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.
34 * Simultaneous expressions::
40 @unnumberedsubsubsec Chorded notes
43 @cindex brackets, angle
44 @cindex angle brackets
45 @cindex relative pitch in chords
51 A chord is formed by enclosing a set of pitches between @code{<}
52 and @code{>}. A chord may be followed by a duration and/or a set
53 of articulations, just like simple notes:
55 @lilypond[verbatim,quote,relative=1]
56 <c e g>2 <c f a>4-> <e g c>-.
59 Relative mode can be used for pitches in chords. The octave of each
60 pitch is chosen using the preceding pitch as a reference except in
61 the case of the first pitch in a chord: the reference for the first
62 pitch is the @emph{first} pitch of the preceding chord.
64 For more information about chords, see @ref{Chord notation}.
72 @rlearning{Combining notes into chords}.
78 @rlsr{Simultaneous notes}.
80 @node Simultaneous expressions
81 @unnumberedsubsubsec Simultaneous expressions
83 One or more music expressions enclosed in double angle brackets are
84 taken to be simultaneous. If the first expression begins with a
85 single note or if the whole simultaneous expression appears
86 explicitly within a single voice, the whole expression is placed on
87 a single staff; otherwise the elements of the simultaneous
88 expression are placed on separate staves.
90 The following examples show simultaneous expressions on one staff:
92 @lilypond[quote,verbatim,relative=2]
93 \new Voice { % explicit single voice
94 << {a4 b g2} {d4 g c,2} >>
98 @lilypond[quote,verbatim,relative=2]
100 a << {a4 b g} {d4 g c,} >>
103 This can be useful if the simultaneous sections have identical
104 rhythms, but attempts to attach notes with different durations
105 to the same stem will cause errors.
107 The following example shows how simultaneous expressions can
108 generate multiple staves implicitly:
110 @lilypond[quote,verbatim,relative=2]
111 % no single first note
112 << {a4 b g2} {d4 g2 c,4} >>
115 Here different rhythms cause no problems.
119 @unnumberedsubsubsec Clusters
124 @funindex \makeClusters
125 @funindex makeClusters
127 A cluster indicates a continuous range of pitches to be played.
128 They can be denoted as the envelope of a set of notes. They are
129 entered by applying the function @code{\makeClusters} to a sequence
132 @lilypond[quote,relative=2,verbatim]
133 \makeClusters { <g b>2 <c g'> }
136 Ordinary notes and clusters can be put together in the same staff,
137 even simultaneously. In such a case no attempt is made to
138 automatically avoid collisions between ordinary notes and clusters.
146 @rlsr{Simultaneous notes}.
149 @rinternals{ClusterSpanner},
150 @rinternals{ClusterSpannerBeacon},
151 @rinternals{Cluster_spanner_engraver}.
155 Clusters look good only if they span at least two chords; otherwise
156 they appear too narrow.
158 Clusters do not have a stem and cannot indicate durations by
159 themselves, but the length of the printed cluster is determined by
160 the durations of the defining chords. Separate clusters need a
161 separating rest between them.
163 Clusters do not produce MIDI output.
165 @node Multiple voices
166 @subsection Multiple voices
168 This section discusses simultaneous notes in multiple voices or
172 * Single-staff polyphony::
174 * Collision resolution::
175 * Automatic part combining::
176 * Writing music in parallel::
180 @node Single-staff polyphony
181 @unnumberedsubsubsec Single-staff polyphony
183 @cindex single-staff polyphony
184 @cindex polyphony, single-staff
186 @cindex lyrics assigned to one voice
190 @funindex \voiceOne ... \voiceFour
195 @strong{@i{Explicitly instantiating voices}}
197 The basic structure needed to achieve multiple independent
198 voices in a single staff is illustrated in the following example:
200 @lilypond[quote,relative=3,verbatim]
203 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
205 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
209 Here, voices are instantiated explicitly and are given names. The
210 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices
211 so that first and third voices get stems up, second and fourth
212 voices get stems down, third and fourth voice note heads are
213 horizontally shifted, and rests in the respective voices are
214 automatically moved to avoid collisions. The @code{\oneVoice}
215 command returns all the voice settings to the neutral default
218 @strong{@i{Temporary polyphonic passages}}
220 A temporary polyphonic passage can be created with the following
224 << @{ \voiceOne ... @}
225 \new Voice @{ \voiceTwo ... @}
229 Here, the first expression within a temporary polyphonic passage is
230 placed into the @code{Voice} context which was in use immediately
231 before the polyphonic passage, and that same @code{Voice} context
232 continues after the temporary section. Other expressions within
233 the angle brackets are assigned to distinct temporary voices.
