@c -*- coding: utf-8; mode: texinfo; fill-column: 60 -*-
@ignore
- Translation of GIT committish: 66dd932f6519b7913400a838c5efbc5407e06cd8
+ Translation of GIT committish: 12c6693055728e69dce5c4e5a4a2b5f71180a5e2
When revising a translation, copy the HEAD committish of the
version that you are working on. For details, see the Contributors'
@c Translation checker:
@c Translation checker committish:
-@c \version "2.16.0"
+@c \version "2.17.29"
@node Fundamentele concepten
@translationof Fundamental concepts
phrasing slur extending out of a tuplet (lines 3 and 4).
@lilypond[quote,verbatim,ragged-right,relative=1]
-r16[ g \times 2/3 { r16 e'8] }
-g,16( a \times 2/3 { b16 d) e }
-g,8[( a \times 2/3 { b8 d) e~] } |
-\times 4/5 { e32\( a, b d e } a4.\)
+r16[ g \tuplet 3/2 { r16 e'8] }
+g,16( a \tuplet 3/2 { b16 d) e }
+g,8[( a \tuplet 3/2 { b8 d) e~] } |
+\tuplet 5/4 { e32\( a, b d e } a4.\)
@end lilypond
music. If a Voice context is not explicitly declared one is created
automatically, as we saw at the beginning of this chapter. Some
instruments such as an Oboe can play only one note at a time. Music
-written for such instruments is monophonic and requires just a single
-voice. Instruments which can play more than one note at a time like
-the piano will often require multiple voices to encode the different
-concurrent notes and rhythms they are capable of playing.
+written for such instruments requires just a single voice. Instruments
+which can play more than one note at a time like the piano will often
+require multiple voices to encode the different concurrent notes and
+rhythms they are capable of playing.
A single voice can contain many notes in a chord, of course,
so when exactly are multiple voices needed? Look first at
@code{\\}, to place them in separate voices. Without these, the
notes would be entered into a single voice, which would usually
cause errors. This technique is particularly suited to pieces of
-music which are largely monophonic with occasional short sections
+music which are largely homophonic with occasional short sections
of polyphony.
Here's how we split the chords above into two voices and add both
separators.
The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
-In each of these contexts, the vertical direction of slurs,
-stems, ties, dynamics etc., is set appropriately.
+The first contexts set the @emph{outer} voices, the highest
+voice in context @code{"1"} and the lowest voice in context
+@code{"2"}. The inner voices go in contexts @code{"3"} and
+@code{"4"}. In each of these contexts, the vertical direction
+of slurs, stems, ties, dynamics etc., is set appropriately.
@lilypond[quote,verbatim]
\new Staff \relative c' {
<< % Voice one
{ c2 aes4. bes8 }
\\ % Voice two
- { aes2 f4 fes }
- \\ % No voice three
- \\ % Voice four
{
% Ignore these for now - they are explained in Ch 4
- \once \override NoteColumn #'force-hshift = #0
- <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5
+ \once \override NoteColumn.ignore-collision = ##t
+ <ees, c>2
+ \once \override NoteColumn.force-hshift = #0.5
des2
}
+ \\ % No voice three
+ \\ % Voice four
+ {
+ \override NoteColumn.force-hshift = #0
+ aes'2 f4 fes
+ }
>> |
<c ees aes c>1 |
}
}
\\ % Voice two
{ \voiceTwoStyle
- aes2 f4 fes
+ % Ignore these for now - they are explained in Ch 4
+ \once \override NoteColumn.ignore-collision = ##t
+ <ees, c>2
+ \once \override NoteColumn.force-hshift = #0.5
+ des2
}
\\ % No Voice three (we want stems down)
\\ % Voice four
{ \voiceThreeStyle
- % Ignore these for now - they are explained in Ch 4
