version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
+@c \version "2.12.0"
+
@node Simultaneous notes
@section Simultaneous notes
@menu
* Chorded notes::
-* Parallel notes::
+* Simultaneous expressions::
* Clusters::
@end menu
+
@node Chorded notes
@unnumberedsubsubsec Chorded notes
@cindex chords
@cindex brackets, angle
+@cindex angle brackets
+@cindex relative pitch in chords
+
@funindex <
@funindex >
@funindex <...>
-A chord is formed by a enclosing a set of pitches between @code{<} and
-@code{>}. A chord may be followed by a duration and/or a set of
-articulations, just like simple notes:
+A chord is formed by enclosing a set of pitches between @code{<}
+and @code{>}. A chord may be followed by a duration and/or a set
+of articulations, just like simple notes:
@lilypond[verbatim,quote,relative=1]
<c e g>2 <c f a>4-> <e g c>-.
@end lilypond
+Relative mode can be used for pitches in chords. The octave of each
+pitch is chosen using the preceding pitch as a reference except in
+the case of the first pitch in a chord: the reference for the first
+pitch is the @emph{first} pitch of the preceding chord.
+
For more information about chords, see @ref{Chord notation}.
-@seealso
+@seealso
Music Glossary:
@rglos{chord}.
Snippets:
@rlsr{Simultaneous notes}.
-@ignore
-@knownissues
-For some reason, music expressions like @code{<< @{ g8 e8 @} a4 >>}
-that should automatically turn into chords, appear split in two
-staves. To avoid this, use explicit chords instead as in
-@code{<g a>8 <e a>8}.
-@end ignore
+@node Simultaneous expressions
+@unnumberedsubsubsec Simultaneous expressions
-@node Parallel notes
-@unnumberedsubsubsec Parallel notes
+One or more music expressions enclosed in double angle brackets are
+taken to be simultaneous. If the first expression begins with a
+single note or if the whole simultaneous expression appears
+explicitly within a single voice, the whole expression is placed on
+a single staff; otherwise the elements of the simultaneous
+expression are placed on separate staves.
-@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
+The following examples show simultaneous expressions on one staff:
-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,verbatim,relative=2]
+\new Voice { % explicit single voice
+ << {a4 b g2} {d4 g c,2} >>
+}
+@end lilypond
-@lilypond[quote,relative=2,verbatim]
-\new Voice <<
- { e4 f8 d e16 f g8 d4 }
- { c4 d8 b c16 d e8 b4 }
->>
+@lilypond[quote,verbatim,relative=2]
+% single first note
+a << {a4 b g} {d4 g c,} >>
@end lilypond
-@seealso
+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.
-Learning Manual:
-@rlearning{Voices contain music}.
+The following example shows how simultaneous expressions can
+generate multiple staves implicitly:
-Snippets:
-@rlsr{Simultaneous notes}.
+@lilypond[quote,verbatim,relative=2]
+% no single first note
+<< {a4 b g2} {d4 g2 c,4} >>
+@end lilypond
-@knownissues
+Here different rhythms cause no problems.
-This method leads to strange beamings and warnings if the pieces of
-music do not have the same rhythm.
@node Clusters
@unnumberedsubsubsec Clusters
@cindex cluster
+@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.,
+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'> }
even simultaneously. In such a case no attempt is made to
automatically avoid collisions between ordinary notes and clusters.
-@seealso
+@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 have a stem and cannot indicate durations by
-themselves. Separate clusters would need a separating rest between
-them.
+themselves, but the length of the printed cluster is determined by
+the durations of the defining chords. Separate clusters need a
+separating rest between them.
+
+Clusters do not produce MIDI output.
@node Multiple voices
@subsection Multiple voices
multiple staves.
