16 g8[ c,] f e16 d }
396 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
400 This syntax can be used where it does not matter that temporary
401 voices are created and then discarded. These implicitly created
402 voices are given the settings equivalent to the effect of the
403 @code{\voiceOne} @dots{} @code{\voiceFour} commands, in the order in
404 which they appear in the code.
406 In the following example, the intermediate voice has stems up,
407 therefore we enter it in the third place, so it becomes voice
408 three, which has the stems up as desired. Spacer rests are
409 used to avoid printing doubled rests.
411 @lilypond[quote,relative=3,verbatim]
413 { r8 g g g g f16 ees f8 d }
415 { ees,8 r ees r d r d r }
417 { d'8 s c s bes s a s }
421 In all but the simplest works it is advisable to create explicit
422 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
423 @rlearning{Explicitly instantiating voices}.
425 @strong{@i{Voice order}}
427 When entering multiple voices in the input file, use the following
433 Voice 3: second highest
434 Voice 4: second lowest
435 Voice 5: third highest
436 Voice 6: third lowest
440 Though this may seem counterintuitive, it simplifies the automatic
441 layout process. Note that the odd-numbered voices are given
442 upstems, and the even-numbered voices are given downstems:
444 @lilypond[quote,verbatim]
447 { f''2 } % 1: highest
451 { d''2 } % 3: second-highest
453 { e'2 } % 4: second-lowest
455 { b'2 } % 5: third-highest
457 { g'2 } % 6: third-lowest
461 @strong{@i{Identical rhythms}}
463 In the special case that we want to typeset parallel pieces of music
464 that have the same rhythm, we can combine them into a single
465 @code{Voice} context, thus forming chords. To achieve this, enclose
466 them in a simple simultaneous music construct within an explicit voice:
468 @lilypond[quote,relative=2,verbatim]
470 { e4 f8 d e16 f g8 d4 }
471 { c4 d8 b c16 d e8 b4 }
475 This method leads to strange beamings and warnings if the pieces of
476 music do not have the same rhythm.
490 @rlearning{Voices contain music},
491 @rlearning{Explicitly instantiating voices}.
494 @ref{Percussion staves},
495 @ref{Invisible rests},
499 @rlsr{Simultaneous notes}.
503 @unnumberedsubsubsec Voice styles
506 @cindex styles, voice
507 @cindex coloring voices
508 @funindex \voiceOneStyle
509 @funindex \voiceTwoStyle
510 @funindex \voiceThreeStyle
511 @funindex \voiceFourStyle
512 @funindex \voiceNeutralStyle
514 Voices may be given distinct colors and shapes, allowing them to be
517 @lilypond[quote,relative=2,verbatim]
519 { \voiceOneStyle d4 c2 b4 }
521 { \voiceTwoStyle e,2 e }
523 { \voiceThreeStyle b2. c4 }
525 { \voiceFourStyle g'2 g }
529 The @code{\voiceNeutralStyle} command is used to revert to the
530 standard presentation.
534 @code{\voiceOneStyle},
535 @code{\voiceTwoStyle},
536 @code{\voiceThreeStyle},
537 @code{\voiceFourStyle},
538 @code{\voiceNeutralStyle}.
544 @rlearning{I'm hearing Voices},
545 @rlearning{Other sources of information}.
548 @rlsr{Simultaneous notes}.
551 @node Collision resolution
552 @unnumberedsubsubsec Collision resolution
554 @cindex merging notes
555 @cindex note collisions
558 @cindex multiple voices
559 @cindex voices, multiple
560 @cindex polyphonic music
561 @cindex shifting voices
562 @cindex voices, multiple
563 @cindex shift rest, automatic
572 @funindex \mergeDifferentlyDottedOn
573 @funindex mergeDifferentlyDottedOn
574 @funindex \mergeDifferentlyDottedOff
575 @funindex mergeDifferentlyDottedOff
576 @funindex \mergeDifferentlyHeadedOn
577 @funindex mergeDifferentlyHeadedOn
578 @funindex \mergeDifferentlyHeadedOff
579 @funindex mergeDifferentlyHeadedOff
581 The note heads of notes in different voices with the same pitch,
582 same note head and opposite stem direction are automatically
583 merged, but notes with different note heads or the same stem
584 direction are not. Rests opposite a stem in a different voice
585 are shifted vertically. The following example shows three
586 different circumstances, on beats 1 and 3 in bar 1 and beat 1
587 in bar 2, where the automatic merging fails.
