1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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12 @node Simultaneous notes
13 @section Simultaneous notes
15 @lilypondfile[quote]{simultaneous-headword.ly}
17 Polyphony in music refers to having more than one voice occurring
18 in a piece of music. Polyphony in LilyPond refers to having more
19 than one voice on the same staff.
28 @subsection Single voice
30 This section discusses simultaneous notes inside the same voice.
39 @unnumberedsubsubsec Chorded notes
42 @cindex brackets, angle
47 A chord is formed by a enclosing a set of pitches between @code{<} and
48 @code{>}. A chord may be followed by a duration and/or a set of
49 articulations, just like simple notes:
51 @lilypond[verbatim,quote,relative=1]
52 <c e g>2 <c f a>4-> <e g c>-.
55 Relative mode can be used for pitches in chords; the preceding pitch
56 into the same chord is still used as a reference for relative pitches,
57 but when a chord is completed, the reference pitch for relative mode
58 is the first note of this chord --not the last note of the chord.
60 For more information about chords, see @ref{Chord notation}.
68 @rlearning{Combining notes into chords}.
74 @rlsr{Simultaneous notes}.
79 For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
80 that should automatically turn into chords, appear split in two
81 staves. To avoid this, use explicit chords instead as in
87 @unnumberedsubsubsec Clusters
90 @funindex \makeClusters
92 A cluster indicates a continuous range of pitches to be played. They
93 can be denoted as the envelope of a set of notes. They are entered by
94 applying the function @code{\makeClusters} to a sequence of chords,
97 @lilypond[quote,relative=2,verbatim]
98 \makeClusters { <g b>2 <c g'> }
101 Ordinary notes and clusters can be put together in the same staff,
102 even simultaneously. In such a case no attempt is made to
103 automatically avoid collisions between ordinary notes and clusters.
111 @rlsr{Simultaneous notes}.
114 @rinternals{ClusterSpanner},
115 @rinternals{ClusterSpannerBeacon},
116 @rinternals{Cluster_spanner_engraver}.
120 Clusters look good only if they span at least two chords; otherwise
121 they appear too narrow.
123 Clusters do not have a stem and cannot indicate durations by
124 themselves. Separate clusters would need a separating rest between
128 @node Multiple voices
129 @subsection Multiple voices
131 This section discusses simultaneous notes in multiple voices or
135 * Single-staff polyphony::
137 * Collision resolution::
138 * Automatic part combining::
139 * Writing music in parallel::
143 @node Single-staff polyphony
144 @unnumberedsubsubsec Single-staff polyphony
146 @c Already reordered as Carl suggested --FV
147 The basic structure of code needed to achieve multiple, independent
148 voices in a single staff is illustrated in the following example:
150 @lilypond[quote,relative=3,verbatim]
153 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
155 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
159 Here, voices are instantiated explicitly and are given a name. The
160 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices so
161 that first and third voices get stems up, second and fourth voices get
162 stems down, third and fourth voice note heads are horizontally
163 shifted, and rests in the respective voices are automatically moved to
166 Using the @code{\oneVoice} command, we can make a voice to be into the
167 same @code{Voice} context before and after a temporary polyphonic
168 passage. For example:
171 << @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
174 This construct keeps a voice alive throughout the polyphonic section.
175 Using the name given when created, this allows lyrics to be assigned
176 to one consistent voice.
178 @lilypond[quote, verbatim, relative=2]
180 \new Voice = "melody" {
195 \new Lyrics \lyricsto "melody" {
201 The @code{<<@{...@} \\ @{...@}>>} construction can be used as a
202 simplified method, where the two (or more) voices are separated by
203 double backslashes. Our first example could be typeset as follows:
205 @lilypond[quote,relative=3,verbatim]
207 { r8 r16 g e8. f16 g8[ c,] f e16 d }
209 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
213 This syntax is simpler and can be used where it does not matter that
214 temporary voices are created and then discarded. These implicitly
215 created voices are given the settings equivalent to the effect of the
216 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in which
217 they appear in the code. In the following example, the intermediate
218 voice has stems up, therefore we enter it in the third place, so it
219 becomes voice three which has the stems up as desired.
221 @lilypond[quote,relative=3,verbatim]
223 { r8 g g g g f16 es f8 d }
225 { es,8 r es r d r d r }
227 { d'8 s c s bes s a s }
231 Spacing rests are often used to avoid too many rests, as seen in the
234 In all but simplest works it is advisable to create explicit
235 @code{Voice} contexts using the @code{\new} and @code{\context}
236 commands as it is explained in @rlearning{Contexts and engravers} and
237 @rlearning{Explicitly instantiating voices}.
