@itemize @bullet
@item @code{font-encoding}
-is a symbol that sets layout of the glyphs. This should only be set to
+is a symbol that sets layout of the glyphs. This should only be set to
select different types of non-text fonts, eg.
@code{fetaBraces} for piano staff braces, @code{fetaMusic} the
In markup mode you can compose expressions, similar to mathematical
-expressions, XML documents, and music expressions. You can stack
+expressions, XML documents, and music expressions. You can stack
expressions grouped vertically with the command @code{\column}.
Similarly, @code{\center-align} aligns texts by their center lines:
@lilypondfile{utf8.ly}
-The @TeX{} backend does not handle encoding specially at all. Strings
-in the input are put in the output as-is. Extents of text items in the
+The @TeX{} backend does not handle encoding specially at all. Strings
+in the input are put in the output as-is. Extents of text items in the
@TeX{} backend, are determined by reading a file created via the
@file{texstr} backend,
@item systemSeparatorMarkup
This contains a markup object, which will be inserted between
-systems. This is often used for orchestral scores.
+systems. This is often used for orchestral scores.
The markup command @code{\slashSeparator} is provided as a sensible
default, for example
@end example
A more advanced option is to change the definitions of the following
-variables in the @code{\paper} block. The init file
+variables in the @code{\paper} block. The init file
@file{ly/titling-init.ly} lists the default layout.
@table @code
@item bookTitleMarkup
- This is the title put over an entire @code{\book} block. Typically,
+ This is the title put over an entire @code{\book} block. Typically,
it has the composer and the title of the piece
@item scoreTitleMarkup
This is the title put over a @code{\score} block within a
-@code{\book}. Typically, it has the name of the movement (@code{piece}
+@code{\book}. Typically, it has the name of the movement (@code{piece}
field).
@item oddHeaderMarkup
mechanism automatically splits long notes, and ties them across bar
lines.
-Ties are sometimes used to write out arpeggios. In this case, two tied
+Ties are sometimes used to write out arpeggios. In this case, two tied
notes need not be consecutive. This can be achieved by setting the
-@code{tieWaitForNote} property to true. For example,
+@code{tieWaitForNote} property to true. For example,
@lilypond[fragment,verbatim,relative=1,raggedright]
\set tieWaitForNote = ##t
one voice on the same staff.
@menu
-* Writing polyphonic music::
+* Basic polyphony::
+* Explicitly instantiating voices::
+* Collision Resolution::
@end menu
-@node Writing polyphonic music
-@subsection Writing polyphonic music
+@node Basic polyphony
+@subsection Basic polyphony
@cindex polyphony
The easiest way to enter fragments with more than one voice on a staff
-is to split chords using the separator @code{\\}. You can use it for
-small, short-lived voices or for single chords
+is to enter each voice as a sequence (with @code{@{...@}}), and combine
+them simultaneously, separating the voices with @code{\\}
@cindex @code{\\}
-@lilypond[quote,raggedright,verbatim,fragment]
-\context Staff \relative c'' {
- c4 << { f d e } \\ { b c2 } >>
- c4 << g' \\ b, \\ f' \\ d >>
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ c16 d e f
+ << { g4 f e | d2 e2 } \\
+ { r8 e4 d c8 ~ | c b16 a b8 g ~ g2 } \\
+ { s2. | s4 b4 c2 }
+ >>
}
@end lilypond
@cindex layers
to be instantiated. They bear the names @code{"1"}, @code{"2"}, etc. In
each of these contexts, vertical direction of slurs, stems, etc., is set
-appropriately. Specifically,
+appropriately.
+
+These voices are all seperate from the voice that contains the notes just
+outside the @code{<< \\ >>} construct. This should be noted when making
+changes at the voice level. This also means that slurs and ties cannot go
+into or out of a @code{<< \\ >>} construct.
+Conversely, parallel voices from separate @code{<< \\ >>} constructs on the
+same staff are the the same voice.
+Here is the same example, with different noteheads for each voice.
+Note that the change to the note-head style in the main voice does not affect
+the inside of the @code{<< \\ >>} constructs. Also, the change to the second
+voice in the first @code{<< \\ >>} construct is effective in the second
+@code{<< \\ >>}, and the voice is tied accross the two constructs.
+
+@lilypond[quote,verbatim,fragment]
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ <<
+ { g4 f e } \\
+ { \override NoteHead #'style = #'triangle
+ r8 e4 d c8 ~
+ }
+ >> |
+ <<
+ { d2 e2 } \\
+ { c8 b16 a b8 g ~ g2 } \\
+ { \override NoteHead #'style = #'slash s4 b4 c2 }
+ >>
+}
+@end lilypond
+
+@node Explicitly instantiating voices
+@subsection Explicitly instantiating voices
+@internalsref{Voice} contexts can also also be instantiated manually
+inside a @code{<< >>} block to create polyphonic music, using
+@code{\voiceOne}, up to @code{\voiceFour} to assign stem directions
+and a horizontal shift for each part.