589 @lilypond[quote,verbatim,relative=2]
605 Notes with different note heads may be merged, with the
606 exception of half-note heads and quarter-note heads, as shown
607 below. Here the note heads on beat 1 of bar 1 are now merged:
609 @lilypond[quote,verbatim,relative=2]
612 \mergeDifferentlyHeadedOn
626 Note heads with different dots as shown in beat 3 of bar 1 may be
629 @lilypond[quote,relative=2,verbatim]
632 \mergeDifferentlyHeadedOn
633 \mergeDifferentlyDottedOn
648 The half note and eighth note at the start of the second measure
649 are incorrectly merged because the automatic merge cannot
650 successfully complete the merge when three or more notes line up in
651 the same note column, and in this case the merged note head is
652 incorrect. To allow the merge to select the correct note head
653 a @code{\shift} must be applied to the note that should not be
654 merged. Here, @code{\shiftOn} is applied to move the top
655 @notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
658 @lilypond[quote,relative=2,verbatim]
661 \mergeDifferentlyHeadedOn
662 \mergeDifferentlyDottedOn
677 The @code{\shiftOn} command allows (but does not force) the notes
678 in a voice to be shifted. When @code{\shiftOn} is applied to a
679 voice, a note or chord in that voice is shifted only if its stem
680 would otherwise collide with a stem from another voice, and only
681 if the colliding stems point in the same direction. The
682 @code{\shiftOff} command prevents this type of shifting from
685 By default, the outer voices (normally voices one and two) have
686 @code{\shiftOff} specified, while the inner voices (three and
687 above) have @code{\shiftOn} specified. When a shift is applied,
688 voices with upstems (odd-numbered voices) are shifted to the
689 right, and voices with downstems (even-numbered voices) are
692 Here is an example to help you visualize how an abbreviated
693 polyphonic expression would be expanded internally.
695 @warning{Note that with three or more voices, the vertical order
696 of voices in your input file should not be the same as the
697 vertical order of voices on the staff!}
699 @lilypond[quote,verbatim]
700 \new Staff \relative c'' {
707 { d'2 } % 3: upper middle
709 { b2 } % 4: lower middle
711 %% internal expansion of the above
713 \new Voice = "1" { \voiceOne \shiftOff f'2 }
714 \new Voice = "2" { \voiceTwo \shiftOff g,2 }
715 \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
716 \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
721 Two additional commands, @code{\shiftOnn} and @code{\shiftOnnn}
722 provide further shift levels which may be specified temporarily to
723 resolve collisions in complex situations -- see
724 @rlearning{Real music example}.
726 Notes are only merged if they have opposing stem directions (as
727 they have, for example, in voices one and two by default or when
728 the stems are explicitly set in opposite directions).
732 @code{\mergeDifferentlyDottedOn},
733 @code{\mergeDifferentlyDottedOff},
734 @code{\mergeDifferentlyHeadedOn},
735 @code{\mergeDifferentlyHeadedOff}.
746 @lilypondfile[verbatim,quote,texidoc,doctitle]
747 {additional-voices-to-avoid-collisions.ly}
749 @lilypondfile[verbatim,quote,texidoc,doctitle]
750 {forcing-horizontal-shift-of-notes.ly}
758 @rlearning{Multiple notes at once},
759 @rlearning{Voices contain music},
760 @rlearning{Real music example}.
763 @rlsr{Simultaneous notes}.
766 @rinternals{NoteColumn},
767 @rinternals{NoteCollision},
768 @rinternals{RestCollision}.
773 @c TODO investigate! Sometimes it works, sometimes not. --FV
774 The requirements for successfully merging different note heads that
775 are at the same time differently dotted are not clear.
