X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fsimultaneous.itely;h=4725ecf0dee3c913de583cde1eab149c96dfb2ea;hb=e965ee6c9b3b42a76fd6fce1f9c6b93b3ee79aae;hp=00740cdfcef9e5a83f42c0ec261c384877f8f139;hpb=9ff4029627f34267fc9f040c703d568b1dfd10b1;p=lilypond.git

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 00740cdfce..4725ecf0de 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -7,13 +7,13 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.14.0"
+@c \version "2.17.28"
 
 
 @node Simultaneous notes
 @section Simultaneous notes
 
-@lilypondfile[quote]{simultaneous-headword.ly}
+@lilypondfile[quote,ragged-right,line-width=16\cm]{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
@@ -60,14 +60,15 @@ Chords may also be followed by articulations, again just like simple
 notes.
 
 @lilypond[verbatim,quote,relative=2]
-<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^| <g c e>16-.
+<a c e>1\fermata <a c e>2-> <f a c e>4\prall <a c>8.^! <g c e>16-.
 @end lilypond
 
 The notes within the chord themselves can also be followed by articulation
 and ornamentation.
 
 @lilypond[verbatim,quote,relative=2]
-<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4 <a-+ c-->8. <g\fermata c e\turn>16
+<a c\prall e>1 <a-> c-^ e>2 <f-. a c-. e-.>4
+<a-+ c-->8. <g\fermata c e\turn>16
 @end lilypond
 
 However some notation, such as dynamics, hairpins and slurs must be
@@ -75,7 +76,24 @@ attached to the chord, rather than notes within the chord, otherwise
 they will not print.
 
 @lilypond[verbatim,quote,relative=2]
-<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>) <a c e>\< <a c e> <a c e>\!
+<a\f c( e>1 <a c) e>\f <a\< c e>( <a\! c e>)
+<a c e>\< <a c e> <a c e>\!
+@end lilypond
+
+@cindex chords, empty
+@cindex placeholder events
+
+A chord acts merely as a container for its notes, its articulations and
+other attached elements.  Consequently, a chord without notes inside
+does not actually have a duration.  Any attached articulations will
+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
 @end lilypond
 
 @cindex relative pitch, chords
@@ -130,6 +148,7 @@ enharmonic transcription of one or more pitches,
 
 @end itemize
 
+
 @node Chord repetition
 @unnumberedsubsubsec Chord repetition
 
@@ -148,7 +167,7 @@ durations, articulations, markups, slurs, beams, etc. as only the
 pitches of the previous chord are duplicated.
 
 @lilypond[verbatim,quote,relative=2]
-<a c e>1\p^"text" q2\<( q8)[-| q8.]\! q16-1-2-3 q8\prall
+<a c e>1\p^"text" q2\<( q8)[-! q8.]\! q16-1-2-3 q8\prall
 @end lilypond
 
 The chord repetition symbol always remembers the last instance of
@@ -243,8 +262,17 @@ a << { a4 b g } { d4 g c, } >>
 @end lilypond
 
 This can be useful if the simultaneous sections have identical
-rhythms, but attempts to attach notes with different durations
-to the same stem will cause errors.
+rhythms, but attempts to attach notes with different durations to
+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]
+<a c>4-.  <>-. << c a >>  << { c-. <c a> } { a s-. } >>
+@end lilypond
+
+Multiple stems or beams or different note durations or properties at
+the same musical time require the use of multiple voices.
 
 The following example shows how simultaneous expressions can
 generate multiple staves implicitly:
@@ -254,7 +282,8 @@ generate multiple staves implicitly:
 << { a4 b g2 } { d4 g2 c,4 } >>
 @end lilypond
 
-Here different rhythms cause no problems.
+Here different rhythms cause no problems because they are
+interpreted in different voices.
 
 @cindex collisions, clashing note columns
 @cindex collisions, ignoring
@@ -271,7 +300,7 @@ warning: ignoring too many clashing note columns
 will appear during compilation.  This message can be suppressed by:
 
 @example
-\override NoteColumn #'ignore-collision = ##t
+\override NoteColumn.ignore-collision = ##t
 @end example
 
 However, this not only suppresses the warning but will prevent any
@@ -301,7 +330,6 @@ 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.
 
-
 @seealso
 Music Glossary:
 @rglos{cluster}.
@@ -314,9 +342,7 @@ Internals Reference:
 @rinternals{ClusterSpannerBeacon},
 @rinternals{Cluster_spanner_engraver}.
 
-
 @knownissues
-
 Clusters look good only if they span at least two chords; otherwise
 they appear too narrow.
 
@@ -327,6 +353,7 @@ separating rest between them.
 
 Clusters do not produce MIDI output.
 
+
 @node Multiple voices
 @subsection Multiple voices
 
@@ -357,7 +384,7 @@ multiple staves.
 @funindex \oneVoice
 @funindex oneVoice
 
-@strong{@i{Explicitly instantiating voices}}
+@subsubsubheading Explicitly instantiating voices
 
 The basic structure needed to achieve multiple independent
 voices in a single staff is illustrated in the following example:
@@ -381,14 +408,14 @@ automatically moved to avoid collisions.  The @code{\oneVoice}
 command returns all the voice settings to the neutral default
 directions.
 
