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. See TRANSLATION for details.
9 @node Simultaneous notes
10 @section Simultaneous notes
12 @lilypondfile[quote]{simultaneous-headword.ly}
14 Polyphony in music refers to having more than one voice occurring
15 in a piece of music. Polyphony in LilyPond refers to having more
16 than one voice on the same staff.
25 @subsection Single voice
33 @subsubsection Chorded notes
37 A chord is formed by a enclosing a set of pitches between @code{<}
38 and @code{>}. A chord may be followed by a duration, and a set of
39 articulations, just like simple notes:
41 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
45 For more information about chords, see @ref{Introducing chord
50 Music Glossary: @rglos{chord}.
52 Notation Reference: @ref{Introducing chord names}.
54 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
58 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
59 accurately. Use @code{<g a>8 <e a>8} instead.
64 @subsubsection Clusters
68 A cluster indicates a continuous range of pitches to be played.
69 They can be denoted as the envelope of a set of notes. They are
70 entered by applying the function @code{makeClusters} to a sequence
73 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
74 \makeClusters { <c e > <b f'> }
77 Ordinary notes and clusters can be put together in the same staff,
78 even simultaneously. In such a case no attempt is made to
79 automatically avoid collisions between ordinary notes and
84 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
86 Internals Reference: @internalsref{ClusterSpanner},
87 @internalsref{ClusterSpannerBeacon},
88 @internalsref{Cluster_spanner_engraver}.
90 Examples: @c @lsr{contemporary,cluster@/.ly}.
95 @subsection Multiple voices
98 * Collision resolution::
99 * Automatic part combining::
100 * Writing music in parallel::
103 @node Collision resolution
104 @subsubsection Collision resolution
106 @cindex merging notes
107 @cindex note collisions
109 Normally, note heads with a different number of dots are not
110 merged, but when the object property
111 @code{merge-differently-dotted} is set in the
112 @internalsref{NoteCollision} object, they are merged:
114 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
117 \override Staff.NoteCollision
118 #'merge-differently-dotted = ##t
120 } \\ { g8.[ f16] g8.[ f16] } >>
123 Similarly, you can merge half note heads with eighth notes, by
124 setting @code{merge-differently-headed}:
126 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
129 \override Staff.NoteCollision
130 #'merge-differently-headed = ##t
131 c8 c4. } \\ { c2 c2 } >>
135 @code{merge-differently-headed} and
136 @code{merge-differently-dotted} only apply to opposing stem
137 directions (i.e. Voice 1 & 2).
139 LilyPond also vertically shifts rests that are opposite of a stem,
142 @lilypond[quote,ragged-right,fragment,verbatim]
143 \new Voice << c''4 \\ r4 >>
148 If three or more notes line up in the same column,
149 @code{merge-differently-headed} cannot successfully complete the
150 merge of the two notes that should be merged. To allow the merge
151 to work properly, apply a @code{\shift} to the note that should
152 not be merged. In the first measure of following example,
153 @code{merge-differently-headed} does not work (the half-note head
154 is solid). In the second measure, @code{\shiftOn} is applied to
155 move the top @code{g} out of the column, and
156 @code{merge-differently-headed} works properly.
158 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
159 \override Staff.NoteCollision #'merge-differently-headed = ##t
162 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
163 { \voiceFour e,,2 e'2}
166 { d'=''2 \shiftOn g2 } \\
167 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
168 { \voiceFour e,,2 e'2}
172 @cindex multiple voices
173 @cindex polyphonic music
174 @cindex shifting voices
176 In some instances of complex polyphonic music, you may need
177 additional voices to avoid collisions between notes. Additional
178 voices are added by defining an variable, as shown below:
180 @lilypond[quote,verbatim,ragged-right,relative=2]
181 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
184 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
201 @funindex \voiceThree
206 @funindex \voiceNeutralStyle
207 @funindex \voiceOneStyle
208 @funindex \voiceTwoStyle
209 @funindex \voiceThreeStyle
210 @funindex \voiceFourStyle
226 @code{\shiftOff}: these commands specify the degree to which
227 chords of the current voice should be shifted. The outer voices
228 (normally: voice one and two) have @code{\shiftOff}, while the
229 inner voices (three and four) have @code{\shiftOn}.
230 @code{\shiftOnn} and @code{\shiftOnnn} define further shift
233 When LilyPond cannot cope, the @code{force-hshift} property of the
234 @internalsref{NoteColumn} object and pitched rests can be used to
235 override typesetting decisions.