778 @node Automatic part combining
779 @unnumberedsubsubsec Automatic part combining
781 @cindex automatic part combining
782 @cindex part combiner
783 @cindex combining parts
786 @funindex \partcombine
787 @funindex partcombine
789 Automatic part combining is used to merge two separate parts of music
790 onto a single staff. This can be especially helpful when typesetting
791 orchestral scores. A single @code{Voice} is printed while the two parts
792 of music are the same, but in places where they differ, a second
793 @code{Voice} is printed. Stem directions are set up & down accordingly
794 while Solo and @notation{a due} parts are also identified and marked
797 The syntax for automatic part combining is:
800 \partcombine @var{musicexpr1} @var{musicexpr2}
803 The following example demonstrates the basic functionality, putting
804 parts on a single staff as polyphony and setting stem directions
805 accordingly. The same variables are used for the independent parts and
808 @lilypond[quote,verbatim]
809 instrumentOne = \relative c' {
817 instrumentTwo = \relative g' {
826 \new Staff \instrumentOne
827 \new Staff \instrumentTwo
828 \new Staff \partcombine \instrumentOne \instrumentTwo
832 Both parts have identical notes in the third measure, so only one
833 instance of the notes is printed. Stem, slur, and tie directions are
834 set automatically, depending on whether the parts are playing solo or in
835 unison. When needed in polyphony situations, the first part (with
836 context called @code{one}) gets @qq{up} stems, while the second (called
837 @code{two}) always gets @qq{down} stems. In solo situations, the first
838 and second parts get marked with @qq{Solo} and @qq{Solo II},
839 respectively. The unison (@notation{a due}) parts are marked with the
842 Both arguments to @code{\partcombine} will be interpreted as separate
843 @code{Voice} contexts, so if the music is being specified in relative
844 mode then @emph{both} parts must contain a @code{\relative} function,
849 \relative @dots{} @var{musicexpr1}
850 \relative @dots{} @var{musicexpr2}
854 A @code{\relative} section that encloses a @code{\partcombine} has no
855 effect on the pitches of @code{@var{musicexpr1}} or
856 @code{@var{musicexpr2}}.
858 @funindex \partcombineChords
859 @funindex partcombineChords
860 @funindex \partcombineApart
861 @funindex partcombineApart
862 @funindex \partcombineUnisono
863 @funindex partcombineUnisono
864 @funindex \partcombineSoloI
865 @funindex partcombineSoloI
866 @funindex \partcombineSoloII
867 @funindex partcombineSoloII
868 @funindex \partcombineAutomatic
869 @funindex partcombineAutomatic
871 In professional scores, voices are often kept apart from each other for
872 long passages of music even if some of the notes are the same in both
873 voices, and could just as easily be printed as unison. Combining notes
874 into a chord, or showing one voice as solo is, therefore, not ideal as
875 the @code{\partcombine} function considers each note separately. In this
876 case the @code{\partcombine} function can be overriden with the
879 Commands ending in @code{...Once} apply only to the next note in the
884 @code{\partcombineApart} and @code{\partcombineApartOnce} keep the
885 notes as two separate voices, even if they can be combined into a chord
889 @code{\partcombineChords} and @code{\partcombineChordsOnce} combine the
893 @code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
894 both voices as @qq{unison}.
897 @code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
898 voice one, and mark it as a @qq{Solo}.
901 @code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
902 voice two and mark it as a @qq{Solo}.
905 @code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
906 the functions of the commands above, and revert back to the standard
907 @code{\partcombine} functionality.
910 @lilypond[quote,verbatim]
911 instrumentOne = \relative c' {
912 \partcombineApart c2^"apart" e |
913 \partcombineAutomatic e2^"auto" e |
914 \partcombineChords e'2^"chord" e |
915 \partcombineAutomatic c2^"auto" c |
916 \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
919 instrumentTwo = \relative c' {
929 \new Staff { \instrumentOne }
930 \new Staff { \instrumentTwo }
931 \new Staff { \partcombine \instrumentOne \instrumentTwo }
938 @lilypondfile[verbatim,quote,texidoc,doctitle]
939 {combining-two-parts-on-the-same-staff.ly}
941 @lilypondfile[verbatim,quote,texidoc,doctitle]
942 {changing-partcombine-texts.ly}
954 @rlsr{Simultaneous notes}.