234 This allows lyrics to be assigned to one continuing voice before,
235 during and after a polyphonic section:
237 @lilypond[quote, verbatim, relative=2]
239 \new Voice = "melody" {
254 \new Lyrics \lyricsto "melody" {
260 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
261 required to define the settings of each voice.
263 @strong{@i{The double backslash construct}}
265 The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
266 more) expressions are separated by double backslashes, behaves
267 differently to the similar construct without the double backslashes:
268 @emph{all} the expressions within this contruct are assigned
269 to new @code{Voice} contexts. These new @code{Voice} contexts
270 are created implicitly and are given the fixed names @code{"1"},
273 The first example could be typeset as follows:
275 @lilypond[quote,relative=3,verbatim]
277 { r8 r16 g e8. f16 g8[ c,] f e16 d }
279 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
283 This syntax can be used where it does not matter that temporary
284 voices are created and then discarded. These implicitly created
285 voices are given the settings equivalent to the effect of the
286 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in
287 which they appear in the code.
289 In the following example, the intermediate voice has stems up,
290 therefore we enter it in the third place, so it becomes voice
291 three, which has the stems up as desired. Spacer rests are
292 used to avoid printing doubled rests.
294 @lilypond[quote,relative=3,verbatim]
296 { r8 g g g g f16 ees f8 d }
298 { ees,8 r ees r d r d r }
300 { d'8 s c s bes s a s }
304 In all but the simplest works it is advisable to create explicit
305 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
306 @rlearning{Explicitly instantiating voices}.
308 @strong{@i{Identical rhythms}}
310 In the special case that we want to typeset parallel pieces of music
311 that have the same rhythm, we can combine them into a single
312 @code{Voice} context, thus forming chords. To achieve this, enclose
313 them in a simple simultaneous music construct within an explicit voice:
315 @lilypond[quote,relative=2,verbatim]
317 { e4 f8 d e16 f g8 d4 }
318 { c4 d8 b c16 d e8 b4 }
322 This method leads to strange beamings and warnings if the pieces of
323 music do not have the same rhythm.
338 @rlearning{Voices contain music},
339 @rlearning{Explicitly instantiating voices}.
342 @ref{Percussion staves},
343 @ref{Invisible rests}.
346 @rlsr{Simultaneous notes}.
350 @unnumberedsubsubsec Voice styles
353 @cindex styles, voice
354 @cindex coloring voices
355 @funindex \voiceOneStyle
356 @funindex \voiceTwoStyle
357 @funindex \voiceThreeStyle
358 @funindex \voiceFourStyle
359 @funindex \voiceNeutralStyle
361 Voices may be given distinct colors and shapes, allowing them to be
364 @lilypond[quote,relative=2,verbatim]
366 { \voiceOneStyle d4 c2 b4 }
368 { \voiceTwoStyle e,2 e }
370 { \voiceThreeStyle b2. c4 }
372 { \voiceFourStyle g'2 g }
376 The @code{\voiceNeutralstyle} command is used to revert to the
377 standard presentation.
381 @code{\voiceOneStyle},
382 @code{\voiceTwoStyle},
383 @code{\voiceThreeStyle},
384 @code{\voiceFourStyle},
385 @code{\voiceNeutralStyle}.
392 @rlearning{I'm hearing Voices},
393 @rlearning{Other sources of information}.
396 @rlsr{Simultaneous notes}.
