+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- 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.
-@end ignore
-
-@c \version "2.12.0"
-
-
-@node Simultaneous notes
-@section Simultaneous notes
-
-@lilypondfile[quote]{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
-than one voice on the same staff.
-
-@menu
-* Single voice::
-* Multiple voices::
-@end menu
-
-
-@node Single voice
-@subsection Single voice
-
-This section discusses simultaneous notes inside the same voice.
-
-@menu
-* Chorded notes::
-* Simultaneous expressions::
-* Clusters::
-@end menu
-
-
-@node Chorded notes
-@unnumberedsubsubsec Chorded notes
-
-@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:
-
-@lilypond[verbatim,quote,relative=1]
-<c e g>2 <c f a>4-> <e g c>-.
-@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.
-
-For more information about chords, see @ref{Chord notation}.
-
-
-@seealso
-Music Glossary:
-@rglos{chord}.
-
-Learning Manual:
-@rlearning{Combining notes into chords}.
-
-Notation Reference:
-@ref{Chord notation}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-
-@node Simultaneous expressions
-@unnumberedsubsubsec Simultaneous expressions
-
-One or more music expressions enclosed in double angle brackets are
-taken to be simultaneous. If the first expression begins with a
-single note or if the whole simultaneous expression appears
-explicitly within a single voice, the whole expression is placed on
-a single staff; otherwise the elements of the simultaneous
-expression are placed on separate staves.
-
-The following examples show simultaneous expressions on one staff:
-
-@lilypond[quote,verbatim,relative=2]
-\new Voice { % explicit single voice
- << {a4 b g2} {d4 g c,2} >>
-}
-@end lilypond
-
-@lilypond[quote,verbatim,relative=2]
-% single first note
-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.
-
-The following example shows how simultaneous expressions can
-generate multiple staves implicitly:
-
-@lilypond[quote,verbatim,relative=2]
-% no single first note
-<< {a4 b g2} {d4 g2 c,4} >>
-@end lilypond
-
-Here different rhythms cause no problems.
-
-
-@node Clusters
-@unnumberedsubsubsec Clusters
-
-@cindex cluster
-@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
-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'> }
-@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}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-Internals Reference:
-@rinternals{ClusterSpanner},
-@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 have a stem and cannot indicate durations by
-themselves, but the length of the printed cluster is determined by
-the durations of the defining chords. Separate clusters need a
-separating rest between them.
-
-Clusters do not produce MIDI output.
-
-@node Multiple voices
-@subsection Multiple voices
-
-This section discusses simultaneous notes in multiple voices or
-multiple staves.
-
-@menu
-* Single-staff polyphony::
-* Voice styles::
-* Collision resolution::
-* Automatic part combining::
-* Writing music in parallel::
-@end menu
-
-
-@node Single-staff polyphony
-@unnumberedsubsubsec Single-staff polyphony
-
-@cindex single-staff polyphony
-@cindex polyphony, single-staff
-@cindex voice
-@cindex lyrics assigned to one voice
-
-@funindex \voiceOne
-@funindex voiceOne
-@funindex \voiceOne ... \voiceFour
-@funindex Voice
-@funindex \oneVoice
-@funindex oneVoice
-
-@strong{@i{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]
-\new Staff <<
- \new Voice = "first"
- { \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. }
->>
-@end lilypond
-
-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
-voices get stems down, third and fourth voice note heads are
-horizontally shifted, and rests in the respective voices are
-automatically moved to avoid collisions. The @code{\oneVoice}
-command returns all the voice settings to the neutral default
-directions.
-
-@strong{@i{Temporary polyphonic passages}}
-
-A temporary polyphonic passage can be created with the following
-construct:
-
-@example
-<< @{ \voiceOne ... @}
- \new Voice @{ \voiceTwo ... @}
->> \oneVoice
-@end example
-
-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
-continues after the temporary section. Other expressions within
-the angle brackets are assigned to distinct temporary voices.