- \once \override NoteColumn #'force-hshift = #0
- <ees c>2
- \once \override NoteColumn #'force-hshift = #0.5
- des2
+ \override NoteColumn.force-hshift = #0
+ aes'2 f4 fes
}
>> |
<c ees aes c>1 |
\new Staff \relative c'' {
\key aes \major
<<
- { c2 aes4. bes8 } \\ { aes2 f4 fes } \\ { <ees c>2 des }
+ { c2 aes4. bes8 } \\ { <ees, c>2 des } \\ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
<< % Voice one
{ c2 aes4. bes8 }
\\ % Voice two
- { aes2 f4 fes }
+ { <ees, c>2 des }
\\ % Omit Voice three
\\ % Voice four
- { <ees c>2 des }
+ { aes'2 f4 fes }
>> |
<c ees aes c>1 |
}
@end lilypond
@noindent
-We see that this fixes the stem direction, but exposes a problem
-sometimes encountered with multiple voices -- the stems of the notes
-in one voice can collide with the note heads in other voices. In
-laying out the notes, LilyPond allows the notes or chords from two
-voices to occupy the same vertical note column provided the stems are
-in opposite directions, but the notes from the third and fourth voices
-are displaced, if necessary, to avoid the note heads colliding. This
-usually works well, but in this example the notes of the lowest voice
-are clearly not well placed by default. LilyPond provides several ways
-to adjust the horizontal placing of notes. We are not quite ready yet
-to see how to correct this, so we shall leave this problem until a
+We see that this fixes the stem direction, but the horizontal
+placement of notes is not what we want. LilyPond shifts the
+inner notes when they or their stems would collide with outer
+voices, but this is not appropriate for piano music. In other
+situations, the shifts LilyPond applies might fail to clear
+the collisions. LilyPond provides several ways to adjust the
+horizontal placing of notes. We are not quite ready yet to see
+how to correct this, so we shall leave this problem until a
later section --- see the @code{force-hshift} property in
@ref{Fixing overlapping notation}.
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
+
@seealso
Notation Reference: @ruser{Multiple voices}.
Voice contexts can also be created manually
inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne} ... @code{\voiceFour} to indicate the required
+@code{\voiceOne} @dots{} @code{\voiceFour} to indicate the required
directions of stems, slurs, etc. In longer scores this method
is clearer, as it permits the voices to be separated and to be
given more descriptive names.
}
@end lilypond
-Now let's look at three different ways to notate the same passage
-of polyphonic music, each of which is advantageous in different
+Now let's look at three different ways to notate the same passage of
+polyphonic music, each of which is advantageous in different
circumstances, using the example from the previous section.
-An expression that appears directly inside a @code{<< >>} belongs
-to the main voice (but, note, @strong{not} in a @code{<< \\ >>}
-construct). This is useful when extra voices appear while the
-main voice is playing. Here is a more correct rendition of our
-example. The red diamond-shaped notes
-demonstrate that the main melody is now in a single voice context,
+An expression that appears directly inside a @code{<< >>} belongs to the
+main voice (but, note, @strong{not} in a @code{<< \\ >>} construct).
+This is useful when extra voices appear while the main voice is playing.
+Here is a more correct rendition of our example. The red diamond-shaped
+notes demonstrate that the main melody is now in a single voice context,
permitting a phrasing slur to be drawn over them.