-@strong{@i{Temporary polyphonic passages}}
+@subsubsubheading Temporary polyphonic passages
 
 A temporary polyphonic passage can be created with the following
 construct:
 
 @example
-<< @{ \voiceOne ... @}
-  \new Voice @{ \voiceTwo ... @}
+<< @{ \voiceOne @dots{} @}
+  \new Voice @{ \voiceTwo @dots{} @}
 >> \oneVoice
 @end example
 
@@ -428,9 +455,9 @@ during and after a polyphonic section:
 Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
 required to define the settings of each voice.
 
-@strong{@i{The double backslash construct}}
+@subsubsubheading The double backslash construct
 
-The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
+The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} construct, where the two (or
 more) expressions are separated by double backslashes, behaves
 differently to the similar construct without the double backslashes:
 @emph{all} the expressions within this construct are assigned
@@ -473,7 +500,7 @@ In all but the simplest works it is advisable to create explicit
 @code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
 @rlearning{Explicitly instantiating voices}.
 
-@strong{@i{Voice order}}
+@subsubsubheading Voice order
 
 When entering multiple voices in the input file, use the following
 order:
@@ -512,7 +539,7 @@ upstems, and the even-numbered voices are given downstems:
 @warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
 created @q{across} voices.}
 
-@strong{@i{Identical rhythms}}
+@subsubsubheading Identical rhythms
 
 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
@@ -538,9 +565,6 @@ music do not have the same rhythm.
 @code{\oneVoice}.
 @endpredefined
 
-Snippets:
-@rlsr{Simultaneous notes}.
-
 @seealso
 Learning Manual:
 @rlearning{Voices contain music},
@@ -551,6 +575,9 @@ Notation Reference:
 @ref{Invisible rests},
 @ref{Stems}.
 
+Snippets:
+@rlsr{Simultaneous notes}.
+
 
 @node Voice styles
 @unnumberedsubsubsec Voice styles
@@ -591,7 +618,6 @@ standard presentation.
 @code{\voiceNeutralStyle}.
 @endpredefined
 
-
 @seealso
 Learning Manual:
 @rlearning{I'm hearing Voices},
@@ -655,9 +681,8 @@ in bar 2, where the automatic merging fails.
 >>
 @end lilypond
 
-Notes with different note heads may be merged, with the
-exception of half-note heads and quarter-note heads, as shown
-below.  Here the note heads on beat 1 of bar 1 are now merged:
+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]
 <<
@@ -676,6 +701,9 @@ below.  Here the note heads on beat 1 of bar 1 are now merged:
 >>
 @end lilypond
 
+Quarter and half notes are not merged in this way, since it would be difficult
+to tell them apart.
+
 Note heads with different dots as shown in beat 3 of bar 1 may be
 also be merged:
 
@@ -818,13 +846,13 @@ Internals Reference:
 @cindex collisions, ignoring
 
 @knownissues
-Using @code{\override NoteColumn #'ignore-collision = ##t} will cause
+Using @code{\override NoteColumn.ignore-collision = ##t} will cause
 differently headed notes in different voices to merge incorrectly.
 
 @lilypond[quote,relative=1,verbatim]
 \mergeDifferentlyHeadedOn
 << { c16 a' b a } \\ { c,2 } >>
-\override NoteColumn #'ignore-collision = ##t
+\override NoteColumn.ignore-collision = ##t
 << { c16 a' b a } \\ { c,2 } >>
 @end lilypond
 
@@ -835,6 +863,7 @@ The requirements for successfully merging different note heads that
 are at the same time differently dotted are not clear.
 @end ignore
 
+
 @node Automatic part combining
 @unnumberedsubsubsec Automatic part combining
 
@@ -936,7 +965,7 @@ 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{...Once} apply only to the next note in the
+Commands ending in @code{@dots{}Once} apply only to the next note in the
 music expression.
 
 @itemize
@@ -993,6 +1022,17 @@ instrumentTwo = \relative c' {
 @end lilypond
 
 
+@subsubsubheading Using \partcombine with lyrics
+
+@cindex \partcombine and lyrics
+
+The @code{\partcombine} command is not designed to work with
+lyrics; if one of the voices is explicitly named in order to
+attach lyrics to it, the partcombiner will stop working.  However,
+this effect can be achieved using a @code{NullVoice} context.  See
+@ref{Polyphony with shared lyrics}.
+
+
 @snippets
 
 @lilypondfile[verbatim,quote,texidoc,doctitle]
@@ -1001,7 +1041,6 @@ instrumentTwo = \relative c' {
 @lilypondfile[verbatim,quote,texidoc,doctitle]
 {changing-partcombine-texts.ly}
 
-
 @seealso
 Music Glossary:
 @rglos{a due},
@@ -1018,13 +1057,9 @@ Internals Reference:
 @rinternals{Voice}.
 
 @knownissues
+All @code{\partcombine@dots{}} functions can only accept two voices.
 
-All @code{\partcombine...} functions can only accept two voices and are
-not designed to work with lyrics; such that when one of the voices is
-explicitly named in order to attach lyrics to it, the partcombiner will
-stop working.
-
-@code{\partcombine...} functions cannot be placed inside a @code{\times}
+@code{\partcombine@dots{}} functions cannot be placed inside a @code{\tuplet}
 or @code{\relative} block.
 
 If @code{printPartCombineTexts} is set and the two voices play the same
@@ -1163,7 +1198,6 @@ global = {
 }
 @end lilypond
 
-
 @seealso
 Learning Manual:
 @rlearning{Organizing pieces with variables}.