@menu
-* Collision resolution::
+* Single-staff polyphony::
* Voice styles::
+* Collision resolution::
* Automatic part combining::
* Writing music in parallel::
@end menu
+
+@node Single-staff polyphony
+@unnumberedsubsubsec Single-staff polyphony
+
+@cindex single-staff polyphony
+@cindex polyphony, single-staff
+@cindex voice
+@cindex lyrics assigned to one voice
+
+@funindex \voiceOne
+@funindex voiceOne
+@funindex \voiceOne ... \voiceFour
+@funindex Voice
+@funindex \oneVoice
+@funindex oneVoice
+
+@strong{@i{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]
+\new Staff <<
+ \new Voice = "first"
+ { \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. }
+>>
+@end lilypond
+
+Here, voices are instantiated explicitly and are given names. The
+@code{\voiceOne} ... @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
+automatically moved to avoid collisions. The @code{\oneVoice}
+command returns all the voice settings to the neutral default
+directions.
+
+@strong{@i{Temporary polyphonic passages}}
+
+A temporary polyphonic passage can be created with the following
+construct:
+
+@example
+<< @{ \voiceOne ... @}
+ \new Voice @{ \voiceTwo ... @}
+>> \oneVoice
+@end example
+
+Here, the first expression within a temporary polyphonic passage is
+placed into the @code{Voice} context which was in use immediately
+before the polyphonic passage, and that same @code{Voice} context
+continues after the temporary section. Other expressions within
+the angle brackets are assigned to distinct temporary voices.
+This allows lyrics to be assigned to one continuing voice before,
+during and after a polyphonic section:
+
+@lilypond[quote, verbatim, relative=2]
+<<
+ \new Voice = "melody" {
+ a4
+ <<
+ {
+ \voiceOne
+ g f
+ }
+ \new Voice {
+ \voiceTwo
+ d2
+ }
+ >>
+ \oneVoice
+ e4
+ }
+ \new Lyrics \lyricsto "melody" {
+ This is my song.
+ }
+>>
+@end lilypond
+
+Here, the @code{\voiceOne} and @code{\voiceTwo} commands are
+required to define the settings of each voice.
+
+@strong{@i{The double backslash construct}}
+
+The @code{<< @{...@} \\ @{...@} >>} 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 contruct are assigned
+to new @code{Voice} contexts. These new @code{Voice} contexts
+are created implicitly and are given the fixed names @code{"1"},
+@code{"2"}, etc.
+
+The first example could be typeset as follows:
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 r16 g e8. f16 g8[ c,] f e16 d }
+ \\
+ { d16 c d8~ d16 b c8~ c16 b c8~ c16 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
+which they appear in the code.
+
+In the following example, the intermediate voice has stems up,
+therefore we enter it in the third place, so it becomes voice
+three, which has the stems up as desired. Spacer rests are
+used to avoid printing doubled rests.
+
+@lilypond[quote,relative=3,verbatim]
+<<
+ { r8 g g g g f16 ees f8 d }
+ \\
+ { ees,8 r ees r d r d r }
+ \\
+ { d'8 s c s bes s a s }
+>>
+@end lilypond
+
+In all but the simplest works it is advisable to create explicit
+@code{Voice} contexts as explained in @rlearning{Contexts and engravers} and
+@rlearning{Explicitly instantiating voices}.
+
+@strong{@i{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]
+\new Voice <<
+ { e4 f8 d e16 f g8 d4 }
+ { c4 d8 b c16 d e8 b4 }
+>>
+@end lilypond
+
+This method leads to strange beamings and warnings if the pieces of
+music do not have the same rhythm.
+
+
+@predefined
+@code{\voiceOne},
+@code{\voiceTwo},
+@code{\voiceThree},
+@code{\voiceFour},
+@code{\oneVoice}.
+@endpredefined
+
+
+@seealso
+Learning Manual:
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@ref{Percussion staves},
+@ref{Invisible rests},
+@ref{Stems}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
+
+
+@node Voice styles
+@unnumberedsubsubsec Voice styles
+
+@cindex voice styles
+@cindex styles, voice
+@cindex coloring voices
+@funindex \voiceOneStyle
+@funindex \voiceTwoStyle
+@funindex \voiceThreeStyle
+@funindex \voiceFourStyle
+@funindex \voiceNeutralStyle
+
+Voices may be given distinct colors and shapes, allowing them to be
+easily identified:
+
+@lilypond[quote,relative=2,verbatim]
+<<
+ { \voiceOneStyle d4 c2 b4 }
+ \\
+ { \voiceTwoStyle e,2 e }
+ \\
+ { \voiceThreeStyle b2. c4 }
+ \\
+ { \voiceFourStyle g'2 g }
+>>
+@end lilypond
+
+The @code{\voiceNeutralstyle} command is used to revert to the
+standard presentation.