-This allows lyrics to be assigned to one continuing voice before,
-during and after a polyphonic section:
-
-@lilypond[quote, verbatim, relative=2]
-<<
- \new Voice = "melody" {
- a4
- <<
- {
- \voiceOne
- g f
- }
- \new Voice {
- \voiceTwo
- d2
- }
- >>
- \oneVoice
- e4
- }
- \new Lyrics \lyricsto "melody" {
- This is my song.
- }
->>
-@end lilypond
-
-Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
-required to define the settings of each voice.
-
-@strong{@i{The double backslash construct}}
-
-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
-to new @code{Voice} contexts. These new @code{Voice} contexts
-are created implicitly and are given the fixed names @code{"1"},
-@code{"2"}, etc.
-
-The first example could be typeset as follows:
-
-@lilypond[quote,relative=3,verbatim]
-<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
- \\
- { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
->>
-@end lilypond
-
-This syntax can be used where it does not matter that temporary
-voices are created and then discarded. These implicitly created
-voices are given the settings equivalent to the effect of the
-@code{\voiceOne} ... @code{\voiceFour} commands, in the order in
-which they appear in the code.
-
-In the following example, the intermediate voice has stems up,
-therefore we enter it in the third place, so it becomes voice
-three, which has the stems up as desired. Spacer rests are
-used to avoid printing doubled rests.
-
-@lilypond[quote,relative=3,verbatim]
-<<
- { r8 g g g g f16 ees f8 d }
- \\
- { ees,8 r ees r d r d r }
- \\
- { d'8 s c s bes s a s }
->>
-@end lilypond
-
-In all but the simplest works it is advisable to create explicit
-@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
-@rlearning{Explicitly instantiating voices}.
-
-@strong{@i{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]
-\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
->>
-@end lilypond
-
-This method leads to strange beamings and warnings if the pieces of
-music do not have the same rhythm.
-
-
-@predefined
-@code{\voiceOne},
-@code{\voiceTwo},
-@code{\voiceThree},
-@code{\voiceFour},
-@code{\oneVoice}.
-@endpredefined
-
-
-@seealso
-Learning Manual:
-@rlearning{Voices contain music},
-@rlearning{Explicitly instantiating voices}.
-
-Notation Reference:
-@ref{Percussion staves},
-@ref{Invisible rests},
-@ref{Stems}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-
-@node Voice styles
-@unnumberedsubsubsec Voice styles
-
-@cindex voice styles
-@cindex styles, voice
-@cindex coloring voices
-@funindex \voiceOneStyle
-@funindex \voiceTwoStyle
-@funindex \voiceThreeStyle
-@funindex \voiceFourStyle
-@funindex \voiceNeutralStyle
-
-Voices may be given distinct colors and shapes, allowing them to be
-easily identified:
-
-@lilypond[quote,relative=2,verbatim]
-<<
- { \voiceOneStyle d4 c2 b4 }
- \\
- { \voiceTwoStyle e,2 e }
- \\
- { \voiceThreeStyle b2. c4 }
- \\
- { \voiceFourStyle g'2 g }
->>
-@end lilypond
-
-The @code{\voiceNeutralstyle} command is used to revert to the
-standard presentation.
-
-
-@predefined
-@code{\voiceOneStyle},
-@code{\voiceTwoStyle},
-@code{\voiceThreeStyle},
-@code{\voiceFourStyle},
-@code{\voiceNeutralStyle}.
-@endpredefined
-
-
-@seealso
-Learning Manual:
-@rlearning{I'm hearing Voices},
-@rlearning{Other sources of information}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-
-@node Collision resolution
-@unnumberedsubsubsec Collision resolution
-
-@cindex merging notes
-@cindex note collisions
-@cindex collisions
-@cindex shift note
-@cindex multiple voices
-@cindex voices, multiple
-@cindex polyphonic music
-@cindex shifting voices
-@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
-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.