957 @rinternals{PartCombineMusic},
962 All @code{\partcombine...} functions can only accept two voices and are
963 not designed to work with lyrics; such that when one of the voices is
964 explicitly named in order to attach lyrics to it, the partcombiner will
967 @code{\partcombine...} functions cannot be placed inside a @code{\times}
968 or @code{\relative} block.
970 If @code{printPartCombineTexts} is set and the two voices play the same
971 notes @qq{on and off}, in the same measure, the part combiner may
972 typeset @code{a2} more than once in that measure.
974 @code{\partcombine} only knows when a note starts in a @code{Voice}; it
975 cannot, for example, remember if a note in one @code{Voice} has already
976 started when combining notes that have just started in the other
977 @code{Voice}. This can lead to a number of unexpected issues including
978 @qq{Solo} or @qq{Unison} marks being printed incorrectly.
980 @code{\partcombine} keeps all spanners (slurs, ties, hairpins etc.) in
981 the same @code{Voice} so that if any such spanners start or end in a
982 different @code{Voice}, they may not be printed properly or at all.
984 If the @code{\partcombine} function cannot combine both music
985 expressions (i.e. when both voices have different durations), it will
986 give the voices, internally, its own custom names: @code{one} and
987 @code{two} respectively. This means if there is any @qq{switch} to a
988 differently named @code{Voice} context, the events in that differently
989 named @code{Voice} will be ignored.
991 Refer also to @emph{Known issues and warnings} when using
992 @code{\partcombine} with tablature in @ref{Default tablatures} and the
993 @emph{Note} in @ref{Automatic beams} when using automatic beaming.
996 @node Writing music in parallel
997 @unnumberedsubsubsec Writing music in parallel
999 @cindex writing music in parallel
1000 @cindex interleaved music
1001 @cindex parallel music
1002 @funindex \parallelMusic
1003 @funindex parallelMusic
1005 Music for multiple parts can be interleaved in input code. The
1006 function @code{\parallelMusic} accepts a list with the names of a
1007 number of variables to be created, and a musical expression. The
1008 content of alternate measures from the expression become the value
1009 of the respective variables, so you can use them afterwards to
1012 @warning{Bar checks @code{|} must be used, and the measures must
1013 be of the same length.}
1015 @lilypond[quote,verbatim]
1016 \parallelMusic #'(voiceA voiceB voiceC) {
1018 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
1019 r16 e'8.~ e'4 r16 e'8.~ e'4 |
1023 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
1024 r16 d'8.~ d'4 r16 d'8.~ d'4 |
1029 \new Staff << \voiceA \\ \voiceB >>
1030 \new Staff { \clef bass \voiceC }
1034 Relative mode may be used. Note that the @code{\relative} command
1035 is not used inside @code{\parallelMusic} itself. The notes are
1036 relative to the preceding note in the voice, not to the previous
1037 note in the input -- in other words, relative notes for
1038 @code{voiceA} ignore the notes in @code{voiceB}.
1040 @lilypond[quote,verbatim]
1041 \parallelMusic #'(voiceA voiceB voiceC) {
1043 r8 g16 c e g, c e r8 g,16 c e g, c e |
1044 r16 e8.~ e4 r16 e8.~ e4 |
1048 r8 a,16 d f a, d f r8 a,16 d f a, d f |
1049 r16 d8.~ d4 r16 d8.~ d4 |
1054 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
1055 \new Staff \relative c' { \clef bass \voiceC }
1059 This works quite well for piano music. This example maps four
1060 consecutive measures to four variables:
1062 @lilypond[quote,verbatim]
1068 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
1072 c16 d e fis d e fis g |
1078 e16 fis g a fis g a b |
1089 \relative c'' \voiceA
1091 \relative c' \voiceB
1109 @rlearning{Organizing pieces with variables}.
1112 @rlsr{Simultaneous notes}.