X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fnotation%2Fsimultaneous.itely;h=d843c29fc36baba571897d9e2742f6e879d6483e;hb=3ec271a5093ea9d3150d3dae7c9f7220df03d12f;hp=033cd1692f959e951876c342a4ce7bff53e2d0ac;hpb=958e95822083954cad00e0a598eb9f12ceba67b9;p=lilypond.git

diff --git a/Documentation/notation/simultaneous.itely b/Documentation/notation/simultaneous.itely
index 033cd1692f..d843c29fc3 100644
--- a/Documentation/notation/simultaneous.itely
+++ b/Documentation/notation/simultaneous.itely
@@ -7,7 +7,7 @@
     Guide, node Updating translation committishes..
 @end ignore
 
-@c \version "2.19.21"
+@c \version "2.19.29"
 
 
 @node Simultaneous notes
@@ -52,32 +52,40 @@ 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]
-<a c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+@lilypond[verbatim,quote]
+\relative {
+  <a' c e>1 <a c e>2 <f a c e>4 <a c>8. <g c e>16
+}
 @end lilypond
 
 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-.
+@lilypond[verbatim,quote]
+\relative {
+  <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
+@lilypond[verbatim,quote]
+\relative {
+  <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>\!
+@lilypond[verbatim,quote]
+\relative {
+  <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
@@ -90,10 +98,12 @@ 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 +116,10 @@ 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]
-<a c e>1 <f a c> <a c e> <f' a c> <b, e b,>
+@lilypond[verbatim,quote]
+\relative {
+  <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}.
@@ -159,25 +171,31 @@ 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]
-<a c e>1 q <f a c>2 q
+@lilypond[verbatim,quote]
+\relative {
+  <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
+@lilypond[verbatim,quote]
+\relative {
+  <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 c'4 q2 r8 q8 |
-q2 c, |
+@lilypond[verbatim,quote]
+\relative {
+  <a' c e>1 c'4 q2 r8 q8 |
+  q2 c, |
+}
 @end lilypond
 
 However, the chord repetition symbol does not retain any dynamics,
@@ -251,15 +269,19 @@ 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 +290,10 @@ 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]
-<a c>4-.  <>-. << c a >>  << { c-. <c a> } { a s-. } >>
+@lilypond[quote,verbatim]
+\relative {
+  <a' c>4-.  <>-. << c a >>  << { c-. <c a> } { a s-. } >>
+}
 @end lilypond
 
 Multiple stems or beams or different note durations or properties at
@@ -278,9 +302,10 @@ 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 +346,8 @@ 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 { <g b>2 <c g'> }
+@lilypond[quote,verbatim]
+\relative \makeClusters { <g' b>2 <c g'> }
 @end lilypond
 
 Ordinary notes and clusters can be put together in the same staff,
@@ -388,12 +413,12 @@ 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 +452,10 @@ 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 +491,11 @@ 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 +510,13 @@ 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 +570,10 @@ 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 +618,15 @@ 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 +689,20 @@ 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 +710,21 @@ 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 +735,22 @@ 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 +765,23 @@ 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
@@ -848,11 +881,11 @@ 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
@@ -1000,28 +1033,28 @@ music expression.
 
 @itemize
 @item
-@code{\partcombineApart} and @code{\partcombineApartOnce} keep the
+@code{\partcombineApart} and @code{\once \partcombineApart} keep 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} and @code{\once \partcombineChords} combine the
 notes into a chord.
 
 @item
-@code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
+@code{\partcombineUnisono} and @code{\once \partcombineUnisono} combine
 both voices as @qq{unison}.
 
 @item
-@code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
+@code{\partcombineSoloI} and @code{\once \partcombineSoloI} print only
 voice one, and mark it as a @qq{Solo}.
 
 @item
-@code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
+@code{\partcombineSoloII} or @code{\once \partcombineSoloII} print only
 voice two and mark it as a @qq{Solo}.
 
 @item
-@code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
+@code{\partcombineAutomatic} and @code{\once \partcombineAutomatic} end
 the functions of the commands above, and revert back to the standard
 @code{\partcombine} functionality.
 @end itemize
@@ -1032,7 +1065,7 @@ 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 {