version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.38"
+@c \version "2.11.51"
+
@node Simultaneous notes
@section Simultaneous notes
than one voice on the same staff.
@menu
-* Single voice::
-* Multiple voices::
+* Single voice::
+* Multiple voices::
@end menu
@node Single voice
@subsection Single voice
+This section discusses simultaneous notes inside the same voice.
+
@menu
-* Chorded notes::
-* Clusters::
+* Chorded notes::
+* Clusters::
@end menu
+
@node Chorded notes
-@subsubsection Chorded notes
+@unnumberedsubsubsec Chorded notes
@cindex chords
@cindex brackets, angle
+@cindex relative pitch in chords
@funindex <
@funindex >
@funindex <...>
@code{>}. A chord may be followed by a duration and/or a set of
articulations, just like simple notes:
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,quote,relative=1]
<c e g>2 <c f a>4-> <e g c>-.
@end lilypond
-For more information about chords, see @ref{Modern chords}.
+Relative mode can be used for pitches in chords; the preceding pitch
+into the same chord is still used as a reference for relative pitches,
+but when a chord is completed, the reference pitch for relative mode
+is the first note of this chord --not the last note of the chord.
+
+For more information about chords, see @ref{Chord notation}.
@seealso
@rlearning{Combining notes into chords}.
Notation Reference:
-@ref{Modern chords}.
+@ref{Chord notation}.
Snippets:
@rlsr{Simultaneous notes}.
+@ignore
@knownissues
For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
-that should automatically turn into chords, appear splitted in two
+that should automatically turn into chords, appear split in two
staves. To avoid this, use explicit chords instead as in
@code{<g a>8 <e a>8}.
+@end ignore
@node Clusters
-@subsubsection 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,ragged-right,relative=2,fragment,verbatim]
+@lilypond[quote,relative=2,verbatim]
\makeClusters { <g b>2 <c g'> }
@end lilypond
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
-@c Examples: @rlsr{contemporary,cluster@/.ly}.
-
@knownissues
-Clusters only look good if they span at least two chords; otherwise
+Clusters look good only if they span at least two chords; otherwise
they appear too narrow.
-Clusters do not have a stem and can not indicate durations by
+Clusters do not have a stem and cannot indicate durations by
themselves. Separate clusters would need a separating rest between
them.
+
@node Multiple voices
@subsection Multiple voices
+This section discusses simultaneous notes in multiple voices or
+multiple staves.
+
@menu
-* Collision resolution::
-* Automatic part combining::
-* Writing music in parallel::
+* Single-staff polyphony::
+* Voice styles::
+* Collision resolution::
+* Automatic part combining::
+* Writing music in parallel::
@end menu
-@node Collision resolution
-@subsubsection Collision resolution
-@cindex merging notes
-@cindex note collisions
+@node Single-staff polyphony
+@unnumberedsubsubsec Single-staff polyphony
-Normally, note heads with a different number of dots are not
-merged, but when the object property
-@code{merge-differently-dotted} is set in the
-@rinternals{NoteCollision} object, they are merged:
-
-@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
-\new Voice << {
- g8 g8
- \override Staff.NoteCollision
- #'merge-differently-dotted = ##t
- g8 g8
-} \\ { g8.[ f16] g8.[ f16] } >>
-@end lilypond
+@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
-Similarly, you can merge half note heads with eighth notes, by
-setting @code{merge-differently-headed}:
+The basic structure of code needed to achieve multiple, independent
+voices in a single staff is illustrated in the following example:
-@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
-\new Voice << {
- c8 c4.
- \override Staff.NoteCollision
- #'merge-differently-headed = ##t
-c8 c4. } \\ { c2 c2 } >>
+@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
-@noindent
-@code{merge-differently-headed} and
-@code{merge-differently-dotted} only apply to opposing stem
-directions (i.e. Voice 1 & 2).
+Here, voices are instantiated explicitly and are given a name. 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. Using the @code{\oneVoice} command, all the voice
+settings are put back to the neutral directions typical of a
+single-voice passage.
+
+We can make a voice to be in the same @code{Voice} context before
+and after a temporary polyphonic passage. For example, the following
+construct keeps a voice alive throughout the polyphonic section. Said
+voice is the first one inside of the two-voice section, and the extra
+voice is the second one.
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
-LilyPond also vertically shifts rests that are opposite of a stem,
-for example
+Using the name given when created, this allows lyrics to be assigned
+to one consistent voice.
-@lilypond[quote,ragged-right,fragment,verbatim]
-\new Voice << c''4 \\ r4 >>
+@lilypond[quote, verbatim, relative=2]
+<<
+ \new Voice = "melody" {
+ a4
+ <<
+ {
+ \voiceOne
+ g f
+ }
+ \new Voice {
+ \voiceTwo
+ e d
+ }
+ >>
+ \oneVoice
+ e
+ }
+ \new Lyrics \lyricsto "melody" {
+ This is my song.
