@c -*- coding: utf-8; mode: texinfo; -*- @ignore Translation of GIT committish: FILL-IN-HEAD-COMMITTISH When revising a translation, copy the HEAD committish of the version that you are working on. See TRANSLATION for details. @end ignore @node Simultaneous notes @section Simultaneous notes @lilypondfile[quote,ragged-right,line-width=16\cm,staffsize=16] {simultaneous-headword.ly} Polyphony in music refers to having more than one voice occurring in a piece of music. Polyphony in LilyPond refers to having more than one voice on the same staff. @menu * Single voice:: * Multiple voices:: @end menu @node Single voice @subsection Single voice @menu * Chorded notes:: * Clusters:: @end menu @node Chorded notes @unnumberedsubsubsec Chorded notes @cindex Chords A chord is formed by a enclosing a set of pitches between @code{<} and @code{>}. A chord may be followed by a duration, and a set of articulations, just like simple notes: @lilypond[verbatim,ragged-right,fragment,quote,relative=1] 4 8 @end lilypond For more information about chords, see @ref{Introducing chord names}. @seealso Music Glossary: @rglos{chord}. Notation Reference: @ref{Introducing chord names}. Snippets: @lsrdir{simultaneous}. @refbugs Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed accurately. Use @code{8 8} instead. @node Clusters @unnumberedsubsubsec Clusters @cindex cluster A cluster indicates a continuous range of pitches to be played. They can be denoted as the envelope of a set of notes. They are entered by applying the function @code{makeClusters} to a sequence of chords, e.g., @lilypond[quote,ragged-right,relative=2,fragment,verbatim] \makeClusters { } @end lilypond Ordinary notes and clusters can be put together in the same staff, even simultaneously. In such a case no attempt is made to automatically avoid collisions between ordinary notes and clusters. @seealso Snippets: @lsrdir{simultaneous}. Internals Reference: @internalsref{ClusterSpanner}, @internalsref{ClusterSpannerBeacon}, @internalsref{Cluster_spanner_engraver}. Examples: @lsr{contemporary,cluster@/.ly}. @node Multiple voices @subsection Multiple voices @menu * Collision resolution:: * Automatic part combining:: * Writing music in parallel:: @end menu @node Collision resolution @unnumberedsubsubsec Collision resolution @cindex merging notes @cindex note collisions Normally, note heads with a different number of dots are not merged, but when the object property @code{merge-differently-dotted} is set in the @internalsref{NoteCollision} object, they are merged: @lilypond[quote,verbatim,fragment,ragged-right,relative=2] \new Voice << { g8 g8 \override Staff.NoteCollision #'merge-differently-dotted = ##t g8 g8 } \\ { g8.[ f16] g8.[ f16] } >> @end lilypond Similarly, you can merge half note heads with eighth notes, by setting @code{merge-differently-headed}: @lilypond[quote,ragged-right,fragment,relative=2,verbatim] \new Voice << { c8 c4. \override Staff.NoteCollision #'merge-differently-headed = ##t c8 c4. } \\ { c2 c2 } >> @end lilypond @noindent @code{merge-differently-headed} and @code{merge-differently-dotted} only apply to opposing stem directions (i.e. Voice 1 & 2). LilyPond also vertically shifts rests that are opposite of a stem, for example @lilypond[quote,ragged-right,fragment,verbatim] \new Voice << c''4 \\ r4 >> @end lilypond @cindex shift note If three or more notes line up in the same column, @code{merge-differently-headed} cannot successfully complete the merge of the two notes that should be merged. To allow the merge to work properly, apply a @code{\shift} to the note that should not be merged. In the first measure of following example, @code{merge-differently-headed} does not work (the half-note head is solid). In the second measure, @code{\shiftOn} is applied to move the top @code{g} out of the column, and @code{merge-differently-headed} works properly. @lilypond[quote,ragged-right,fragment,verbatim,relative=2] \override Staff.NoteCollision #'merge-differently-headed = ##t << { d=''2 g2 } \\ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\ { \voiceFour e,,2 e'2} >> << { d'=''2 \shiftOn g2 } \\ { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\ { \voiceFour e,,2 e'2} >> @end lilypond @cindex multiple voices @cindex polyphonic music @cindex shifting voices In some instances of complex polyphonic music, you may need additional voices to avoid collisions between notes. Additional voices are added by defining an variable, as shown below: @lilypond[quote,verbatim,ragged-right,relative=2] voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice) \relative c''' << { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\ { \voiceThree b4} \\ { \voiceFive d,} \\ { \voiceTwo g,} >> @end lilypond @refcommands @funindex \oneVoice @code{\oneVoice}, @funindex \voiceOne @code{\voiceOne}, @funindex \voiceTwo @code{\voiceTwo}, @funindex \voiceThree @code{\voiceThree}, @funindex \voiceFour @code{\voiceFour}. @funindex \voiceNeutralStyle @funindex \voiceOneStyle @funindex \voiceTwoStyle @funindex \voiceThreeStyle @funindex \voiceFourStyle @example \voiceNeutralStyle \voiceOneStyle \voiceTwoStyle \voiceThreeStyle \voiceFourStyle @end example @funindex \shiftOn @code{\shiftOn}, @funindex \shiftOnn @code{\shiftOnn}, @funindex \shiftOnnn @code{\shiftOnnn}, @funindex \shiftOff @code{\shiftOff}: these commands specify the degree to which chords of the current voice should be