From: Francisco Vila Date: Wed, 27 Aug 2008 08:43:04 +0000 (+0200) Subject: Doc: Indexing from Ralph X-Git-Tag: release/2.11.58-1~32^2~3^2~3^2 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=0b871674645d615c88b661ec564b24a430b50882;p=lilypond.git Doc: Indexing from Ralph --- diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index ddcb959327..674fee6749 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -40,6 +40,7 @@ This section discusses simultaneous notes inside the same voice. @cindex chords @cindex brackets, angle +@cindex relative pitch in chords @funindex < @funindex > @funindex <...> @@ -87,7 +88,9 @@ staves. To avoid this, use explicit chords instead as in @unnumberedsubsubsec Clusters @cindex cluster +@cindex note cluster @funindex \makeClusters +@funindex makeClusters A cluster indicates a continuous range of pitches to be played. They can be denoted as the envelope of a set of notes. They are entered by @@ -143,6 +146,17 @@ multiple staves. @node Single-staff polyphony @unnumberedsubsubsec Single-staff polyphony +@cindex single-staff polyphony +@cindex polyphony, single-staff +@cindex voice +@cindex lyrics assigned to one voice +@funindex \voiceOne +@funindex voiceOne +@funindex \voiceOne ... \voiceFour +@funindex Voice +@funindex \oneVoice +@funindex oneVoice + The basic structure of code needed to achieve multiple, independent voices in a single staff is illustrated in the following example: @@ -260,15 +274,10 @@ music do not have the same rhythm. @predefined -@funindex \voiceOne @code{\voiceOne}, -@funindex \voiceTwo @code{\voiceTwo}, -@funindex \voiceThree @code{\voiceThree}, -@funindex \voiceFour @code{\voiceFour}, -@funindex \oneVoice @code{\oneVoice}. @seealso @@ -291,6 +300,11 @@ Snippets: @cindex voice styles @cindex styles, voice @cindex coloring voices +@funindex \voiceOneStyle +@funindex \voiceTwoStyle +@funindex \voiceThreeStyle +@funindex \voiceFourStyle +@funindex \voiceNeutralStyle Voices may be given distinct colors and shapes, allowing them to be easily identified: @@ -312,15 +326,12 @@ command is used. @predefined -@funindex \voiceOneStyle + @code{\voiceOneStyle}, -@funindex \voiceTwoStyle + @code{\voiceTwoStyle}, -@funindex \voiceThreeStyle @code{\voiceThreeStyle}, -@funindex \voiceFourStyle @code{\voiceFourStyle}, -@funindex \voiceNeutralStyle @code{\voiceNeutralStyle}. @seealso @@ -339,11 +350,29 @@ Snippets: @cindex merging notes @cindex note collisions @cindex collisions +@cindex shift note +@cindex multiple voices +@cindex voices, multiple +@cindex polyphonic music +@cindex shifting voices +@cindex voices, multiple +@cindex shift rest, automatic @funindex \shiftOn +@funindex shiftOn @funindex \shiftOnn +@funindex shiftOnn @funindex \shiftOnnn +@funindex shiftOnnn @funindex \shiftOff -@cindex shift rest, automatic +@funindex shiftOff +@funindex \mergeDifferentlyDottedOn +@funindex mergeDifferentlyDottedOn +@funindex \mergeDifferentlyDottedOff +@funindex mergeDifferentlyDottedOff +@funindex \mergeDifferentlyHeadedOn +@funindex mergeDifferentlyHeadedOn +@funindex \mergeDifferentlyHeadedOff +@funindex mergeDifferentlyHeadedOff Note heads with equal durations are automatically merged, while note heads with unequal durations are not merged. Rests opposite @@ -405,16 +434,15 @@ Note heads with different dots may be merged: >> @end lilypond -@cindex shift note The collision on the second measure happens because -@code{merge-differently-headed} cannot successfully complete the +@code{\merge-differently-headed} cannot successfully complete the merge when three or more notes line up in the same column -- in fact, you will obtain a warning for this reason. To allow the merge to work properly, apply a @code{\shift} to the note that should not be merged. Here, @code{\shiftOn} is applied to move the top @code{g} out of the column, and -@code{merge-differently-headed} works properly. +@code{\merge-differently-headed} works properly. @lilypond[quote,relative=2,verbatim] << @@ -446,28 +474,17 @@ four) have @code{\shiftOn}. @code{\shiftOnn} and Notes are only merged if they have opposing stem directions (i.e., in @code{Voice} 1 and 2). -@cindex multiple voices -@cindex polyphonic music -@cindex shifting voices @predefined -@funindex \mergeDifferentlyDottedOn @code{\mergeDifferentlyDottedOn}, -@funindex \mergeDifferentlyDottedOff @code{\mergeDifferentlyDottedOff}, -@funindex \mergeDifferentlyHeadedOn @code{\mergeDifferentlyHeadedOn}, -@funindex \mergeDifferentlyHeadedOff @code{\mergeDifferentlyHeadedOff}. -@funindex \shiftOn @code{\shiftOn}, -@funindex \shiftOnn @code{\shiftOnn}, -@funindex \shiftOnnn @code{\shiftOnnn}, -@funindex \shiftOff @code{\shiftOff}. @snippets @@ -498,7 +515,7 @@ Internals Reference: @knownissues -When using @code{merge-differently-headed} with an upstem eighth +When using @code{\merge-differently-headed} with an upstem eighth or a shorter note, and a downstem half note, the eighth note stem gets a slightly wrong offset because of the different width of the half note head symbol. @@ -519,7 +536,10 @@ cluster notation (see @ref{Clusters}). @cindex automatic part combining @cindex part combiner @cindex combining parts +@cindex a due part +@cindex solo part @funindex \partcombine +@funindex partcombine Automatic part combining is used to merge two parts of music onto a staff. It is aimed at typesetting orchestral scores. When the @@ -563,15 +583,15 @@ instrumentTwo = \relative g' { >> @end lilypond -The notes in the third measure appear only once, although they -were specified in both parts. Stem, slur, and tie directions are -set automatically, depending whether there is a solo or unison. -When needed in polyphony situations, the first part (with context -called @code{one}) always gets up stems, while the second (called -@code{two}) always gets down stems. In solo situations, the parts -get marked with @q{Solo} and @q{Solo II}, respectively. The -unisono (@notation{a due}) parts are marked by default with the -text @qq{a2}. +The notes in the third measure appear only once, although they were +specified in both parts. Stem, slur, and tie directions are set +automatically, depending whether there is a solo or unison. When +needed in polyphony situations, the first part (with context called +@code{one}) always gets up stems, while the second (called @code{two}) +always gets down stems. In solo situations, the first and second +parts get marked with @q{Solo} and @q{Solo II}, respectively. The +unisono (@notation{a due}) parts are marked by default with the text +@qq{a2}. Both arguments to @code{\partcombine} will be interpreted as @code{Voice} contexts. If using relative octaves, @@ -635,8 +655,10 @@ events in those will be ignored. @node Writing music in parallel @unnumberedsubsubsec Writing music in parallel -@cindex Writing music in parallel -@cindex Interleaved music +@cindex writing music in parallel +@cindex interleaved music +@cindex parallel music +@funindex \parallelMusic @funindex parallelMusic Music for multiple parts can be interleaved in input code. The