Use different types of events for cueDuring and quoteDuring

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

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index f3d8be5d05723c85c43d427845b1351600649613..afae1ded78eb0653222c886987466c065bef3240 100644 (file)
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -31,6 +31,7 @@ This section discusses simultaneous notes inside the same voice.
 
 @menu
 * Chorded notes::
+* Chord repetition::
 * Simultaneous expressions::
 * Clusters::
 @end menu
@@ -63,7 +64,6 @@ pitch is the @emph{first} pitch of the preceding chord.
 
 For more information about chords, see @ref{Chord notation}.
 
-
 @seealso
 Music Glossary:
 @rglos{chord}.
@@ -78,6 +78,39 @@ Snippets:
 @rlsr{Simultaneous notes}.
 
 
+@node Chord repetition
+@unnumberedsubsubsec Chord repetition
+
+In order to save typing, a shortcut can be used to repeat the preceding
+chord.  The chord repetition symbol is @code{q}:
+
+@lilypond[verbatim,quote,relative=1]
+<c e g> q q q
+@end lilypond
+
+As in the case of regular chords, the chord repetition symbol can be
+followed by a duration and articulations.  Only the pitches of the
+previous chord are duplicated; articulations, dynamics, etc, are not
+repeated.
+
+@lilypond[verbatim,quote,relative=1]
+<c e g>8\p q q4-| q8.^"text" q16 q4-|
+@end lilypond
+
+Note chords (entered using angle brackets) only are memorized in order
+to be repeated by @code{q}: it is possible to repeat a chord even if for
+instance a simple note (without angle brackets) or a rest have been
+entered meanwhile.
+
+@lilypond[verbatim,quote,relative=1]
+<c e g>8 c' q c r4 q
+@end lilypond
+
+@seealso
+Installed Files:
+@file{ly/@/chord-repetition-init@/.ly}.
+
+
 @node Simultaneous expressions
 @unnumberedsubsubsec Simultaneous expressions
 
@@ -208,6 +241,7 @@ voices in a single staff is illustrated in the following example:
 >>
 @end lilypond
 
+@noindent
 Here, voices are instantiated explicitly and are given names. The
 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices
 so that first and third voices get stems up, second and fourth
@@ -228,6 +262,7 @@ construct:
 >> \oneVoice
 @end example
 
+@noindent
 Here, the first expression within a temporary polyphonic passage is
 placed into the @code{Voice} context which was in use immediately
 before the polyphonic passage, and that same @code{Voice} context
@@ -259,6 +294,7 @@ during and after a polyphonic section:
 >>
 @end lilypond
 
+@noindent
 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
 required to define the settings of each voice.
 
@@ -431,7 +467,9 @@ The note heads of notes in different voices with the same pitch,
 same note head and opposite stem direction are automatically
 merged, but notes with different note heads or the same stem
 direction are not.  Rests opposite a stem in a different voice
-are shifted vertically.
+are shifted vertically.  The following example shows three
+different circumstances, on beats 1 and 3 in bar 1 and beat 1
+in bar 2, where the automatic merging fails.
 
 @lilypond[quote,verbatim,relative=2]
 <<
@@ -450,7 +488,8 @@ are shifted vertically.
 @end lilypond
 
 Notes with different note heads may be merged, with the
-exception of half-note heads and quarter-note heads:
+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:
 
 @lilypond[quote,verbatim,relative=2]
 <<
@@ -469,7 +508,8 @@ exception of half-note heads and quarter-note heads:
 >>
 @end lilypond
 
-Note heads with different dots may be merged:
+Note heads with different dots as shown in beat 2 of bar 1 may be
+also be merged:
 
 @lilypond[quote,relative=2,verbatim]
 <<
@@ -491,13 +531,14 @@ Note heads with different dots may be merged:
 
 
 The half note and eighth note at the start of the second measure
-are incorrectly merged because @code{\mergeDifferentlyHeadedOn}
-cannot successfully complete the merge when three or more notes
-line up in the same column, and in this case a warning is given.
-To allow the merge to work properly a @code{\shift} must be applied
-to the note that should not be merged.  Here, @code{\shiftOn} is
-applied to move the top @notation{g} out of the column, and
-@code{\mergeDifferentlyHeadedOn} then works properly.
+are incorrectly merged because the automatic merge cannot
+successfully complete the merge when three or more notes line up in
+the same note column, and in this case the merged note head is
+incorrect.  To allow the merge to select the correct note head
+a @code{\shift} must be applied to the note that should not be
+merged.  Here, @code{\shiftOn} is applied to move the top
+@notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
+then works properly.
 
 @lilypond[quote,relative=2,verbatim]
 <<
@@ -526,8 +567,9 @@ two) have @code{\shiftOff}, while the inner voices (three and
 four) have @code{\shiftOn}.  @code{\shiftOnn} and
 @code{\shiftOnnn} define further shift levels.
 
-Notes are only merged if they have opposing stem directions (e.g. in
-@code{Voice} 1 and 2).
+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
@@ -559,7 +601,7 @@ Music Glossary:
 Learning Manual:
 @rlearning{Multiple notes at once},
 @rlearning{Voices contain music},
-@rlearning{Collisions of objects}.
+@rlearning{Real music example}.
 
 Snippets:
 @rlsr{Simultaneous notes}.