shifted. The outer voices (normally: voice one and two) have @code{\shiftOff}, while the inner voices (three and four) have @code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define further shift levels. When LilyPond cannot cope, the @code{force-hshift} property of the @internalsref{NoteColumn} object and pitched rests can be used to override typesetting decisions. @lilypond[quote,verbatim,ragged-right] \relative << { } \\ { \once \override NoteColumn #'force-hshift = #1.7 } >> @end lilypond @seealso Snippets: @lsrdir{simultaneous}. Internals Reference: the objects responsible for resolving collisions are @internalsref{NoteCollision} and @internalsref{RestCollision}. @refbugs When using @code{merge-differently-headed} with an upstem eighth or a shorter note, and a downstem half note, the eighth note gets the wrong offset. There is no support for clusters where the same note occurs with different accidentals in the same chord. In this case, it is recommended to use enharmonic transcription, or to use special cluster notation (see @ref{Clusters}). @node Automatic part combining @unnumberedsubsubsec Automatic part combining @cindex automatic part combining @cindex part combiner @cindex combining parts Automatic part combining is used to merge two parts of music onto a staff. It is aimed at typesetting orchestral scores. When the two parts are identical for a period of time, only one is shown. In places where the two parts differ, they are typeset as separate voices, and stem directions are set automatically. Also, solo and @emph{a due} parts are identified and can be marked. The syntax for part combining is @example \partcombine @var{musicexpr1} @var{musicexpr2} @end example The following example demonstrates the basic functionality of the part combiner: putting parts on one staff, and setting stem directions and polyphony. @lilypond[quote,verbatim,ragged-right,fragment] \new Staff \partcombine \relative g' { g g a( b) c c r r } \relative g' { g g r4 r e e g g } @end lilypond The first @code{g} appears only once, although it was specified twice (once in each part). Stem, slur, and tie directions are set automatically, depending whether there is a solo or unisono. The first part (with context called @code{one}) always gets up stems, and @q{Solo}, while the second (called @code{two}) always gets down stems and @q{Solo II}. If you just want the merging parts, and not the textual markings, you may set the property @code{printPartCombineTexts} to false. @lilypond[quote,verbatim,ragged-right,fragment,relative=2] \new Staff << \set Staff.printPartCombineTexts = ##f \partcombine \relative g' { g a( b) r } \relative g' { g r4 r f } >> @end lilypond To change the text that is printed for solos or merging, you may set the @code{soloText}, @code{soloIIText}, and @code{aDueText} properties. @lilypond[quote,verbatim,ragged-right,fragment,relative=2] \new Staff << \set Score.soloText = #"ichi" \set Score.soloIIText = #"ni" \set Score.aDueText = #"tachi" \partcombine \relative g' { g4 g a( b) r } \relative g' { g4 g r r f } >> @end lilypond Both arguments to @code{\partcombine} will be interpreted as @internalsref{Voice} contexts. If using relative octaves, @code{\relative} should be specified for both music expressions, i.e., @example \partcombine \relative @dots{} @var{musicexpr1} \relative @dots{} @var{musicexpr2} @end example @noindent A @code{\relative} section that is outside of @code{\partcombine} has no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}. @seealso Music Glossary: @rglos{a due}. Snippets: @lsrdir{simultaneous}. Internals Reference: @internalsref{PartCombineMusic}, @internalsref{Voice}. @refbugs When @code{printPartCombineTexts} is set, if the two voices play the same notes on and off, the part combiner may typeset @code{a2} more than once in a measure. @code{\partcombine} cannot be inside @code{\times}. @code{\partcombine} cannot be inside @code{\relative}. Internally, the @code{\partcombine} interprets both arguments as @code{Voice}s named @code{one} and @code{two}, and then decides when the parts can be combined. Consequently, if the arguments switch to differently named @internalsref{Voice} contexts, the events in those will be ignored. @node Writing music in parallel @unnumberedsubsubsec Writing music in parallel @cindex Writing music in parallel @cindex Interleaved music Music for multiple parts can be interleaved: @lilypond[quote,fragment,verbatim] \parallelMusic #'(voiceA voiceB) { r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] | c'2 c'2 | r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] | c'2 c'2 | } \new StaffGroup << \new Staff \new Voice \voiceA \new Staff \new Voice \voiceB >> @end lilypond This works quite well for piano music. @c It would be nice if the first bar fit onto one 66-char line. @c Maybe simplify the example? -gp @lilypond[quote,verbatim] music = { \key c \major \time 4/4 \parallelMusic #'(voiceA voiceB voiceC voiceD) { % Bar 1 r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] | c'2 c'2 | r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] | c2 c2 | % Bar 2 a'8 b' c'' d'' e'' f'' g'' a'' | d'4 d' d' d' | c16 d e f d e f g e f g a f g a b | a,4 a,4 a,4 a,4 | % Bar 3 ... } } \score { \new PianoStaff << \music \new Staff << \voiceA \\ \voiceB >> \new Staff { \clef bass << \voiceC \\ \voiceD >> } >> } @end lilypond @seealso Snippets: @lsrdir{simultaneous}