399 @node Collision resolution
400 @unnumberedsubsubsec Collision resolution
402 @cindex merging notes
403 @cindex note collisions
406 @cindex multiple voices
407 @cindex voices, multiple
408 @cindex polyphonic music
409 @cindex shifting voices
410 @cindex voices, multiple
411 @cindex shift rest, automatic
420 @funindex \mergeDifferentlyDottedOn
421 @funindex mergeDifferentlyDottedOn
422 @funindex \mergeDifferentlyDottedOff
423 @funindex mergeDifferentlyDottedOff
424 @funindex \mergeDifferentlyHeadedOn
425 @funindex mergeDifferentlyHeadedOn
426 @funindex \mergeDifferentlyHeadedOff
427 @funindex mergeDifferentlyHeadedOff
429 The note heads of notes in different voices with the same pitch,
430 same note head and opposite stem direction are automatically
431 merged, but notes with different note heads or the same stem
432 direction are not. Rests opposite a stem in a different voice
433 are shifted vertically.
435 @lilypond[quote,verbatim,relative=2]
451 Notes with different note heads may be merged, with the
452 exception of half-note heads and quarter-note heads:
454 @lilypond[quote,verbatim,relative=2]
457 \mergeDifferentlyHeadedOn
471 Note heads with different dots may be merged:
473 @lilypond[quote,relative=2,verbatim]
476 \mergeDifferentlyHeadedOn
477 \mergeDifferentlyDottedOn
492 The half note and eighth note at the start of the second measure
493 are incorrectly merged because @code{\mergeDifferentlyHeadedOn}
494 cannot successfully complete the merge when three or more notes
495 line up in the same column, and in this case a warning is given.
496 To allow the merge to work properly a @code{\shift} must be applied
497 to the note that should not be merged. Here, @code{\shiftOn} is
498 applied to move the top @notation{g} out of the column, and
499 @code{\mergeDifferentlyHeadedOn} then works properly.
501 @lilypond[quote,relative=2,verbatim]
504 \mergeDifferentlyHeadedOn
505 \mergeDifferentlyDottedOn
521 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
522 commands specify the degree to which chords of the current voice
523 should be shifted. The outer voices (normally: voices one and
524 two) have @code{\shiftOff}, while the inner voices (three and
525 four) have @code{\shiftOn}. @code{\shiftOnn} and
526 @code{\shiftOnnn} define further shift levels.
528 Notes are only merged if they have opposing stem directions (e.g. in
529 @code{Voice} 1 and 2).
533 @code{\mergeDifferentlyDottedOn},
534 @code{\mergeDifferentlyDottedOff},
535 @code{\mergeDifferentlyHeadedOn},
536 @code{\mergeDifferentlyHeadedOff}.
547 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
548 {additional-voices-to-avoid-collisions.ly}
550 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
551 {forcing-horizontal-shift-of-notes.ly}
559 @rlearning{Multiple notes at once},
560 @rlearning{Voices contain music},
561 @rlearning{Collisions of objects}.
564 @rlsr{Simultaneous notes}.
567 @rinternals{NoteColumn},
568 @rinternals{NoteCollision},
569 @rinternals{RestCollision}.
573 When using @code{\mergeDifferentlyHeadedOn} with an upstem eighth
574 or a shorter note, and a downstem half note, the eighth note stem
575 gets a slightly wrong offset because of the different width of the
576 half note head symbol.
579 @c TODO investigate! Sometimes it works, sometimes not. --FV
580 The requirements for successfully merging different note heads that
581 are at the same time differently dotted are not clear.
584 There is no support for chords where the same note occurs with
585 different accidentals in the same chord. In this case, it is
586 recommended to use enharmonic transcription, or to use special
587 cluster notation (see @ref{Clusters}).
590 @node Automatic part combining
591 @unnumberedsubsubsec Automatic part combining
593 @cindex automatic part combining
594 @cindex part combiner
595 @cindex combining parts
598 @funindex \partcombine
599 @funindex partcombine
601 Automatic part combining is used to merge two parts of music onto
602 a staff. It is aimed at typesetting orchestral scores. When the
603 two parts are identical for a period of time, only one is shown.
604 In places where the two parts differ, they are typeset as separate
605 voices, and stem directions are set automatically. Also, solo and
606 @notation{a due} parts are identified and marked by default.
608 The syntax for part combining is:
611 \partcombine @var{musicexpr1} @var{musicexpr2}
614 The following example demonstrates the basic functionality of the
615 part combiner: putting parts on one staff and setting stem
616 directions and polyphony. The same variables are used for the
617 independent parts and the combined staff.
