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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11 @node Simultaneous notes
12 @section Simultaneous notes
14 @lilypondfile[quote]{simultaneous-headword.ly}
16 Polyphony in music refers to having more than one voice occurring
17 in a piece of music. Polyphony in LilyPond refers to having more
18 than one voice on the same staff.
27 @subsection Single voice
35 @subsubsection Chorded notes
39 A chord is formed by a enclosing a set of pitches between @code{<}
40 and @code{>}. A chord may be followed by a duration, and a set of
41 articulations, just like simple notes:
43 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
47 For more information about chords, see @ref{Modern chords}.
51 Music Glossary: @rglos{chord}.
53 Notation Reference: @ref{Modern chords}.
56 @lsrdir{Simultaneous,Simultaneous-notes}
60 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
61 accurately. Use @code{<g a>8 <e a>8} instead.
66 @subsubsection Clusters
70 A cluster indicates a continuous range of pitches to be played.
71 They can be denoted as the envelope of a set of notes. They are
72 entered by applying the function @code{makeClusters} to a sequence
75 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
76 \makeClusters { <c e > <b f'> }
79 Ordinary notes and clusters can be put together in the same staff,
80 even simultaneously. In such a case no attempt is made to
81 automatically avoid collisions between ordinary notes and
87 @lsrdir{Simultaneous,Simultaneous-notes}
89 Internals Reference: @internalsref{ClusterSpanner},
90 @internalsref{ClusterSpannerBeacon},
91 @internalsref{Cluster_spanner_engraver}.
93 Examples: @c @lsr{contemporary,cluster@/.ly}.
98 @subsection Multiple voices
101 * Collision resolution::
102 * Automatic part combining::
103 * Writing music in parallel::
106 @node Collision resolution
107 @subsubsection Collision resolution
109 @cindex merging notes
110 @cindex note collisions
112 Normally, note heads with a different number of dots are not
113 merged, but when the object property
114 @code{merge-differently-dotted} is set in the
115 @internalsref{NoteCollision} object, they are merged:
117 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
120 \override Staff.NoteCollision
121 #'merge-differently-dotted = ##t
123 } \\ { g8.[ f16] g8.[ f16] } >>
126 Similarly, you can merge half note heads with eighth notes, by
127 setting @code{merge-differently-headed}:
129 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
132 \override Staff.NoteCollision
133 #'merge-differently-headed = ##t
134 c8 c4. } \\ { c2 c2 } >>
138 @code{merge-differently-headed} and
139 @code{merge-differently-dotted} only apply to opposing stem
140 directions (i.e. Voice 1 & 2).
142 LilyPond also vertically shifts rests that are opposite of a stem,
145 @lilypond[quote,ragged-right,fragment,verbatim]
146 \new Voice << c''4 \\ r4 >>
151 If three or more notes line up in the same column,
152 @code{merge-differently-headed} cannot successfully complete the
153 merge of the two notes that should be merged. To allow the merge
154 to work properly, apply a @code{\shift} to the note that should
155 not be merged. In the first measure of following example,
156 @code{merge-differently-headed} does not work (the half-note head
157 is solid). In the second measure, @code{\shiftOn} is applied to
158 move the top @code{g} out of the column, and
159 @code{merge-differently-headed} works properly.
161 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
162 \override Staff.NoteCollision #'merge-differently-headed = ##t
165 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
166 { \voiceFour e,,2 e'2}
169 { d'=''2 \shiftOn g2 } \\
170 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
171 { \voiceFour e,,2 e'2}
175 @cindex multiple voices
176 @cindex polyphonic music
177 @cindex shifting voices
179 In some instances of complex polyphonic music, you may need
180 additional voices to avoid collisions between notes. Additional
181 voices are added by defining an variable, as shown below:
183 @lilypond[quote,verbatim,ragged-right,relative=2]
184 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
187 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
204 @funindex \voiceThree
209 @funindex \voiceNeutralStyle
210 @funindex \voiceOneStyle
211 @funindex \voiceTwoStyle
212 @funindex \voiceThreeStyle
213 @funindex \voiceFourStyle
229 @code{\shiftOff}: these commands specify the degree to which
230 chords of the current voice should be shifted. The outer voices
231 (normally: voice one and two) have @code{\shiftOff}, while the
232 inner voices (three and four) have @code{\shiftOn}.
233 @code{\shiftOnn} and @code{\shiftOnnn} define further shift
236 When LilyPond cannot cope, the @code{force-hshift} property of the
237 @internalsref{NoteColumn} object and pitched rests can be used to
238 override typesetting decisions.
