Guide, node Updating translation committishes..
@end ignore
-@c \version "2.14.0"
+@c \version "2.19.29"
@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
and @code{>}. A chord may be followed by a duration just like simple
notes.
-@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
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
@end lilypond
Chords may also be followed by articulations, again just like simple
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-.
+@lilypond[verbatim,quote]
+\relative {
+ <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
+@lilypond[verbatim,quote]
+\relative {
+ <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>\!
+@lilypond[verbatim,quote]
+\relative {
+ <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 {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex relative pitch, chords
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,>
+@lilypond[verbatim,quote]
+\relative {
+ <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}.
@end itemize
+
@node Chord repetition
@unnumberedsubsubsec Chord repetition
+@cindex chord, repetition
+@cindex repetition, using @code{q}
+@cindex @code{q}, 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
+@lilypond[verbatim,quote]
+\relative {
+ <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
+@lilypond[verbatim,quote]
+\relative {
+ <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
+@lilypond[verbatim,quote]
+\relative {
+ <a' c e>1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
However, the chord repetition symbol does not retain any dynamics,
-articulation or ornamentation within, or attached to the previous chord.
+articulation or ornamentation within, or attached to, the previous
+chord.
+
+@lilypond[verbatim,quote]
+\relative {
+ <a'-. c\prall e>1\sfz c'4 q2 r8 q8 |
+ q2 c, |
+}
+@end lilypond
-@lilypond[verbatim,quote,relative=2]
-<a-. c\prall e>1\sfz c4 q2 r8 q8
+To have some of them retained, the @code{\chordRepeats} function can be
+be called explicitly with an extra argument specifying a list of
+@var{event types} to keep unless events of that type are already
+present on the @code{q} chord itself.
+
+@lilypond[verbatim,quote]
+\relative {
+ \chordRepeats #'(articulation-event)
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ q2 c, |
+}
+@end lilypond
+
+Here using @code{\chordRepeats} inside of a @code{\relative} construction
+produces unexpected results: once chord events have been expanded, they
+are indistinguishable from having been entered as regular chords, making
+@code{\relative} assign an octave based on their current context.
+
+Since nested instances of @code{\relative} don't affect one another,
+another @code{\relative} inside of @code{\chordRepeats} can be used for
+establishing the octave relations before expanding the repeat chords.
+In that case, the whole content of the inner @code{\relative} does not
+affect the outer one; hence the different octave entry of the final note
+in this example.
+
+@lilypond[verbatim,quote]
+\relative {
+ \chordRepeats #'(articulation-event)
+ \relative
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ q2 c'' |
+}
@end lilypond
+Interactions with @code{\relative} occur only with explicit calls of
+@code{\chordRepeats}: the implicit expansion at the start of typesetting
+is done at a time where all instances of @code{\relative} have already
+been processed.
+
@seealso
Notation Reference:
@ref{Chord notation},
The following examples show simultaneous expressions on one staff:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % explicit single voice
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% single first note
-a << { a4 b g } { d4 g c, } >>
+@lilypond[quote,verbatim]
+\relative {
+ % single first note
+ a' << \relative { a'4 b g }
+ \relative { d'4 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 {
+ <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:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% no single first note
-<< { a4 b g2 } { d4 g2 c,4 } >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 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, ignoring
@knownissues
-If notes from two or more voices, with stems in the same direction, are
-placed at the same position on the staff and have no shift (or have the
-same shift specified), the message:
+If notes from two or more voices, with no shifts specified,
+have stems in the same direction, the message
@example
-warning: ignoring too many clashing note columns
+warning: This voice needs a \voiceXx or \shiftXx setting
@end example
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 does not only suppress the warning but will prevent any
-collision resolution, so may have unintended results.
+However, this not only suppresses the warning but will prevent any
+collision resolution whatsover and may have other unintended effects
+(also see @emph{Known Issues} in @ref{Collision resolution}).
@node Clusters
entered by applying the function @code{\makeClusters} to a sequence
of chords, e.g.,
-@lilypond[quote,relative=2,verbatim]
-\makeClusters { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
@end lilypond
Ordinary notes and clusters can be put together in the same staff,
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
-
@seealso
Music Glossary:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
-
@knownissues
-
Clusters look good only if they span at least two chords; otherwise
they appear too narrow.
Clusters do not produce MIDI output.
+
@node Multiple voices
@subsection Multiple voices
@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:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
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
This allows lyrics to be assigned to one continuing voice before,
during and after a polyphonic section:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
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
The first example could be typeset as follows:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
three, which has the stems up as desired. Spacer rests are
used to avoid printing doubled rests.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
@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:
>>
@end lilypond
-@strong{@i{Identical rhythms}}
+@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
+created @q{across} voices.}
+
+@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
@code{Voice} context, thus forming chords. To achieve this, enclose
them in a simple simultaneous music construct within an explicit voice:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
@code{\oneVoice}.
@endpredefined
-
@seealso
Learning Manual:
@rlearning{Voices contain music},
Voices may be given distinct colors and shapes, allowing them to be
easily identified:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
@code{\voiceNeutralStyle}.
