This patch should prevent the type of confusion that
leads to bug #45:
http://code.google.com/p/lilypond/issues/detail?id=45
Comments/objections? Okay to push?
- Mark
From e7b56245a794067916dd8766562b4a7cfb43a95a Mon Sep 17 00:00:00 2001
From: Mark Polesky <[email protected]>
Date: Sat, 18 Sep 2010 11:17:03 -0700
Subject: [PATCH] Doc: LM 3.2: Entering voices in the correct order.
---
Documentation/learning/fundamental.itely | 186 +++++++++++++++++++++++++----
1 files changed, 160 insertions(+), 26 deletions(-)
diff --git a/Documentation/learning/fundamental.itely
b/Documentation/learning/fundamental.itely
index 811b1dc..65b434d 100644
--- a/Documentation/learning/fundamental.itely
+++ b/Documentation/learning/fundamental.itely
@@ -670,12 +670,94 @@ separately, like this:
@cindex ties crossing brackets
This example has just two voices, but the same construct may be
-used to encode three or more voices by adding more back-slash
+used to encode three or more voices by adding more backslash
separators.
-The Voice contexts bear the names @code{"1"}, @code{"2"}, etc.
-In each of these contexts, the vertical direction of slurs,
-stems, ties, dynamics etc., is set appropriately.
+When entering multiple voices in the input file, always put the
+highest voice first and the lowest voice second. Enter any
+additional voices in this order:
+
+...@example
+Voice 1: highest
+Voice 2: lowest
+Voice 3: second highest
+Voice 4: second lowest
+Voice 5: third highest
+Voice 6: third lowest
+etc.
+...@end example
+
+Though this may seem counterintuitive, it simplifies the automatic
+layout process. Note that the odd-numbered voices are given
+upstems, and the even-numbered voices are given downstems. The
+following image demonstrates this visually:
+
+...@c do not use verbatim here
+...@lilypond[quote]
+\new Staff {
+ \override Staff.Fingering #'whiteout = ##t
+ \time 2/4
+ <<
+ { b'2^1 } % 1
+ \\ { g'2_2 } % 2
+ >>
+ <<
+ { d''2^1 } % 1
+ \\ { g'2_2 } % 2
+ \\ { \set fingeringOrientations = #'(right)
+ <b'-3>2 } % 3
+ >>
+ <<
+ { d''2^1 } % 1
+ \\ { e'2_2 } % 2
+ \\ { <b'-3>2 } % 3
+ \\ { \set fingeringOrientations = #'(left)
+ <g'-4>2 } % 4
+ >>
+ <<
+ { f''2^1 } % 1
+ \\ { e'2_2 } % 2
+ \\ { \override Fingering #'extra-offset = #'(0.7 . 0.2)
+ <d''-3>2 } % 3
+ \\ { <g'-4>2 } % 4
+ \\ { \set fingeringOrientations = #'(right)
+ \override Fingering #'extra-offset = #'(0 . -0.2)
+ <b'-5>2 } % 5
+ >>
+ <<
+ { f''2^1 } % 1
+ \\ { c'2_2 } % 2
+ \\ { <d''-3>2 } % 3
+ \\ { \override Fingering #'extra-offset = #'(-0.6 . -0.2)
+ <e'-4>2 } % 4
+ \\ { <b'-5>2 } % 5
+ \\ { \set fingeringOrientations = #'(left)
+ \override Fingering #'extra-offset = #'(0 . 0.2)
+ <g'-6>2 } % 6
+ >>
+}
+...@end lilypond
+
+For example, the third measure above could be entered like this:
+
+...@example
+<<
+ @{ d2 @} % highest
+ \\
+ @{ e,2 @} % lowest
+ \\
+ @{ b'2 @} % second highest
+ \\
+ @{ g2 @} % second lowest
+>>
+...@end example
+
+The Voice contexts are automatically assigned the names
+...@code{"1"}, @code{"2"}, etc. In each of these contexts, the
+vertical direction of slurs, stems, ties, dynamics etc., is set
+appropriately. Here is a longer example using three voices:
+
+...@c TODO: add dynamics once the "voiceOne dynamics" bug is fixed.