240 @lilypond[quote,verbatim,ragged-right]
247 \once \override NoteColumn #'force-hshift = #1.7
256 @lsrdir{Simultaneous,Simultaneous-notes}
258 Internals Reference: the objects responsible for resolving
259 collisions are @internalsref{NoteCollision} and
260 @internalsref{RestCollision}.
265 When using @code{merge-differently-headed} with an upstem eighth
266 or a shorter note, and a downstem half note, the eighth note gets
269 There is no support for clusters where the same note occurs with
270 different accidentals in the same chord. In this case, it is
271 recommended to use enharmonic transcription, or to use special
272 cluster notation (see @ref{Clusters}).
275 @node Automatic part combining
276 @subsubsection Automatic part combining
277 @cindex automatic part combining
278 @cindex part combiner
279 @cindex combining parts
281 Automatic part combining is used to merge two parts of music onto
282 a staff. It is aimed at typesetting orchestral scores. When the
283 two parts are identical for a period of time, only one is shown.
284 In places where the two parts differ, they are typeset as separate
285 voices, and stem directions are set automatically. Also, solo and
286 @emph{a due} parts are identified and can be marked.
288 The syntax for part combining is
291 \partcombine @var{musicexpr1} @var{musicexpr2}
295 The following example demonstrates the basic functionality of the
296 part combiner: putting parts on one staff, and setting stem
297 directions and polyphony.
299 @lilypond[quote,verbatim,ragged-right,fragment]
300 \new Staff \partcombine
301 \relative g' { g g a( b) c c r r }
302 \relative g' { g g r4 r e e g g }
305 The first @code{g} appears only once, although it was specified
306 twice (once in each part). Stem, slur, and tie directions are set
307 automatically, depending whether there is a solo or unisono. The
308 first part (with context called @code{one}) always gets up stems,
309 and @q{Solo}, while the second (called @code{two}) always gets
310 down stems and @q{Solo II}.
312 If you just want the merging parts, and not the textual markings,
313 you may set the property @code{printPartCombineTexts} to false.
315 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
317 \set Staff.printPartCombineTexts = ##f
319 \relative g' { g a( b) r }
320 \relative g' { g r4 r f }
324 To change the text that is printed for solos or merging, you may
325 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
328 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
330 \set Score.soloText = #"ichi"
331 \set Score.soloIIText = #"ni"
332 \set Score.aDueText = #"tachi"
334 \relative g' { g4 g a( b) r }
335 \relative g' { g4 g r r f }
339 Both arguments to @code{\partcombine} will be interpreted as
340 @internalsref{Voice} contexts. If using relative octaves,
341 @code{\relative} should be specified for both music expressions,
346 \relative @dots{} @var{musicexpr1}
347 \relative @dots{} @var{musicexpr2}
351 A @code{\relative} section that is outside of @code{\partcombine}
352 has no effect on the pitches of @var{musicexpr1} and
357 Music Glossary: @rglos{a due}.
360 @lsrdir{Simultaneous,Simultaneous-notes}
362 Internals Reference: @internalsref{PartCombineMusic}, @internalsref{Voice}.
366 When @code{printPartCombineTexts} is set, if the two voices play
367 the same notes on and off, the part combiner may typeset @code{a2}
368 more than once in a measure.
370 @code{\partcombine} cannot be inside @code{\times}.
372 @code{\partcombine} cannot be inside @code{\relative}.
374 Internally, the @code{\partcombine} interprets both arguments as
375 @code{Voice}s named @code{one} and @code{two}, and then decides
376 when the parts can be combined. Consequently, if the arguments
377 switch to differently named @internalsref{Voice} contexts, the
378 events in those will be ignored.
381 @node Writing music in parallel
382 @subsubsection Writing music in parallel
384 @cindex Writing music in parallel
385 @cindex Interleaved music
387 Music for multiple parts can be interleaved:
389 @lilypond[quote,fragment,verbatim]
390 \parallelMusic #'(voiceA voiceB) {
391 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
393 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
397 \new Staff \new Voice \voiceA
398 \new Staff \new Voice \voiceB
402 This works quite well for piano music.
404 @c It would be nice if the first bar fit onto one 66-char line.
405 @c Maybe simplify the example? -gp
406 @lilypond[quote,verbatim]
410 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
412 r8 g'16[ c''] e''[ g' c'' e'']
413 r8 g'16[ c''] e''[ g' c'' e''] |
416 r8 a16[ d'] f'[ a d' f']
417 r8 a16[ d'] f'[ a d' f'] |
422 a'8 b' c'' d'' e'' f'' g'' a'' |
424 c16 d e f d e f g e f g a f g a b |
452 @lsrdir{Simultaneous,Simultaneous-notes}