1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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12 @node Simultaneous notes
13 @section Simultaneous notes
15 @lilypondfile[quote]{simultaneous-headword.ly}
17 Polyphony in music refers to having more than one voice occurring
18 in a piece of music. Polyphony in LilyPond refers to having more
19 than one voice on the same staff.
28 @subsection Single voice
30 This section discusses simultaneous notes inside the same voice.
39 @unnumberedsubsubsec Chorded notes
42 @cindex brackets, angle
47 A chord is formed by a enclosing a set of pitches between @code{<} and
48 @code{>}. A chord may be followed by a duration and/or a set of
49 articulations, just like simple notes:
51 @lilypond[verbatim,quote,relative=1]
52 <c e g>2 <c f a>4-> <e g c>-.
55 Relative mode can be used for pitches in chords; the preceding pitch
56 into the same chord is still used as a reference for relative pitches,
57 but when a chord is completed, the reference pitch for relative mode
58 is the first note of this chord --not the last note of the chord.
60 For more information about chords, see @ref{Chord notation}.
68 @rlearning{Combining notes into chords}.
74 @rlsr{Simultaneous notes}.
79 For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
80 that should automatically turn into chords, appear split in two
81 staves. To avoid this, use explicit chords instead as in
87 @unnumberedsubsubsec Clusters
90 @funindex \makeClusters
92 A cluster indicates a continuous range of pitches to be played. They
93 can be denoted as the envelope of a set of notes. They are entered by
94 applying the function @code{\makeClusters} to a sequence of chords,
97 @lilypond[quote,relative=2,verbatim]
98 \makeClusters { <g b>2 <c g'> }
101 Ordinary notes and clusters can be put together in the same staff,
102 even simultaneously. In such a case no attempt is made to
103 automatically avoid collisions between ordinary notes and clusters.
111 @rlsr{Simultaneous notes}.
114 @rinternals{ClusterSpanner},
115 @rinternals{ClusterSpannerBeacon},
116 @rinternals{Cluster_spanner_engraver}.
120 Clusters look good only if they span at least two chords; otherwise
121 they appear too narrow.
123 Clusters do not have a stem and cannot indicate durations by
124 themselves. Separate clusters would need a separating rest between
128 @node Multiple voices
129 @subsection Multiple voices
131 This section discusses simultaneous notes in multiple voices or
135 * Single-staff polyphony::
137 * Collision resolution::
138 * Automatic part combining::
139 * Writing music in parallel::
143 @node Single-staff polyphony
144 @unnumberedsubsubsec Single-staff polyphony
146 @c Already reordered as Carl suggested --FV
147 The basic structure of code needed to achieve multiple, independent
148 voices in a single staff is illustrated in the following example:
150 @lilypond[quote,relative=3,verbatim]
153 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
155 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
159 Here, voices are instantiated explicitly and are given a name. The
160 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices so
161 that first and third voices get stems up, second and fourth voices get
162 stems down, third and fourth voice note heads are horizontally
163 shifted, and rests in the respective voices move to avoid collisions.
165 Using the @code{\oneVoice} command, we can make a voice to be into the
166 same @code{Voice} context before and after a temporary polyphonic
167 passage. For example:
170 << @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
173 This construct keeps a voice alive throughout the polyphonic section.
174 Using the name given when created, this allows lyrics to be assigned
175 to one consistent voice.
177 @lilypond[quote, verbatim, relative=2]
179 \new Voice = "melody" {
194 \new Lyrics \lyricsto "melody" {
200 The @code{<<@{...@} \\ @{...@}>>} construction can be used as a
201 simplified method, where the two (or more) voices are separated by
202 double backslashes. Our first example could be typeset as follows:
204 @lilypond[quote,relative=3,verbatim]
206 { r8 r16 g e8. f16 g8[ c,] f e16 d }
208 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
212 This syntax is simpler and can be used where it does not care that
213 temporary voices are created and then discarded. These implicitly
214 created voices are given the settings equivalent to the effect of the
215 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in which
216 they appear in the code. In the following example, the intermediate
217 voice has stems up, therefore we enter it in the third place, so it
218 becomes voice three which has the stems up as desired.
220 @lilypond[quote,relative=3,verbatim]
222 { r8 g g g g f16 es f8 d }
224 { es,8 r es r d r d r }
226 { d'8 s c s bes s a s }
230 Spacing rests are often used to avoid too many rests, as seen in the
233 In all but simplest works it is advised to create explicit
234 @code{Voice} contexts using the @code{\new} and @code{\context}
235 commands as it is explained in @rlearning{Contexts and engravers} and
236 @rlearning{Explicitly instantiating voices}.