@lilypond[quote,ragged-right,verbatim]
\new Staff \relative c' {
\voiceOneStyle
- % The following notes are monophonic
+ % This section is homophonic
c16^( d e f
% Start simultaneous section of three voices
<<
@tab Engraves clefs
@item Completion_heads_engraver
@tab Splits notes which cross bar lines
-@c The old Dynamic_engraver is deprecated. -jm
-@item New_dynamic_engraver
+@item Dynamic_engraver
@tab Creates hairpins and dynamic texts
@item Forbid_line_break_engraver
@tab Prevents line breaks if a musical element is still active
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais2 aes
+ aeses2 aes
}
\new Staff \relative c'' {
\set Staff.extraNatural = ##f
- ais2 aes
+ aeses2 aes
}
>>
@end lilypond
@lilypond[quote,verbatim,ragged-right]
<<
\new Staff \relative c'' {
- ais2 aes
+ aeses2 aes
}
\new Staff \relative c'' {
\set Score.extraNatural = ##f
- ais2 aes
+ aeses2 aes
}
>>
@end lilypond
-As another example, if @code{clefOctavation} is set in
+As another example, if @code{clefTransposition} is set in
the @code{Score} context this immediately changes the value
-of the octavation in all current staves and sets a new default
+of the transposition in all current staves and sets a new default
value which will be applied to all staves.
The opposite command, @code{\unset}, effectively removes the
<<
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
\new Staff \with { extraNatural = ##f } {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
>>
@code{\context} block within a @code{\layout} block. Each
@code{\context} block will affect all contexts of the type specified
throughout the @code{\score} or @code{\book} block in which the
-@code{\layout} block appears. Here is a example to show the format:
+@code{\layout} block appears. Here is an example to show the format:
@lilypond[verbatim,quote]
\score {
\new Staff {
\relative c'' {
- cis4 e d ces
+ cisis4 e d cis
}
}
\layout {
<<
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
\new Staff {
\relative c'' {
- gis4 ges aes ais
+ gisis4 gis aeses aes
}
}
>>
@seealso
The starting templates can be found in the @q{Templates} appendix,
-see @ref{Single staff}.
+see @ref{Single staff templates}.
@node Four-part SATB vocal score
@end lilypond
None of the templates provides this layout exactly. The nearest is
-@q{SATB vocal score and automatic piano reduction} -- see
-@ref{Vocal ensembles} -- but we need to change the layout and add a piano
+@ref{SATB vocal score and automatic piano reduction} -- but we need
+to change the layout and add a piano
accompaniment which is not derived automatically from the vocal parts.
The variables holding the music and words for the vocal parts are
fine, but we shall need to add variables for the piano reduction.
@}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" \with @{
- \override VerticalAxisGroup
- #'staff-staff-spacing #'stretchability = 5
+ \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
@} <<
\keyTime
\clef "bass"
}
ManualTwoMusic = \relative c' {
c16 b c8~ c16 b c g a8 g~ g16 g aes ees |
- f16 ees f d g aes g f ees d e8~ ees16 f ees d |
+ f16 ees f d g aes g f ees d ees8~ ees16 f ees d |
}
PedalOrganMusic = \relative c {
r8 c16 d ees d ees8~ ees16 a, b g c b c8 |
}
>> % end ManualOne Staff context
\new Staff = "ManualTwo" \with {
- \override VerticalAxisGroup
- #'staff-staff-spacing #'stretchability = 5
+ \override VerticalAxisGroup.staff-staff-spacing.stretchability = 5
} <<
\keyTime
\clef "bass"
@lilypond[quote,verbatim,ragged-right]
dolce = \markup { \italic \bold dolce }
-padText = { \once \override TextScript #'padding = #5.0 }
+padText = { \once \override TextScript.padding = #5.0 }
fthenp =_\markup {
\dynamic f \italic \small { 2nd } \hspace #0.1 \dynamic p
}
violin = \relative c'' @{
\repeat volta 2 @{
c4._\markup @{ \italic \bold dolce @} b8 a8 g a b |
- \once \override TextScript #'padding = #5.0
+ \once \override TextScript.padding = #5.0
c4.^"hi there!" d8 e' f g d |
c,4.\markup @{
\dynamic f \italic \small @{ 2nd @} \hspace #0.1 \dynamic p
(parser location padding)
(number?)
#{
- \once \override TextScript #'padding = $padding
+ \once \override TextScript.padding = #padding
#})
\relative c''' {
>>
@end lilypond
+
+
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