-
-@lilypond[quote,verbatim,relative=2]
-<<
- {
- c8 d e d c d c4
- g'2 fis
- } \\ {
- c2 c8. b16 c4
- e,2 r
- } \\ {
- \oneVoice
- s1
- e8 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:
-
-@lilypond[quote,verbatim,relative=2]
-<<
- {
- \mergeDifferentlyHeadedOn
- c8 d e d c d c4
- g'2 fis
- } \\ {
- c2 c8. b16 c4
- e,2 r
- } \\ {
- \oneVoice
- s1
- e8 a b c d2
- }
->>
-@end lilypond
-
-Note heads with different dots may be merged:
-
-@lilypond[quote,relative=2,verbatim]
-<<
- {
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- c8 d e d c d c4
- g'2 fis
- } \\ {
- c2 c8. b16 c4
- e,2 r
- } \\ {
- \oneVoice
- s1
- e8 a b c d2
- }
->>
-@end lilypond
-
-
-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.
-
-@lilypond[quote,relative=2,verbatim]
-<<
- {
- \mergeDifferentlyHeadedOn
- \mergeDifferentlyDottedOn
- c8 d e d c d c4
- \shiftOn
- g'2 fis
- } \\ {
- c2 c8. b16 c4
- e,2 r
- } \\ {
- \oneVoice
- s1
- e8 a b c d2
- }
-
->>
-@end lilypond
-
-The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
-commands specify the degree to which chords of the current voice
-should be shifted. The outer voices (normally: voices one and
-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).
-
-
-@predefined
-@code{\mergeDifferentlyDottedOn},
-@code{\mergeDifferentlyDottedOff},
-@code{\mergeDifferentlyHeadedOn},
-@code{\mergeDifferentlyHeadedOff}.
-
-@code{\shiftOn},
-@code{\shiftOnn},
-@code{\shiftOnnn},
-@code{\shiftOff}.
-@endpredefined
-
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{additional-voices-to-avoid-collisions.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{forcing-horizontal-shift-of-notes.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{polyphony}.
-
-Learning Manual:
-@rlearning{Multiple notes at once},
-@rlearning{Voices contain music},
-@rlearning{Collisions of objects}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-Internals Reference:
-@rinternals{NoteColumn},
-@rinternals{NoteCollision},
-@rinternals{RestCollision}.
-
-
-@knownissues
-
-When using @code{\mergeDifferentlyHeadedOn} with an upstem eighth
-or a shorter note, and a downstem half note, the eighth note stem
-gets a slightly wrong offset because of the different width of the
-half note head symbol.
-
-@ignore
-@c TODO investigate! Sometimes it works, sometimes not. --FV
-The requirements for successfully merging different note heads that
-are at the same time differently dotted are not clear.
-@end ignore
-
-There is no support for chords where the same note occurs with
-different accidentals in the same chord. In this case, it is
-recommended to use enharmonic transcription, or to use special
-cluster notation (see @ref{Clusters}).
-
-
-@node Automatic part combining
-@unnumberedsubsubsec Automatic part combining
-
-@cindex automatic part combining
-@cindex part combiner
-@cindex combining parts
-@cindex a due part
-@cindex solo part
-@funindex \partcombine
-@funindex partcombine
-
-Automatic part combining is used to merge two parts of music onto
-a staff. It is aimed at typesetting orchestral scores. When the
-two parts are identical for a period of time, only one is shown.
-In places where the two parts differ, they are typeset as separate
-voices, and stem directions are set automatically. Also, solo and
-@notation{a due} parts are identified and marked by default.
-
-The syntax for part combining is:
-
-@example
-\partcombine @var{musicexpr1} @var{musicexpr2}
-@end example
-
-The following example demonstrates the basic functionality of the
-part combiner: putting parts on one staff and setting stem
-directions and polyphony. The same variables are used for the
-independent parts and the combined staff.
-
-@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
- c4 d e f
- R1
- d'4 c b a
- b4 g2 f4
- e1
-}
-
-instrumentTwo = \relative g' {
- R1
- g4 a b c
- d c b a
- g f( e) d
- e1
-}
-
-<<
- \new Staff \instrumentOne
- \new Staff \instrumentTwo
- \new Staff \partcombine \instrumentOne \instrumentTwo
->>
-@end lilypond
-
-The notes in the third measure appear only once, although they were
-specified in both parts. Stem, slur, and tie directions are set
-automatically, depending whether there is a solo or unison. When
-needed in polyphony situations, the first part (with context called
-@code{one}) always gets up stems, while the second (called @code{two})
-always gets down stems. In solo situations, the first and second
-parts get marked with @q{Solo} and @q{Solo II}, respectively. The
-unisono (@notation{a due}) parts are marked by default with the text
-@qq{a2}.
