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{Introducing chord
52 Music Glossary: @rglos{chord}.
54 Notation Reference: @ref{Introducing chord names}.
56 Snippets: @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
86 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
88 Internals Reference: @internalsref{ClusterSpanner},
89 @internalsref{ClusterSpannerBeacon},
90 @internalsref{Cluster_spanner_engraver}.
92 Examples: @c @lsr{contemporary,cluster@/.ly}.
97 @subsection Multiple voices
100 * Collision resolution::
101 * Automatic part combining::
102 * Writing music in parallel::
105 @node Collision resolution
106 @subsubsection Collision resolution
108 @cindex merging notes
109 @cindex note collisions
111 Normally, note heads with a different number of dots are not
112 merged, but when the object property
113 @code{merge-differently-dotted} is set in the
114 @internalsref{NoteCollision} object, they are merged:
116 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
119 \override Staff.NoteCollision
120 #'merge-differently-dotted = ##t
122 } \\ { g8.[ f16] g8.[ f16] } >>
125 Similarly, you can merge half note heads with eighth notes, by
126 setting @code{merge-differently-headed}:
128 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
131 \override Staff.NoteCollision
132 #'merge-differently-headed = ##t
133 c8 c4. } \\ { c2 c2 } >>
137 @code{merge-differently-headed} and
138 @code{merge-differently-dotted} only apply to opposing stem
139 directions (i.e. Voice 1 & 2).
141 LilyPond also vertically shifts rests that are opposite of a stem,
144 @lilypond[quote,ragged-right,fragment,verbatim]
145 \new Voice << c''4 \\ r4 >>
150 If three or more notes line up in the same column,
151 @code{merge-differently-headed} cannot successfully complete the
152 merge of the two notes that should be merged. To allow the merge
153 to work properly, apply a @code{\shift} to the note that should
154 not be merged. In the first measure of following example,
155 @code{merge-differently-headed} does not work (the half-note head
156 is solid). In the second measure, @code{\shiftOn} is applied to
157 move the top @code{g} out of the column, and
158 @code{merge-differently-headed} works properly.
160 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
161 \override Staff.NoteCollision #'merge-differently-headed = ##t
164 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
165 { \voiceFour e,,2 e'2}
168 { d'=''2 \shiftOn g2 } \\
169 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
170 { \voiceFour e,,2 e'2}
174 @cindex multiple voices
175 @cindex polyphonic music
176 @cindex shifting voices
178 In some instances of complex polyphonic music, you may need
179 additional voices to avoid collisions between notes. Additional
180 voices are added by defining an variable, as shown below:
182 @lilypond[quote,verbatim,ragged-right,relative=2]
183 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
186 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
203 @funindex \voiceThree
208 @funindex \voiceNeutralStyle
209 @funindex \voiceOneStyle
210 @funindex \voiceTwoStyle
211 @funindex \voiceThreeStyle
212 @funindex \voiceFourStyle
228 @code{\shiftOff}: these commands specify the degree to which
229 chords of the current voice should be shifted. The outer voices
230 (normally: voice one and two) have @code{\shiftOff}, while the
231 inner voices (three and four) have @code{\shiftOn}.
232 @code{\shiftOnn} and @code{\shiftOnnn} define further shift
235 When LilyPond cannot cope, the @code{force-hshift} property of the
236 @internalsref{NoteColumn} object and pitched rests can be used to
237 override typesetting decisions.
239 @lilypond[quote,verbatim,ragged-right]
246 \once \override NoteColumn #'force-hshift = #1.7
254 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
256 Internals Reference: the objects responsible for resolving
257 collisions are @internalsref{NoteCollision} and
258 @internalsref{RestCollision}.
263 When using @code{merge-differently-headed} with an upstem eighth
264 or a shorter note, and a downstem half note, the eighth note gets
267 There is no support for clusters where the same note occurs with
268 different accidentals in the same chord. In this case, it is
269 recommended to use enharmonic transcription, or to use special
270 cluster notation (see @ref{Clusters}).
