Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.17.28"
@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
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
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
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
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
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
@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:
@example
-<< @{ \voiceOne ... @}
- \new Voice @{ \voiceTwo ... @}
+<< @{ \voiceOne @dots{} @}
+ \new Voice @{ \voiceTwo @dots{} @}
>> \oneVoice
@end example
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
+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
@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
>>
@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:
@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
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
@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
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