From: Graham Percival Date: Sun, 22 Jun 2008 22:43:33 +0000 (-0700) Subject: Update from Francisco with edits. X-Git-Tag: release/2.11.50-1~20^2~19 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=8bf1ea33b030c92614afa5b5c3f730bda300fc50;p=lilypond.git Update from Francisco with edits. --- diff --git a/Documentation/user/simultaneous.itely b/Documentation/user/simultaneous.itely index 610c063d67..1516e3154e 100644 --- a/Documentation/user/simultaneous.itely +++ b/Documentation/user/simultaneous.itely @@ -18,8 +18,8 @@ in a piece of music. Polyphony in LilyPond refers to having more than one voice on the same staff. @menu -* Single voice:: -* Multiple voices:: +* Single voice:: +* Multiple voices:: @end menu @@ -29,8 +29,9 @@ than one voice on the same staff. This section discusses simultaneous notes inside the same voice. @menu -* Chorded notes:: -* Clusters:: +* Chorded notes:: +* Parallel notes:: +* Clusters:: @end menu @node Chorded notes @@ -75,6 +76,40 @@ staves. To avoid this, use explicit chords instead as in @code{8 8}. @end ignore +@node Parallel notes +@subsubsection Parallel notes + +@ignore +Pieces of music having the same rhythm form chords when +combined in parallel into the same @code{Voice} context by enclosing +them into double angle brackets: +@end ignore + +Parallel pieces of music can be combined into a single +@code{Voice} context, thus forming chords if they have the same +rhythm. To achieve this, enclose them in a simultaneous music +construction: + +@lilypond[quote,relative=2,verbatim] +\new Voice << + { e4 f8 d e16 f g8 d4 } + { c4 d8 b c16 d e8 b4 } +>> +@end lilypond + +@seealso + +Learning Manual: +@rlearning{Voices contain music}. + +Snippets: +@rlsr{Simultaneous notes}. + +@knownissues + +This method leads to strange beamings and warnings if the pieces of +music do not have the same rhythm. + @node Clusters @subsubsection Clusters @@ -123,9 +158,10 @@ This section discusses simultaneous notes in multiple voices or multiple staves. @menu -* Collision resolution:: -* Automatic part combining:: -* Writing music in parallel:: +* Collision resolution:: +* Voice styles:: +* Automatic part combining:: +* Writing music in parallel:: @end menu @node Collision resolution @@ -160,8 +196,8 @@ a stem are shifted vertically. >> @end lilypond -Note heads with different note heads may be merged, with the exception -of half-note heads and quarter-note heads: +Note heads with different note heads may be merged, with the +exception of half-note heads and quarter-note heads: @lilypond[quote,verbatim,relative=2] << @@ -203,12 +239,13 @@ Note heads with different dots may be merged: @cindex shift note The collision on the second measure happens because -@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} 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. @lilypond[quote,relative=2,verbatim] << @@ -230,16 +267,17 @@ column, and @code{merge-differently-headed} works properly. >> @end lilypond -The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn} commands -specify the degree to which chords of the current voice should be -shifted. The outer voices (normally: voices one and two) have -@code{\shiftOff}, while the inner voices (three and four) have -@code{\shiftOn}. @code{\shiftOnn} and @code{\shiftOnnn} define -further shift levels. +The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn} +commands specify the degree to which chords of the current voice +should be shifted. The outer voices (normally: voices one and +two) have @code{\shiftOff}, while the inner voices (three and +four) have @code{\shiftOn}. @code{\shiftOnn} and +@code{\shiftOnnn} define further shift levels. 