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3.2.2 Szólamok kézi létrehozása
Voice contexts can also be created manually
inside a << >> block to create polyphonic music, using
\voiceOne ... \voiceFour to indicate the required
directions of stems, slurs, etc. In longer scores this method
is clearer, as it permits the voices to be separated and to be
given more descriptive names.
Specifically, the construct << \\ >> which we used in
the previous section:
\new Staff {
\relative c' {
<< { e4 f g a } \\ { c,4 d e f } >>
}
}
is equivalent to
\new Staff <<
\new Voice = "1" { \voiceOne \relative c' { e4 f g a } }
\new Voice = "2" { \voiceTwo \relative c' { c4 d e f } }
>>
Both of the above would produce
The \voiceXXX commands set the direction of stems, slurs,
ties, articulations, text annotations, augmentation dots of dotted
notes, and fingerings. \voiceOne and \voiceThree
make these objects point upwards, while \voiceTwo and
\voiceFour make them point downwards. These commands also
generate a horizontal shift for each voice when this is required
to avoid clashes of note heads. The command \oneVoice
reverts the settings back to the normal values for a single voice.
Let us see in some simple examples exactly what effect
\oneVoice, \voiceOne and voiceTwo have on
markup, ties, slurs, and dynamics:
\relative c'{
% Default behavior or behavior after \oneVoice
c d8~ d e4( f g a) b-> c
}
\relative c'{
\voiceOne
c d8~ d e4( f g a) b-> c
\oneVoice
c, d8~ d e4( f g a) b-> c
}
\relative c'{
\voiceTwo
c d8~ d e4( f g a) b-> c
\oneVoice
c, d8~ d e4( f g a) b-> c
}
Now let’s look at three different ways to notate the same passage of polyphonic music, each of which is advantageous in different circumstances, using the example from the previous section.
An expression that appears directly inside a << >> belongs
to the main voice (but, note, not in a << \\ >>
construct). This is useful when extra voices appear while the
main voice is playing. Here is a more correct rendition of our
example. The red diamond-shaped notes
demonstrate that the main melody is now in a single voice context,
permitting a phrasing slur to be drawn over them.
\new Staff \relative c' {
\voiceOneStyle
% The following notes are monophonic
c16^( d e f
% Start simultaneous section of three voices
<<
% Continue the main voice in parallel
{ g4 f e | d2 e2) | }
% Initiate second voice
\new Voice {
% Set stems, etc., down
\voiceTwo
r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
}
% Initiate third voice
\new Voice {
% Set stems, etc, up
\voiceThree
s2. | s4 b4 c2 |
}
>>
}
More deeply nested polyphony constructs are possible, and if a voice appears only briefly this might be a more natural way to typeset the music:
\new Staff \relative c' {
c16^( d e f
<<
{ g4 f e | d2 e2) | }
\new Voice {
\voiceTwo
r8 e4 d c8~
<<
{ c8 b16 a b8 g~ g2 }
\new Voice {
\voiceThree
s4 b4 c2
}
>>
}
>>
}
This method of nesting new voices briefly is useful when only small sections of the music are polyphonic, but when the whole staff is largely polyphonic it can be clearer to use multiple voices throughout, using spacing notes to step over sections where the voice is silent, as here:
\new Staff \relative c' <<
% Initiate first voice
\new Voice {
\voiceOne
c16^( d e f g4 f e | d2 e2) |
}
% Initiate second voice
\new Voice {
% Set stems, etc, down
\voiceTwo
s4 r8 e4 d c8~ | c8 b16 a b8 g~ g2 |
}
% Initiate third voice
\new Voice {
% Set stems, etc, up
\voiceThree
s1 | s4 b4 c2 |
}
>>
Note columns
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 \shiftOn, \shiftOnn, \shiftOnnn, and
\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 \shiftOff specified, while the
inner voices (three and four) have \shiftOn specified.
When a shift is applied, voices one and three are shifted to
the right and voices two and four to the left.
\shiftOnn and \shiftOnnn define further shift
levels which may be specified temporarily to resolve collisions
in complex situations – see Valós zenei példa.
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 down. If notes from two voices which have their stems in the same direction are placed at the same position and both voices have no shift or the same shift specified, the error message „Too many clashing note columns” will be produced.
Lásd még
Notation Reference: Multiple voices.
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