slurs and beams, and the top voice has the stems up, while the
bottom voice has them down.
-Entering such parts is done by entering each voice as a sequence
-(with @w{@code{@{...@}}}) and combining these simultaneously,
-separating the voices with @code{\\}:
+A temporary polyphonic passage can be created with the following
+construct:
-@lilypond[verbatim,quote,relative=2]
+@example
+<< @{ \voiceOne ... @}
+ \new Voice @{ \voiceTwo ... @}
+>> \oneVoice
+@end example
+
+Here, the first expression within a temporary polyphonic passage is
+placed into the @code{Voice} context which was in use immediately
+before the polyphonic passage, and that same @code{Voice} context
+continues after the temporary section. Other expressions within
+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]
<<
- { a4 g2 f4~ f4 } \\
- { r4 g4 f2 f4 }
+ \new Voice = "melody" {
+ a4
+ <<
+ {
+ \voiceOne
+ g f
+ }
+ \new Voice {
+ \voiceTwo
+ d2
+ }
+ >>
+ \oneVoice
+ e4
+ }
+ \new Lyrics \lyricsto "melody" {
+ This is my song.
+ }
>>
@end lilypond
+Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
+required to define the settings of each voice.
+
For polyphonic music typesetting, spacer rests can also be
convenient; these are rests that do not print. They are useful
for filling up voices that temporarily do not play. Here is the
@lilypond[verbatim,quote,relative=2]
<<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
+ { \voiceOne a4 g2 f4~ f4 }
+ \new Voice { \voiceTwo s4 g4 f2 f4 }
>>
+\oneVoice
@end lilypond
@noindent
@lilypond[verbatim,quote,relative=2]
<<
\new Staff <<
- { a4 g2 f4~ f4 } \\
- { s4 g4 f2 f4 }
+ { \voiceOne a4 g2 f4~ f4 }
+ \new Voice { \voiceTwo s4 g4 f2 f4 }
>>
+ \oneVoice
\new Staff <<
\clef bass
- { <c g>1 ~ <c g>4 } \\
- { e,,4 d e2 ~ e4}
+ { \voiceOne <c g>1 ~ <c g>4 }
+ \new Voice { \voiceTwo e,,4 d e2 ~ e4}
>>
+ \oneVoice
>>
@end lilypond