-
-Both arguments to @code{\partcombine} will be interpreted as
-@code{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions,
-i.e.,
-
-@example
-\partcombine
- \relative @dots{} @var{musicexpr1}
- \relative @dots{} @var{musicexpr2}
-@end example
-
-@noindent
-A @code{\relative} section that is outside of @code{\partcombine}
-has no effect on the pitches of @var{musicexpr1} and
-@var{musicexpr2}.
-
-@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{combining-two-parts-on-the-same-staff.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{changing-partcombine-texts.ly}
-
-
-@seealso
-Music Glossary:
-@rglos{a due},
-@rglos{part}.
-
-Notation Reference:
-@ref{Writing parts}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-Internals Reference:
-@rinternals{PartCombineMusic},
-@rinternals{Voice}.
-
-
-@knownissues
-
-@code{\partcombine} can only accept two voices.
-
-When @code{printPartCombineTexts} is set, if the two voices play
-the same notes on and off, the part combiner may typeset @code{a2}
-more than once in a measure.
-
-@code{\partcombine} cannot be inside @code{\times}.
-
-@code{\partcombine} cannot be inside @code{\relative}.
-
-Internally, the @code{\partcombine} interprets both arguments as
-@code{Voice}s and decides when the parts can be combined. When they have
-different durations they cannot be combined and are given the names
-@code{one} and @code{two}. Consequently, if the arguments switch to
-differently named @rinternals{Voice} contexts, the events in those will
-be ignored. Likewise, partcombining isn't designed to work with lyrics;
-when one of the voices is explicitly named in order to attach lyrics to
-it, the partcombining stops working.
-
-@code{\partcombine} only observes onset times of notes. It cannot
-determine whether a previously started note is playing or not, leading
-to various problems.
-
-
-@node Writing music in parallel
-@unnumberedsubsubsec Writing music in parallel
-
-@cindex writing music in parallel
-@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
-number of variables to be created, and a musical expression. The
-content of alternate measures from the expression become the value
-of the respective variables, so you can use them afterwards to
-print the music.
-
-@warning{Bar checks @code{|} must be used, and the measures must
-be of the same length.}
-
-@lilypond[quote,verbatim]
-\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 |
- 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 |
- c'2 c'2 |
-
-}
-\new StaffGroup <<
- \new Staff << \voiceA \\ \voiceB >>
- \new Staff { \clef bass \voiceC }
->>
-@end lilypond
-
-Relative mode may be used. Note that the @code{\relative} command
-is not used inside @code{\parallelMusic} itself. The notes are
-relative to the preceding note in the voice, not to the previous
-note in the input -- in other words, relative notes for
-@code{voiceA} ignore the notes in @code{voiceB}.
-
-@lilypond[quote,verbatim]
-\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 |
- 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 |
- c2 c |
-
- }
-\new StaffGroup <<
- \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
- \new Staff \relative c' { \clef bass \voiceC }
->>
-@end lilypond
-
-This works quite well for piano music. This example maps four
-consecutive measures to four variables:
-
-@lilypond[quote,verbatim]
-global = {
- \key g \major
- \time 2/4
-}
-
-\parallelMusic #'(voiceA voiceB voiceC voiceD) {
- % Bar 1
- a8 b c d |
- d4 e |
- c16 d e fis d e fis g |
- a4 a |
-
- % Bar 2
- e8 fis g a |
- fis4 g |
- e16 fis g a fis g a b |
- a4 a |
-
- % Bar 3 ...
-}
-
-\score {
- \new PianoStaff <<
- \new Staff {
- \global
- <<
- \relative c'' \voiceA
- \\
- \relative c' \voiceB
- >>
- }
- \new Staff {
- \global \clef bass
- <<
- \relative c \voiceC
- \\
- \relative c \voiceD
- >>
- }
- >>
-}
-@end lilypond
-
-
-@seealso
-Learning Manual:
-@rlearning{Organizing pieces with variables}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
projects / lilypond.git / blobdiff