Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.36"
+@c \version "2.19.29"
@node Simultaneous notes
@section Simultaneous notes
-@lilypondfile[quote]{simultaneous-headword.ly}
+@lilypondfile[quote,ragged-right,line-width=16\cm]{simultaneous-headword.ly}
Polyphony in music refers to having more than one voice occurring
in a piece of music. Polyphony in LilyPond refers to having more
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
+@cindex placeholder events
+
+A chord acts merely as a container for its notes, its articulations and
+other attached elements. Consequently, a chord without notes inside
+does not actually have a duration. Any attached articulations will
+happen at the same musical time as the next following note or chord and
+be combined with them (for more complex possibilities of combining such
+elements, see @ref{Simultaneous expressions}):
+
+@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}.
Notation Reference:
@ref{Chord notation},
@ref{Articulations and ornamentations},
-@ref{Relative octave entry}.
+@ref{Relative octave entry},
+@ref{Multiple voices}.
Snippets:
@rlsr{Simultaneous notes}.
+@knownissues
+Chords containing more than two pitches within a staff space,
+such as @samp{<e f! fis!>}, create overlapping noteheads.
+Depending on the situation, better representations might involve
+
+@itemize
+
+@item
+temporary use of @ref{Multiple voices},
+@samp{<< f! \\ <e fis!> >>},
+
+@item
+enharmonic transcription of one or more pitches,
+@samp{<e f ges>}, or
+
+@item
+@ref{Clusters}.
+
+@end itemize
+
@node Chord repetition
@unnumberedsubsubsec Chord repetition
+@cindex chord, repetition
+@cindex repetition, using @code{q}
+@cindex @code{q}, chord repetition
+
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 c4 q2 r8 q8
+@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,
-articulation or ornamentation within, or attached to the previous chord.
+articulation or ornamentation within, or attached to, the previous
+chord.
-@lilypond[verbatim,quote,relative=2]
-<a-. c\prall e>1\sfz c4 q2 r8 q8
+@lilypond[verbatim,quote]
+\relative {
+ <a'-. c\prall e>1\sfz c'4 q2 r8 q8 |
+ q2 c, |
+}
@end lilypond
+To have some of them retained, the @code{\chordRepeats} function can be
+be called explicitly with an extra argument specifying a list of
+@var{event types} to keep unless events of that type are already
+present on the @code{q} chord itself.
+
+@lilypond[verbatim,quote]
+\relative {
+ \chordRepeats #'(articulation-event)
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ q2 c, |
+}
+@end lilypond
+
+Here using @code{\chordRepeats} inside of a @code{\relative} construction
+produces unexpected results: once chord events have been expanded, they
+are indistinguishable from having been entered as regular chords, making
+@code{\relative} assign an octave based on their current context.
+
+Since nested instances of @code{\relative} don't affect one another,
+another @code{\relative} inside of @code{\chordRepeats} can be used for
+establishing the octave relations before expanding the repeat chords.
+In that case, the whole content of the inner @code{\relative} does not
+affect the outer one; hence the different octave entry of the final note
+in this example.
+
+@lilypond[verbatim,quote]
+\relative {
+ \chordRepeats #'(articulation-event)
+ \relative
+ { <a'-. c\prall e>1\sfz c'4 q2 r8 q8-. } |
+ q2 c'' |
+}
+@end lilypond
+
+Interactions with @code{\relative} occur only with explicit calls of
+@code{\chordRepeats}: the implicit expansion at the start of typesetting
+is done at a time where all instances of @code{\relative} have already
+been processed.
+
@seealso
Notation Reference:
@ref{Chord notation},
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
-rhythms, but attempts to attach notes with different durations
-to the same stem will cause errors.
+rhythms, but attempts to attach notes with different durations to
+the same stem will cause errors. Notes, articulations, and property
+changes in a @emph{single} @samp{Voice} are collected and engraved in
+musical order:
+
+@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 same musical time require the use of multiple voices.
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.
+Here different rhythms cause no problems because they are
+interpreted in different voices.
+
+@cindex collisions, ignoring
+
+@knownissues
+If notes from two or more voices, with no shifts specified,
+have stems in the same direction, the message
+
+@example
+warning: This voice needs a \voiceXx or \shiftXx setting
+@end example
+
+will appear during compilation. This message can be suppressed by:
+
+@example
+\override NoteColumn.ignore-collision = ##t
+@end example
+
+However, this not only suppresses the warning but will prevent any
+collision resolution whatsover and may have other unintended effects
+(also see @emph{Known Issues} in @ref{Collision resolution}).