+ }
+>>
@end lilypond
-@cindex shift note
+Here, the @code{\voiceOne} and @code{\voiceTwo} commands help to make clear what
+settings does each voice receive.
+
+The @code{<<@{...@} \\ @{...@}>>} construction, where the two (or
+more) voices are separated by double backslashes, can be used as a
+simplified method to print multiple voices in a single staff. Our
+first example could be typeset as follows:
-If three or more notes line up in the same column,
-@code{merge-differently-headed} cannot successfully complete the
-merge of the two notes that should be merged. To allow the merge
-to work properly, apply a @code{\shift} to the note that should
-not be merged. In the first measure of following example,
-@code{merge-differently-headed} does not work (the half-note head
-is solid). In the second measure, @code{\shiftOn} is applied to
-move the top @code{g} out of the column, and
-@code{merge-differently-headed} works properly.
-
-@lilypond[quote,ragged-right,fragment,verbatim,relative=2]
-\override Staff.NoteCollision #'merge-differently-headed = ##t
+@lilypond[quote,relative=3,verbatim]
<<
- { d=''2 g2 } \\
- { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
- { \voiceFour e,,2 e'2}
+ { 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 is simpler and 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.
+
+@lilypond[quote,relative=3,verbatim]
<<
- { d'=''2 \shiftOn g2 } \\
- { \oneVoice d=''8 c8 r4 e,8 c'8 r4 } \\
- { \voiceFour e,,2 e'2}
+ { r8 g g g g f16 es f8 d }
+ \\
+ { es,8 r es r d r d r }
+ \\
+ { d'8 s c s bes s a s }
>>
@end lilypond
-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices
+Spacer rests are often used to avoid too many rests, as seen in the
+example above.
-In some instances of complex polyphonic music, you may need
-additional voices to avoid collisions between notes. Additional
-voices are added by defining an variable, as shown below:
+In all but simplest works it is advisable to create explicit
+@code{Voice} contexts using the @code{\new} and @code{\context}
+commands as it is explained in @rlearning{Contexts and engravers} and
+@rlearning{Explicitly instantiating voices}.
-@lilypond[quote,verbatim,ragged-right]
-voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+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 construction and make it to be an
+explicit voice:
-\relative c''' <<
- { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
- { \voiceThree b4} \\
- { \voiceFive d,} \\
- { \voiceTwo g,}
+@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
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
@code{\voiceOne},
-@funindex \voiceTwo
@code{\voiceTwo},
-@funindex \voiceThree
@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
+@code{\voiceFour},
+@code{\oneVoice}.
-@funindex \voiceNeutralStyle
+@seealso
+
+Learning Manual:
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@ref{Percussion staves},
+@ref{Invisible rests}.
+
+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
-@example
-\voiceNeutralStyle
-\voiceOneStyle
-\voiceTwoStyle
-\voiceThreeStyle
-\voiceFourStyle
-@end example
+@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
+
+To revert the standard presentation, the @code{\voiceNeutralstyle}
+command is used.
+
+@predefined
+
+@code{\voiceOneStyle},
+
+@code{\voiceTwoStyle},
+@code{\voiceThreeStyle},
+@code{\voiceFourStyle},
+@code{\voiceNeutralStyle}.
+
+@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
-@code{\shiftOn},
+@funindex shiftOn
@funindex \shiftOnn
-@code{\shiftOnn},
+@funindex shiftOnn
@funindex \shiftOnnn
-@code{\shiftOnnn},
+@funindex shiftOnnn
@funindex \shiftOff
-@code{\shiftOff}: these commands specify the degree to which
-chords of the current voice should be shifted. The outer voices
-(normally: voice 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.
-
-When LilyPond cannot cope, the @code{force-hshift} property of the
-@rinternals{NoteColumn} object and pitched rests can be used to
-override typesetting decisions.
-
-@lilypond[quote,verbatim,ragged-right]
-\relative <<
-{
- <d g>
- <d g>
-} \\ {
- <b f'>
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'>
-} >>
+@funindex shiftOff
+@funindex \mergeDifferentlyDottedOn
+@funindex mergeDifferentlyDottedOn
+@funindex \mergeDifferentlyDottedOff
+@funindex mergeDifferentlyDottedOff
+@funindex \mergeDifferentlyHeadedOn
+@funindex mergeDifferentlyHeadedOn
+@funindex \mergeDifferentlyHeadedOff
+@funindex mergeDifferentlyHeadedOff
+
+Note heads with equal durations are automatically merged, while
+note heads with unequal durations are not merged. Rests opposite
+a stem 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
+
+Note heads 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 collision on the second measure happens because
+@code{\mergeDifferentlyHeadedOn} cannot successfully complete the
+merge when three or more notes line up in the same column -- in
+fact, you will obtain a warning for this reason. To allow the
+merge to work properly, apply a @code{\shift} to the note that
+should not be merged. Here, @code{\shiftOn} is applied to move
+the top @code{g} out of the column, and
+@code{\mergeDifferentlyHeadedOn} 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 (i.e., in
+@code{Voice} 1 and 2).
