Merge branches 'master' and 'lilypond/translation'

[lilypond.git] / Documentation / user / simultaneous.itely

diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely
index 3a6c66fefcc167e9001b804b940b3ea213c63871..68a1c03432e489437b94503a084c025b694ea015 100644 (file)
--- a/Documentation/user/simultaneous.itely
+++ b/Documentation/user/simultaneous.itely
@@ -40,6 +40,7 @@ This section discusses simultaneous notes inside the same voice.
 
 @cindex chords
 @cindex brackets, angle
 
 @cindex chords
 @cindex brackets, angle

+@cindex relative pitch in chords

 @funindex <
 @funindex >
 @funindex <...>
 @funindex <
 @funindex >
 @funindex <...>


@@ -52,6 +53,11 @@ articulations, just like simple notes:
 <c e g>2 <c f a>4-> <e g c>-.
 @end lilypond
 
 <c e g>2 <c f a>4-> <e g c>-.
 @end lilypond
 

+Relative mode can be used for pitches in chords; the preceding pitch
+into the same chord is still used as a reference for relative pitches,
+but when a chord is completed, the reference pitch for relative mode
+is the first note of this chord --not the last note of the chord.
+

 For more information about chords, see @ref{Chord notation}.
 
 @seealso
 For more information about chords, see @ref{Chord notation}.
 
 @seealso


@@ -82,7 +88,9 @@ staves.  To avoid this, use explicit chords instead as in
 @unnumberedsubsubsec Clusters
 
 @cindex cluster
 @unnumberedsubsubsec Clusters
 
 @cindex cluster

+@cindex note cluster

 @funindex \makeClusters
 @funindex \makeClusters

+@funindex makeClusters

 
 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
 
 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


@@ -138,23 +146,81 @@ multiple staves.
 @node Single-staff polyphony
 @unnumberedsubsubsec Single-staff polyphony
 
 @node Single-staff polyphony
 @unnumberedsubsubsec Single-staff polyphony
 

-To typeset parallel pieces of music that have the same rhythm, they
-can be combined into a single @code{Voice} context, thus forming
-chords.  To achieve this, enclose them in a simultaneous music
-construction:
+@cindex single-staff polyphony
+@cindex polyphony, single-staff
+@cindex voice
+@cindex lyrics assigned to one voice
+@funindex \voiceOne
+@funindex voiceOne
+@funindex \voiceOne ... \voiceFour
+@funindex Voice
+@funindex \oneVoice
+@funindex oneVoice

 
 

-@lilypond[quote,relative=2,verbatim]
-\new Voice <<
-  { e4 f8 d e16 f g8 d4 }
-  { c4 d8 b c16 d e8 b4 }
+The basic structure of code needed to achieve multiple, independent
+voices in a single staff is illustrated in the following example:
+
+@lilypond[quote,relative=3,verbatim]
+\new Staff <<
+  \new Voice = "first"
+    { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+  \new Voice= "second"
+    { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }

 >>
 @end lilypond
 
 >>
 @end lilypond
 

-This method leads to strange beamings and warnings if the pieces of
-music do not have the same rhythm.  To typeset multiple, truly
-independent voices in a single staff, the @code{<<@{...@} \\
-@{...@}>>} construction is used, where the two (or more) voices are
-separated by double backslashes.
+Here, voices are instantiated explicitly and are given a name. The
+@code{\voiceOne} ... @code{\voiceFour} commands set up the voices so
+that first and third voices get stems up, second and fourth voices get
+stems down, third and fourth voice note heads are horizontally
+shifted, and rests in the respective voices are automatically moved to
+avoid collisions.  Using the @code{\oneVoice} command, all the voice
+settings are put back to the neutral directions typical of a
+single-voice passage.
+
+We can make a voice to be in the same @code{Voice} context before
+and after a temporary polyphonic passage.  For example, the following
+construct keeps a voice alive throughout the polyphonic section.  Said
+voice is the first one inside of the two-voice section, and the extra
+voice is the second one.
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
+
+Using the name given when created, this allows lyrics to be assigned
+to one consistent voice.
+
+@lilypond[quote, verbatim, relative=2]
+<<
+  \new Voice = "melody" {
+    a4
+    <<
+      {
+        \voiceOne
+        g f
+      }
+      \new Voice {
+        \voiceTwo
+        e d
+      }
+    >>
+    \oneVoice
+    e
+  }
+  \new Lyrics \lyricsto "melody" {
+  This is my song.
+  }
+>>
+@end lilypond
+
+Here, the \voiceOne and \voiceTwo commands help to make clear what
+settings does each voice receive.
+
+The @code{<<@{...@} \\ @{...@}>>} construction, where the two (or
+more) voices are separated by double backslashes, can be used as a
+simplified method to print multiple voices in a single staff.  Our
+first example could be typeset as follows:

 
 @lilypond[quote,relative=3,verbatim]
 <<
 
 @lilypond[quote,relative=3,verbatim]
 <<


@@ -164,11 +230,13 @@ separated by double backslashes.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-First and third voices get stems up, second and fourth voices get
-stems down, third and fourth voice note heads are horizontally shifted,
-and rests move to avoid collisions.  In the following example, the
-intermediate voice has stems up, therefore we enter it in the third
-place, so it becomes voice three which has the stems up as desired.
+This syntax is simpler and can be used where it does not matter that
+temporary voices are created and then discarded.  These implicitly
+created voices are given the settings equivalent to the effect of the
+@code{\voiceOne} ... @code{\voiceFour} commands, in the order in which
+they appear in the code.  In the following example, the intermediate
+voice has stems up, therefore we enter it in the third place, so it
+becomes voice three which has the stems up as desired.

 
 @lilypond[quote,relative=3,verbatim]
 <<
 
 @lilypond[quote,relative=3,verbatim]
 <<


@@ -180,35 +248,36 @@ place, so it becomes voice three which has the stems up as desired.
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-Spacing rests are often used to avoid too many rests, as seen in the
+Spacer rests are often used to avoid too many rests, as seen in the

 example above.
 
 example above.
 

-Each music expression in the @code{<<@{...@} \\ @{...@}>>} construct
-is placed in a new voice, distinct from the voice for single-voice
-music; to temporarily add only one additional voice to an existing
-one, it is necessary to instantiate that voice explicitly.  For
-these purposes, the @code{\voiceOne} ... @code{\voiceFour}, and
-@code{\oneVoice} commands can be used:
+In all but simplest works it is advisable to create explicit
+@code{Voice} contexts using the @code{\new} and @code{\context}
+commands as it is explained in @rlearning{Contexts and engravers} and
+@rlearning{Explicitly instantiating voices}.

 
 

-@example
-<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
-@end example
+In the special case that we want to typeset parallel pieces of music
+that have the same rhythm, we can combine them into a single
+@code{Voice} context, thus forming chords.  To achieve this, enclose
+them in a simple simultaneous music construction and make it to be an
+explicit voice:

 
 

-This is a better construct to keep the control of the voices, for
-example, to ease a consistent assign of lyrics to the proper voice
-context.
+@lilypond[quote,relative=2,verbatim]
+\new Voice <<
+  { e4 f8 d e16 f g8 d4 }
+  { c4 d8 b c16 d e8 b4 }
+>>
+@end lilypond
+
+This method leads to strange beamings and warnings if the pieces of
+music do not have the same rhythm.

 
 @predefined
 
 
 @predefined
 

-@funindex \voiceOne

 @code{\voiceOne},
 @code{\voiceOne},

-@funindex \voiceTwo

 @code{\voiceTwo},
 @code{\voiceTwo},

-@funindex \voiceThree

 @code{\voiceThree},
 @code{\voiceThree},

-@funindex \voiceFour

 @code{\voiceFour},
 @code{\voiceFour},

-@funindex \oneVoice

 @code{\oneVoice}.
 
 @seealso
 @code{\oneVoice}.
 
 @seealso


@@ -218,7 +287,8 @@ Learning Manual:
 @rlearning{Explicitly instantiating voices}.
 
 Notation Reference:
 @rlearning{Explicitly instantiating voices}.
 
 Notation Reference:

-@ref{Percussion staves}.
+@ref{Percussion staves},
+@ref{Invisible rests}.

 
 Snippets:
 @rlsr{Simultaneous notes}.
 