239 In the special case that we want to typeset parallel pieces of music
240 that have the same rhythm, we can combine them into a single
241 @code{Voice} context, thus forming chords. To achieve this, enclose
242 them in a simple simultaneous music construction and make it to be an
245 @lilypond[quote,relative=2,verbatim]
247 { e4 f8 d e16 f g8 d4 }
248 { c4 d8 b c16 d e8 b4 }
252 This method leads to strange beamings and warnings if the pieces of
253 music do not have the same rhythm.
261 @funindex \voiceThree
271 @rlearning{Voices contain music},
272 @rlearning{Explicitly instantiating voices}.
275 @ref{Percussion staves}.
278 @rlsr{Simultaneous notes}.
282 @unnumberedsubsubsec Voice styles
285 @cindex styles, voice
286 @cindex coloring voices
288 Voices may be given distinct colors and shapes, allowing them to be
291 @lilypond[quote,relative=2,verbatim]
293 { \voiceOneStyle d4 c2 b4 }
295 { \voiceTwoStyle e,2 e }
297 { \voiceThreeStyle b2. c4 }
299 { \voiceFourStyle g'2 g }
303 To revert the standard presentation, the @code{\voiceNeutralstyle}
308 @funindex \voiceOneStyle
309 @code{\voiceOneStyle},
310 @funindex \voiceTwoStyle
311 @code{\voiceTwoStyle},
312 @funindex \voiceThreeStyle
313 @code{\voiceThreeStyle},
314 @funindex \voiceFourStyle
315 @code{\voiceFourStyle},
316 @funindex \voiceNeutralStyle
317 @code{\voiceNeutralStyle}.
322 @rlearning{I'm hearing Voices},
323 @rlearning{Other sources of information}.
326 @rlsr{Simultaneous notes}.
329 @node Collision resolution
330 @unnumberedsubsubsec Collision resolution
332 @cindex merging notes
333 @cindex note collisions
339 @cindex shift rest, automatic
341 Note heads with equal durations are automatically merged, while
342 note heads with unequal durations are not merged. Rests opposite
343 a stem are shifted vertically.
345 @lilypond[quote,verbatim,relative=2]
361 Note heads with different note heads may be merged, with the
362 exception of half-note heads and quarter-note heads:
364 @lilypond[quote,verbatim,relative=2]
367 \mergeDifferentlyHeadedOn
381 Note heads with different dots may be merged:
383 @lilypond[quote,relative=2,verbatim]
386 \mergeDifferentlyHeadedOn
387 \mergeDifferentlyDottedOn
403 The collision on the second measure happens because
404 @code{merge-differently-headed} cannot successfully complete the
405 merge when three or more notes line up in the same column -- in
406 fact, you will obtain a warning for this reason. To allow the
407 merge to work properly, apply a @code{\shift} to the note that
408 should not be merged. Here, @code{\shiftOn} is applied to move
409 the top @code{g} out of the column, and
410 @code{merge-differently-headed} works properly.
412 @lilypond[quote,relative=2,verbatim]
415 \mergeDifferentlyHeadedOn
416 \mergeDifferentlyDottedOn
432 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
433 commands specify the degree to which chords of the current voice
434 should be shifted. The outer voices (normally: voices one and
435 two) have @code{\shiftOff}, while the inner voices (three and
436 four) have @code{\shiftOn}. @code{\shiftOnn} and
437 @code{\shiftOnnn} define further shift levels.
439 Notes are only merged if they have opposing stem directions (i.e., in
440 @code{Voice} 1 and 2).
442 @cindex multiple voices
443 @cindex polyphonic music
444 @cindex shifting voices
448 @funindex \mergeDifferentlyDottedOn
449 @code{\mergeDifferentlyDottedOn},
450 @funindex \mergeDifferentlyDottedOff
451 @code{\mergeDifferentlyDottedOff},
452 @funindex \mergeDifferentlyHeadedOn
453 @code{\mergeDifferentlyHeadedOn},
454 @funindex \mergeDifferentlyHeadedOff
455 @code{\mergeDifferentlyHeadedOff}.
468 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
469 {additional-voices-to-avoid-collisions.ly}
471 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
472 {forcing-horizontal-shift-of-notes.ly}
480 @rlearning{Multiple notes at once},
481 @rlearning{Voices contain music},
482 @rlearning{Collisions of objects}.
485 @rlsr{Simultaneous notes}.
488 @rinternals{NoteColumn},
489 @rinternals{NoteCollision},
490 @rinternals{RestCollision}.
494 When using @code{merge-differently-headed} with an upstem eighth
495 or a shorter note, and a downstem half note, the eighth note stem
496 gets a slightly wrong offset because of the different width of the
497 half note head symbol.
499 @c investigate! Sometimes it works, sometimes not. --FV
500 The requirements for successfully merging different note heads that
501 are at the same time differently dotted are not clear.
503 There is no support for chords where the same note occurs with
504 different accidentals in the same chord. In this case, it is
505 recommended to use enharmonic transcription, or to use special
506 cluster notation (see @ref{Clusters}).