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 @@ -254,7 +292,7 @@ Notes are only merged if they have opposing stem directions (i.e., in @code{\mergeDifferentlyHeadedOn}, @funindex \mergeDifferentlyHeadedOff @code{\mergeDifferentlyHeadedOff}. - + @funindex \oneVoice @code{\oneVoice}, @funindex \voiceOne @@ -266,16 +304,6 @@ Notes are only merged if they have opposing stem directions (i.e., in @funindex \voiceFour @code{\voiceFour}. -@funindex \voiceNeutralStyle -@code{\voiceNeutralStyle}, -@funindex \voiceOneStyle -@code{\voiceOneStyle}, -@funindex \voiceTwoStyle -@code{\voiceTwoStyle}, -@funindex \voiceThreeStyle -@code{\voiceThreeStyle}, -@funindex \voiceFourStyle -@code{\voiceFourStyle}. @funindex \shiftOn @code{\shiftOn}, @@ -308,19 +336,17 @@ Snippets: @rlsr{Simultaneous notes}. Internals Reference: -@rinternals{NoteColumn}. -The objects responsible for resolving collisions -are -@rinternals{NoteCollision} and +@rinternals{NoteColumn}, +@rinternals{NoteCollision}, @rinternals{RestCollision}. @knownissues -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. +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. @c investigate! Sometimes it works, sometimes not. --FV It is not clear in which circumpstances you can succesfully merge @@ -331,6 +357,54 @@ different accidentals in the same chord. In this case, it is recommended to use enharmonic transcription, or to use special cluster notation (see @ref{Clusters}). +@node Voice styles +@subsubsection Voice styles + +@cindex voice styles +@cindex styles, voice +@cindex coloring voices + +Voices may be given distinct colors and shapes, allowing them to be +easily identified: + +@lilypond[quote,relative=2,verbatim] +<< + { + a1 + \voiceOneStyle + f2 g + \voiceNeutralStyle + a1 + } \\ { + f1 + \voiceTwoStyle + f4 f2 e4 + \voiceNeutralStyle + f1 + } +>> +@end lilypond + +@predefined + +@funindex \voiceOneStyle +@code{\voiceOneStyle}, +@funindex \voiceTwoStyle +@code{\voiceTwoStyle}, +@funindex \voiceThreeStyle +@code{\voiceThreeStyle}, +@funindex \voiceFourStyle +@code{\voiceFourStyle}, +@funindex \voiceNeutralStyle +@code{\voiceNeutralStyle}. + +@seealso + +Lerning Manual: +@rlearning{I'm hearing Voices}. + +Snippets: +@rlsr{Simultaneous notes}. @node Automatic part combining @subsubsection Automatic part combining @@ -340,10 +414,10 @@ cluster notation (see @ref{Clusters}). @cindex combining parts @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 two -parts are identical for a period of time, only one is shown. In -places where the two parts differ, they are typeset as separate +Automatic part combining is used to merge two parts of music onto +a staff. It is aimed at typesetting orchestral scores. When the +two parts are identical for a period of time, only one is shown. +In places where the two parts differ, they are typeset as separate voices, and stem directions are set automatically. Also, solo and @notation{a due} parts are identified and marked by default. @@ -353,10 +427,10 @@ The syntax for part combining is: \partcombine @var{musicexpr1} @var{musicexpr2} @end example -The following example demonstrates the basic functionality of the part -combiner: putting parts on one staff and setting stem directions and -polyphony. The same variables are used for the independent -parts and the combined staff. +The following example demonstrates the basic functionality of the +part combiner: putting parts on one staff and setting stem +directions and polyphony. The same variables are used for the +independent parts and the combined staff. @lilypond[quote,verbatim] instrumentOne = \relative c' { @@ -382,14 +456,15 @@ 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 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, @@ -479,9 +554,9 @@ events in those will be ignored. Music for multiple parts can be interleaved in input code. The function @code{\parallelMusic} accepts a list with the names of a number of variables to be created, and a musical expression. The -content of alternate measures from the expression become the value of -the respective variables, so you can use them afterwards to print the -music. +content of alternate measures from the expression become the value +of the respective variables, so you can use them afterwards to +print the music. @warning{Bar checks @code{|} must be used, and the measures must be of the same length.}