238 In the special case that we want to typeset parallel pieces of music
239 that have the same rhythm, we can combine them into a single
240 @code{Voice} context, thus forming chords. To achieve this, enclose
241 them in a simple simultaneous music construction and make it to be an
244 @lilypond[quote,relative=2,verbatim]
246 { e4 f8 d e16 f g8 d4 }
247 { c4 d8 b c16 d e8 b4 }
251 This method leads to strange beamings and warnings if the pieces of
252 music do not have the same rhythm.
260 @funindex \voiceThree
270 @rlearning{Voices contain music},
271 @rlearning{Explicitly instantiating voices}.
274 @ref{Percussion staves}.
277 @rlsr{Simultaneous notes}.
281 @unnumberedsubsubsec Voice styles
284 @cindex styles, voice
285 @cindex coloring voices
287 Voices may be given distinct colors and shapes, allowing them to be
290 @lilypond[quote,relative=2,verbatim]
292 { \voiceOneStyle d4 c2 b4 }
294 { \voiceTwoStyle e,2 e }
296 { \voiceThreeStyle b2. c4 }
298 { \voiceFourStyle g'2 g }
302 To revert the standard presentation, the @code{\voiceNeutralstyle}
307 @funindex \voiceOneStyle
308 @code{\voiceOneStyle},
309 @funindex \voiceTwoStyle
310 @code{\voiceTwoStyle},
311 @funindex \voiceThreeStyle
312 @code{\voiceThreeStyle},
313 @funindex \voiceFourStyle
314 @code{\voiceFourStyle},
315 @funindex \voiceNeutralStyle
316 @code{\voiceNeutralStyle}.
321 @rlearning{I'm hearing Voices},
322 @rlearning{Other sources of information}.
325 @rlsr{Simultaneous notes}.
328 @node Collision resolution
329 @unnumberedsubsubsec Collision resolution
331 @cindex merging notes
332 @cindex note collisions
338 @cindex shift rest, automatic
340 Note heads with equal durations are automatically merged, while
341 note heads with unequal durations are not merged. Rests opposite
342 a stem are shifted vertically.
344 @lilypond[quote,verbatim,relative=2]
360 Note heads with different note heads may be merged, with the
361 exception of half-note heads and quarter-note heads:
363 @lilypond[quote,verbatim,relative=2]
366 \mergeDifferentlyHeadedOn
380 Note heads with different dots may be merged:
382 @lilypond[quote,relative=2,verbatim]
385 \mergeDifferentlyHeadedOn
386 \mergeDifferentlyDottedOn
402 The collision on the second measure happens because
403 @code{merge-differently-headed} cannot successfully complete the
404 merge when three or more notes line up in the same column -- in
405 fact, you will obtain a warning for this reason. To allow the
406 merge to work properly, apply a @code{\shift} to the note that
407 should not be merged. Here, @code{\shiftOn} is applied to move
408 the top @code{g} out of the column, and
409 @code{merge-differently-headed} works properly.
411 @lilypond[quote,relative=2,verbatim]
414 \mergeDifferentlyHeadedOn
415 \mergeDifferentlyDottedOn
431 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
432 commands specify the degree to which chords of the current voice
433 should be shifted. The outer voices (normally: voices one and
434 two) have @code{\shiftOff}, while the inner voices (three and
435 four) have @code{\shiftOn}. @code{\shiftOnn} and
436 @code{\shiftOnnn} define further shift levels.
438 Notes are only merged if they have opposing stem directions (i.e., in
439 @code{Voice} 1 and 2).
441 @cindex multiple voices
442 @cindex polyphonic music
443 @cindex shifting voices
447 @funindex \mergeDifferentlyDottedOn
448 @code{\mergeDifferentlyDottedOn},
449 @funindex \mergeDifferentlyDottedOff
450 @code{\mergeDifferentlyDottedOff},
451 @funindex \mergeDifferentlyHeadedOn
452 @code{\mergeDifferentlyHeadedOn},
453 @funindex \mergeDifferentlyHeadedOff
454 @code{\mergeDifferentlyHeadedOff}.
467 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
468 {additional-voices-to-avoid-collisions.ly}
470 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
471 {forcing-horizontal-shift-of-notes.ly}
479 @rlearning{Multiple notes at once},
480 @rlearning{Voices contain music},
481 @rlearning{Collisions of objects}.
484 @rlsr{Simultaneous notes}.
487 @rinternals{NoteColumn},
488 @rinternals{NoteCollision},
489 @rinternals{RestCollision}.
493 When using @code{merge-differently-headed} with an upstem eighth
494 or a shorter note, and a downstem half note, the eighth note stem
495 gets a slightly wrong offset because of the different width of the
496 half note head symbol.
498 @c investigate! Sometimes it works, sometimes not. --FV
499 The requirements for successfully merging different note heads that
500 are at the same time differently dotted are not clear.
502 There is no support for chords where the same note occurs with
503 different accidentals in the same chord. In this case, it is
504 recommended to use enharmonic transcription, or to use special
505 cluster notation (see @ref{Clusters}).