@endpredefined
-
@seealso
Learning Manual:
@rlearning{I'm hearing Voices},
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]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@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]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@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:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
-
The half note and eighth note at the start of the second measure
are incorrectly merged because the automatic merge cannot
successfully complete the merge when three or more notes line up in
@notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
then works properly.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
vertical order of voices on the staff!}
@lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
%% abbreviated entry
<<
- { f2 } % 1: highest
+ { f''2 } % 1: highest
\\
{ g,2 } % 2: lowest
\\
they have, for example, in voices one and two by default or when
the stems are explicitly set in opposite directions).
-
@predefined
@code{\mergeDifferentlyDottedOn},
@code{\mergeDifferentlyDottedOff},
@code{\shiftOff}.
@endpredefined
-
@snippets
-
@lilypondfile[verbatim,quote,texidoc,doctitle]
{additional-voices-to-avoid-collisions.ly}
@lilypondfile[verbatim,quote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-
@seealso
Music Glossary:
@rglos{polyphony}.
@rinternals{NoteCollision},
@rinternals{RestCollision}.
+@cindex collisions, ignoring
+
+@knownissues
+Using @code{\override NoteColumn.ignore-collision = ##t} will cause
+differently headed notes in different voices to merge incorrectly.
+
+@lilypond[quote,verbatim,fragment]
+\mergeDifferentlyHeadedOn
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
+\override NoteColumn.ignore-collision = ##t
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
+@end lilypond
@ignore
@knownissues
are at the same time differently dotted are not clear.
@end ignore
+
@node Automatic part combining
@unnumberedsubsubsec Automatic part combining
the combined staff.
@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
- c4 d e f |
+instrumentOne = \relative {
+ c'4 d e f |
R1 |
d'4 c b a |
b4 g2 f4 |
e1 |
}
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
R1 |
- g4 a b c |
+ g'4 a b c |
d4 c b a |
g4 f( e) d |
e1 |
respectively. The unison (@notation{a due}) parts are marked with the
text @qq{a2}.
+By default, the partcombiner merges two notes of the same pitch as an
+@notation{a due} note, combines notes with the same
+rhythm less than a ninth apart as chords and separates notes more than
+a ninth apart (or when the voices cross) into
+separate voices. This can be overridden with an optional argument of a pair
+of numbers after the @code{\partcombine} command: the first specifies
+the interval where notes start to be combined (the default is zero) and the
+second where the notes are split into separate voices. Setting the second
+argument to zero means that the partcombiner splits notes with an interval of
+a second or more, setting it to one splits notes of a third or more, and so on.
+
+@lilypond[quote,verbatim]
+instrumentOne = \relative {
+ a4 b c d |
+ e f g a |
+ b c d e |
+}
+
+instrumentTwo = \relative {
+ c'4 c c c |
+ c c c c |
+ c c c c |
+}
+
+<<
+ \new Staff \partcombine \instrumentOne \instrumentTwo
+ \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
+>>
+@end lilypond
+
+
Both arguments to @code{\partcombine} will be interpreted as separate
@code{Voice} contexts, so if the music is being specified in relative
mode then @emph{both} parts must contain a @code{\relative} function,
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
@item
-@code{\partcombineApart} and @code{\partcombineApartOnce} keep the
+@code{\partcombineApart} and @code{\once \partcombineApart} keep the
notes as two separate voices, even if they can be combined into a chord
or unison.
@item
-@code{\partcombineChords} and @code{\partcombineChordsOnce} combine the
+@code{\partcombineChords} and @code{\once \partcombineChords} combine the
notes into a chord.
@item
-@code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
+@code{\partcombineUnisono} and @code{\once \partcombineUnisono} combine
both voices as @qq{unison}.
@item
-@code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
+@code{\partcombineSoloI} and @code{\once \partcombineSoloI} print only
voice one, and mark it as a @qq{Solo}.
@item
-@code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
+@code{\partcombineSoloII} or @code{\once \partcombineSoloII} print only
voice two and mark it as a @qq{Solo}.
@item
-@code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
+@code{\partcombineAutomatic} and @code{\once \partcombineAutomatic} end
the functions of the commands above, and revert back to the standard
@code{\partcombine} functionality.
@end itemize
\partcombineAutomatic e2^"auto" e |
\partcombineChords e'2^"chord" e |
\partcombineAutomatic c2^"auto" c |
- \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
+ \partcombineApart c2^"apart" \once \partcombineChords e^"chord once" |
c2 c |
}
-instrumentTwo = \relative c' {
- c2 c |
+instrumentTwo = \relative {
+ c'2 c |
e2 e |
a,2 c |
c2 c' |
@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]
@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-
@seealso
Music Glossary:
@rglos{a due},
@rinternals{Voice}.
@knownissues
+All @code{\partcombine@dots{}} functions can only accept two voices.
-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.
-
-@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
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
- r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ r16 e'8.~ 4 r16 e'8.~ 4 |
c'2 c'2 |
% Bar 2
r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
- r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ r16 d'8.~ 4 r16 d'8.~ 4 |
c'2 c'2 |
}
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
- r16 e8.~ e4 r16 e8.~ e4 |
+ r16 e8.~ 4 r16 e8.~ 4 |
c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
- r16 d8.~ d4 r16 d8.~ d4 |
+ r16 d8.~ 4 r16 d8.~ 4 |
c2 c |
}
}
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.