+
+
+@predefined
+
+@code{\mergeDifferentlyDottedOn},
+@code{\mergeDifferentlyDottedOff},
+@code{\mergeDifferentlyHeadedOn},
+@code{\mergeDifferentlyHeadedOff}.
+
+@code{\shiftOn},
+@code{\shiftOnn},
+@code{\shiftOnnn},
+@code{\shiftOff}.
+
+@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: the objects responsible for resolving collisions
-are
-@rinternals{NoteCollision} and
+Internals Reference:
+@rinternals{NoteColumn},
+@rinternals{NoteCollision},
@rinternals{RestCollision}.
-
@knownissues
-When using @code{merge-differently-headed} with an upstem eighth
-or a shorter note, and a downstem half note, the eighth note gets
-the wrong offset.
+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.
+
+@c 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.
-There is no support for clusters where the same note occurs with
+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
-@subsubsection 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
-@emph{a due} parts are identified and can be marked.
+@notation{a due} parts are identified and marked by default.
-The syntax for part combining is
+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.
+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,ragged-right,fragment]
-\new Staff \partcombine
- \relative g' { g g a( b) c c r r }
- \relative g' { g g r4 r e e g g }
-@end lilypond
-
-The first @code{g} appears only once, although it was specified
-twice (once in each part). Stem, slur, and tie directions are set
-automatically, depending whether there is a solo or unisono. The
-first part (with context called @code{one}) always gets up stems,
-and @q{Solo}, while the second (called @code{two}) always gets
-down stems and @q{Solo II}.
+@lilypond[quote,verbatim]
+instrumentOne = \relative c' {
+ c4 d e f
+ R1
+ d'4 c b a
+ b4 g2 f4
+ e1
+}
-If you just want the merging parts, and not the textual markings,
-you may set the property @code{printPartCombineTexts} to false.
+instrumentTwo = \relative g' {
+ R1
+ g4 a b c
+ d c b a
+ g f( e) d
+ e1
+}
-@lilypond[quote,verbatim,ragged-right]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
+<<
+ \new Staff \instrumentOne
+ \new Staff \instrumentTwo
+ \new Staff \partcombine \instrumentOne \instrumentTwo
>>
@end lilypond
-To change the text that is printed for solos or merging, you may
-set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
-properties.
-
-@lilypond[quote,verbatim,ragged-right]
-\new Staff <<
- \set Score.soloText = #"ichi"
- \set Score.soloIIText = #"ni"
- \set Score.aDueText = #"tachi"
- \partcombine
- \relative g' { g4 g a( b) r }
- \relative g' { g4 g r r f }
->>
-@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
-@rinternals{Voice} contexts. If using relative octaves,
+@code{Voice} contexts. If using relative octaves,
@code{\relative} should be specified for both music expressions,
i.e.,
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{a due},
+@rglos{part}.
+
+Notation Reference:
+@ref{Writing parts}.
Snippets:
@rlsr{Simultaneous notes}.
switch to differently named @rinternals{Voice} contexts, the
events in those will be ignored.
+@c IIRC in users list someone pointed out more issues. TODO: lookup FV
+
@node Writing music in parallel
-@subsubsection 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.}
-@cindex Writing music in parallel
-@cindex Interleaved music
+@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 |
-Music for multiple parts can be interleaved:
+ % 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 |
-@lilypond[quote,fragment,verbatim]
-\parallelMusic #'(voiceA voiceB) {
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'2 |
}
\new StaffGroup <<
- \new Staff \new Voice \voiceA
- \new Staff \new Voice \voiceB
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
-This works quite well for piano music.
+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]
-global = { \key g \major \time 2/4 }
-music = {
- \parallelMusic #'(voiceA voiceB voiceC voiceD) {
- % Bar 1
- a'8 b' c'' d'' |
- d'4 e' |
- c16 d e f d e f g |
- a,4 a,4 |
-
- % Bar 2
- e''8 f'' g'' a'' |
- f'4 g' |
- e16 f g a f g a b |
- a,4 a,4 |
-
- % Bar 3 ...
- }
+\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 {
+\score {
\new PianoStaff <<
- \new Staff {
- \global
- <<
- \voiceA \\
- \voiceB
- >>
- }
- \new Staff {
- \global \clef bass
- <<
- \voiceC \\
- \voiceD
- >>
- }
+ \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