1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
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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 The basic structure of code needed to achieve multiple, independent
147 voices in a single staff is illustrated in the following example:
149 @lilypond[quote,relative=3,verbatim]
152 { \voiceOne r8 r16 g e8. f16 g8[ c,] f e16 d }
154 { \voiceTwo d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
158 Here, voices are instantiated explicitly and are given a name. The
159 @code{\voiceOne} ... @code{\voiceFour} commands set up the voices so
160 that first and third voices get stems up, second and fourth voices get
161 stems down, third and fourth voice note heads are horizontally
162 shifted, and rests in the respective voices are automatically moved to
163 avoid collisions. Using the @code{\oneVoice} command, all the voice
164 settings are put back to the neutral directions typical of a
165 single-voice passage.
167 We can make a voice to be in the same @code{Voice} context before
168 and after a temporary polyphonic passage. For example, the following
169 construct keeps a voice alive throughout the polyphonic section. Said
170 voice is the first one inside of the two-voice section, and the extra
171 voice is the second one.
174 << @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
177 Using the name given when created, this allows lyrics to be assigned
178 to one consistent voice.
180 @lilypond[quote, verbatim, relative=2]
182 \new Voice = "melody" {
197 \new Lyrics \lyricsto "melody" {
203 Here, the \voiceOne and \voiceTwo commands help to make clear what
204 settings does each voice receive.
206 The @code{<<@{...@} \\ @{...@}>>} construction, where the two (or
207 more) voices are separated by double backslashes, can be used as a
208 simplified method to print multiple voices in a single staff. Our
209 first example could be typeset as follows:
211 @lilypond[quote,relative=3,verbatim]
213 { r8 r16 g e8. f16 g8[ c,] f e16 d }
215 { d16 c d8~ d16 b c8~ c16 b c8~ c16 b8. }
219 This syntax is simpler and can be used where it does not matter that
220 temporary voices are created and then discarded. These implicitly
221 created voices are given the settings equivalent to the effect of the
222 @code{\voiceOne} ... @code{\voiceFour} commands, in the order in which
223 they appear in the code. In the following example, the intermediate
224 voice has stems up, therefore we enter it in the third place, so it
225 becomes voice three which has the stems up as desired.
227 @lilypond[quote,relative=3,verbatim]
229 { r8 g g g g f16 es f8 d }
231 { es,8 r es r d r d r }
233 { d'8 s c s bes s a s }
237 Spacer rests are often used to avoid too many rests, as seen in the
240 In all but simplest works it is advisable to create explicit
241 @code{Voice} contexts using the @code{\new} and @code{\context}
242 commands as it is explained in @rlearning{Contexts and engravers} and
243 @rlearning{Explicitly instantiating voices}.
245 In the special case that we want to typeset parallel pieces of music
246 that have the same rhythm, we can combine them into a single
247 @code{Voice} context, thus forming chords. To achieve this, enclose
248 them in a simple simultaneous music construction and make it to be an
251 @lilypond[quote,relative=2,verbatim]
253 { e4 f8 d e16 f g8 d4 }
254 { c4 d8 b c16 d e8 b4 }
258 This method leads to strange beamings and warnings if the pieces of
259 music do not have the same rhythm.
267 @funindex \voiceThree
277 @rlearning{Voices contain music},
278 @rlearning{Explicitly instantiating voices}.
281 @ref{Percussion staves},
282 @ref{Invisible rests}.
285 @rlsr{Simultaneous notes}.
289 @unnumberedsubsubsec Voice styles
292 @cindex styles, voice
293 @cindex coloring voices
295 Voices may be given distinct colors and shapes, allowing them to be
298 @lilypond[quote,relative=2,verbatim]
300 { \voiceOneStyle d4 c2 b4 }
302 { \voiceTwoStyle e,2 e }
304 { \voiceThreeStyle b2. c4 }
306 { \voiceFourStyle g'2 g }
310 To revert the standard presentation, the @code{\voiceNeutralstyle}
315 @funindex \voiceOneStyle
316 @code{\voiceOneStyle},
317 @funindex \voiceTwoStyle
318 @code{\voiceTwoStyle},
319 @funindex \voiceThreeStyle
320 @code{\voiceThreeStyle},
321 @funindex \voiceFourStyle
322 @code{\voiceFourStyle},
323 @funindex \voiceNeutralStyle
324 @code{\voiceNeutralStyle}.
