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

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 90669730a7f8682e0d43ae6f631d9cf43a8748fe..72d3fbb03abda31b25553461a4f475a637aeeb2b 100644 (file)
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -7,13 +7,13 @@
     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
@@ -67,7 +67,8 @@ 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
@@ -75,7 +76,24 @@ attached to the chord, rather than notes within the chord, otherwise
 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
@@ -244,8 +262,17 @@ a << { a4 b g } { d4 g c, } >>
 @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:
@@ -255,7 +282,8 @@ 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