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 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
@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
@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.
+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
-For these purposes, the @code{\voiceOne} ... @code{\voiceFour}
-commands can be used instead. Spacing rests are often used to avoid
-too many rests, as seen in the example avobe.
+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
-@funindex \voiceOne
@code{\voiceOne},
-@funindex \voiceTwo
@code{\voiceTwo},
-@funindex \voiceThree
@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
+@code{\voiceFour},
+@code{\oneVoice}.
@seealso
Learning Manual:
-@rlearning{Voices contain music}.
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@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]
<<
Notes are only merged if they have opposing stem directions (i.e., 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 \oneVoice
-@code{\oneVoice}.
-
-@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,
@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