Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.16.0"
@node Simultaneous notes
@section Simultaneous notes
-@lilypondfile[quote]{simultaneous-headword.ly}
+@lilypondfile[quote,ragged-right,line-width=16\cm]{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
and ornamentation.
@lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
+<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+<a-+ c-->8. <g\fermata c e\turn>16
@end lilypond
However some notation, such as dynamics, hairpins and slurs must be
they will not print.
@lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
+<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+<a c e>\< <a c e> <a c e>\!
+@end lilypond
+
+@cindex chords, empty
+@cindex placeholder events
+
+A chord acts merely as a container for its notes, its articulations and
+other attached elements. Consequently, a chord without notes inside
+does not actually have a duration. Any attached articulations will
+happen at the same musical time as the next following note or chord and
+be combined with them (for more complex possibilities of combining such
+elements, see @ref{Simultaneous expressions}):
+
+@lilypond[verbatim,quote,relative=2]
+\grace { g8[( a b] }
+<> ) \p \< -. -\markup \italic "sempre staccato"
+\repeat unfold 4 { c4 e } c1\f
@end lilypond
@cindex relative pitch, chords
@end itemize
+
@node Chord repetition
@unnumberedsubsubsec Chord repetition
@end lilypond
This can be useful if the simultaneous sections have identical
-rhythms, but attempts to attach notes with different durations
-to the same stem will cause errors.
+rhythms, but attempts to attach notes with different durations to
+the same stem will cause errors. Notes, articulations, and property
+changes in a @emph{single} @samp{Voice} are collected and engraved in
+musical order:
+
+@lilypond[quote,verbatim,relative=2]
+<a c>4-. <>-. << c a >> << { c-. <c a> } { a s-. } >>
+@end lilypond
+
+Multiple stems or beams or different note durations or properties at
+the same musical time require the use of multiple voices.
The following example shows how simultaneous expressions can
generate multiple staves implicitly:
<< { a4 b g2 } { d4 g2 c,4 } >>
@end lilypond
-Here different rhythms cause no problems.
+Here different rhythms cause no problems because they are
+interpreted in different voices.
@cindex collisions, clashing note columns
@cindex collisions, ignoring
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
-
@seealso
Music Glossary:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
-
@knownissues
-
Clusters look good only if they span at least two chords; otherwise
they appear too narrow.
Clusters do not produce MIDI output.
+
@node Multiple voices
@subsection Multiple voices
@funindex \oneVoice
@funindex oneVoice
-@strong{@i{Explicitly instantiating voices}}
+@subsubsubheading Explicitly instantiating voices
The basic structure needed to achieve multiple independent
voices in a single staff is illustrated in the following example:
command returns all the voice settings to the neutral default
directions.
-@strong{@i{Temporary polyphonic passages}}
+@subsubsubheading Temporary polyphonic passages
A temporary polyphonic passage can be created with the following
construct:
Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
required to define the settings of each voice.
-@strong{@i{The double backslash construct}}
+@subsubsubheading The double backslash construct
The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
@rlearning{Explicitly instantiating voices}.
-@strong{@i{Voice order}}
+@subsubsubheading Voice order
When entering multiple voices in the input file, use the following
order:
@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
created @q{across} voices.}
-@strong{@i{Identical rhythms}}
+@subsubsubheading Identical rhythms
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{\oneVoice}.
@endpredefined
-Snippets:
-@rlsr{Simultaneous notes}.
-
@seealso
Learning Manual:
@rlearning{Voices contain music},
@ref{Invisible rests},
@ref{Stems}.
+Snippets:
+@rlsr{Simultaneous notes}.
+
@node Voice styles
@unnumberedsubsubsec Voice styles
@code{\voiceNeutralStyle}.
@endpredefined
-
@seealso
Learning Manual:
@rlearning{I'm hearing Voices},
are at the same time differently dotted are not clear.
@end ignore
+
@node Automatic part combining
@unnumberedsubsubsec Automatic part combining
@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-
@seealso
Music Glossary:
@rglos{a due},
@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
}
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.
projects / lilypond.git / blobdiff