X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=Documentation%2Fnotation%2Fsimultaneous.itely;h=b7b2f3e7ea228203142d76591c57e428d7dea481;hb=01b15679731ac5fcaf8edac1ad5bce6acba10ff0;hp=707e071b293b4f5bb6abc0df5e4c484f15ba48da;hpb=f18861a38a30ed611900ca44b625687a2556610b;p=lilypond.git
diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 707e071b29..b7b2f3e7ea 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -7,7 +7,7 @@
Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.16"
+@c \version "2.19.29"
@node Simultaneous notes
@@ -52,32 +52,42 @@ A chord is formed by enclosing a set of pitches between @code{<}
and @code{>}. A chord may be followed by a duration just like simple
notes.
-@lilypond[verbatim,quote,relative=2]
-1 2 4 8. 16
+@lilypond[verbatim,quote]
+\relative {
+ 1 2 4 8. 16
+}
@end lilypond
Chords may also be followed by articulations, again just like simple
notes.
-@lilypond[verbatim,quote,relative=2]
-1\fermata 2-> 4\prall 8.^! 16-.
+@lilypond[verbatim,quote]
+\relative {
+ 1\fermata 2-> 4\prall 8.^! 16-.
+}
@end lilypond
The notes within the chord themselves can also be followed by articulation
and ornamentation.
-@lilypond[verbatim,quote,relative=2]
-1 c-^ e>2 4
-8. 16
+@lilypond[verbatim,quote]
+\relative {
+ 1 c-^ e>2 4
+ 8. 16
+}
@end lilypond
-However some notation, such as dynamics, hairpins and slurs must be
-attached to the chord, rather than notes within the chord, otherwise
-they will not print.
+However some notation, such as dynamics and hairpins must be
+attached to the chord rather than to notes within the chord,
+otherwise they will not print. Other notation like fingerings and
+slurs will get placed markedly different when attached to notes
+within a chord rather than to whole chords or single notes.
-@lilypond[verbatim,quote,relative=2]
-1 \f ( )
-\< \!
+@lilypond[verbatim,quote]
+\relative {
+ 1 \f ( )
+ \< \!
+}
@end lilypond
@cindex chords, empty
@@ -90,10 +100,12 @@ happen at the same musical time as the next following note or chord and
be combined with them (for more complex possibilities of combining such
elements, see @ref{Simultaneous expressions}):
-@lilypond[verbatim,quote,relative=2]
-\grace { g8( a b }
-<> ) \p \< -. -\markup \italic "sempre staccato"
-\repeat unfold 4 { c4 e } c1\f
+@lilypond[verbatim,quote]
+\relative {
+ \grace { g'8( a b }
+ <> ) \p \< -. -\markup \italic "sempre staccato"
+ \repeat unfold 4 { c4 e } c1\f
+}
@end lilypond
@cindex relative pitch, chords
@@ -106,8 +118,10 @@ pitch of the last note that came before the chord. All remaining notes
in the chord are relative to the note that came before it
@emph{within the same chord}.
-@lilypond[verbatim,quote,relative=2]
-1
+@lilypond[verbatim,quote]
+\relative {
+ 1
+}
@end lilypond
For more information about chords, see @ref{Chord notation}.
@@ -159,34 +173,42 @@ enharmonic transcription of one or more pitches,
In order to save typing, a shortcut can be used to repeat the preceding
chord. The chord repetition symbol is @code{q}:
-@lilypond[verbatim,quote,relative=2]
-1 q 2 q
+@lilypond[verbatim,quote]
+\relative {
+ 1 q 2 q
+}
@end lilypond
As with regular chords, the chord repetition symbol can be used with
durations, articulations, markups, slurs, beams, etc. as only the
pitches of the previous chord are duplicated.
-@lilypond[verbatim,quote,relative=2]
-1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+@lilypond[verbatim,quote]
+\relative {
+ 1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
+}
@end lilypond
The chord repetition symbol always remembers the last instance of
a chord so it is possible to repeat the most recent chord even if
other non-chorded notes or rests have been added since.
-@lilypond[verbatim,quote,relative=2]
-1 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ 1 c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
However, the chord repetition symbol does not retain any dynamics,
articulation or ornamentation within, or attached to, the previous
chord.
-@lilypond[verbatim,quote,relative=2]
-1\sfz c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+ 1\sfz c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
To have some of them retained, the @code{\chordRepeats} function can be
@@ -195,9 +217,9 @@ be called explicitly with an extra argument specifying a list of
present on the @code{q} chord itself.
@lilypond[verbatim,quote]
-\relative c'' {
+\relative {
\chordRepeats #'(articulation-event)
- { 1\sfz c'4 q2 r8 q8-. } |
+ { 1\sfz c'4 q2 r8 q8-. } |
q2 c, |
}
@end lilypond
@@ -214,14 +236,12 @@ In that case, the whole content of the inner @code{\relative} does not
affect the outer one; hence the different octave entry of the final note
in this example.