@node Clusters
@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,
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
-
@seealso
Music Glossary:
@rglos{cluster}.
@rinternals{ClusterSpannerBeacon},
@rinternals{Cluster_spanner_engraver}.
-
@knownissues
-
Clusters look good only if they span at least two chords; otherwise
they appear too narrow.
Clusters do not produce MIDI output.
+
@node Multiple voices
@subsection Multiple voices
* 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
-@strong{@i{Explicitly instantiating voices}}
+@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~ d16 b c8~ c16 b c8~ c16 b8. }
+ \relative { \voiceTwo d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
@noindent
Here, voices are instantiated explicitly and are given names. The
-@code{\voiceOne} ... @code{\voiceFour} commands set up the voices
+@code{\voiceOne} @dots{} @code{\voiceFour} commands set up the voices
so that first and third voices get stems up, second and fourth
voices get stems down, third and fourth voice note heads are
horizontally shifted, and rests in the respective voices are
command returns all the voice settings to the neutral default
directions.
-@strong{@i{Temporary polyphonic passages}}
+@subsubsubheading Temporary polyphonic passages
A temporary polyphonic passage can be created with the following
construct:
@example
-<< @{ \voiceOne ... @}
- \new Voice @{ \voiceTwo ... @}
+<< @{ \voiceOne @dots{} @}
+ \new Voice @{ \voiceTwo @dots{} @}
>> \oneVoice
@end example
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
Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
required to define the settings of each voice.
-@strong{@i{The double backslash construct}}
+@subsubsubheading The double backslash construct
-The @code{<< @{...@} \\ @{...@} >>} construct, where the two (or
+The @code{<< @{@dots{}@} \\ @{@dots{}@} >>} construct, where the two (or
more) expressions are separated by double backslashes, behaves
differently to the similar construct without the double backslashes:
@emph{all} the expressions within this construct are assigned
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~ d16 b c8~ c16 b c8~ c16 b8. }
+ \relative { d''16 c d8~ 16 b c8~ 16 b c8~ 16 b8. }
>>
@end lilypond
This syntax can be used where it does not matter that temporary
voices are created and then discarded. These implicitly created
voices are given the settings equivalent to the effect of the
-@code{\voiceOne} ... @code{\voiceFour} commands, in the order in
+@code{\voiceOne} @dots{} @code{\voiceFour} commands, in the order in
which they appear in the code.
In the following example, the intermediate voice has stems up,
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
@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
@rlearning{Explicitly instantiating voices}.
-@strong{@i{Voice order}}
+@subsubsubheading Voice order
When entering multiple voices in the input file, use the following
order:
>>
@end lilypond
-@strong{@i{Identical rhythms}}
+@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
In the special case that we want to typeset parallel pieces of music
that have the same rhythm, we can combine them into a single
@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
@code{\oneVoice}.
@endpredefined
-
@seealso
Learning Manual:
@rlearning{Voices contain music},
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
@code{\voiceNeutralStyle}.
@endpredefined
-
@seealso
Learning Manual:
@rlearning{I'm hearing Voices},
@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, with the
-exception of half-note heads and quarter-note heads, as shown
-below. Here the note heads on beat 1 of bar 1 are now merged:
+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
+Quarter and half notes are not merged in this way, since it would be difficult
+to tell them apart.
+
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
-
The half note and eighth note at the start of the second measure
are incorrectly merged because the automatic merge cannot
successfully complete the merge when three or more notes line up in
@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
vertical order of voices on the staff!}
@lilypond[quote,verbatim]
-\new Staff \relative c'' {
+\new Staff \relative {
%% abbreviated entry
<<
- { f2 } % 1: highest
+ { f''2 } % 1: highest
\\
{ g,2 } % 2: lowest
\\
they have, for example, in voices one and two by default or when
the stems are explicitly set in opposite directions).
-
@predefined
@code{\mergeDifferentlyDottedOn},
@code{\mergeDifferentlyDottedOff},
@code{\shiftOff}.
@endpredefined
-
@snippets
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{additional-voices-to-avoid-collisions.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-
@seealso
Music Glossary:
@rglos{polyphony}.
@rinternals{NoteCollision},
@rinternals{RestCollision}.
+@cindex collisions, ignoring
@knownissues
+Using @code{\override NoteColumn.ignore-collision = ##t} will cause
+differently headed notes in different voices to merge incorrectly.
