LilyPond Beginnershandleiding

Hoofdstuk 3: Fundamentele concepten 54
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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
c4 d8~ d e4( f | g4 a) b-> c |
}
\relative c' {
\voiceOne
c4 d8~ d e4( f | g4 a) b-> c |
\oneVoice
c,4 d8~ d e4( f | g4 a) b-> c |
}
\relative c' {
\voiceTwo
c4 d8~ d e4( f | g4 a) b-> c |
\oneVoice
c,4 d8~ d e4( f | g4 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.