619 @lilypond[quote,verbatim]
620 instrumentOne = \relative c' {
628 instrumentTwo = \relative g' {
637 \new Staff \instrumentOne
638 \new Staff \instrumentTwo
639 \new Staff \partcombine \instrumentOne \instrumentTwo
643 The notes in the third measure appear only once, although they were
644 specified in both parts. Stem, slur, and tie directions are set
645 automatically, depending whether there is a solo or unison. When
646 needed in polyphony situations, the first part (with context called
647 @code{one}) always gets up stems, while the second (called @code{two})
648 always gets down stems. In solo situations, the first and second
649 parts get marked with @q{Solo} and @q{Solo II}, respectively. The
650 unisono (@notation{a due}) parts are marked by default with the text
653 Both arguments to @code{\partcombine} will be interpreted as
654 @code{Voice} contexts. If using relative octaves,
655 @code{\relative} should be specified for both music expressions,
660 \relative @dots{} @var{musicexpr1}
661 \relative @dots{} @var{musicexpr2}
665 A @code{\relative} section that is outside of @code{\partcombine}
666 has no effect on the pitches of @var{musicexpr1} and
671 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
672 {combining-two-parts-on-the-same-staff.ly}
674 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
675 {changing-partcombine-texts.ly}
687 @rlsr{Simultaneous notes}.
690 @rinternals{PartCombineMusic},
695 @code{\partcombine} can only accept two voices.
697 When @code{printPartCombineTexts} is set, if the two voices play
698 the same notes on and off, the part combiner may typeset @code{a2}
699 more than once in a measure.
701 @code{\partcombine} cannot be inside @code{\times}.
703 @code{\partcombine} cannot be inside @code{\relative}.
705 Internally, the @code{\partcombine} interprets both arguments as
706 @code{Voice}s and decides when the parts can be combined. When they have
707 different durations they cannot be combined and are given the names
708 @code{one} and @code{two}. Consequently, if the arguments switch to
709 differently named @rinternals{Voice} contexts, the events in those will
710 be ignored. Likewise, partcombining isn't designed to work with lyrics;
711 when one of the voices is explicitly named in order to attach lyrics to
712 it, the partcombining stops working.
714 @code{\partcombine} only observes onset times of notes. It cannot
715 determine whether a previously started note is playing or not, leading
719 @node Writing music in parallel
720 @unnumberedsubsubsec Writing music in parallel
722 @cindex writing music in parallel
723 @cindex interleaved music
724 @cindex parallel music
725 @funindex \parallelMusic
726 @funindex parallelMusic
728 Music for multiple parts can be interleaved in input code. The
729 function @code{\parallelMusic} accepts a list with the names of a
730 number of variables to be created, and a musical expression. The
731 content of alternate measures from the expression become the value
732 of the respective variables, so you can use them afterwards to
735 @warning{Bar checks @code{|} must be used, and the measures must
736 be of the same length.}
738 @lilypond[quote,verbatim]
739 \parallelMusic #'(voiceA voiceB voiceC) {
741 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
742 r16 e'8.~ e'4 r16 e'8.~ e'4 |
746 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
747 r16 d'8.~ d'4 r16 d'8.~ d'4 |
752 \new Staff << \voiceA \\ \voiceB >>
753 \new Staff { \clef bass \voiceC }
757 Relative mode may be used. Note that the @code{\relative} command
758 is not used inside @code{\parallelMusic} itself. The notes are
759 relative to the preceding note in the voice, not to the previous
760 note in the input -- in other words, relative notes for
761 @code{voiceA} ignore the notes in @code{voiceB}.
763 @lilypond[quote,verbatim]
764 \parallelMusic #'(voiceA voiceB voiceC) {
766 r8 g16 c e g, c e r8 g,16 c e g, c e |
767 r16 e8.~ e4 r16 e8.~ e4 |
771 r8 a,16 d f a, d f r8 a,16 d f a, d f |
772 r16 d8.~ d4 r16 d8.~ d4 |
777 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
778 \new Staff \relative c' { \clef bass \voiceC }
782 This works quite well for piano music. This example maps four
783 consecutive measures to four variables:
785 @lilypond[quote,verbatim]
791 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
795 c16 d e fis d e fis g |
801 e16 fis g a fis g a b |
812 \relative c'' \voiceA
832 @rlearning{Organizing pieces with variables}.
835 @rlsr{Simultaneous notes}.