Hi Stacy,
As Lukas said, do you really need the relative mode ?
I'd do:
\version "2.18.2"
\score {
\new TabStaff {
\set Staff.stringTunings = \stringTuning <a,,, e,, a,, e, a, cis>
\tabFullNotation
\transpose c c, {
<<
{ s4
\override NoteColumn.ignore-collision = ##t
\harmonicByRatio #1/4 <e\3 a\2>2. | }
\\
{ b,2.\5 b,4\5 | }
\\
{ r4
\shiftOff
\harmonicByFret #7 cis2.\1 | }
>>
}
}
}
Cheers,
Pierre
Le sam. 27 juin 2020 à 08:55, Lukas-Fabian Moser <l...@gmx.de> a écrit :
> Hi Stacy,
>
> I'm not familiar with harmonics notation or tabulature, but I think both
> of your problems can be solved.
> Am 27.06.20 um 01:05 schrieb Stacy Fatemi:
>
> Hey list,
>
> I'm notating a piece for 6-string bass with heavy harmonic use, including
> chords with different fretted harmonics. Attachment 1 (the hand-drawn bar)
> shows how I want this measure to go: root notes in voice 2, harmonics in
> voice 1, with a chord composed of a 7th fret harmonic on the 1st string and
> 5th fret harmonics on the 2nd and 3rd strings. Here are the problems:
> This presents us with two more problems:
>
> 2. The harmonics in the first voice are severely augmenting the fret
> number in the second voice (it's not a huge issue in this tiny example, but
> in the full file I'm working on I have a line of 78 commas in a row for the
> first note of the second file to get it on the right fret), and
>
> This is caused by the use of \relative mode.
>
> Here's why: In \relative mode, the absolute pitch of each note you enter
> influences the next entered pitch (insofar as any pitch entered _without_ '
> oder , is taken to be at most a fourth away from the last entered pitch,
> and ' and , only add/substract octaves). Now, what you probably did not
> expect: This does not keep track of parallel independent voices. Instead,
> your very high note \harmonicByRatio #1/4 <e\3 a\2>2. makes LilyPond
> assume that the next note encountered in your source file is to be taken
> relative to that high note.
>
> There are verious ways of solving this problem, of adding a bunch of
> ,,,,,'s to get back to the normal octave is probably not the best. One way
> would be to start a new \relative environment for your lower voice:
>
> \relative c,, { b'2.\5 b4\5 | }
>
> But probably it would be best to not use relative mode at all, but instead
> use fixed mode. To be honest, I spent the last half an hour trying to
> figure out what happens behind the scene for your first command,
> \harmonicByRatio #1/4 <e\3 a\2>2. in \relative mode. I'm not sure yet, but
> I think that \harmonicByRatio is seriously broken when used for chords in
> \relative mode.
>
> (Anybody who wants to try: Compile #(calc-harmonic-pitch #{ c' #} #{
> \relative <c' f'> #}. The function calc-harmonic-pitch should not do
> anything when given c' as "harmonic pitch", if I understand the source code
> in tablatura.scm correctly.)
>
> But I admit that I do not yet understand the logic by which the fret
> numbers for harmonics are calculated. I'm not that familiar with the bass
> (and so I have to calculate rather a lot), but when I just tried to define
> stringTunings for the cello (which I'm very familiar with) I could
> understand usual pitches easily, but could not get my head around the
> displayed tabs for harmonics. But maybe I will.
>
> 3. The harmonics don't form a coherent chord, but rather a staggered
> display with a collision between the stem from voice 1 and the note from
> voice 3.
>
> This is not a bug but a feature: Normally, you want to be able to
> distinguish the first and the third voice. But not here.
>
> The construction << ... \\ ... \\ >> is a bit involved in that it does
> _several_ things: It creates independent voices, yes, but it also sets
> defaults for shifting and stem direction (namely, the first voice gets a
> \voiceOne, which should be read as "should be layouted as a first voice,
> e.g. with \stemUp etc."). In more complicated situations, it's often more
> convenient not to use the \\'s but to create the voices for yourself and
> setting them up manually:
>
> <<
> \new Voice { \voiceOne ... }
> \new Voice { \voiceThree .... }
> >>
>
> But the easiest remedy in your situation is:
>
> \version "2.18.2"
>
> \score {
> \new TabStaff
> {
> \set Staff.stringTunings = \stringTuning <a,,, e,, a,, e, a, cis>
> \tabFullNotation
> \relative c,, {
> <<
> { r4 \harmonicByRatio #1/4 <e\3 a\2>2. | }
> \\
> \relative c,, { b'2.\5 b4\5 | }
> \\
> { s4 \voiceOne \harmonicByFret #7 cis2.\1 | }
> >>
> }
> }
> }
>
> Note that I also changed r4 into s4 - s4 behaves like a rest but does not
> print anything, and we only need one actual printed rest.
>
> Best
> Lukas
>