+
+@lilypond[quote,verbatim,fragment]
+\mergeDifferentlyHeadedOn
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
+\override NoteColumn.ignore-collision = ##t
+<< \relative { c'16 a' b a } \\ \relative { c'2 } >>
+@end lilypond
@ignore
+@knownissues
@c TODO investigate! Sometimes it works, sometimes not. --FV
The requirements for successfully merging different note heads that
are at the same time differently dotted are not clear.
@end ignore
-There is no support for chords where the same note occurs with
-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 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 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.
+Automatic part combining is used to merge two separate parts of music
+onto a single staff. This can be especially helpful when typesetting
+orchestral scores. A single @code{Voice} is printed while the two parts
+of music are the same, but in places where they differ, a second
+@code{Voice} is printed. Stem directions are set up & down accordingly
+while Solo and @notation{a due} parts are also identified and marked
+appropriately.
-The syntax for part combining is:
+The syntax for automatic part combining is:
@example
\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, putting
+parts on a single staff as polyphony and setting stem directions
+accordingly. The same variables are used for the independent parts and
+the combined staff.
@lilypond[quote,verbatim]
-instrumentOne = \relative c' {
- c4 d e f
- R1
- d'4 c b a
- b4 g2 f4
- e1
+instrumentOne = \relative {
+ c'4 d e f |
+ R1 |
+ d'4 c b a |
+ b4 g2 f4 |
+ e1 |
}
-instrumentTwo = \relative g' {
- R1
- g4 a b c
- d c b a
- g f( e) d
- e1
+instrumentTwo = \relative {
+ R1 |
+ g'4 a b c |
+ d4 c b a |
+ g4 f( e) d |
+ e1 |
}
<<
>>
@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 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 parts have identical notes in the third measure, so only one
+instance of the notes is printed. Stem, slur, and tie directions are
+set automatically, depending on whether the parts are playing solo or in
+unison. When needed in polyphony situations, the first part (with
+context called @code{one}) gets @qq{up} stems, while the second (called
+@code{two}) always gets @qq{down} stems. In solo situations, the first
+and second parts get marked with @qq{Solo} and @qq{Solo II},
+respectively. The unison (@notation{a due}) parts are marked with the
+text @qq{a2}.
+
+By default, the partcombiner merges two notes of the same pitch as an
+@notation{a due} note, combines notes with the same
+rhythm less than a ninth apart as chords and separates notes more than
+a ninth apart (or when the voices cross) into
+separate voices. This can be overridden with an optional argument of a pair
+of numbers after the @code{\partcombine} command: the first specifies
+the interval where notes start to be combined (the default is zero) and the
+second where the notes are split into separate voices. Setting the second
+argument to zero means that the partcombiner splits notes with an interval of
+a second or more, setting it to one splits notes of a third or more, and so on.
-Both arguments to @code{\partcombine} will be interpreted as
-@code{Voice} contexts. If using relative octaves,
-@code{\relative} should be specified for both music expressions,
+@lilypond[quote,verbatim]
+instrumentOne = \relative {
+ a4 b c d |
+ e f g a |
+ b c d e |
+}
+
+instrumentTwo = \relative {
+ c'4 c c c |
+ c c c c |
+ c c c c |
+}
+
+<<
+ \new Staff \partcombine \instrumentOne \instrumentTwo
+ \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
+>>
+@end lilypond
+
+
+Both arguments to @code{\partcombine} will be interpreted as separate
+@code{Voice} contexts, so if the music is being specified in relative
+mode then @emph{both} parts must contain a @code{\relative} function,
i.e.,
@example
@end example
@noindent
-A @code{\relative} section that is outside of @code{\partcombine}
-has no effect on the pitches of @code{@var{musicexpr1}} and
+A @code{\relative} section that encloses a @code{\partcombine} has no
+effect on the pitches of @code{@var{musicexpr1}} or
@code{@var{musicexpr2}}.
+@funindex \partcombineChords
+@funindex \partcombineApart
+@funindex \partcombineUnisono
+@funindex \partcombineSoloI
+@funindex \partcombineSoloII
+@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 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} keeps the
+notes as two separate voices, even if they can be combined into a chord
+or unison.
+
+@item
+@code{\partcombineChords} combines the
+notes into a chord.
+
+@item
+@code{\partcombineUnisono} combines
+both voices as @qq{unison}.
+
+@item
+@code{\partcombineSoloI} prints only
+voice one, and marks it as a @qq{Solo}.
+
+@item
+@code{\partcombineSoloII} prints only
+voice two and marks it as a @qq{Solo}.
