Guide, node Updating translation committishes..
@end ignore
-@c \version "2.16.0"
+@c \version "2.19.21"
@node Simultaneous notes
notes.
@lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
+<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
@end lilypond
The notes within the chord themselves can also be followed by articulation
elements, see @ref{Simultaneous expressions}):
@lilypond[verbatim,quote,relative=2]
-\grace { g8[( a b] }
+\grace { g8( a b }
<> ) \p \< -. -\markup \italic "sempre staccato"
\repeat unfold 4 { c4 e } c1\f
@end lilypond
@node Chord repetition
@unnumberedsubsubsec Chord repetition
-@cindex Chord, repetition
+@cindex chord, repetition
@cindex repetition, using @code{q}
+@cindex @code{q}, chord repetition
In order to save typing, a shortcut can be used to repeat the preceding
chord. The chord repetition symbol is @code{q}:
pitches of the previous chord are duplicated.
@lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
+<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
@end lilypond
The chord repetition symbol always remembers the last instance of
articulation or ornamentation within, or attached to, the previous
chord.
-@lilypond[verbatim,quote,relative=2]
-<a-. c\prall e>1\sfz c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ <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
present on the @code{q} chord itself.
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\chordRepeats #'(articulation-event)
- { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
q2 c, |
}
@end lilypond
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'' {
+\relative {
\chordRepeats #'(articulation-event)
- \relative c''
- { <a-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
- q2 c |
+ \relative
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ q2 c'' |
}
@end lilypond
Here different rhythms cause no problems because they are
interpreted in different voices.
-@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
-same shift specified), the message:
+If notes from two or more voices, with no shifts specified,
+have stems in the same direction, the message
@example
-warning: ignoring too many clashing note columns
+warning: This voice needs a \voiceXx or \shiftXx setting
@end example
will appear during compilation. This message can be suppressed by:
@example
-\override NoteColumn #'ignore-collision = ##t
+\override NoteColumn.ignore-collision = ##t
@end example
However, this not only suppresses the warning but will prevent any
\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. }
+ { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
construct:
@example
-<< @{ \voiceOne ... @}
- \new Voice @{ \voiceTwo ... @}
+<< @{ \voiceOne @dots{} @}
+ \new Voice @{ \voiceTwo @dots{} @}
>> \oneVoice
@end example
@subsubsubheading The double backslash construct
-The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
+The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
differently to the similar construct without the double backslashes:
@emph{all} the expressions within this construct are assigned
<<
{ r8 r16 g e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+ { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
>>
@end lilypond
-Notes with different note heads may be merged, with the
-exception of half-note heads and quarter-note heads, as shown
-below. Here the note heads on beat 1 of bar 1 are now merged:
+Notes with different note heads may be merged as shown
+below. In this example the note heads on beat 1 of bar 1 are now merged:
@lilypond[quote,verbatim,relative=2]
<<
>>
@end lilypond
+Quarter and half notes are not merged in this way, since it would be difficult
+to tell them apart.
+
Note heads with different dots as shown in beat 3 of bar 1 may be
also be merged:
vertical order of voices on the staff!}
@lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
%% abbreviated entry
<<
- { f2 } % 1: highest
+ { f''2 } % 1: highest
\\
{ g,2 } % 2: lowest
\\
@cindex collisions, ignoring
@knownissues
-Using @code{\override NoteColumn #'ignore-collision = ##t} will cause
+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
+\override NoteColumn.ignore-collision = ##t
<< { c16 a' b a } \\ { c,2 } >>
@end lilypond
the combined staff.
@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
- c4 d e f |
+instrumentOne = \relative {
+ c'4 d e f |
R1 |
d'4 c b a |
b4 g2 f4 |
e1 |
}
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
R1 |
- g4 a b c |
+ g'4 a b c |
d4 c b a |
g4 f( e) d |
e1 |
respectively. The unison (@notation{a due}) parts are marked with the
text @qq{a2}.
+By default, the partcombiner merges two notes of the same pitch as an
+@notation{a due} note, combines notes with the same
+rhythm less than a ninth apart as chords and separates notes more than
+a ninth apart (or when the voices cross) into
+separate voices. This can be overridden with an optional argument of a pair
+of numbers after the @code{\partcombine} command: the first specifies
+the interval where notes start to be combined (the default is zero) and the
+second where the notes are split into separate voices. Setting the second
+argument to zero means that the partcombiner splits notes with an interval of
+a second or more, setting it to one splits notes of a third or more, and so on.
+
+@lilypond[quote,verbatim]
+instrumentOne = \relative {
+ a4 b c d |
+ e f g a |
+ b c d e |
+}
+
+instrumentTwo = \relative {
+ c'4 c c c |
+ c c c c |
+ c c c c |
+}
+
+<<
+ \new Staff \partcombine \instrumentOne \instrumentTwo
+ \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
+>>
+@end lilypond
+
+
Both arguments to @code{\partcombine} will be interpreted as separate
@code{Voice} contexts, so if the music is being specified in relative
mode then @emph{both} parts must contain a @code{\relative} function,
case the @code{\partcombine} function can be overriden with the
following commands:
-Commands ending in @code{...Once} apply only to the next note in the
+Commands ending in @code{@dots{}Once} apply only to the next note in the
music expression.
@itemize
\partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
c2 c |
}
-instrumentTwo = \relative c' {
- c2 c |
+instrumentTwo = \relative {
+ c'2 c |
e2 e |
a,2 c |
c2 c' |
@end lilypond
+@subsubsubheading Using \partcombine with lyrics
+
+@cindex \partcombine and lyrics
+
+The @code{\partcombine} command is not designed to work with
+lyrics; if one of the voices is explicitly named in order to
+attach lyrics to it, the partcombiner will stop working. However,
+this effect can be achieved using a @code{NullVoice} context. See
+@ref{Polyphony with shared lyrics}.
+
+
@snippets
@lilypondfile[verbatim,quote,texidoc,doctitle]
@rinternals{Voice}.
@knownissues
-All @code{\partcombine...} functions can only accept two voices and are
-not designed to work with lyrics; such that when one of the voices is
-explicitly named in order to attach lyrics to it, the partcombiner will
-stop working.
+All @code{\partcombine@dots{}} functions can only accept two voices.
-@code{\partcombine...} functions cannot be placed inside a @code{\times}
+@code{\partcombine@dots{}} functions cannot be placed inside a @code{\tuplet}
or @code{\relative} block.
If @code{printPartCombineTexts} is set and the two voices play the same
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
- r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ r16 e'8.~ 4 r16 e'8.~ 4 |
c'2 c'2 |
% Bar 2
r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
- r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ r16 d'8.~ 4 r16 d'8.~ 4 |
c'2 c'2 |
}
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
- r16 e8.~ e4 r16 e8.~ e4 |
+ r16 e8.~ 4 r16 e8.~ 4 |
c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
- r16 d8.~ d4 r16 d8.~ d4 |
+ r16 d8.~ 4 r16 d8.~ 4 |
c2 c |
}
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