Merge branch 'lilypond/translation' of ssh://git.sv.gnu.org/srv/git/lilypond into...

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

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index d827fad597b2621a2934ac44fb4c8b7693ab7bd8..00740cdfcef9e5a83f42c0ec261c384877f8f139 100644 (file)
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -133,6 +133,9 @@ enharmonic transcription of one or more pitches,
 @node Chord repetition
 @unnumberedsubsubsec Chord repetition
 
+@cindex Chord, repetition
+@cindex repetition, using @code{q}
+
 In order to save typing, a shortcut can be used to repeat the preceding
 chord.  The chord repetition symbol is @code{q}:
 
@@ -153,16 +156,60 @@ a chord so it is possible to repeat the most recent chord even if
 other non-chorded notes or rests have been added since.
 
 @lilypond[verbatim,quote,relative=2]
-<a c e>1 c4 q2 r8 q8
+<a c e>1 c'4 q2 r8 q8 |
+q2 c, |
 @end lilypond
 
 However, the chord repetition symbol does not retain any dynamics,
-articulation or ornamentation within, or attached to the previous chord.
+articulation or ornamentation within, or attached to, the previous
+chord.
 
 @lilypond[verbatim,quote,relative=2]
-<a-. c\prall e>1\sfz c4 q2 r8 q8
+<a-. c\prall e>1\sfz c'4 q2 r8 q8 |
+q2 c, |
 @end lilypond
 
+To have some of them retained, the @code{\chordRepeats} function can be
+be called explicitly with an extra argument specifying a list of
+@var{event types} to keep unless events of that type are already
+present on the @code{q} chord itself.
+
+@lilypond[verbatim,quote]
+\relative c'' {
+  \chordRepeats #'(articulation-event)
+  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  q2 c, |
+}
+@end lilypond
+
+Here using @code{\chordRepeats} inside of a @code{\relative} construction
+produces unexpected results: once chord events have been expanded, they
+are indistinguishable from having been entered as regular chords, making
+@code{\relative} assign an octave based on their current context.
+
+Since nested instances of @code{\relative} don't affect one another,
+another @code{\relative} inside of @code{\chordRepeats} can be used for
+establishing the octave relations before expanding the repeat chords.
+In that case, the whole content of the inner @code{\relative} does not
+affect the outer one; hence the different octave entry of the final note
+in this example.
+
+@c Without \new Voice, implicit voice creation does the dumbest thing.
+@lilypond[verbatim,quote]
+\new Voice
+\relative c'' {
+  \chordRepeats #'(articulation-event)
+  \relative c''
+  { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+  q2 c |
+}
+@end lilypond
+
+Interactions with @code{\relative} occur only with explicit calls of
+@code{\chordRepeats}: the implicit expansion at the start of typesetting
+is done at a time where all instances of @code{\relative} have already
+been processed.
+
 @seealso
 Notation Reference:
 @ref{Chord notation},
@@ -209,6 +256,9 @@ generate multiple staves implicitly:
 
 Here different rhythms cause no problems.
 
+@cindex collisions, clashing note columns
+@cindex collisions, ignoring
+
 @knownissues
 If notes from two or more voices, with stems in the same direction, are
 placed at the same position on the staff and have no shift (or have the
@@ -224,8 +274,9 @@ will appear during compilation.  This message can be suppressed by:
 \override NoteColumn #'ignore-collision = ##t
 @end example
 
-However, this does not only suppress the warning but will prevent any
-collision resolution, so may have unintended results.
+However, this not only suppresses the warning but will prevent any
+collision resolution whatsover and may have other unintended effects
+(also see @emph{Known Issues} in @ref{Collision resolution}).
 
 
 @node Clusters
@@ -458,6 +509,9 @@ upstems, and the even-numbered voices are given downstems:
 >>
 @end lilypond
 
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
+
 @strong{@i{Identical rhythms}}
 
 In the special case that we want to typeset parallel pieces of music
@@ -484,6 +538,8 @@ music do not have the same rhythm.
 @code{\oneVoice}.
 @endpredefined
 
+Snippets:
+@rlsr{Simultaneous notes}.
 
 @seealso
 Learning Manual:
@@ -495,9 +551,6 @@ Notation Reference:
 @ref{Invisible rests},
 @ref{Stems}.
 
-Snippets:
-@rlsr{Simultaneous notes}.
-
 
 @node Voice styles
 @unnumberedsubsubsec Voice styles
@@ -644,7 +697,6 @@ also be merged:
 >>
 @end lilypond
 
-
 The half note and eighth note at the start of the second measure
 are incorrectly merged because the automatic merge cannot
 successfully complete the merge when three or more notes line up in
@@ -727,7 +779,6 @@ Notes are only merged if they have opposing stem directions (as
 they have, for example, in voices one and two by default or when
 the stems are explicitly set in opposite directions).
 
-
 @predefined
 @code{\mergeDifferentlyDottedOn},
 @code{\mergeDifferentlyDottedOff},
@@ -740,16 +791,13 @@ the stems are explicitly set in opposite directions).
 @code{\shiftOff}.
 @endpredefined
 
-
 @snippets
-
 @lilypondfile[verbatim,quote,texidoc,doctitle]
 {additional-voices-to-avoid-collisions.ly}
 
 @lilypondfile[verbatim,quote,texidoc,doctitle]
 {forcing-horizontal-shift-of-notes.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{polyphony}.
@@ -767,6 +815,18 @@ Internals Reference:
 @rinternals{NoteCollision},
 @rinternals{RestCollision}.
 
+@cindex collisions, ignoring
+
+@knownissues
+Using @code{\override NoteColumn #'ignore-collision = ##t} will cause
+differently headed notes in different voices to merge incorrectly.
+
+@lilypond[quote,relative=1,verbatim]
+\mergeDifferentlyHeadedOn
+<< { c16 a' b a } \\ { c,2 } >>
+\override NoteColumn #'ignore-collision = ##t
+<< { c16 a' b a } \\ { c,2 } >>
+@end lilypond
 
 @ignore
 @knownissues