@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 "2.11.38"
@node Simultaneous notes
@section Simultaneous notes
-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.
+@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::
@node Single voice
@subsection Single voice
-@anchor{Chords}
-@unnumberedsubsubsec Chords
+@menu
+* Chorded notes::
+* Clusters::
+@end menu
+
+@node Chorded notes
+@subsubsection Chorded notes
-@cindex Chords
+@cindex chords
+@cindex brackets, angle
+@funindex <
+@funindex >
+@funindex <...>
-A chord is formed by a enclosing a set of pitches between @code{<}
-and @code{>}. A chord may be followed by a duration, and a set of
-articulations, just like simple notes
+A chord is formed by a 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,ragged-right,fragment,quote,relative=1]
-<c e g>4 <c>8
+<c e g>1 <c e g>->
@end lilypond
-For more information about chords, see @ref{Introducing chord names}.
-
+For more information about chords, see @ref{Modern chords}.
-@anchor{Clusters}
-@unnumberedsubsubsec Clusters
-
-@cindex cluster
-
-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]
-\makeClusters { <c e > <b f'> }
-@end lilypond
+@seealso
-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.
+Music Glossary:
+@rglos{chord}.
-@seealso
+Learning Manual:
+@rlearning{Combining notes into chords}.
-Program reference: @internalsref{ClusterSpanner},
-@internalsref{ClusterSpannerBeacon},
-@internalsref{Cluster_spanner_engraver}.
+Notation Reference:
+@ref{Modern chords}.
-Examples: @lsr{contemporary,cluster@/.ly}.
+Snippets:
+@lsrdir{Simultaneous,Simultaneous-notes}.
-@refbugs
+@knownissues
Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
accurately. Use @code{<g a>8 <e a>8} instead.
+@node Clusters
+@subsubsection Clusters
-@node Multiple voices
-@subsection Multiple voices
-
-@anchor{Basic polyphony}
-@unnumberedsubsubsec Basic polyphony
-
-@cindex polyphony
-
-The easiest way to enter fragments with more than one voice on a staff
-is to enter each voice as a sequence (with @code{@{...@}}), and combine
-them simultaneously, separating the voices with @code{\\}
-
-@funindex \\
+@cindex cluster
+@funindex \makeClusters
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- c16 d e f
- <<
- { g4 f e | d2 e2 } \\
- { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
- { s2. | s4 b4 c2 }
- >>
-}
-@end lilypond
+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.,
-The separator causes @internalsref{Voice} contexts@footnote{Polyphonic
-voices are sometimes called @q{layers} in other notation packages}
-@cindex layers
-to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
-each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately.
-
-These voices are all separate from the voice that contains the notes just
-outside the @code{<< \\ >>} construct. This should be noted when making
-changes at the voice level. This also means that slurs and ties cannot go
-into or out of a @code{<< \\ >>} construct. Conversely, parallel voices
-from separate @code{<< \\ >>} constructs on the same staff are the
-same voice. Here is the same example, with different noteheads and
-colors for each
-voice. Note that the change to the note-head style in the main voice does
-not affect
-the inside of the @code{<< \\ >>} constructs. Also, the change to the
-second
-voice in the first @code{<< \\ >>} construct is effective in the second
-@code{<< \\ >>}, and the voice is tied across the two constructs.
-
-@cindex note heads, styles
-
-@lilypond[quote,verbatim,fragment]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- \override NoteHead #'color = #red
- c16 d e f
- <<
- { g4 f e } \\
- { \override NoteHead #'style = #'triangle
- \override NoteHead #'color = #blue
- r8 e4 d c8 ~ }
- >> |
- <<
- { d2 e2 } \\
- { c8 b16 a b8 g ~ g2 } \\
- { \override NoteHead #'style = #'slash
- \override NoteHead #'color = #green
- s4 b4 c2 }
- >>
-}
+@lilypond[quote,ragged-right,relative=2,fragment,verbatim]
+\makeClusters { <g b>2 <c g'> }
@end lilypond
-Polyphony does not change the relationship of notes within a
-@code{\relative @{ @}} block. Each note is calculated relative
-to the note immediately preceding it.
-
-@example
-\relative @{ noteA << noteB \\ noteC >> noteD @}
-@end example
-
-@code{noteC} is relative to @code{noteB}, not @code{noteA};
-@code{noteD} is relative to @code{noteC}, not @code{noteB} or
-@code{noteA}.
-
+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.
-@anchor{Explicitly instantiating voices}
-@unnumberedsubsubsec Explicitly instantiating voices
+@seealso
-@internalsref{Voice} contexts can also be instantiated manually
-inside a @code{<< >>} block to create polyphonic music, using
-@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
-and a horizontal shift for each part.
