@end lilypond
As with regular chords, the chord repetition symbol can be used with
-durations, articulations, markups, slurs, beams, etc. as only the
+durations, articulations, markups, slurs, beams, etc., as only the
pitches of the previous chord are duplicated.
@lilypond[verbatim,quote]
@cindex note cluster
@funindex \makeClusters
-@funindex makeClusters
A cluster indicates a continuous range of pitches to be played.
They can be denoted as the envelope of a set of notes. They are
@cindex lyrics assigned to one voice
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Explicitly instantiating voices
>>
@end lilypond
-@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
-created @q{across} voices.}
+@funindex \voices
+When a different voice entry order is desired, the command
+@code{\voices} may be convenient:
+
+@lilypond[quote,verbatim]
+\new Staff \voices 1,3,5,6,4,2 <<
+ \time 2/4
+ { f''2 } % 1: highest
+ \\
+ { d''2 } % 3: second-highest
+ \\
+ { b'2 } % 5: third-highest
+ \\
+ { g'2 } % 6: third-lowest
+ \\
+ { e'2 } % 4: second-lowest
+ \\
+ { c'2 } % 2: lowest
+>>
+@end lilypond
+
+
+@warning{Lyrics and spanners (such as slurs, ties, hairpins, etc.) cannot
+be created @q{across} voices.}
@subsubsubheading Identical rhythms
@cindex voices, multiple
@cindex shift rest, automatic
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
The note heads of notes in different voices with the same pitch,
same note head and opposite stem direction are automatically
@cindex a due part
@cindex solo part
@funindex \partcombine
-@funindex partcombine
Automatic part combining is used to merge two separate parts of music
onto a single staff. This can be especially helpful when typesetting
@code{@var{musicexpr2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
In professional scores, voices are often kept apart from each other for
long passages of music even if some of the notes are the same in both
voices, and could just as easily be printed as unison. Combining notes
into a chord, or showing one voice as solo is, therefore, not ideal as
the @code{\partcombine} function considers each note separately. In this
-case the @code{\partcombine} function can be overriden with the
-following commands:
-
-Commands ending in @code{@dots{}Once} apply only to the next note in the
-music expression.
+case the @code{\partcombine} function can be overridden with one of the
+following commands. All of the commands may be preceded with
+@code{\once} in order to have them only apply to the next note in
+the music expression.
@itemize
@item
-@code{\partcombineApart} and @code{\once \partcombineApart} keep the
+@code{\partcombineApart} keeps the
notes as two separate voices, even if they can be combined into a chord
or unison.
@item
-@code{\partcombineChords} and @code{\once \partcombineChords} combine the
+@code{\partcombineChords} combines the
notes into a chord.
@item
-@code{\partcombineUnisono} and @code{\once \partcombineUnisono} combine
+@code{\partcombineUnisono} combines
both voices as @qq{unison}.
@item
-@code{\partcombineSoloI} and @code{\once \partcombineSoloI} print only
-voice one, and mark it as a @qq{Solo}.
+@code{\partcombineSoloI} prints only
+voice one, and marks it as a @qq{Solo}.
@item
-@code{\partcombineSoloII} or @code{\once \partcombineSoloII} print only
-voice two and mark it as a @qq{Solo}.
+@code{\partcombineSoloII} prints only
+voice two and marks it as a @qq{Solo}.
@item
-@code{\partcombineAutomatic} and @code{\once \partcombineAutomatic} end
-the functions of the commands above, and revert back to the standard
+@code{\partcombineAutomatic} ends
+the functions of the commands above, and reverts back to the standard
@code{\partcombine} functionality.
@end itemize
@code{Voice}. This can lead to a number of unexpected issues including
@qq{Solo} or @qq{Unison} marks being printed incorrectly.
-@code{\partcombine} keeps all spanners (slurs, ties, hairpins etc.) in
+@code{\partcombine} keeps all spanners (slurs, ties, hairpins, etc.) in
the same @code{Voice} so that if any such spanners start or end in a
different @code{Voice}, they may not be printed properly or at all.
If the @code{\partcombine} function cannot combine both music
-expressions (i.e. when both voices have different durations), it will
+expressions (i.e., when both voices have different durations), it will
give the voices, internally, its own custom names: @code{one} and
@code{two} respectively. This means if there is any @qq{switch} to a
differently named @code{Voice} context, the events in that differently
@cindex interleaved music
@cindex parallel music
@funindex \parallelMusic
-@funindex parallelMusic
Music for multiple parts can be interleaved in input code. The
function @code{\parallelMusic} accepts a list with the names of a
projects / lilypond.git / blobdiff