508 @node Automatic part combining
509 @unnumberedsubsubsec Automatic part combining
511 @cindex automatic part combining
512 @cindex part combiner
513 @cindex combining parts
514 @funindex \partcombine
516 Automatic part combining is used to merge two parts of music onto
517 a staff. It is aimed at typesetting orchestral scores. When the
518 two parts are identical for a period of time, only one is shown.
519 In places where the two parts differ, they are typeset as separate
520 voices, and stem directions are set automatically. Also, solo and
521 @notation{a due} parts are identified and marked by default.
523 The syntax for part combining is:
526 \partcombine @var{musicexpr1} @var{musicexpr2}
529 The following example demonstrates the basic functionality of the
530 part combiner: putting parts on one staff and setting stem
531 directions and polyphony. The same variables are used for the
532 independent parts and the combined staff.
534 @lilypond[quote,verbatim]
535 instrumentOne = \relative c' {
543 instrumentTwo = \relative g' {
552 \new Staff \instrumentOne
553 \new Staff \instrumentTwo
554 \new Staff \partcombine \instrumentOne \instrumentTwo
558 The notes in the third measure appear only once, although they
559 were specified in both parts. Stem, slur, and tie directions are
560 set automatically, depending whether there is a solo or unison.
561 When needed in polyphony situations, the first part (with context
562 called @code{one}) always gets up stems, while the second (called
563 @code{two}) always gets down stems. In solo situations, the parts
564 get marked with @q{Solo} and @q{Solo II}, respectively. The
565 unisono (@notation{a due}) parts are marked by default with the
568 Both arguments to @code{\partcombine} will be interpreted as
569 @code{Voice} contexts. If using relative octaves,
570 @code{\relative} should be specified for both music expressions,
575 \relative @dots{} @var{musicexpr1}
576 \relative @dots{} @var{musicexpr2}
580 A @code{\relative} section that is outside of @code{\partcombine}
581 has no effect on the pitches of @var{musicexpr1} and
586 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
587 {combining-two-parts-on-the-same-staff.ly}
589 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
590 {changing-partcombine-texts.ly}
602 @rlsr{Simultaneous notes}.
605 @rinternals{PartCombineMusic},
610 When @code{printPartCombineTexts} is set, if the two voices play
611 the same notes on and off, the part combiner may typeset @code{a2}
612 more than once in a measure.
614 @code{\partcombine} cannot be inside @code{\times}.
616 @code{\partcombine} cannot be inside @code{\relative}.
618 Internally, the @code{\partcombine} interprets both arguments as
619 @code{Voice}s named @code{one} and @code{two}, and then decides
620 when the parts can be combined. Consequently, if the arguments
621 switch to differently named @rinternals{Voice} contexts, the
622 events in those will be ignored.
624 @c IIRC in users list someone pointed out more issues. TODO: lookup FV
627 @node Writing music in parallel
628 @unnumberedsubsubsec Writing music in parallel
630 @cindex Writing music in parallel
631 @cindex Interleaved music
632 @funindex parallelMusic
634 Music for multiple parts can be interleaved in input code. The
635 function @code{\parallelMusic} accepts a list with the names of a
636 number of variables to be created, and a musical expression. The
637 content of alternate measures from the expression become the value
638 of the respective variables, so you can use them afterwards to
641 @warning{Bar checks @code{|} must be used, and the measures must
642 be of the same length.}
644 @lilypond[quote,verbatim]
645 \parallelMusic #'(voiceA voiceB voiceC) {
647 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
648 r16 e'8.~ e'4 r16 e'8.~ e'4 |
652 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
653 r16 d'8.~ d'4 r16 d'8.~ d'4 |
658 \new Staff << \voiceA \\ \voiceB >>
659 \new Staff { \clef bass \voiceC }
663 Relative mode may be used. Note that the @code{\relative} command
664 is not used inside @code{\parallelMusic} itself. The notes are
665 relative to the preceding note in the voice, not to the previous
666 note in the input -- in other words, relative notes for
667 @code{voiceA} ignore the notes in @code{voiceB}.
669 @lilypond[quote,verbatim]
670 \parallelMusic #'(voiceA voiceB voiceC) {
672 r8 g16 c e g, c e r8 g,16 c e g, c e |
673 r16 e8.~ e4 r16 e8.~ e4 |
677 r8 a,16 d f a, d f r8 a,16 d f a, d f |
678 r16 d8.~ d4 r16 d8.~ d4 |
683 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
684 \new Staff \relative c' { \clef bass \voiceC }
688 This works quite well for piano music. This example maps four
689 consecutive measures to four variables:
691 @lilypond[quote,verbatim]
697 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
701 c16 d e fis d e fis g |
707 e16 fis g a fis g a b |
718 \relative c'' \voiceA
738 @rlearning{Organizing pieces with variables}.
741 @rlsr{Simultaneous notes}.