First and third voices get stems up, second and fourth voices get
stems down, third and fourth voice noteheads are horizontally shifted,
-and rests move to avoid collisions.
+and rests move to avoid collisions. 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.
@lilypond[quote,relative=3,verbatim]
<<
>>
@end lilypond
-For these purposes, the @code{\voiceOne} ... @code{\voiceFour}
-commands can be used instead. Spacing rests are often used to avoid
-too many rests, as seen in the example avobe.
+Spacing rests are often used to avoid too many rests, as seen in the
+example above.
+
+The method exposed creates two new voices when the @code{<<@{...@} \\
+@{...@}>>} construction is found in the code; to temporally add only
+one additional voice to an existing one, it is necessary to
+instantiate that voice explicitly. For these purposes, the
+@code{\voiceOne} ... @code{\voiceFour}, and @code{\oneVoice} commands
+can be used:
+
+@example
+<< @{ \voiceOne ... @} \new Voice @{ \voiceTwo ... @} >> \oneVoice
+@end example
+
+This is a better construction to keep the control of the voices, for
+example, to ease a consistent assign of lyrics to the proper voice
+context.
@predefined
@funindex \voiceThree
@code{\voiceThree},
@funindex \voiceFour
-@code{\voiceFour}.
+@code{\voiceFour},
+@funindex \oneVoice
+@code{\oneVoice}.
@seealso
Learning Manual:
-@rlearning{Voices contain music}.
+@rlearning{Voices contain music},
+@rlearning{Explicitly instantiating voices}.
+
+Notation Reference:
+@ref{Percussion staves}.
Snippets:
@rlsr{Simultaneous notes}.
@funindex \mergeDifferentlyHeadedOff
@code{\mergeDifferentlyHeadedOff}.
-@funindex \oneVoice
-@code{\oneVoice}.
-
@funindex \shiftOn
@code{\shiftOn},
@funindex \shiftOnn
or
@lilypond[verbatim,quote,relative=2]
- Don't use any other relative=X commands (make it a non-fragment
- example), and don't use fragment without relative=2.
+ Don't use any other relative=X commands.
- use "aes" and "ees" instead of "as" and "es". I know it's not
correct Dutch naming, but let's not confuse people with this
until we get to the Basic notation chapter.
-- Add "Music Glossary: @rglos{foo}" to the _top_ of the relevant
+- Add "Music Glossary: @rglos{foo}" to the *top* of the relevant
portions of the tutorial.
@end ignore
is within just one staff space of the previous note.
@lilypond[verbatim,quote]
-\relative c' { % set the starting point to middle C
+% set the starting point to middle C
+\relative c' {
c d e f
g a b c
}
octave:
@lilypond[verbatim,quote]
-\relative c'' { % one octave above middle C
+% one octave above middle C
+\relative c'' {
e c a c
}
@end lilypond
Music Glossary: @rglos{fingering}.
-
Similarly, @notation{fingering} indications can be added to a note
using a dash (@code{-}) and the digit to be printed:
extended section of music, use the command @code{\autoBeamOff}
to turn off automatic beaming and @code{\autoBeamOn} to turn it
on again.
-@c It will usually be necessary to manually beam music
-@c with lyrics.
@lilypond[verbatim,quote,relative=2]
\autoBeamOff
placing lyrics under more than one staff. Here is an
example from Handel's @notation{Judas Maccabæus}:
-@c TODO \partial has not been previously explained
-@c Change example or add explanation earlier
-
@lilypond[verbatim,quote]
<<
- {
- \time 6/8
- \partial 8
- }
\relative c'' {
\key f \major
+ \time 6/8
+ \partial 8
c8 c([ bes]) a a([ g]) f f'4. b, c4.~ c4
}
\addlyrics {
}
\relative c' {
\key f \major
+ \time 6/8
+ \partial 8
r8 r4. r4 c8 a'([ g]) f f([ e]) d e([ d]) c bes'4
}
\addlyrics {
>>
@end lilypond
-@noindent
-but scores any more complex than this simple example are
-better produced by separating out the staff structure
-from the notes and lyrics with variables. These are
-discussed in @ref{Organizing pieces with variables}.
+Scores any more complex than this simple example are better
+produced by separating out the staff structure from the notes and
+lyrics with variables. These are discussed in @ref{Organizing
+pieces with variables}.
@seealso
(@code{\namedMusic}, just like a normal LilyPond command).
@lilypond[verbatim,quote]
-violin = \new Staff { \relative c'' {
- a4 b c b
-}}
-cello = \new Staff { \relative c {
- \clef bass
- e2 d
-}}
+violin = \new Staff {
+ \relative c'' {
+ a4 b c b
+ }
+}
+cello = \new Staff {
+ \relative c {
+ \clef bass
+ e2 d
+ }
+}
{
<<
\violin
\aFivePaper
line-width = \width
@}
-@{ c4^\name @}
+@{
+ c4^\name
+@}
@end example
@node After the tutorial
@subsection After the tutorial
-FIXME: rewrite slightly after the rest of the LM has been
-stabilized. Translators, ignore this section for now.
-
After finishing the tutorial, you should probably try writing a
piece or two. Start by adding notes to one of the
@ref{Templates}. If you need any notation that was not covered in
wish to skim these chapters right now, and come back to them after
you have more experience.
-
-
+If you have not done so already, @emph{please} read @ref{About the
+documentation}. There is a lot of information about LilyPond, so
+newcomers often do not know where they should look for help. If
+you spend five minutes reading that section carefully, you might
+save yourself hours of frustration looking in the wrong places!
projects / lilypond.git / commitdiff