 Snippets:
 @rlsr{Simultaneous notes}.


@@ -230,6 +300,11 @@ Snippets:
 @cindex voice styles
 @cindex styles, voice
 @cindex coloring voices
 @cindex voice styles
 @cindex styles, voice
 @cindex coloring voices

+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@funindex \voiceNeutralStyle

 
 Voices may be given distinct colors and shapes, allowing them to be
 easily identified:
 
 Voices may be given distinct colors and shapes, allowing them to be
 easily identified:


@@ -251,15 +326,12 @@ command is used.
 
 @predefined
 
 
 @predefined
 

-@funindex \voiceOneStyle
+

 @code{\voiceOneStyle},
 @code{\voiceOneStyle},

-@funindex \voiceTwoStyle
+

 @code{\voiceTwoStyle},
 @code{\voiceTwoStyle},

-@funindex \voiceThreeStyle

 @code{\voiceThreeStyle},
 @code{\voiceThreeStyle},

-@funindex \voiceFourStyle

 @code{\voiceFourStyle},
 @code{\voiceFourStyle},

-@funindex \voiceNeutralStyle

 @code{\voiceNeutralStyle}.
 
 @seealso
 @code{\voiceNeutralStyle}.
 
 @seealso


@@ -278,11 +350,29 @@ Snippets:
 @cindex merging notes
 @cindex note collisions
 @cindex collisions
 @cindex merging notes
 @cindex note collisions
 @cindex collisions

+@cindex shift note
+@cindex multiple voices
+@cindex voices, multiple
+@cindex polyphonic music
+@cindex shifting voices
+@cindex voices, multiple
+@cindex shift rest, automatic

 @funindex \shiftOn
 @funindex \shiftOn

+@funindex shiftOn

 @funindex \shiftOnn
 @funindex \shiftOnn

+@funindex shiftOnn

 @funindex \shiftOnnn
 @funindex \shiftOnnn

+@funindex shiftOnnn

 @funindex \shiftOff
 @funindex \shiftOff

-@cindex shift rest, automatic
+@funindex shiftOff
+@funindex \mergeDifferentlyDottedOn
+@funindex mergeDifferentlyDottedOn
+@funindex \mergeDifferentlyDottedOff
+@funindex mergeDifferentlyDottedOff
+@funindex \mergeDifferentlyHeadedOn
+@funindex mergeDifferentlyHeadedOn
+@funindex \mergeDifferentlyHeadedOff
+@funindex mergeDifferentlyHeadedOff

 
 Note heads with equal durations are automatically merged, while
 note heads with unequal durations are not merged.  Rests opposite
 
 Note heads with equal durations are automatically merged, while
 note heads with unequal durations are not merged.  Rests opposite


@@ -344,16 +434,15 @@ Note heads with different dots may be merged:
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-@cindex shift note

 
 The collision on the second measure happens because
 
 The collision on the second measure happens because

-@code{merge-differently-headed} cannot successfully complete the
+@code{\mergeDifferentlyHeadedOn} cannot successfully complete the

 merge when three or more notes line up in the same column -- in
 fact, you will obtain a warning for this reason.  To allow the
 merge to work properly, apply a @code{\shift} to the note that
 should not be merged.  Here, @code{\shiftOn} is applied to move
 the top @code{g} out of the column, and
 merge when three or more notes line up in the same column -- in
 fact, you will obtain a warning for this reason.  To allow the
 merge to work properly, apply a @code{\shift} to the note that
 should not be merged.  Here, @code{\shiftOn} is applied to move
 the top @code{g} out of the column, and

-@code{merge-differently-headed} works properly.
+@code{\mergeDifferentlyHeadedOn} works properly.

 
 @lilypond[quote,relative=2,verbatim]
 <<
 
 @lilypond[quote,relative=2,verbatim]
 <<


@@ -385,28 +474,17 @@ four) have @code{\shiftOn}.  @code{\shiftOnn} and
 Notes are only merged if they have opposing stem directions (i.e., in
 @code{Voice} 1 and 2).
 
 Notes are only merged if they have opposing stem directions (i.e., in
 @code{Voice} 1 and 2).
 

