X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fsimultaneous.itely;h=529b588522923568eb46ac23ad64c7b83dcf1cb1;hb=fe2cae0fa47ec4ec0184e6b3d15572fbcba881cf;hp=758cb9378d9f951382c4592bc032746582bcd752;hpb=af2b8cce8a154ce6c918f1e46a08853a4c781fa2;p=lilypond.git

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 758cb9378d..529b588522 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -3,7 +3,8 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..
 @end ignore
 
 @c \version "2.12.0"
@@ -42,25 +43,54 @@ This section discusses simultaneous notes inside the same voice.
 
 @cindex chords
 @cindex brackets, angle
-@cindex angle brackets
-@cindex relative pitch in chords
 
 @funindex <
 @funindex >
 @funindex <...>
 
 A chord is formed by enclosing a set of pitches between @code{<}
-and @code{>}.  A chord may be followed by a duration and/or a set
-of articulations, just like simple notes:
+and @code{>}.  A chord may be followed by a duration just like simple
+notes.
 
-@lilypond[verbatim,quote,relative=1]
-<c e g>2 <c f a>4-> <e g c>-.
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
 @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.
+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-.
+@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
+@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.
+
+@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>\!
+@end lilypond
+
+@cindex relative pitch, chords
+@cindex chords, relative pitch
+
+Relative mode can be used for pitches in chords.  The first note of
+each chord is always relative to the first note of the chord that
+came before it, or in the case where no preceding chord exists, the
+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]
+<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@end lilypond
 
 For more information about chords, see @ref{Chord notation}.
 
@@ -72,7 +102,9 @@ Learning Manual:
 @rlearning{Combining notes into chords}.
 
 Notation Reference:
-@ref{Chord notation}.
+@ref{Chord notation},
+@ref{Articulations and ornamentations},
+@ref{Relative octave entry}.
 
 Snippets:
 @rlsr{Simultaneous notes}.
@@ -84,20 +116,38 @@ Snippets:
 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=1]
-<c e g> q q q
+@lilypond[verbatim,quote,relative=2]
+<a c e>1 q <f a c>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]
+<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
+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]
+<a c e>1 c4 q2 r8 q8
 @end lilypond
 
-As in the case of regular chords, the chord repetition symbol can be
-followed by a duration and articulations.  Only the pitches of the 
-previous chord are duplicated; articulations, dynamics, etc, are not
-repeated.
+However, the chord repetition symbol does not retain any dynamics,
+articulation or ornamentation within, or attached to the previous chord.
 
-@lilypond[verbatim,quote,relative=1]
-<c e g>8\p q q4-| q8.^"text" q16 q4-|
+@lilypond[verbatim,quote,relative=2]
+<a-. c\prall e>1\sfz c4 q2 r8 q8
 @end lilypond
 
 @seealso
+Notation Reference:
+@ref{Chord notation},
+@ref{Articulations and ornamentations}.
+
 Installed Files:
 @file{ly/@/chord-repetition-init@/.ly}.
 
@@ -233,7 +283,7 @@ voices in a single staff is illustrated in the following example:
 @end lilypond
 
 @noindent
-Here, voices are instantiated explicitly and are given names. The
+Here, voices are instantiated explicitly and are given names.  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
@@ -294,7 +344,7 @@ required to define the settings of each voice.
 The @code{<< @{...@} \\ @{...@} >>} 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 contruct are assigned
+@emph{all} the expressions within this construct are assigned
 to new @code{Voice} contexts.  These new @code{Voice} contexts
 are created implicitly and are given the fixed names @code{"1"},
 @code{"2"}, etc.
@@ -402,7 +452,7 @@ easily identified:
 >>
 @end lilypond
 
-The @code{\voiceNeutralstyle} command is used to revert to the
+The @code{\voiceNeutralStyle} command is used to revert to the
 standard presentation.
 
 
@@ -499,7 +549,7 @@ below.  Here the note heads on beat 1 of bar 1 are now merged:
 >>
 @end lilypond
 
-Note heads with different dots as shown in beat 2 of bar 1 may be
+Note heads with different dots as shown in beat 3 of bar 1 may be
 also be merged:
 
 @lilypond[quote,relative=2,verbatim]
@@ -547,7 +597,6 @@ then works properly.
     s1
     e8 a b c d2
   }
-
 >>
 @end lilypond
 
@@ -742,7 +791,7 @@ 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.
 
-@code{\partcombine} only observes onset times of notes. It cannot
+@code{\partcombine} only observes onset times of notes.  It cannot
 determine whether a previously started note is playing or not, leading
 to various problems.