version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
+@c \version "2.11.61"
@node Simultaneous 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 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
@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
themselves. Separate clusters would need a separating rest between
them.
+Clusters do not produce MIDI output.
@node Multiple voices
@subsection Multiple voices
@node Single-staff polyphony
@unnumberedsubsubsec Single-staff polyphony
-To typeset parallel pieces of music that have the same rhythm, they
-can be combined into a single @code{Voice} context, thus forming
-chords. To achieve this, enclose them in a simultaneous music
-construction:
+@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
-@lilypond[quote,relative=2,verbatim]
-\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+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
-This method leads to strange beamings and warnings if the pieces of
-music do not have the same rhythm. To typeset multiple, truly
-independent voices in a single staff, the @code{<<@{...@} \\
-@{...@}>>} construction is used, where the two (or more) voices are
-separated by double backslashes.
+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]
<<
>>
@end lilypond
-First and third voices get stems up, second and fourth voices get
-stems down, third and fourth voice noteheads are horizontally shifted,
-and rests move to avoid collisions. 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.
+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]
<<
>>
@end lilypond
-Spacing rests are often used to avoid too many rests, as seen in the
+@noindent
+Spacer rests are often used to avoid having too many rests, as seen in the
example above.
-The method exposed creates two new voices when the @code{<<@{...@} \\
-@{...@}>>} construction is found in the code; to temporally add only
-one additional voice to an existing one, it is necessary to
-instantiate that voice explicitly. For these purposes, the
-@code{\voiceOne} ... @code{\voiceFour}, and @code{\oneVoice} commands
-can be used:
+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}.
-@example
-<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
-@end example
+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:
-This is a better construction to keep the control of the voices, for
-example, to ease a consistent assign of lyrics to the proper voice
-context.
+@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 \voiceOne
@code{\voiceOne},
-@funindex \voiceTwo
@code{\voiceTwo},
-@funindex \voiceThree
@code{\voiceThree},
-@funindex \voiceFour
@code{\voiceFour},
-@funindex \oneVoice
@code{\oneVoice}.
@seealso
@rlearning{Explicitly instantiating voices}.
Notation Reference:
-@ref{Percussion staves}.
+@ref{Percussion staves},
+@ref{Invisible rests}.
Snippets:
@rlsr{Simultaneous notes}.
@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:
@predefined
-@funindex \voiceOneStyle
+
@code{\voiceOneStyle},
-@funindex \voiceTwoStyle
+
@code{\voiceTwoStyle},
-@funindex \voiceThreeStyle
@code{\voiceThreeStyle},
-@funindex \voiceFourStyle
@code{\voiceFourStyle},
-@funindex \voiceNeutralStyle
@code{\voiceNeutralStyle}.
@seealso
@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
>>
@end lilypond
-@cindex shift note
The collision on the second measure happens because
-@code{merge-differently-headed} cannot successfully complete the
+@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{merge-differently-headed} works properly.
+@code{\mergeDifferentlyHeadedOn} works properly.
@lilypond[quote,relative=2,verbatim]
<<
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
+Notes are only merged if they have opposing stem directions (e.g. in
@code{Voice} 1 and 2).
-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices
@predefined
-@funindex \mergeDifferentlyDottedOn
@code{\mergeDifferentlyDottedOn},
-@funindex \mergeDifferentlyDottedOff
@code{\mergeDifferentlyDottedOff},
-@funindex \mergeDifferentlyHeadedOn
@code{\mergeDifferentlyHeadedOn},
-@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-@funindex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
@code{\shiftOff}.
@snippets
@knownissues
-When using @code{merge-differently-headed} with an upstem eighth
+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 chords where the same note occurs with
different accidentals in the same chord. In this case, it is
@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
>>
@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 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}.
+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,
@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{\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 @rinternals{Voice} contexts, the
-events in those will be ignored.
+@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.
-@c IIRC in users list someone pointed out more issues. TODO: lookup FV
+@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 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
projects / lilypond.git / blobdiff