Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
@c \version "2.12.0"
@menu
* Chorded notes::
+* Chord repetition::
* Simultaneous expressions::
* Clusters::
@end menu
@cindex chords
@cindex brackets, angle
-@cindex angle brackets
-@cindex relative pitch in chords
@funindex <
@funindex >
@funindex <...>
A chord is formed by enclosing a set of pitches between @code{<}
-and @code{>}. A chord may be followed by a duration and/or a set
-of articulations, just like simple notes:
+and @code{>}. A chord may be followed by a duration just like simple
+notes.
-@lilypond[verbatim,quote,relative=1]
-<c e g>2 <c f a>4-> <e g c>-.
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
@end lilypond
-Relative mode can be used for pitches in chords. The octave of each
-pitch is chosen using the preceding pitch as a reference except in
-the case of the first pitch in a chord: the reference for the first
-pitch is the @emph{first} pitch of the preceding chord.
+Chords may also be followed by articulations, again just like simple
+notes.
-For more information about chords, see @ref{Chord notation}.
+@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-.
+@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
+@end lilypond
+
+However some notation, such as dynamics, hairpins and slurs must be
+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>\!
+@end lilypond
+
+@cindex relative pitch, chords
+@cindex chords, relative pitch
+Relative mode can be used for pitches in chords. The first note of
+each chord is always relative to the first note of the chord that
+came before it, or in the case where no preceding chord exists, the
+pitch of the last note that came before the chord. All remaining notes
+in the chord are relative to the note that came before it
+@emph{within the same chord}.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@end lilypond
+
+For more information about chords, see @ref{Chord notation}.
@seealso
Music Glossary:
@rlearning{Combining notes into chords}.
Notation Reference:
-@ref{Chord notation}.
+@ref{Chord notation},
+@ref{Articulations and ornamentations},
+@ref{Relative octave entry}.
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=2]
+<a c e>1 q <f a c>2 q
+@end lilypond
+
+As with regular chords, the chord repetition symbol can be used with
+durations, articulations, markups, slurs, beams, etc. as only the
+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
+@end lilypond
+
+The chord repetition symbol always remembers the last instance of
+a chord so it is possible to repeat the most recent chord even if
+other non-chorded notes or rests have been added since.
+
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 c4 q2 r8 q8
+@end lilypond
+
+However, the chord repetition symbol does not retain any dynamics,
+articulation or ornamentation within, or attached to the previous chord.
+
+@lilypond[verbatim,quote,relative=2]
+<a-. c\prall e>1\sfz c4 q2 r8 q8
+@end lilypond
+
+@seealso
+Notation Reference:
+@ref{Chord notation},
+@ref{Articulations and ornamentations}.
+
+Installed Files:
+@file{ly/@/chord-repetition-init@/.ly}.
+
+
@node Simultaneous expressions
@unnumberedsubsubsec Simultaneous expressions
>>
@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
>> \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
>>
@end lilypond
+@noindent
Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
required to define the settings of each voice.
The @code{<< @{...@} \\ @{...@} >>} 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 contruct are assigned
+@emph{all} the expressions within this construct are assigned
to new @code{Voice} contexts. These new @code{Voice} contexts
are created implicitly and are given the fixed names @code{"1"},
@code{"2"}, etc.
>>
@end lilypond
-The @code{\voiceNeutralstyle} command is used to revert to the
+The @code{\voiceNeutralStyle} command is used to revert to the
standard presentation.
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]
<<
@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]
<<
>>
@end lilypond
-Note heads with different dots may be merged:
+Note heads with different dots as shown in beat 3 of bar 1 may be
+also be merged:
@lilypond[quote,relative=2,verbatim]
<<
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]
<<
s1
e8 a b c d2
}
-
>>
@end lilypond
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
Learning Manual:
@rlearning{Multiple notes at once},
@rlearning{Voices contain music},
-@rlearning{Collisions of objects}.
+@rlearning{Real music example}.
Snippets:
@rlsr{Simultaneous notes}.
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