+Music Glossary:
+@rglos{cluster}.
-Specifically,
-@example
-<< \upper \\ \lower >>
-@end example
+Snippets:
+@lsrdir{Simultaneous,Simultaneous-notes}.
-@noindent
-is equivalent to
-
-@example
-<<
- \new Voice = "1" @{ \voiceOne \upper @}
- \new Voice = "2" @{ \voiceTwo \lower @}
->>
-@end example
+Internals Reference:
+@internalsref{ClusterSpanner},
+@internalsref{ClusterSpannerBeacon},
+@internalsref{Cluster_spanner_engraver}.
-The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
-these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
-make them point downwards.
-The command @code{\oneVoice} will revert back to the normal setting.
-
-An expression that appears directly inside a @code{<< >>} belongs to
-the main voice. This is useful when extra voices appear while the main
-voice is playing. Here is a more correct rendition of the example from
-the previous section. The crossed colored noteheads demonstrate that the main
-melody is now in a single voice context.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- \override NoteHead #'style = #'cross
- \override NoteHead #'color = #red
- c16 d e f
- \voiceOne
- <<
- { g4 f e | d2 e2 }
- \new Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. | s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
+@c Examples: @lsr{contemporary,cluster@/.ly}.
-The correct definition of the voices allows the melody to be slurred.
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
- \oneVoice
- }
- \new Voice { \voiceThree
- s2. s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
+@knownissues
-Avoiding the @code{\\} separator also allows nesting polyphony
-constructs, which in some case might be a more natural way to typeset
-the music.
-
-@lilypond[quote,ragged-right,verbatim]
-\new Staff \relative c' {
- c16^( d e f
- \voiceOne
- <<
- { g4 f e | d2 e2) }
- \context Voice="1" { \voiceTwo
- r8 e4 d c8 ~ |
- <<
- {c8 b16 a b8 g ~ g2}
- \new Voice { \voiceThree
- s4 b4 c2
- \oneVoice
- }
- >>
- \oneVoice
- }
- >>
- \oneVoice
-}
-@end lilypond
+Clusters only look good if they span at least two chords; otherwise
+they appear too narrow.
-In some instances of complex polyphonic music, you may need additional
-voices to avoid collisions between notes. Additional voices are added
-by defining an identifier, as shown below:
+Clusters do not have a stem and can not indicate durations by
+themselves. Separate clusters would need a separating rest between
+them.
-@lilypond[quote,verbatim,ragged-right,relative=2]
-voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+@node Multiple voices
+@subsection Multiple voices
-\relative c''' <<
- { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
- { \voiceThree b4} \\
- { \voiceFive d,} \\
- { \voiceTwo g,}
->>
-@end lilypond
+@menu
+* Collision resolution::
+* Automatic part combining::
+* Writing music in parallel::
+@end menu
+@node Collision resolution
+@subsubsection Collision resolution
-@anchor{Collision Resolution}
-@unnumberedsubsubsec Collision Resolution
+@cindex merging notes
+@cindex note collisions
-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 @internalsref{NoteCollision} object, they are merged:
+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
+@internalsref{NoteCollision} object, they are merged:
@lilypond[quote,verbatim,fragment,ragged-right,relative=2]
\new Voice << {
} \\ { g8.[ f16] g8.[ f16] } >>
@end lilypond
-Similarly, you can merge half note heads with eighth notes, by setting
-@code{merge-differently-headed}:
+Similarly, you can merge half note heads with eighth notes, by
+setting @code{merge-differently-headed}:
@lilypond[quote,ragged-right,fragment,relative=2,verbatim]
\new Voice << {
@end lilypond
@noindent
-@code{merge-differently-headed} and @code{merge-differently-dotted}
-only apply to opposing stem directions (ie. Voice 1 & 2).
+@code{merge-differently-headed} and
+@code{merge-differently-dotted} only apply to opposing stem
+directions (i.e. Voice 1 & 2).
LilyPond also vertically shifts rests that are opposite of a stem,
for example
\new Voice << c''4 \\ r4 >>
@end lilypond
+@cindex shift note
+
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.
+@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
>>
@end lilypond
+@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:
+
+@lilypond[quote,verbatim,ragged-right,relative=2]
+voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
+
+\relative c''' <<
+ { \voiceOne g4 ~ \stemDown g32[ f( es d c b a b64 )g] } \\
+ { \voiceThree b4} \\
+ { \voiceFive d,} \\
+ { \voiceTwo g,}
+>>
+@end lilypond
+
+
-@refcommands
+@predefined
@funindex \oneVoice
@code{\oneVoice},
@funindex \voiceFour
@code{\voiceFour}.