509 @node Automatic part combining
510 @unnumberedsubsubsec Automatic part combining
512 @cindex automatic part combining
513 @cindex part combiner
514 @cindex combining parts
515 @funindex \partcombine
517 Automatic part combining is used to merge two parts of music onto
518 a staff. It is aimed at typesetting orchestral scores. When the
519 two parts are identical for a period of time, only one is shown.
520 In places where the two parts differ, they are typeset as separate
521 voices, and stem directions are set automatically. Also, solo and
522 @notation{a due} parts are identified and marked by default.
524 The syntax for part combining is:
527 \partcombine @var{musicexpr1} @var{musicexpr2}
530 The following example demonstrates the basic functionality of the
531 part combiner: putting parts on one staff and setting stem
532 directions and polyphony. The same variables are used for the
533 independent parts and the combined staff.
535 @lilypond[quote,verbatim]
536 instrumentOne = \relative c' {
544 instrumentTwo = \relative g' {
553 \new Staff \instrumentOne
554 \new Staff \instrumentTwo
555 \new Staff \partcombine \instrumentOne \instrumentTwo
559 The notes in the third measure appear only once, although they
560 were specified in both parts. Stem, slur, and tie directions are
561 set automatically, depending whether there is a solo or unison.
562 When needed in polyphony situations, the first part (with context
563 called @code{one}) always gets up stems, while the second (called
564 @code{two}) always gets down stems. In solo situations, the parts
565 get marked with @q{Solo} and @q{Solo II}, respectively. The
566 unisono (@notation{a due}) parts are marked by default with the
569 Both arguments to @code{\partcombine} will be interpreted as
570 @code{Voice} contexts. If using relative octaves,
571 @code{\relative} should be specified for both music expressions,
576 \relative @dots{} @var{musicexpr1}
577 \relative @dots{} @var{musicexpr2}
581 A @code{\relative} section that is outside of @code{\partcombine}
582 has no effect on the pitches of @var{musicexpr1} and
587 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
588 {combining-two-parts-on-the-same-staff.ly}
590 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
591 {changing-partcombine-texts.ly}
603 @rlsr{Simultaneous notes}.
606 @rinternals{PartCombineMusic},
611 When @code{printPartCombineTexts} is set, if the two voices play
612 the same notes on and off, the part combiner may typeset @code{a2}
613 more than once in a measure.
615 @code{\partcombine} cannot be inside @code{\times}.
617 @code{\partcombine} cannot be inside @code{\relative}.
619 Internally, the @code{\partcombine} interprets both arguments as
620 @code{Voice}s named @code{one} and @code{two}, and then decides
621 when the parts can be combined. Consequently, if the arguments
622 switch to differently named @rinternals{Voice} contexts, the
623 events in those will be ignored.
625 @c IIRC in users list someone pointed out more issues. TODO: lookup FV
628 @node Writing music in parallel
629 @unnumberedsubsubsec Writing music in parallel
631 @cindex Writing music in parallel
632 @cindex Interleaved music
633 @funindex parallelMusic
635 Music for multiple parts can be interleaved in input code. The
636 function @code{\parallelMusic} accepts a list with the names of a
637 number of variables to be created, and a musical expression. The
638 content of alternate measures from the expression become the value
639 of the respective variables, so you can use them afterwards to
642 @warning{Bar checks @code{|} must be used, and the measures must
643 be of the same length.}
645 @lilypond[quote,verbatim]
646 \parallelMusic #'(voiceA voiceB voiceC) {
648 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
649 r16 e'8.~ e'4 r16 e'8.~ e'4 |
653 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
654 r16 d'8.~ d'4 r16 d'8.~ d'4 |
659 \new Staff << \voiceA \\ \voiceB >>
660 \new Staff { \clef bass \voiceC }
664 Relative mode may be used. Note that the @code{\relative} command
665 is not used inside @code{\parallelMusic} itself. The notes are
666 relative to the preceding note in the voice, not to the previous
667 note in the input -- in other words, relative notes for
668 @code{voiceA} ignore the notes in @code{voiceB}.
670 @lilypond[quote,verbatim]
671 \parallelMusic #'(voiceA voiceB voiceC) {
673 r8 g16 c e g, c e r8 g,16 c e g, c e |
674 r16 e8.~ e4 r16 e8.~ e4 |
678 r8 a,16 d f a, d f r8 a,16 d f a, d f |
679 r16 d8.~ d4 r16 d8.~ d4 |
684 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
685 \new Staff \relative c' { \clef bass \voiceC }
689 This works quite well for piano music. This example maps four
690 consecutive measures to four variables:
692 @lilypond[quote,verbatim]
698 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
702 c16 d e fis d e fis g |
708 e16 fis g a fis g a b |
719 \relative c'' \voiceA
739 @rlearning{Organizing pieces with variables}.
742 @rlsr{Simultaneous notes}.