329 @rlearning{I'm hearing Voices},
330 @rlearning{Other sources of information}.
333 @rlsr{Simultaneous notes}.
336 @node Collision resolution
337 @unnumberedsubsubsec Collision resolution
339 @cindex merging notes
340 @cindex note collisions
346 @cindex shift rest, automatic
348 Note heads with equal durations are automatically merged, while
349 note heads with unequal durations are not merged. Rests opposite
350 a stem are shifted vertically.
352 @lilypond[quote,verbatim,relative=2]
368 Note heads with different note heads may be merged, with the
369 exception of half-note heads and quarter-note heads:
371 @lilypond[quote,verbatim,relative=2]
374 \mergeDifferentlyHeadedOn
388 Note heads with different dots may be merged:
390 @lilypond[quote,relative=2,verbatim]
393 \mergeDifferentlyHeadedOn
394 \mergeDifferentlyDottedOn
410 The collision on the second measure happens because
411 @code{merge-differently-headed} cannot successfully complete the
412 merge when three or more notes line up in the same column -- in
413 fact, you will obtain a warning for this reason. To allow the
414 merge to work properly, apply a @code{\shift} to the note that
415 should not be merged. Here, @code{\shiftOn} is applied to move
416 the top @code{g} out of the column, and
417 @code{merge-differently-headed} works properly.
419 @lilypond[quote,relative=2,verbatim]
422 \mergeDifferentlyHeadedOn
423 \mergeDifferentlyDottedOn
439 The @code{\shiftOn}, @code{\shiftOnn}, and @code{\shiftOnnn}
440 commands specify the degree to which chords of the current voice
441 should be shifted. The outer voices (normally: voices one and
442 two) have @code{\shiftOff}, while the inner voices (three and
443 four) have @code{\shiftOn}. @code{\shiftOnn} and
444 @code{\shiftOnnn} define further shift levels.
446 Notes are only merged if they have opposing stem directions (i.e., in
447 @code{Voice} 1 and 2).
449 @cindex multiple voices
450 @cindex polyphonic music
451 @cindex shifting voices
455 @funindex \mergeDifferentlyDottedOn
456 @code{\mergeDifferentlyDottedOn},
457 @funindex \mergeDifferentlyDottedOff
458 @code{\mergeDifferentlyDottedOff},
459 @funindex \mergeDifferentlyHeadedOn
460 @code{\mergeDifferentlyHeadedOn},
461 @funindex \mergeDifferentlyHeadedOff
462 @code{\mergeDifferentlyHeadedOff}.
475 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
476 {additional-voices-to-avoid-collisions.ly}
478 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
479 {forcing-horizontal-shift-of-notes.ly}
487 @rlearning{Multiple notes at once},
488 @rlearning{Voices contain music},
489 @rlearning{Collisions of objects}.
492 @rlsr{Simultaneous notes}.
495 @rinternals{NoteColumn},
496 @rinternals{NoteCollision},
497 @rinternals{RestCollision}.
501 When using @code{merge-differently-headed} with an upstem eighth
502 or a shorter note, and a downstem half note, the eighth note stem
503 gets a slightly wrong offset because of the different width of the
504 half note head symbol.
506 @c investigate! Sometimes it works, sometimes not. --FV
507 The requirements for successfully merging different note heads that
508 are at the same time differently dotted are not clear.
510 There is no support for chords where the same note occurs with
511 different accidentals in the same chord. In this case, it is
512 recommended to use enharmonic transcription, or to use special
513 cluster notation (see @ref{Clusters}).
516 @node Automatic part combining
517 @unnumberedsubsubsec Automatic part combining
519 @cindex automatic part combining
520 @cindex part combiner
521 @cindex combining parts
522 @funindex \partcombine
524 Automatic part combining is used to merge two parts of music onto
525 a staff. It is aimed at typesetting orchestral scores. When the
526 two parts are identical for a period of time, only one is shown.
527 In places where the two parts differ, they are typeset as separate
528 voices, and stem directions are set automatically. Also, solo and
529 @notation{a due} parts are identified and marked by default.
531 The syntax for part combining is:
534 \partcombine @var{musicexpr1} @var{musicexpr2}
537 The following example demonstrates the basic functionality of the
538 part combiner: putting parts on one staff and setting stem
539 directions and polyphony. The same variables are used for the
540 independent parts and the combined staff.
