Hi Urs,
Thanks for your explanation and advice (and my apologies for my late reaction.
Some urgent matter temporarily took me off my engraving activity.)
So I still have to try out your suggestion.
I am still puzzled though, for while I can understand that different voices
cannot be connected by spanners etc., in most instances up till now, with
identical coding (as far as I could see) the problem did not arise.
I am also a bit puzzled about what you write near the end of your mail:
"Actually I would really not create temporary polyphony for each measure as
this makes things *very* complicated."
Not for each measure. But only for some measures? Or is there an alternative
that you would use?
I'll first experiment a bit with your remedy.
Thanks again.
Bewst regards,
Robert
On 14 Feb 2017, at 14:37 , Urs Liska <u...@openlilylib.org> wrote:
>
>
> Am 14.02.2017 um 14:27 schrieb Robert Blackstone:
>> Dear all,
>>
>> I have been struggling for many hours with a pianoscore in which the mostly
>> polyphonic text regularly switches between the treble staff and the bass
>> staff.
>> There should be (phrasing-) slurs joining the beamed groups of notes.
>> Sometimes these slurs do not appear, as in the upper voice between b.2 an
>> b.3 in the ME.
>> Probably I do something wrong but I have not been able to find out what.
>>
>> Can someone help me out?
>
> The actual problem is that the notes are encapsulated in different Voice
> expressions and therefore can't be connected by spanners such as slurs
> or \< \! etc.
>
> When you write
> c' << { d'' } // { d' } >> c'
> LilyPond creates two temporary voices for the d-s (and make them
> \voiceOne and \voiceTwo implicitly), while the original voice is
> suspended during the polyphonic section.
>
> In order to connect notes from inside the polyphonic section to the
> outside you'd write
>
> c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'
>
> This way the main voice is continued through c' d'' c' while only the d'
> is wrapped in an implicit temporary voice.
>
> With this information you should be able to disentangle your example.
> Actually I would really not create temporary polyphony for each measure
> as this makes things *very* complicated. But of course this may be
> related to your real-world example.
>
> HTH
> Urs
>
>>
>> Thanks in advance.
>>
>> Best regards,
>>
>> Robert Blackstone
>>
>>
>> %%%%%%%%%%%%%%%%%
>> \version "2.18.2"
>>
>> upper = {
>> \clef treble
>> \time 3/8
>> s8 s8 s8 | %1
>> s8 s8 s8 | %2
>> s8 s8 s8 | %3
>> }
>>
>> lower = {
>> \clef bass
>> \time 3/8
>> << { a8 [ b ] \( c' [ \) } \\ {\stemDown c8 [ d ]\( e [ \) } >> | %1
>> << { d'8 ] \( \change Staff = "upper" e' \) [ f' ] \( } \\ { \stemDown f8
>> \( ] g \) [ a ] \( } >> | %2
>> << { \change Staff = "upper" g' \) [ a' b' ] } \\ { \change Staff =
>> "upper" \stemDown b \) [ c' d' ] } >> | %3
>> }
>>
>> \score {
>> \new PianoStaff
>> }
>> <<
>> \new Staff = "upper" \upper
>> \new Staff = "lower" \lower
>>>>
>> \layout { }
>> }
>> %%%%%%%%%%%%%%%%%%%%
>> _______________________________________________
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
> --
> u...@openlilylib.org
> https://openlilylib.org
> http://lilypondblog.org
>
>
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