@lilypond[quote,verbatim,fragment]
\new Staff \relative c' {
@@ -1136,28 +1218,80 @@ as here:
@funindex shiftOnnn
Closely spaced notes in a chord, or notes occurring at the same
-time in different voices, are arranged in two, occasionally more,
-columns to prevent the note heads overlapping. These are called
-note columns. There are separate columns for each voice, and
-the currently specified voice-dependent shift is applied to the
-note column if there would otherwise be a collision. This can
-be seen in the example above. In bar 2 the C in voice two is
-shifted to the right relative to the D in voice one, and in the
-final chord the C in voice three is also shifted to the right
-relative to the other notes.
-
-The @code{\shiftOn}, @code{\shiftOnn}, @code{\shiftOnnn}, and
-...@code{\shiftoff} commands specify the degree to which notes and
-chords of the voice should be shifted if a collision
-would otherwise occur. By default, the outer voices (normally
-voices one and two) have @code{\shiftOff} specified, while the
-inner voices (three and four) have @code{\shiftOn} specified.
-When a shift is applied, voices one and three are shifted to
-the right and voices two and four to the left.
-
-...@code{\shiftonn} and @code{\shiftOnnn} define further shift
-levels which may be specified temporarily to resolve collisions
-in complex situations -- see @ref{Real music example}.
+time in different voices, are arranged in two or more columns to
+prevent the note heads overlapping. These are called note
+columns. There are separate columns for each voice, and the
+currently specified voice-dependent shift is applied to the note
+column if there would otherwise be a collision. This can be seen
+in the example above. In bar 2 the C in voice two is shifted to
+the right relative to the D in voice one, and in the final chord
+the C in voice three is also shifted to the right relative to the
+other notes.
+
+The @code{\shiftOn} command allows (but does not force) the notes
+in a voice to be shifted. When @code{\shiftOn} is applied to a
+voice, a note or chord in that voice is shifted only if its stem
+would otherwise collide with a stem from another voice, and only
+if the colliding stems point in the same direction. The
+...@code{\shiftoff} command prevents this type of shifting from
+occuring.
+
+By default, the outer voices (normally voices one and two) have
+...@code{\shiftoff} specified, while the inner voices (three and
+four) have @code{\shiftOn} specified. When a shift is applied,
+voices with upstems (voices one and three) are shifted to the
+right, and voices with downstems (voices two and four) are shifted
+to the left.
+
+The following image shows the four voices in their conventional
+positions, with the default shifts applied:
+
+...@c do not use verbatim here
+...@lilypond[quote]
+\new Staff {
+ \time 2/4
+ \once \override Staff.Fingering #'whiteout = ##t
+ <<
+ { f''2^1 }
+ \\ { g'2_2 }
+ \\ { \set fingeringOrientations = #'(right) <d''-3>2 }
+ \\ { \set fingeringOrientations = #'(left) <b'-4>2 }
+ >>
+}
+...@end lilypond
+
+Here is an example to help you visualize how an abbreviated
+polyphonic expression would be expanded internally. Note that
+with three or more voices, the vertical order of voices in your
+input file should not be the same as the vertical order of voices
+on the staff!
+
+...@lilypond[quote,verbatim]
+\new Staff \relative c'' {
+ %% abbreviated entry
+ <<
+ { f2 } % highest
+ \\
+ { g,2 } % lowest
+ \\
+ { d'2 } % upper middle
+ \\
+ { b2 } % lower middle
+ >>
+ %% internal expansion of the above
+ <<
+ \new Voice = "1" { \voiceOne \shiftOff f'2 }
+ \new Voice = "2" { \voiceTwo \shiftOff g,2 }
+ \new Voice = "3" { \voiceThree \shiftOn d'2 } % shifts right
+ \new Voice = "4" { \voiceFour \shiftOn b2 } % shifts left
+ >>
+}
+...@end lilypond
+
+Two additional commands, @code{\shiftOnn} and @code{\shiftOnnn}
+provide further shift levels which may be specified temporarily to
+resolve collisions in complex situations -- see @ref{Real music
+example}.
A note column can contain just one note (or chord) from a voice
with stems up and one note (or chord) from a voice with stems
--
1.6.3.3
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