-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices

 
 @predefined
 
 
 @predefined
 

-@funindex \mergeDifferentlyDottedOn

 @code{\mergeDifferentlyDottedOn},
 @code{\mergeDifferentlyDottedOn},

-@funindex \mergeDifferentlyDottedOff

 @code{\mergeDifferentlyDottedOff},
 @code{\mergeDifferentlyDottedOff},

-@funindex \mergeDifferentlyHeadedOn

 @code{\mergeDifferentlyHeadedOn},
 @code{\mergeDifferentlyHeadedOn},

-@funindex \mergeDifferentlyHeadedOff

 @code{\mergeDifferentlyHeadedOff}.
 
 @code{\mergeDifferentlyHeadedOff}.
 

-@funindex \shiftOn

 @code{\shiftOn},
 @code{\shiftOn},

-@funindex \shiftOnn

 @code{\shiftOnn},
 @code{\shiftOnn},

-@funindex \shiftOnnn

 @code{\shiftOnnn},
 @code{\shiftOnnn},

-@funindex \shiftOff

 @code{\shiftOff}.
 
 @snippets
 @code{\shiftOff}.
 
 @snippets


@@ -437,7 +515,7 @@ Internals Reference:
 
 @knownissues
 
 
 @knownissues
 

-When using @code{merge-differently-headed} with an upstem eighth
+When using @code{\mergeDifferentlyHeadedOn} with an upstem eighth

 or a shorter note, and a downstem half note, the eighth note stem
 gets a slightly wrong offset because of the different width of the
 half note head symbol.
 or a shorter note, and a downstem half note, the eighth note stem
 gets a slightly wrong offset because of the different width of the
 half note head symbol.


@@ -458,7 +536,10 @@ cluster notation (see @ref{Clusters}).
 @cindex automatic part combining
 @cindex part combiner
 @cindex combining parts
 @cindex automatic part combining
 @cindex part combiner
 @cindex combining parts

+@cindex a due part
+@cindex solo part

 @funindex \partcombine
 @funindex \partcombine

+@funindex partcombine

 
 Automatic part combining is used to merge two parts of music onto
 a staff.  It is aimed at typesetting orchestral scores.  When the
 
 Automatic part combining is used to merge two parts of music onto
 a staff.  It is aimed at typesetting orchestral scores.  When the


@@ -502,15 +583,15 @@ instrumentTwo = \relative g' {
 >>
 @end lilypond
 
 >>
 @end lilypond
 

-The notes in the third measure appear only once, although they
-were specified in both parts.  Stem, slur, and tie directions are
-set automatically, depending whether there is a solo or unison.
-When needed in polyphony situations, the first part (with context
-called @code{one}) always gets up stems, while the second (called
-@code{two}) always gets down stems.  In solo situations, the parts
-get marked with @q{Solo} and @q{Solo II}, respectively.  The
-unisono (@notation{a due}) parts are marked by default with the
-text @qq{a2}.
+The notes in the third measure appear only once, although they were
+specified in both parts.  Stem, slur, and tie directions are set
+automatically, depending whether there is a solo or unison.  When
+needed in polyphony situations, the first part (with context called
+@code{one}) always gets up stems, while the second (called @code{two})
+always gets down stems.  In solo situations, the first and second
+parts get marked with @q{Solo} and @q{Solo II}, respectively.  The
+unisono (@notation{a due}) parts are marked by default with the text
+@qq{a2}.

 
 Both arguments to @code{\partcombine} will be interpreted as
 @code{Voice} contexts.  If using relative octaves,
 
 Both arguments to @code{\partcombine} will be interpreted as
 @code{Voice} contexts.  If using relative octaves,


@@ -574,8 +655,10 @@ events in those will be ignored.
 @node Writing music in parallel
 @unnumberedsubsubsec Writing music in parallel
 
 @node Writing music in parallel
 @unnumberedsubsubsec Writing music in parallel
 

-@cindex Writing music in parallel
-@cindex Interleaved music
+@cindex writing music in parallel
+@cindex interleaved music
+@cindex parallel music
+@funindex \parallelMusic

 @funindex parallelMusic
 
 Music for multiple parts can be interleaved in input code.  The
 @funindex parallelMusic
 
 Music for multiple parts can be interleaved in input code.  The