LilyPond Beginnershandleiding

Hoofdstuk 3: Fundamentele concepten 50
It is not necessary to use a separate > construct for each bar. For music with few
notes in each bar this layout can help the legibility of the code, but if there are many notes in
each bar it may be better to split out each voice separately, like this:
\key d \minor
>
This example has just two voices, but the same construct may be used to encode three or
more voices by adding more back-slash separators.
The Voice contexts bear the names "1", "2", etc. The first contexts set the outer voices, the
highest voice in context "1" and the lowest voice in context "2". The inner voices go in contexts
"3" and "4". In each of these contexts, the vertical direction of slurs, stems, ties, dynamics etc.,
is set appropriately.
\new Staff \relative c' {
% Main voice
c16 d e f
% Voice "1" Voice "2" Voice "3"
> |
> |
}
These voices are all separate from the main voice that contains the notes just outside the
> construct. Let’s call this the simultaneous construct. Slurs and ties may only connect
notes within the same voice, so slurs and ties cannot go into or out of a simultaneous construct.
Conversely, parallel voices from separate simultaneous constructs on the same staff are the same
voice. Other voice-related properties also carry across simultaneous constructs. Here is the same
example, with different colors and note heads for each voice. Note that changes in one voice do
not affect other voices, but they do persist in the same voice later. Note also that tied notes may
be split across the same voices in two constructs, shown here in the blue triangle voice.