"DaveAtkinson" <d...@davea.org.uk> wrote in message
news:1551630991699-0.p...@n5.nabble.com...
Dear LilyPond folks
Thanks so much for taking an interest. First, I forgot two important
pieces
of information - yes, I am using Windows... (hangs head in shame) and it
has
16 Gb of memory.. The OS is 64 bit, but I don't suppose that matters to
lilypond as compiled for windows..?
So interesting... it is clear that overuse of the << \\ >> construct
causes
issues. I would welcome comments about how to re-write the score without
it.
If the correct way to do it is
then an affirmation would be sufficient rather than a tutorial, which
would
be greatly appreciated otherwise ;-).
I can't see your example, but I would do your first two bars like this:
global = {
\key f \major
\time 3/4
}
rhnotesupper = \relative c' {
\clef treble
\global
\tempo 4=83
s4 s <f a>16-.( <f a>-. <f a>-. <f a>-.) |
\voiceOne <f' a>-.( <f a>-. <f a>-. <f a>-.) \oneVoice <f, a>16-.( <f a>-.
<f a>-. <f a>-.) <f, a>-.( <f a>-. <f a>-. <f a>-.) |
}
rhnoteslower = \relative c' {
\clef treble
\global
\tempo 4=83
s1*3/4 |
\voiceTwo <f c'>4 s s |
}
lhnotesupper = \relative c {
\clef bass
\global
\voiceOne <a c f>16-.( <a c f>-. <a c f>-. <a c f>-.) <f' a>-.( <f a>-.
<f a>-. <f a>-.) \oneVoice <f c'>4 |
s <f c'> <f, c'> |
}
lhnoteslower = \relative c {
\clef bass
\global
\voiceTwo f,,4\sustainOn <f' c'> |
s1*3/4 |
}
\score {
\new PianoStaff \with { instrumentName = #"Piano" }
<<
\new Staff = "upper"
<<
\new Voice = "top" \rhnotesupper
\new Voice = "next" \rhnoteslower
>>
\new Staff = "lower"
<<
\new Voice = "topLH" \lhnotesupper
\new Voice = "nextLH" \lhnoteslower
>>
>>
\layout { }
\midi { }
}
The first, I confess to sometimes using lilypond to generate midi files
from
piano accompaniments so that I can practise the main part when I don't
have
the luxury of a pianist (which is almost all the time). I am therefore
copying existing scores. In order to eliminate (!) mistakes, I do it a few
bars at a time, as corrections are much easier for me to do in the last
few
bars. If I were to use two voices for the whole of a staff, once I'd
written
the first staff, going back and finding the places where two voices are
required, and filing in all the spaces, is tedious and taxing for me...
I create music (normally from renaissance polyphony) and simply have four
voices and add a few bars to each at a time. I then compile, check and add
a few more bars to each. My only other suggestion (which Kieren, a regular
contributor and composer would agree with) is that you might find not using
\relative means it's easier to keep track of which octave you're currently
in.
The second reason, if I were to write a staff as two lines, all the parts
where there is effectively only a single voice look horrible, because all
the rests and note stems look wrong.
\oneVoice, \voiceOne, \voiceTwo etc. are your friends.
--
Phil Holmes
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