+
+
+@predefined
+@code{\voiceOneStyle},
+@code{\voiceTwoStyle},
+@code{\voiceThreeStyle},
+@code{\voiceFourStyle},
+@code{\voiceNeutralStyle}.
+@endpredefined
+
+
+@seealso
+Learning Manual:
+@rlearning{I'm hearing Voices},
+@rlearning{Other sources of information}.
+
+Snippets:
+@rlsr{Simultaneous notes}.
+
+
@node Collision resolution
@unnumberedsubsubsec Collision resolution
@cindex merging notes
@cindex note collisions
@cindex collisions
+@cindex shift note
+@cindex multiple voices
+@cindex voices, multiple
+@cindex polyphonic music
+@cindex shifting voices
+@cindex voices, multiple
+@cindex shift rest, automatic
@funindex \shiftOn
+@funindex shiftOn
@funindex \shiftOnn
+@funindex shiftOnn
@funindex \shiftOnnn
+@funindex shiftOnnn
@funindex \shiftOff
-@cindex shift rest, automatic
+@funindex shiftOff
+@funindex \mergeDifferentlyDottedOn
+@funindex mergeDifferentlyDottedOn
+@funindex \mergeDifferentlyDottedOff
+@funindex mergeDifferentlyDottedOff
+@funindex \mergeDifferentlyHeadedOn
+@funindex mergeDifferentlyHeadedOn
+@funindex \mergeDifferentlyHeadedOff
+@funindex mergeDifferentlyHeadedOff
-Note heads with equal durations are automatically merged, while
-note heads with unequal durations are not merged. Rests opposite
-a stem are shifted vertically.
+The note heads of notes in different voices with the same pitch,
+same note head and opposite stem direction are automatically
+merged, but notes with different note heads or the same stem
+direction are not. Rests opposite a stem in a different voice
+are shifted vertically.
@lilypond[quote,verbatim,relative=2]
<<
>>
@end lilypond
-Note heads with different note heads may be merged, with the
+Notes with different note heads may be merged, with the
exception of half-note heads and quarter-note heads:
@lilypond[quote,verbatim,relative=2]
>>
@end lilypond
-@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.
+The half note and eighth note at the start of the second measure
+are incorrectly merged because @code{\mergeDifferentlyHeadedOn}
+cannot successfully complete the merge when three or more notes
+line up in the same column, and in this case a warning is given.
+To allow the merge to work properly a @code{\shift} must be applied
+to the note that should not be merged. Here, @code{\shiftOn} is
+applied to move the top @notation{g} out of the column, and
+@code{\mergeDifferentlyHeadedOn} then works properly.
@lilypond[quote,relative=2,verbatim]
<<
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
+Notes are only merged if they have opposing stem directions (e.g. in
@code{Voice} 1 and 2).
-@cindex multiple voices
-@cindex polyphonic music
-@cindex shifting voices
-
@predefined
-
-@funindex \mergeDifferentlyDottedOn
@code{\mergeDifferentlyDottedOn},
-@funindex \mergeDifferentlyDottedOff
@code{\mergeDifferentlyDottedOff},
-@funindex \mergeDifferentlyHeadedOn
@code{\mergeDifferentlyHeadedOn},
-@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-@funindex \oneVoice
-@code{\oneVoice},
-@funindex \voiceOne
-@code{\voiceOne},
-@funindex \voiceTwo
-@code{\voiceTwo},
-@funindex \voiceThree
-@code{\voiceThree},
-@funindex \voiceFour
-@code{\voiceFour}.
