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 <...>
<c e g>2 <c f a>4-> <e g c>-.
@end lilypond
+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
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
@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 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
+
+The basic structure of code 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 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
+
+Using the name given when created, this allows lyrics to be assigned
+to one consistent voice.
+
+@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
+
+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:
+
+@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 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]
+<<
+ { 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
+
+Spacer rests are often used to avoid too many rests, as seen in the
+example above.
+
+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}.
+
+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:
+
+@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}.
+
+@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
+@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
-@subsubsection 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
-@cindex shift rest, automatic
+@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.
-@c old material to delete, I think. -gp
-@c Normally, equal note heads with the same number of dots and the same
-@c note head are automatically merged, while note heads with different note
-@c heads and/or a different number of dots are not.
-@c The following example
-@c has two cases of this, plus an undesired merging (the half-note head
-@c @code{e} is solid):
-@c Note that LilyPond has vertically shifted the rest, which is opposite
-@c of a stem.
-
@lilypond[quote,verbatim,relative=2]
<<
{
- c8 d e d c d e4
- g2 fis
+ c8 d e d c d c4
+ g'2 fis
} \\ {
- c2 c8. b16 a4
- e2 r
+ c2 c8. b16 c4
+ e,2 r
} \\ {
\oneVoice
s1
>>
@end lilypond
-Note heads with different note heads may be merged:
-@c First we will merge the initial half note head with the eighth
-@c note by setting the @code{merge-differently-headed} property of the
-@c @code{NoteCollision} object:
+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]
<<
{
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- c8 d e d c d e4
- g2 fis
+ \mergeDifferentlyHeadedOn
+ c8 d e d c d c4
+ g'2 fis
} \\ {
- c2 c8. b16 a4
- e2 r
+ c2 c8. b16 c4
+ e,2 r
} \\ {
\oneVoice
s1
@end lilypond
Note heads with different dots may be merged:
-@c Similarly, you can merge differently dotted note heads:
@lilypond[quote,relative=2,verbatim]
<<
{
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
- c8 d e d c d e4
- g2 fis
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ c8 d e d c d c4
+ g'2 fis
} \\ {
- c2 c8. b16 a4
- e2 r
+ c2 c8. b16 c4
+ e,2 r
} \\ {
\oneVoice
s1
>>
@end lilypond
-@cindex shift note
The collision on the second measure happens because
-@code{merge-differently-headed} 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{merge-differently-headed} works properly.
+@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]
<<
{
- \override Staff.NoteCollision #'merge-differently-headed = ##t
- \override Staff.NoteCollision #'merge-differently-dotted = ##t
- c8 d e d c d e4
+ \mergeDifferentlyHeadedOn
+ \mergeDifferentlyDottedOn
+ c8 d e d c d c4
\shiftOn
- g2 fis
+ g'2 fis
} \\ {
- c2 c8. b16 a4
- e2 r
+ c2 c8. b16 c4
+ e,2 r
} \\ {
\oneVoice
s1
e8 a b c d2
}
+
>>
@end lilypond
-Merging notes by setting @code{merge-differently-headed} and
-@code{merge-differently-dotted} only works for opposing stem
-directions (i.e., to @code{Voice}s 1 and 2).
-
-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices
-
-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:
+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.
-@lilypond[quote,verbatim]
-voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
-\relative c'''
-<<
- { \voiceOne g2. ~ \stemDown g32[ f( es d c b a b64) g] } \\
- { \voiceThree b4 } \\
- { \voiceFive d, } \\
- { \voiceTwo g, }
->>
-@end lilypond
+Notes are only merged if they have opposing stem directions (i.e., in
+@code{Voice} 1 and 2).
@predefined
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
+@code{\mergeDifferentlyDottedOn},
+@code{\mergeDifferentlyDottedOff},
+@code{\mergeDifferentlyHeadedOn},
+@code{\mergeDifferentlyHeadedOff}.
-@c undocumented?: --FV
-@funindex \voiceNeutralStyle
-@funindex \voiceOneStyle
-@funindex \voiceTwoStyle
-@funindex \voiceThreeStyle
-@funindex \voiceFourStyle
-@example
-\voiceNeutralStyle
-\voiceOneStyle
-\voiceTwoStyle
-\voiceThreeStyle
-\voiceFourStyle
-@end example
-
-@funindex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
-@code{\shiftOff}: these 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.
-
-When LilyPond cannot cope, the @code{force-hshift} property of the
-@code{NoteColumn} object and pitched rests can be used to
-override typesetting decisions.
-
-@lilypond[quote,verbatim,relative=1]
-<<
- { <d g>2
- <d g> }
- \\
- { <b f'>2
- \once \override NoteColumn #'force-hshift = #1.7
- <b f'> }
->>
-@end lilypond
+@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
@rlsr{Simultaneous notes}.
Internals Reference:
-@rinternals{NoteColumn}.
-The objects responsible for resolving collisions
-are
-@rinternals{NoteCollision} and
+@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 stem gets a
-slightly wrong offset because of the different width of the half note
-head symbol.
+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
-It is not clear in which circumpstances you can succesfully merge
-different note heads that are at the same time differently dotted.
+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
+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.
\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.
+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' {
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 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}.
+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,
@snippets
-Parts may be merged without printing text:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-The printed text may be changed:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Score.soloText = #"girl"
- \set Score.soloIIText = #"boy"
- \set Score.aDueText = #"together"
- \partcombine
- \relative g' { g4 g r r a2 g }
- \relative g' { r4 r a( b) a2 g }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{combining-two-parts-on-the-same-staff.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-partcombine-texts.ly}
@seealso
Snippets:
@rlsr{Simultaneous notes}.
-
Internals Reference:
@rinternals{PartCombineMusic},
@rinternals{Voice}.
switch to differently named @rinternals{Voice} contexts, the
events in those will be ignored.
-@c IIRC in users list someone pointed out more issues. FV
+@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 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.
+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) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
+ 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''] |
- c'2 c'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
- \new Staff \voiceB
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
@code{voiceA} ignore the notes in @code{voiceB}.
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\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
- \new Staff \relative c' \voiceB
+ \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
+ \new Staff \relative c' { \clef bass \voiceC }
>>
@end lilypond
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
- >>
- }
->>
+}
+
+\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}
+@rlearning{Organizing pieces with variables}.
Snippets:
@rlsr{Simultaneous notes}.
-
projects / lilypond.git / blobdiff