+
+Specifically,
@example
<< \upper \\ \lower >>
@end example
@cindex @code{\voiceOne}
@cindex @code{\voiceFour}
-This can also be done by instantiating @internalsref{Voice} contexts
-by hand, and using @code{\voiceOne}, up to @code{\voiceFour} to assign
-a stem directions and horizontal shift for each part
-@c
+The @code{\voiceXXX} commands set the direction of stems, slurs, ties,
+articulations, text annotations, augmentation dots of dotted
+notes, and fingerings. @code{\voiceOne} and @code{\voiceThree} make
+these objects point upwards, while @code{\voiceTwo} and @code{\voiceFour}
+make them point downwards.
+The command @code{\oneVoice} will revert back to the normal setting.
+@cindex @code{\oneVoice}
+
+An expression that appears directly inside a @code{<< >>} belongs to
+the main voice. This is useful when extra voices appear while the main
+voice is playing. Here is a more correct rendition of the example from
+the previous section. The crossed noteheads demonstrate that the main
+melody is now in a single voice context.
@lilypond[quote,raggedright,verbatim]
-\relative c''
-\context Staff <<
- \new Voice { \voiceOne cis2 b }
- \new Voice { \voiceThree b4 ais ~ ais4 gis4 }
- \new Voice { \voiceTwo fis4~ fis4 f ~ f } >>
+\new Staff \relative c' {
+ \override NoteHead #'style = #'cross
+ c16 d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2}
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. | s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
@end lilypond
-@noindent
-The command @code{\oneVoice} will revert back to the normal setting.
-@cindex @code{\oneVoice}
+The correct definition of the voices allows the melody to be slurred.
+@lilypond[quote,raggedright,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ | c8 b16 a b8 g ~ g2
+ \oneVoice
+ }
+ \new Voice { \voiceThree
+ s2. s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
-Defining voices (either with the separator @code{\\} or with
-@code{\voiceXXX}) will set the direction of stems, slurs, ties,
-articulations, text annotations, augmentation dots of dotted
-notes, and fingerings. @code{\voiceOne} makes these objects
-point upwards, while @code{\voiceTwo} makes them point down.
+Avoiding the @code{\\} seperator also allows nesting polyphony
+constructs, which in some case might be a more natural way to typeset
+the music.
+
+@lilypond[quote,raggedright,verbatim]
+\new Staff \relative c' {
+ c16^( d e f
+ \voiceOne
+ <<
+ { g4 f e | d2 e2) }
+ \context Voice="1" { \voiceTwo
+ r8 e4 d c8 ~ |
+ <<
+ {c8 b16 a b8 g ~ g2}
+ \new Voice { \voiceThree
+ s4 b4 c2
+ \oneVoice
+ }
+ >>
+ \oneVoice
+ }
+ >>
+ \oneVoice
+}
+@end lilypond
+
+@node Collision Resolution
+@subsection Collision Resolution
Normally, note heads with a different number of dots are not merged, but
when the object property @code{merge-differently-dotted} is set in
If you want to end a note with a grace, use the @code{\afterGrace}
-command. It takes two arguments: the main note, and the grace notes
+command. It takes two arguments: the main note, and the grace notes
following the main note.
@lilypond[raggedright, verbatim,relative=2,fragment]
@end lilypond
This will put the grace notes after a ``space'' lasting 3/4 of the
-length of the main note. The fraction 3/4 can be changed by setting
+length of the main note. The fraction 3/4 can be changed by setting
@code{afterGraceFraction}, ie.
@example
@end example
This will insert notes from the part @var{name} into a
-@internalsref{Voice} called @code{cue}. This happens simultaneously
+@internalsref{Voice} called @code{cue}. This happens simultaneously
with @var{music}, which usually is a rest. When the cue notes start,
-the staff in effect becomes polyphonic for a moment. The argument
+the staff in effect becomes polyphonic for a moment. The argument
@var{updown} determines whether the cue notes should be notated as a
first or second voice.
@c really? Are you sure about that last point? I'll check after 3.0 -gp
-@c Yes, this is good practice. Otherwise, the start of the original
-@c part can only be seen from the font size. This is not good enough
-@c for sight-reading. It is possilbe to use other
+@c Yes, this is good practice. Otherwise, the start of the original
+@c part can only be seen from the font size. This is not good enough
+@c for sight-reading. It is possilbe to use other
@c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
@c finished.
@c -hwn
any other changes introduced by the cued part should also be
-undone. For example, if the cued instrument plays in a different clef,
+undone. For example, if the cued instrument plays in a different clef,
the original clef should be stated once again.
@end itemize
@subsection Shaped note heads
In shaped note head notation, the shape of the note head corresponds
-to the harmonic function of a note in the scale. This notation was
+to the harmonic function of a note in the scale. This notation was
popular in the 19th century American song books.
Shaped note heads can be produced by setting @code{\aikenHeads} or
@findex \sacredHarpHeads
Shaped note heads are implemented through the @code{shapeNoteStyles}
-property. Its value is a vector of symbols. The k-th element indicates
-the style to use for the k-th step of the scale. Arbitrary
-combinations are possible, eg.,
+property. Its value is a vector of symbols. The k-th element indicates
+the style to use for the k-th step of the scale. Arbitrary
+combinations are possible, eg.,
@lilypond[verbatim,relative=1,fragment]
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