Guide, node Updating translation committishes..
@end ignore
-@c \version "2.19.21"
+@c \version "2.19.29"
@node Simultaneous notes
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.
+However some notation, such as dynamics and hairpins must be
+attached to the chord rather than to notes within the chord,
+otherwise they will not print. Other notation like fingerings and
+slurs will get placed markedly different when attached to notes
+within a chord rather than to whole chords or single notes.
-@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
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
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}.
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
+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,
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
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
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
@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 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,
* Single-staff polyphony::
* Voice styles::
* Collision resolution::
+* Merging rests::
* Automatic part combining::
* Writing music in parallel::
@end menu
@cindex lyrics assigned to one voice
@funindex \voiceOne
-@funindex voiceOne
@funindex \voiceOne ... \voiceFour
@funindex Voice
@funindex \oneVoice
-@funindex oneVoice
@subsubsubheading Explicitly instantiating voices
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
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
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
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
>>
@end lilypond
-@warning{Lyrics, spanners (such as slurs, ties, hairpins etc.) cannot be
-created @q{across} voices.}
+@funindex \voices
+When a different voice entry order is desired, the command
+@code{\voices} may be convenient:
+
+@lilypond[quote,verbatim]
+\new Staff \voices 1,3,5,6,4,2 <<
+ \time 2/4
+ { f''2 } % 1: highest
+ \\
+ { d''2 } % 3: second-highest
+ \\
+ { b'2 } % 5: third-highest
+ \\
+ { g'2 } % 6: third-lowest
+ \\
+ { e'2 } % 4: second-lowest
+ \\
+ { c'2 } % 2: lowest
+>>
+@end lilypond
+
+
+@warning{Lyrics and spanners (such as slurs, ties, hairpins, etc.) cannot
+be created @q{across} voices.}
@subsubsubheading Identical rhythms
@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
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
@cindex voices, multiple
@cindex shift rest, automatic
@funindex \shiftOn
-@funindex shiftOn
@funindex \shiftOnn
-@funindex shiftOnn
@funindex \shiftOnnn
-@funindex shiftOnnn
@funindex \shiftOff
-@funindex shiftOff
@funindex \mergeDifferentlyDottedOn
-@funindex mergeDifferentlyDottedOn
@funindex \mergeDifferentlyDottedOff
-@funindex mergeDifferentlyDottedOff
@funindex \mergeDifferentlyHeadedOn
-@funindex mergeDifferentlyHeadedOn
@funindex \mergeDifferentlyHeadedOff
-@funindex mergeDifferentlyHeadedOff
The note heads of notes in different voices with the same pitch,
same note head and opposite stem direction are automatically
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
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
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
@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
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
@end ignore
+@node Merging rests
+@unnumberedsubsubsec Merging rests
+
+When using multiple voices it is common to merge rests which occur in both
+parts. This can be accomplished using @code{Merge_rests_engraver}.
+
+@lilypond[quote,verbatim]
+voiceA = \relative { d''4 r d2 | R1 | }
+voiceB = \relative { fis'4 r g2 | R1 | }
+\score {
+ <<
+ \new Staff \with {
+ instrumentName = "unmerged"
+ }
+ <<
+ \new Voice { \voiceOne \voiceA }
+ \new Voice { \voiceTwo \voiceB }
+ >>
+ \new Staff \with {
+ instrumentName = "merged"
+ \consists #Merge_rests_engraver
+ }
+ <<
+ \new Voice { \voiceOne \voiceA }
+ \new Voice { \voiceTwo \voiceB }
+ >>
+ >>
+}
+@end lilypond
+
+Setting the context property @code{suspendRestMerging} to @code{##t} allows for
+turning off rest merging temporarily.
+
@node Automatic part combining
@unnumberedsubsubsec Automatic part combining
@cindex a due part
@cindex solo part
@funindex \partcombine
-@funindex partcombine
Automatic part combining is used to merge two separate parts of music
onto a single staff. This can be especially helpful when typesetting
@code{@var{musicexpr2}}.
@funindex \partcombineChords
-@funindex partcombineChords
@funindex \partcombineApart
-@funindex partcombineApart
@funindex \partcombineUnisono
-@funindex partcombineUnisono
@funindex \partcombineSoloI
-@funindex partcombineSoloI
@funindex \partcombineSoloII
-@funindex partcombineSoloII
@funindex \partcombineAutomatic
-@funindex partcombineAutomatic
In professional scores, voices are often kept apart from each other for
long passages of music even if some of the notes are the same in both
voices, and could just as easily be printed as unison. Combining notes
into a chord, or showing one voice as solo is, therefore, not ideal as
the @code{\partcombine} function considers each note separately. In this
-case the @code{\partcombine} function can be overriden with the
-following commands:
-
-Commands ending in @code{@dots{}Once} apply only to the next note in the
-music expression.
+case the @code{\partcombine} function can be overridden with one of the
+following commands. All of the commands may be preceded with
+@code{\once} in order to have them only apply to the next note in
+the music expression.
@itemize
@item
-@code{\partcombineApart} and @code{\partcombineApartOnce} keep the
+@code{\partcombineApart} keeps 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} combines the
notes into a chord.
@item
-@code{\partcombineUnisono} and @code{\partcombineUnisonoOnce} combine
+@code{\partcombineUnisono} combines
both voices as @qq{unison}.
@item
-@code{\partcombineSoloI} and @code{\partcombineSoloIOnce} print only
-voice one, and mark it as a @qq{Solo}.
+@code{\partcombineSoloI} prints only
+voice one, and marks it as a @qq{Solo}.
@item
-@code{\partcombineSoloII} or @code{\partcombineSoloIIOnce} print only
-voice two and mark it as a @qq{Solo}.
+@code{\partcombineSoloII} prints only
+voice two and marks it as a @qq{Solo}.
@item
-@code{\partcombineAutomatic} and @code{\partcombineAutomaticOnce} end
-the functions of the commands above, and revert back to the standard
+@code{\partcombineAutomatic} ends
+the functions of the commands above, and reverts back to the standard
@code{\partcombine} functionality.
@end itemize
\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 {
@code{Voice}. This can lead to a number of unexpected issues including
@qq{Solo} or @qq{Unison} marks being printed incorrectly.
-@code{\partcombine} keeps all spanners (slurs, ties, hairpins etc.) in
+@code{\partcombine} keeps all spanners (slurs, ties, hairpins, etc.) in
the same @code{Voice} so that if any such spanners start or end in a
different @code{Voice}, they may not be printed properly or at all.
If the @code{\partcombine} function cannot combine both music
-expressions (i.e. when both voices have different durations), it will
+expressions (i.e., when both voices have different durations), it will
give the voices, internally, its own custom names: @code{one} and
@code{two} respectively. This means if there is any @qq{switch} to a
differently named @code{Voice} context, the events in that differently
@cindex interleaved music
@cindex parallel music
@funindex \parallelMusic
-@funindex parallelMusic
Music for multiple parts can be interleaved in input code. The
function @code{\parallelMusic} accepts a list with the names of a
projects / lilypond.git / blobdiff