273 @node Automatic part combining
274 @subsubsection Automatic part combining
275 @cindex automatic part combining
276 @cindex part combiner
277 @cindex combining parts
279 Automatic part combining is used to merge two parts of music onto
280 a staff. It is aimed at typesetting orchestral scores. When the
281 two parts are identical for a period of time, only one is shown.
282 In places where the two parts differ, they are typeset as separate
283 voices, and stem directions are set automatically. Also, solo and
284 @emph{a due} parts are identified and can be marked.
286 The syntax for part combining is
289 \partcombine @var{musicexpr1} @var{musicexpr2}
293 The following example demonstrates the basic functionality of the
294 part combiner: putting parts on one staff, and setting stem
295 directions and polyphony.
297 @lilypond[quote,verbatim,ragged-right,fragment]
298 \new Staff \partcombine
299 \relative g' { g g a( b) c c r r }
300 \relative g' { g g r4 r e e g g }
303 The first @code{g} appears only once, although it was specified
304 twice (once in each part). Stem, slur, and tie directions are set
305 automatically, depending whether there is a solo or unisono. The
306 first part (with context called @code{one}) always gets up stems,
307 and @q{Solo}, while the second (called @code{two}) always gets
308 down stems and @q{Solo II}.
310 If you just want the merging parts, and not the textual markings,
311 you may set the property @code{printPartCombineTexts} to false.
313 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
315 \set Staff.printPartCombineTexts = ##f
317 \relative g' { g a( b) r }
318 \relative g' { g r4 r f }
322 To change the text that is printed for solos or merging, you may
323 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
326 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
328 \set Score.soloText = #"ichi"
329 \set Score.soloIIText = #"ni"
330 \set Score.aDueText = #"tachi"
332 \relative g' { g4 g a( b) r }
333 \relative g' { g4 g r r f }
337 Both arguments to @code{\partcombine} will be interpreted as
338 @internalsref{Voice} contexts. If using relative octaves,
339 @code{\relative} should be specified for both music expressions,
344 \relative @dots{} @var{musicexpr1}
345 \relative @dots{} @var{musicexpr2}
349 A @code{\relative} section that is outside of @code{\partcombine}
350 has no effect on the pitches of @var{musicexpr1} and
355 Music Glossary: @rglos{a due}.
357 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}.
359 Internals Reference: @internalsref{PartCombineMusic}, @internalsref{Voice}.
363 When @code{printPartCombineTexts} is set, if the two voices play
364 the same notes on and off, the part combiner may typeset @code{a2}
365 more than once in a measure.
367 @code{\partcombine} cannot be inside @code{\times}.
369 @code{\partcombine} cannot be inside @code{\relative}.
371 Internally, the @code{\partcombine} interprets both arguments as
372 @code{Voice}s named @code{one} and @code{two}, and then decides
373 when the parts can be combined. Consequently, if the arguments
374 switch to differently named @internalsref{Voice} contexts, the
375 events in those will be ignored.
378 @node Writing music in parallel
379 @subsubsection Writing music in parallel
381 @cindex Writing music in parallel
382 @cindex Interleaved music
384 Music for multiple parts can be interleaved:
386 @lilypond[quote,fragment,verbatim]
387 \parallelMusic #'(voiceA voiceB) {
388 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
390 r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
394 \new Staff \new Voice \voiceA
395 \new Staff \new Voice \voiceB
399 This works quite well for piano music.
401 @c It would be nice if the first bar fit onto one 66-char line.
402 @c Maybe simplify the example? -gp
403 @lilypond[quote,verbatim]
407 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
409 r8 g'16[ c''] e''[ g' c'' e'']
410 r8 g'16[ c''] e''[ g' c'' e''] |
413 r8 a16[ d'] f'[ a d' f']
414 r8 a16[ d'] f'[ a d' f'] |
419 a'8 b' c'' d'' e'' f'' g'' a'' |
421 c16 d e f d e f g e f g a f g a b |
448 Snippets: @lsrdir{Simultaneous,Simultaneous-notes}