-@c Without \new Voice, implicit voice creation does the dumbest thing.
@lilypond[verbatim,quote]
-\new Voice
-\relative c'' {
+\relative {
\chordRepeats #'(articulation-event)
- \relative c''
- { 1\sfz c'4 q2 r8 q8-. } |
- q2 c |
+ \relative
+ { 1\sfz c'4 q2 r8 q8-. } |
+ q2 c'' |
}
@end lilypond
@@ -251,15 +271,19 @@ expression are placed on separate staves.
The following examples show simultaneous expressions on one staff:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
\new Voice { % explicit single voice
- << { a4 b g2 } { d4 g c,2 } >>
+ << \relative { a'4 b g2 }
+ \relative { d'4 g c,2 } >>
}
@end lilypond
-@lilypond[quote,verbatim,relative=2]
-% single first note
-a << { a4 b g } { d4 g c, } >>
+@lilypond[quote,verbatim]
+\relative {
+ % single first note
+ a' << \relative { a'4 b g }
+ \relative { d'4 g c, } >>
+}
@end lilypond
This can be useful if the simultaneous sections have identical
@@ -268,8 +292,10 @@ the same stem will cause errors. Notes, articulations, and property
changes in a @emph{single} @samp{Voice} are collected and engraved in
musical order:
-@lilypond[quote,verbatim,relative=2]
-4-. <>-. << c a >> << { c-. } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+ 4-. <>-. << c a >> << { c-. } { a s-. } >>
+}
@end lilypond
Multiple stems or beams or different note durations or properties at
@@ -278,9 +304,10 @@ the same musical time require the use of multiple voices.
The following example shows how simultaneous expressions can
generate multiple staves implicitly:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
% no single first note
-<< { a4 b g2 } { d4 g2 c,4 } >>
+<< \relative { a'4 b g2 }
+ \relative { d'4 g2 c,4 } >>
@end lilypond
Here different rhythms cause no problems because they are
@@ -321,8 +348,8 @@ 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,relative=2,verbatim]
-\makeClusters { 2 }
+@lilypond[quote,verbatim]
+\relative \makeClusters { 2 }
@end lilypond
Ordinary notes and clusters can be put together in the same staff,
@@ -388,12 +415,12 @@ multiple staves.
The basic structure needed to achieve multiple independent
voices in a single staff is illustrated in the following example:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
\new Staff <<
\new Voice = "first"
- { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { \voiceOne r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\new Voice= "second"
- { \voiceTwo d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
@@ -427,10 +454,10 @@ the angle brackets are assigned to distinct temporary voices.
This allows lyrics to be assigned to one continuing voice before,
during and after a polyphonic section:
-@lilypond[quote, verbatim, relative=2]
-<<
+@lilypond[quote,verbatim]
+\relative <<
\new Voice = "melody" {
- a4
+ a'4
<<
{
\voiceOne
@@ -466,11 +493,11 @@ are created implicitly and are given the fixed names @code{"1"},
The first example could be typeset as follows:
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \relative { r8 r16 g'' e8. f16 g8[ c,] f e16 d }
\\
- { d16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
@@ -485,13 +512,13 @@ therefore we enter it in the third place, so it becomes voice
three, which has the stems up as desired. Spacer rests are
used to avoid printing doubled rests.
-@lilypond[quote,relative=3,verbatim]
+@lilypond[quote,verbatim]
<<
- { r8 g g g g f16 ees f8 d }
+ \relative { r8 g'' g g g f16 ees f8 d }
\\
- { ees,8 r ees r d r d r }
+ \relative { ees'8 r ees r d r d r }
\\
- { d'8 s c s bes s a s }
+ \relative { d''8 s c s bes s a s }
>>
@end lilypond
@@ -545,10 +572,10 @@ 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 construct within an explicit voice:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
+ \relative { e''4 f8 d e16 f g8 d4 }
+ \relative { c''4 d8 b c16 d e8 b4 }
>>
@end lilypond
@@ -593,15 +620,15 @@ Snippets:
Voices may be given distinct colors and shapes, allowing them to be
easily identified:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- { \voiceOneStyle d4 c2 b4 }
+ \relative { \voiceOneStyle d''4 c2 b4 }
\\
- { \voiceTwoStyle e,2 e }
+ \relative { \voiceTwoStyle e'2 e }
\\
- { \voiceThreeStyle b2. c4 }
+ \relative { \voiceThreeStyle b2. c4 }
\\
- { \voiceFourStyle g'2 g }
+ \relative { \voiceFourStyle g'2 g }
>>
@end lilypond
@@ -664,18 +691,20 @@ are shifted vertically. The following example shows three
different circumstances, on beats 1 and 3 in bar 1 and beat 1
in bar 2, where the automatic merging fails.
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
- c8 d e d c d c4
+ \relative {
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@@ -683,19 +712,21 @@ in bar 2, where the automatic merging fails.