-
-
-@funindex \shiftOn
@code{\shiftOn},
-@funindex \shiftOnn
@code{\shiftOnn},
-@funindex \shiftOnnn
@code{\shiftOnnn},
-@funindex \shiftOff
@code{\shiftOff}.
+@endpredefined
+
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{forcing-horizontal-shift-of-notes.ly}
-@seealso
+@seealso
Music Glossary:
@rglos{polyphony}.
@knownissues
-When using @code{merge-differently-headed} with an upstem eighth
+When using @code{\mergeDifferentlyHeadedOn} 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
-different note heads that are at the same time differently dotted.
+@ignore
+@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 Voice styles
-@unnumberedsubsubsec 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
@unnumberedsubsubsec Automatic part combining
@cindex automatic part combining
@cindex part combiner
@cindex combining parts
+@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
>>
@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 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 arguments to @code{\partcombine} will be interpreted as
@code{Voice} contexts. If using relative octaves,
@snippets
-Parts may be merged without printing text:
-
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Staff.printPartCombineTexts = ##f
- \partcombine
- \relative g' { g a( b) r }
- \relative g' { g r4 r f }
->>
-@end lilypond
-
-The printed text may be changed:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{combining-two-parts-on-the-same-staff.ly}
-@lilypond[quote,verbatim]
-\new Staff <<
- \set Score.soloText = #"girl"
- \set Score.soloIIText = #"boy"
- \set Score.aDueText = #"together"
- \partcombine
- \relative g' { g4 g r r a2 g }
- \relative g' { r4 r a( b) a2 g }
->>
-@end lilypond
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{changing-partcombine-texts.ly}
@seealso
-
Music Glossary:
@rglos{a due},
@rglos{part}.
Snippets:
@rlsr{Simultaneous notes}.
-
Internals Reference:
@rinternals{PartCombineMusic},
@rinternals{Voice}.
+
@knownissues
+@code{\partcombine} can only accept two voices.
+
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.
@code{\partcombine} cannot be inside @code{\relative}.
Internally, the @code{\partcombine} interprets both arguments as
-@code{Voice}s named @code{one} and @code{two}, and then decides
-when the parts can be combined. Consequently, if the arguments
-switch to differently named @rinternals{Voice} contexts, the
-events in those will be ignored.
+@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.
+
+@code{\partcombine} only observes onset times of notes. It cannot
+determine whether a previously started note is playing or not, leading
+to various problems.
-@c IIRC in users list someone pointed out more issues. TODO: lookup FV
@node Writing music in parallel
@unnumberedsubsubsec Writing music in parallel
-@cindex Writing music in parallel
-@cindex Interleaved music
+@cindex 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
be of the same length.}
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\parallelMusic #'(voiceA voiceB voiceC) {
% Bar 1
- r8 g'16[ c''] e''[ g' c'' e''] r8 g'16[ c''] e''[ g' c'' e''] |
- c'2 c'2 |
+ 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 |
+ c'2 c'2 |
% Bar 2
- r8 a'16[ d''] f''[ a' d'' f''] r8 a'16[ d''] f''[ a' d'' f''] |
- c'2 c'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 |
+ c'2 c'2 |
+
}
\new StaffGroup <<
- \new Staff \voiceA
- \new Staff \voiceB
+ \new Staff << \voiceA \\ \voiceB >>
+ \new Staff { \clef bass \voiceC }
>>
@end lilypond
@code{voiceA} ignore the notes in @code{voiceB}.
@lilypond[quote,verbatim]
-\parallelMusic #'(voiceA voiceB) {
+\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 |
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 |
c2 c |
+
}
\new StaffGroup <<
- \new Staff \relative c'' \voiceA
- \new Staff \relative c' \voiceB
+ \new Staff << \relative c'' \voiceA \\ \relative c' \voiceB >>
+ \new Staff \relative c' { \clef bass \voiceC }
>>
@end lilypond
}
@end lilypond
-@seealso
+@seealso
Learning Manual:
@rlearning{Organizing pieces with variables}.
projects / lilypond.git / blobdiff