237 @lilypond[quote,verbatim,ragged-right]
244 \once \override NoteColumn #'force-hshift = #1.7
252 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
254 Internals Reference: the objects responsible for resolving
255 collisions are @internalsref{NoteCollision} and
256 @internalsref{RestCollision}.
261 When using @code{merge-differently-headed} with an upstem eighth
262 or a shorter note, and a downstem half note, the eighth note gets
265 There is no support for clusters where the same note occurs with
266 different accidentals in the same chord. In this case, it is
267 recommended to use enharmonic transcription, or to use special
268 cluster notation (see @ref{Clusters}).
271 @node Automatic part combining
272 @subsubsection Automatic part combining
273 @cindex automatic part combining
274 @cindex part combiner
275 @cindex combining parts
277 Automatic part combining is used to merge two parts of music onto
278 a staff. It is aimed at typesetting orchestral scores. When the
279 two parts are identical for a period of time, only one is shown.
280 In places where the two parts differ, they are typeset as separate
281 voices, and stem directions are set automatically. Also, solo and
282 @emph{a due} parts are identified and can be marked.
284 The syntax for part combining is
287 \partcombine @var{musicexpr1} @var{musicexpr2}
291 The following example demonstrates the basic functionality of the
292 part combiner: putting parts on one staff, and setting stem
293 directions and polyphony.
295 @lilypond[quote,verbatim,ragged-right,fragment]
296 \new Staff \partcombine
297 \relative g' { g g a( b) c c r r }
298 \relative g' { g g r4 r e e g g }
301 The first @code{g} appears only once, although it was specified
302 twice (once in each part). Stem, slur, and tie directions are set
303 automatically, depending whether there is a solo or unisono. The
304 first part (with context called @code{one}) always gets up stems,
305 and @q{Solo}, while the second (called @code{two}) always gets
306 down stems and @q{Solo II}.
308 If you just want the merging parts, and not the textual markings,
309 you may set the property @code{printPartCombineTexts} to false.
311 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
313 \set Staff.printPartCombineTexts = ##f
315 \relative g' { g a( b) r }
316 \relative g' { g r4 r f }
320 To change the text that is printed for solos or merging, you may
321 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
324 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
326 \set Score.soloText = #"ichi"
327 \set Score.soloIIText = #"ni"
328 \set Score.aDueText = #"tachi"
330 \relative g' { g4 g a( b) r }
331 \relative g' { g4 g r r f }
335 Both arguments to @code{\partcombine} will be interpreted as
336 @internalsref{Voice} contexts. If using relative octaves,
337 @code{\relative} should be specified for both music expressions,
342 \relative @dots{} @var{musicexpr1}
343 \relative @dots{} @var{musicexpr2}
347 A @code{\relative} section that is outside of @code{\partcombine}
348 has no effect on the pitches of @var{musicexpr1} and
353 Music Glossary: @rglos{a due}.
355 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
357 Internals Reference: @internalsref{PartCombineMusic}, @internalsref{Voice}.
361 When @code{printPartCombineTexts} is set, if the two voices play
362 the same notes on and off, the part combiner may typeset @code{a2}
363 more than once in a measure.
365 @code{\partcombine} cannot be inside @code{\times}.
367 @code{\partcombine} cannot be inside @code{\relative}.
369 Internally, the @code{\partcombine} interprets both arguments as
370 @code{Voice}s named @code{one} and @code{two}, and then decides
371 when the parts can be combined. Consequently, if the arguments
372 switch to differently named @internalsref{Voice} contexts, the
373 events in those will be ignored.
376 @node Writing music in parallel
377 @subsubsection Writing music in parallel
379 @cindex Writing music in parallel
380 @cindex Interleaved music
382 Music for multiple parts can be interleaved:
384 @lilypond[quote,fragment,verbatim]
385 \parallelMusic #'(voiceA voiceB) {
386 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
388 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
392 \new Staff \new Voice \voiceA
393 \new Staff \new Voice \voiceB
397 This works quite well for piano music.
399 @c It would be nice if the first bar fit onto one 66-char line.
400 @c Maybe simplify the example? -gp
401 @lilypond[quote,verbatim]
405 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
407 r8 g'16[ c''] e''[ g' c'' e'']
408 r8 g'16[ c''] e''[ g' c'' e''] |
411 r8 a16[ d'] f'[ a d' f']
412 r8 a16[ d'] f'[ a d' f'] |
417 a'8 b' c'' d'' e'' f'' g'' a'' |
419 c16 d e f d e f g e f g a f g a b |
446 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}