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,ragged-right,line-width=16\cm,staffsize=16]
13 {simultaneous-headword.ly}
15 Polyphony in music refers to having more than one voice occurring
16 in a piece of music. Polyphony in LilyPond refers to having more
17 than one voice on the same staff.
26 @subsection Single voice
34 @unnumberedsubsubsec Chorded notes
38 A chord is formed by a enclosing a set of pitches between @code{<}
39 and @code{>}. A chord may be followed by a duration, and a set of
40 articulations, just like simple notes:
42 @lilypond[verbatim,ragged-right,fragment,quote,relative=1]
46 For more information about chords, see @ref{Introducing chord
51 Music Glossary: @rglos{chord}.
53 Notation Reference: @ref{Introducing chord names}.
55 Snippets: @lsrdir{simultaneous}.
59 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
60 accurately. Use @code{<g a>8 <e a>8} instead.
65 @unnumberedsubsubsec Clusters
69 A cluster indicates a continuous range of pitches to be played.
70 They can be denoted as the envelope of a set of notes. They are
71 entered by applying the function @code{makeClusters} to a sequence
74 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
75 \makeClusters { <c e > <b f'> }
78 Ordinary notes and clusters can be put together in the same staff,
79 even simultaneously. In such a case no attempt is made to
80 automatically avoid collisions between ordinary notes and
85 Snippets: @lsrdir{simultaneous}.
87 Internals Reference: @internalsref{ClusterSpanner},
88 @internalsref{ClusterSpannerBeacon},
89 @internalsref{Cluster_spanner_engraver}.
91 Examples: @lsr{contemporary,cluster@/.ly}.
96 @subsection Multiple voices
99 * Collision resolution::
100 * Automatic part combining::
101 * Writing music in parallel::
104 @node Collision resolution
105 @unnumberedsubsubsec Collision resolution
107 @cindex merging notes
108 @cindex note collisions
110 Normally, note heads with a different number of dots are not
111 merged, but when the object property
112 @code{merge-differently-dotted} is set in the
113 @internalsref{NoteCollision} object, they are merged:
115 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
118 \override Staff.NoteCollision
119 #'merge-differently-dotted = ##t
121 } \\ { g8.[ f16] g8.[ f16] } >>
124 Similarly, you can merge half note heads with eighth notes, by
125 setting @code{merge-differently-headed}:
127 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
130 \override Staff.NoteCollision
131 #'merge-differently-headed = ##t
132 c8 c4. } \\ { c2 c2 } >>
136 @code{merge-differently-headed} and
137 @code{merge-differently-dotted} only apply to opposing stem
138 directions (i.e. Voice 1 & 2).
140 LilyPond also vertically shifts rests that are opposite of a stem,
143 @lilypond[quote,ragged-right,fragment,verbatim]
144 \new Voice << c''4 \\ r4 >>
149 If three or more notes line up in the same column,
150 @code{merge-differently-headed} cannot successfully complete the
151 merge of the two notes that should be merged. To allow the merge
152 to work properly, apply a @code{\shift} to the note that should
153 not be merged. In the first measure of following example,
154 @code{merge-differently-headed} does not work (the half-note head
155 is solid). In the second measure, @code{\shiftOn} is applied to
156 move the top @code{g} out of the column, and
157 @code{merge-differently-headed} works properly.
159 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
160 \override Staff.NoteCollision #'merge-differently-headed = ##t
163 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
164 { \voiceFour e,,2 e'2}
167 { d'=''2 \shiftOn g2 } \\
168 { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
169 { \voiceFour e,,2 e'2}
173 @cindex multiple voices
174 @cindex polyphonic music
175 @cindex shifting voices
177 In some instances of complex polyphonic music, you may need
178 additional voices to avoid collisions between notes. Additional
179 voices are added by defining an variable, as shown below:
181 @lilypond[quote,verbatim,ragged-right,relative=2]
182 voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
185 { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
202 @funindex \voiceThree
207 @funindex \voiceNeutralStyle
208 @funindex \voiceOneStyle
209 @funindex \voiceTwoStyle
210 @funindex \voiceThreeStyle
211 @funindex \voiceFourStyle
227 @code{\shiftOff}: these commands specify the degree to which
228 chords of the current voice should be shifted. The outer voices
229 (normally: voice one and two) have @code{\shiftOff}, while the
230 inner voices (three and four) have @code{\shiftOn}.
231 @code{\shiftOnn} and @code{\shiftOnnn} define further shift
234 When LilyPond cannot cope, the @code{force-hshift} property of the
235 @internalsref{NoteColumn} object and pitched rests can be used to
236 override typesetting decisions.
238 @lilypond[quote,verbatim,ragged-right]
245 \once \override NoteColumn #'force-hshift = #1.7
253 Snippets: @lsrdir{simultaneous}.
255 Internals Reference: the objects responsible for resolving
256 collisions are @internalsref{NoteCollision} and
257 @internalsref{RestCollision}.
262 When using @code{merge-differently-headed} with an upstem eighth
263 or a shorter note, and a downstem half note, the eighth note gets
266 There is no support for clusters where the same note occurs with
267 different accidentals in the same chord. In this case, it is
268 recommended to use enharmonic transcription, or to use special
269 cluster notation (see @ref{Clusters}).
272 @node Automatic part combining
273 @unnumberedsubsubsec Automatic part combining
274 @cindex automatic part combining
275 @cindex part combiner
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 @c FIXME: add Music Glossary: @rglos{a due}. after glossary addition.
355 Snippets: @lsrdir{simultaneous}.
357 Internals Reference: @internalsref{PartCombineMusic}.
361 When @code{printPartCombineTexts} is set, when 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 @unnumberedsubsubsec 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}