+
+@item
+@code{\partcombineAutomatic} ends
+the functions of the commands above, and reverts back to the standard
+@code{\partcombine} functionality.
+@end itemize
+
+@lilypond[quote,verbatim]
+instrumentOne = \relative c' {
+ \partcombineApart c2^"apart" e |
+ \partcombineAutomatic e2^"auto" e |
+ \partcombineChords e'2^"chord" e |
+ \partcombineAutomatic c2^"auto" c |
+ \partcombineApart c2^"apart" \once \partcombineChords e^"chord once" |
+ c2 c |
+}
+instrumentTwo = \relative {
+ c'2 c |
+ e2 e |
+ a,2 c |
+ c2 c' |
+ c2 c |
+ c2 c |
+}
+
+<<
+ \new Staff { \instrumentOne }
+ \new Staff { \instrumentTwo }
+ \new Staff { \partcombine \instrumentOne \instrumentTwo }
+>>
+@end lilypond
+
+
+@subsubsubheading Using \partcombine with lyrics
+
+@cindex \partcombine and lyrics
+
+The @code{\partcombine} command is not designed to work with
+lyrics; if one of the voices is explicitly named in order to
+attach lyrics to it, the partcombiner will stop working. However,
+this effect can be achieved using a @code{NullVoice} context. See
+@ref{Polyphony with shared lyrics}.
+
+
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{combining-two-parts-on-the-same-staff.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-partcombine-texts.ly}
-
@seealso
Music Glossary:
@rglos{a due},
@rinternals{PartCombineMusic},
@rinternals{Voice}.
-
@knownissues
+All @code{\partcombine@dots{}} functions can only accept two voices.
-@code{\partcombine} can only accept two voices.
+@code{\partcombine@dots{}} functions cannot be placed inside a @code{\tuplet}
+or @code{\relative} block.
-When @code{printPartCombineTexts} is set, if the two voices play
-the same notes on and off, the part combiner may typeset @code{a2}
-more than once in a measure.
+If @code{printPartCombineTexts} is set and the two voices play the same
+notes @qq{on and off}, in the same measure, the part combiner may
+typeset @code{a2} more than once in that measure.
-@code{\partcombine} cannot be inside @code{\times}.
+@code{\partcombine} only knows when a note starts in a @code{Voice}; it
+cannot, for example, remember if a note in one @code{Voice} has already
+started when combining notes that have just started in the other
+@code{Voice}. This can lead to a number of unexpected issues including
+@qq{Solo} or @qq{Unison} marks being printed incorrectly.
-@code{\partcombine} cannot be inside @code{\relative}.
+@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.
-Internally, the @code{\partcombine} interprets both arguments as
-@code{Voice}s and decides when the parts can be combined. When they have
-different durations they cannot be combined and are given the names
-@code{one} and @code{two}. Consequently, if the arguments switch to
-differently named @rinternals{Voice} contexts, the events in those will
-be ignored. Likewise, partcombining isn't designed to work with lyrics;
-when one of the voices is explicitly named in order to attach lyrics to
-it, the partcombining stops working.
+If the @code{\partcombine} function cannot combine both music
+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
+named @code{Voice} will be ignored.
-@code{\partcombine} only observes onset times of notes. It cannot
-determine whether a previously started note is playing or not, leading
-to various problems.
+Refer also to @emph{Known issues and warnings} when using
+@code{\partcombine} with tablature in @ref{Default tablatures} and the
+@emph{Note} in @ref{Automatic beams} when using automatic beaming.
@node 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
function @code{\parallelMusic} accepts a list with the names of a
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
- r16 e'8.~ e'4 r16 e'8.~ e'4 |
+ r16 e'8.~ 4 r16 e'8.~ 4 |
c'2 c'2 |
% Bar 2
r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
- r16 d'8.~ d'4 r16 d'8.~ d'4 |
+ r16 d'8.~ 4 r16 d'8.~ 4 |
c'2 c'2 |
}
\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
r8 g16 c e g, c e r8 g,16 c e g, c e |
- r16 e8.~ e4 r16 e8.~ e4 |
+ r16 e8.~ 4 r16 e8.~ 4 |
c2 c |
% Bar 2
r8 a,16 d f a, d f r8 a,16 d f a, d f |
- r16 d8.~ d4 r16 d8.~ d4 |
+ r16 d8.~ 4 r16 d8.~ 4 |
c2 c |
}
}
@end lilypond
-
@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.
projects / lilypond.git / blobdiff