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
@menu
* Chorded notes::
-* Parallel notes::
* Clusters::
@end menu
+
@node 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
@code{<g a>8 <e a>8}.
@end ignore
-@node Parallel notes
-@unnumberedsubsubsec Parallel notes
-
-@ignore
-Pieces of music having the same rhythm form chords when
-combined in parallel into the same @code{Voice} context by enclosing
-them into double angle brackets:
-@end ignore
-
-Parallel pieces of music can be combined into a single
-@code{Voice} context, thus forming chords if they have the same
-rhythm. To achieve this, enclose them in a simultaneous music
-construction:
-
-@lilypond[quote,relative=2,verbatim]
-\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
->>
-@end lilypond
-
-@seealso
-
-Learning Manual:
-@rlearning{Voices contain music}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
-
-@knownissues
-
-This method leads to strange beamings and warnings if the pieces of
-music do not have the same rhythm.
@node 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
themselves. Separate clusters would need a separating rest between
them.
+
@node Multiple voices
@subsection Multiple voices
multiple staves.
@menu
-* Collision resolution::
+* 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 \voiceOne and \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
@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
>>
@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]
<<
@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 \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
-
-
-@funindex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
@code{\shiftOff}.
@snippets
@rinternals{NoteCollision},
@rinternals{RestCollision}.
-
@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
recommended to use enharmonic transcription, or to use special
cluster notation (see @ref{Clusters}).
-@node Voice styles
-@unnumberedsubsubsec Voice styles
-
-@cindex voice styles
-@cindex styles, voice
-@cindex coloring voices
-
-Voices may be given distinct colors and shapes, allowing them to be
-easily identified:
-
-@lilypond[quote,relative=2,verbatim]
-<<
- {
- a1
- \voiceOneStyle
- f2 g
- \voiceNeutralStyle
- a1
- } \\ {
- f1
- \voiceTwoStyle
- f4 f2 e4
- \voiceNeutralStyle
- f1
- }
->>
-@end lilypond
-
-@predefined
-
-@funindex \voiceOneStyle
-@code{\voiceOneStyle},
-@funindex \voiceTwoStyle
-@code{\voiceTwoStyle},
-@funindex \voiceThreeStyle
-@code{\voiceThreeStyle},
-@funindex \voiceFourStyle
-@code{\voiceFourStyle},
-@funindex \voiceNeutralStyle
-@code{\voiceNeutralStyle}.
-
-@seealso
-
-Lerning Manual:
-@rlearning{I'm hearing Voices}.
-
-Snippets:
-@rlsr{Simultaneous notes}.
@node 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
>>
@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,
@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}.
@c IIRC in users list someone pointed out more issues. TODO: lookup FV
+
@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
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
projects / lilypond.git / blobdiff