Notes with different note heads may be merged as shown
below. In this example the note heads on beat 1 of bar 1 are now merged:
-@lilypond[quote,verbatim,relative=2]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@@ -706,20 +737,22 @@ to tell them apart.
Note heads with different dots as shown in beat 3 of bar 1 may be
also be merged:
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@@ -734,21 +767,23 @@ merged. Here, @code{\shiftOn} is applied to move the top
@notation{g} out of the column, and @code{\mergeDifferentlyHeadedOn}
then works properly.
-@lilypond[quote,relative=2,verbatim]
+@lilypond[quote,verbatim]
<<
- {
+ \relative {
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
- c8 d e d c d c4
+ c''8 d e d c d c4
\shiftOn
g'2 fis
- } \\ {
- c2 c8. b16 c4
+ } \\
+ \relative {
+ c''2 c8. b16 c4
e,2 r
- } \\ {
+ } \\
+ \relative {
\oneVoice
s1
- e8 a b c d2
+ e'8 a b c d2
}
>>
@end lilypond
@@ -776,10 +811,10 @@ of voices in your input file should not be the same as the
vertical order of voices on the staff!}
@lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
%% abbreviated entry
<<
- { f2 } % 1: highest
+ { f''2 } % 1: highest
\\
{ g,2 } % 2: lowest
\\
@@ -848,11 +883,11 @@ Internals Reference:
Using @code{\override NoteColumn.ignore-collision = ##t} will cause
differently headed notes in different voices to merge incorrectly.
-@lilypond[quote,relative=1,verbatim]
+@lilypond[quote,verbatim,fragment]
\mergeDifferentlyHeadedOn
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
\override NoteColumn.ignore-collision = ##t
-<< { c16 a' b a } \\ { c,2 } >>
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
@end lilypond
@ignore
@@ -894,17 +929,17 @@ accordingly. The same variables are used for the independent parts and
the combined staff.
@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
- c4 d e f |
+instrumentOne = \relative {
+ c'4 d e f |
R1 |
d'4 c b a |
b4 g2 f4 |
e1 |
}
-instrumentTwo = \relative g' {
+instrumentTwo = \relative {
R1 |
- g4 a b c |
+ g'4 a b c |
d4 c b a |
g4 f( e) d |
e1 |
@@ -939,14 +974,14 @@ argument to zero means that the partcombiner splits notes with an interval of
a second or more, setting it to one splits notes of a third or more, and so on.
@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
+instrumentOne = \relative {
a4 b c d |
e f g a |
b c d e |
}
-instrumentTwo = \relative c' {
- c4 c c c |
+instrumentTwo = \relative {
+ c'4 c c c |
c c c c |
c c c c |
}
@@ -992,37 +1027,36 @@ long passages of music even if some of the notes are the same in both
voices, and could just as easily be printed as unison. Combining notes
into a chord, or showing one voice as solo is, therefore, not ideal as
the @code{\partcombine} function considers each note separately. In this
-case the @code{\partcombine} function can be overriden with the
-following commands:
-
-Commands ending in @code{@dots{}Once} apply only to the next note in the
-music expression.
+case the @code{\partcombine} function can be overridden with one of the
+following commands. All of the commands may be preceded with
+@code{\once} in order to have them only apply to the next note in
+the music expression.
@itemize
@item
-@code{\partcombineApart} and @code{\partcombineApartOnce} keep the
+@code{\partcombineApart} keeps the
notes as two separate voices, even if they can be combined into a chord
or unison.
@item
-@code{\partcombineChords} and @code{\partcombineChordsOnce} combine the
+@code{\partcombineChords} combines the
notes into a chord.
@item
-@code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
+@code{\partcombineUnisono} combines
both voices as @qq{unison}.
@item
-@code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
-voice one, and mark it as a @qq{Solo}.
+@code{\partcombineSoloI} prints only
+voice one, and marks it as a @qq{Solo}.
@item
-@code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
-voice two and mark it as a @qq{Solo}.
+@code{\partcombineSoloII} prints only
+voice two and marks it as a @qq{Solo}.
@item
-@code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
-the functions of the commands above, and revert back to the standard
+@code{\partcombineAutomatic} ends
+the functions of the commands above, and reverts back to the standard
@code{\partcombine} functionality.
@end itemize
@@ -1032,11 +1066,11 @@ instrumentOne = \relative c' {
\partcombineAutomatic e2^"auto" e |
\partcombineChords e'2^"chord" e |
\partcombineAutomatic c2^"auto" c |
- \partcombineApart c2^"apart" \partcombineChordsOnce e^"chord once" |
+ \partcombineApart c2^"apart" \once \partcombineChords e^"chord once" |
c2 c |
}
-instrumentTwo = \relative c' {
- c2 c |
+instrumentTwo = \relative {
+ c'2 c |
e2 e |
a,2 c |
c2 c' |