+@funindex \voiceNeutralStyle
+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@example
+\voiceNeutralStyle
+\voiceOneStyle
+\voiceTwoStyle
+\voiceThreeStyle
+\voiceFourStyle
+@end example
+
@funindex \shiftOn
@code{\shiftOn},
@funindex \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: 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.
+@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 @internalsref{NoteColumn} object and pitched rests can
-be used to override typesetting decisions.
+When LilyPond cannot cope, the @code{force-hshift} property of the
+@internalsref{NoteColumn} object and pitched rests can be used to
+override typesetting decisions.
@lilypond[quote,verbatim,ragged-right]
\relative <<
@seealso
-Program reference: the objects responsible for resolving collisions are
-@internalsref{NoteCollision} and @internalsref{RestCollision}.
+Snippets:
+@lsrdir{Simultaneous,Simultaneous-notes}.
+
+Internals Reference: the objects responsible for resolving collisions
+are
+@internalsref{NoteCollision} and
+@internalsref{RestCollision}.
-@refbugs
+@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{merge-differently-headed} with an upstem eighth
+or a shorter note, and a downstem half note, the eighth note gets
+the wrong offset.
There is no support for clusters 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}).
+recommended to use enharmonic transcription, or to use special
+cluster notation (see @ref{Clusters}).
-@anchor{Automatic part combining}
-@unnumberedsubsubsec Automatic part combining
+@node Automatic part combining
+@subsubsection Automatic part combining
@cindex automatic part combining
@cindex part combiner
+@cindex combining parts
-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
@emph{a due} parts are identified and can be marked.
@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 following example demonstrates the basic functionality of the
+part combiner: putting parts on one staff, and setting stem
+directions and polyphony.
@lilypond[quote,verbatim,ragged-right,fragment]
\new Staff \partcombine
\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}.
+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}.
-If you just want the merging parts, and not the textual markings, you
-may set the property @code{printPartCombineTexts} to false
+If you just want the merging parts, and not the textual markings,
+you may set the property @code{printPartCombineTexts} to false.
@lilypond[quote,verbatim,ragged-right,fragment,relative=2]
\new Staff <<
Both arguments to @code{\partcombine} will be interpreted as
@internalsref{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions, i.e.,
+@code{\relative} should be specified for both music expressions,
+i.e.,
@example
\partcombine
@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}.
+A @code{\relative} section that is outside of @code{\partcombine}
+has no effect on the pitches of @var{musicexpr1} and
+@var{musicexpr2}.
@seealso
-Program reference: @internalsref{PartCombineMusic}.
+Music Glossary:
+@rglos{a due}.
-@refbugs
+Snippets:
+@lsrdir{Simultaneous,Simultaneous-notes}.
-When @code{printPartCombineTexts} is set, when the two voices play the
-same notes on and off, the part combiner may typeset @code{a2} more
-than once in a measure.
+Internals Reference:
+@internalsref{PartCombineMusic},
+@internalsref{Voice}.
+
+@knownissues
+
+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 named @code{one} and @code{two}, and then decides when
-the parts can be combined. Consequently, if the arguments switch to
-differently named @internalsref{Voice} contexts, the events in those
-will be ignored.
+@code{Voice}s named @code{one} and @code{two}, and then decides
+when the parts can be combined. Consequently, if the arguments
+switch to differently named @internalsref{Voice} contexts, the
+events in those will be ignored.
-@anchor{Writing music in parallel}
-@unnumberedsubsubsec Writing music in parallel
+@node Writing music in parallel
+@subsubsection Writing music in parallel
@cindex Writing music in parallel
@cindex Interleaved music
-Music for multiple parts can be interleaved
+Music for multiple parts can be interleaved:
@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 |
+ 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
>>
@end lilypond
-This works quite well for piano music
+This works quite well for piano music.
+@c It would be nice if the first bar fit onto one 66-char line.
+@c Maybe simplify the example? -gp
@lilypond[quote,verbatim]
music = {
\key c \major
\time 4/4
\parallelMusic #'(voiceA voiceB voiceC voiceD) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c''
-e''] |
- c'2 c'2 |
- r8 a16[ d'] f'[ a d' f'] r8 a16[ d'] f'[ a d' f'] |
- c2 c2 |
+ r8 g'16[ c''] e''[ g' c'' e'']
+ r8 g'16[ c''] e''[ g' c'' e''] |
+ c'2
+ c'2 |
+ r8 a16[ d'] f'[ a d' f']
+ r8 a16[ d'] f'[ a d' f'] |
+ c2
+ c2 |
% Bar 2
a'8 b' c'' d'' e'' f'' g'' a'' |
}
@end lilypond
+@seealso
+Snippets:
+@lsrdir{Simultaneous,Simultaneous-notes}.
projects / lilypond.git / blobdiff