542 @lilypond[quote,verbatim]
543 instrumentOne = \relative c' {
551 instrumentTwo = \relative g' {
560 \new Staff \instrumentOne
561 \new Staff \instrumentTwo
562 \new Staff \partcombine \instrumentOne \instrumentTwo
566 The notes in the third measure appear only once, although they
567 were specified in both parts. Stem, slur, and tie directions are
568 set automatically, depending whether there is a solo or unison.
569 When needed in polyphony situations, the first part (with context
570 called @code{one}) always gets up stems, while the second (called
571 @code{two}) always gets down stems. In solo situations, the parts
572 get marked with @q{Solo} and @q{Solo II}, respectively. The
573 unisono (@notation{a due}) parts are marked by default with the
576 Both arguments to @code{\partcombine} will be interpreted as
577 @code{Voice} contexts. If using relative octaves,
578 @code{\relative} should be specified for both music expressions,
583 \relative @dots{} @var{musicexpr1}
584 \relative @dots{} @var{musicexpr2}
588 A @code{\relative} section that is outside of @code{\partcombine}
589 has no effect on the pitches of @var{musicexpr1} and
594 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
595 {combining-two-parts-on-the-same-staff.ly}
597 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
598 {changing-partcombine-texts.ly}
610 @rlsr{Simultaneous notes}.
613 @rinternals{PartCombineMusic},
618 When @code{printPartCombineTexts} is set, if the two voices play
619 the same notes on and off, the part combiner may typeset @code{a2}
620 more than once in a measure.
622 @code{\partcombine} cannot be inside @code{\times}.
624 @code{\partcombine} cannot be inside @code{\relative}.
626 Internally, the @code{\partcombine} interprets both arguments as
627 @code{Voice}s named @code{one} and @code{two}, and then decides
628 when the parts can be combined. Consequently, if the arguments
629 switch to differently named @rinternals{Voice} contexts, the
630 events in those will be ignored.
632 @c IIRC in users list someone pointed out more issues. TODO: lookup FV
635 @node Writing music in parallel
636 @unnumberedsubsubsec Writing music in parallel
638 @cindex Writing music in parallel
639 @cindex Interleaved music
640 @funindex parallelMusic
642 Music for multiple parts can be interleaved in input code. The
643 function @code{\parallelMusic} accepts a list with the names of a
644 number of variables to be created, and a musical expression. The
645 content of alternate measures from the expression become the value
646 of the respective variables, so you can use them afterwards to
649 @warning{Bar checks @code{|} must be used, and the measures must
650 be of the same length.}
652 @lilypond[quote,verbatim]
653 \parallelMusic #'(voiceA voiceB voiceC) {
655 r8 g'16 c'' e'' g' c'' e'' r8 g'16 c'' e'' g' c'' e'' |
656 r16 e'8.~ e'4 r16 e'8.~ e'4 |
660 r8 a'16 d'' f'' a' d'' f'' r8 a'16 d'' f'' a' d'' f'' |
661 r16 d'8.~ d'4 r16 d'8.~ d'4 |
666 \new Staff << \voiceA \\ \voiceB >>
667 \new Staff { \clef bass \voiceC }
671 Relative mode may be used. Note that the @code{\relative} command
672 is not used inside @code{\parallelMusic} itself. The notes are
673 relative to the preceding note in the voice, not to the previous
674 note in the input -- in other words, relative notes for
675 @code{voiceA} ignore the notes in @code{voiceB}.
677 @lilypond[quote,verbatim]
678 \parallelMusic #'(voiceA voiceB voiceC) {
680 r8 g16 c e g, c e r8 g,16 c e g, c e |
681 r16 e8.~ e4 r16 e8.~ e4 |
685 r8 a,16 d f a, d f r8 a,16 d f a, d f |
686 r16 d8.~ d4 r16 d8.~ d4 |
691 \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
692 \new Staff \relative c' { \clef bass \voiceC }
696 This works quite well for piano music. This example maps four
697 consecutive measures to four variables:
699 @lilypond[quote,verbatim]
705 \parallelMusic #'(voiceA voiceB voiceC voiceD) {
709 c16 d e fis d e fis g |
715 e16 fis g a fis g a b |
726 \relative c'' \voiceA
746 @rlearning{Organizing pieces with variables}.
749 @rlsr{Simultaneous notes}.