See. https://lilypond.org/doc/v2.23/Documentation/learning/i_0027m-hearing-voices.html Cheers, Pierre
Le dim. 4 déc. 2022 à 23:09, J Martin Rushton < martinrushto...@btinternet.com> a écrit : > Hi Pierre > > Yes, I like that. I hadn't come across \tiny before, it does help make > things nicer. I assume that the "tenor bells" is simply an artefact from a > template - I can't see that it does anything. In the alto bells would you > advise the rest? Remember that ringers are following a line and a space of > the staff, not a line of music, and I would think that s2 would be better. > > I assume the \voiceXXX clauses are to set the stem directions? > > Thanks, > Martin > > On Sun, 2022-12-04 at 22:48 +0100, Pierre Perol-Schneider wrote: > > Hi Martin, > Sorry but the last attempt is hardly readable. > As Michael suggested previously, precising voices might help ; also, you > could change some voice sizes for a better reading. > E.g. something like: > sopranBells = \fixed c'' { > \voiceOne > | %mes. 13 > g4 r8 g8 4 4 > | %mes. 14 > g4 4 4 4 > | %mes. 15 > s4 > } > > bassBells = \fixed c' { > \voiceTwo > | %mes. 13 > g4 <g c'> <e g> <d g> > | %mes. 14 > <e g c'>4 q <e g c'> <d g b> > | %mes. 15 > s4 > } > > tenorBells = \fixed c' { > \voiceThree \tiny > | %mes. 13 > s1 > | %mes. 14 > s1 > | %mes. 15 > s4 > } > > altoBells = \fixed c' { > \voiceTwo \tiny > | %mes. 13 > s8 b s d' d'2\rest > | %mes. 14 > s8 <d b> s <f d'> s4 s > | %mes. 15 > s > } > > \new Staff << > \new Voice \sopranBells > \new Voice \bassBells > \new Voice \tenorBells > \new Voice \altoBells > >> > > HTH, cheers, > Pierre > > Le dim. 4 déc. 2022 à 22:06, J Martin Rushton < > martinrushto...@btinternet.com> a écrit : > > Hi Michael > > It just takes having to explain something to sort it. Those two > problematic bars are now: > > which is much better. I still don't really like the tied quavers where a > crotchet is rung, but then you can't have everything! The relevant code is: > > g8 ~ <g b>8 <g c>8 ~ <g c d>8 <g e>4 <g d>4 | <e g c>8 ~ <d e g b>8 <e g > c>8 ~ <f g c d>8 <e g c>4 <d g b>4 | > > for the accompaniment. > > Thanks for making me think! > Martin > > On Sun, 2022-12-04 at 20:39 +0000, J Martin Rushton wrote: > > Hi Michael > > I've mocked up the same two bars in LibreOffice as tablature: > > > > Where you see a dot and a number, the dot indicates half a beat's rest, so > that row three of the first beat is interpreted as r8 b8 In the second > bar, first beat, the "5 6" is c8 b8 The bolded top row indicates the > tune, which typically needs to be run a little harder whilst the lower > bells ring softer. The problem comes with setting, for instance, the first > beat. I tried using things like > > << \relative c' {\stemDown g'4 <g c>4 g4 <g f>4 } \\ \relative c' { s8 b'8 > s8 d8 e4 d4 } >> | << \relative c' { <g' e>4 <c g>4 } \\ \relative c' > \autoBeamOff { c'8 <b d,>8 e,8 <d' f,>8 } >> <c' g e>4 <b g d>4 | > > for the accompaniment but it is horrible and confused. I've a feeling that > need to change the g'4 in the first beat to g'8 ~ g8 to keep all the stems > together. I'll report back after testing. > > I hope that that clarifies things a little, > > Martin > > On Sun, 2022-12-04 at 13:14 -0500, Michael Werner wrote: > > Hi Martin. > > Well, I'm still pretty new to Lilypond but I have done some handbell > music. I don't play them myself - my mother is the musician while I'm her > tech support, I guess would be the way to phrase it. My approach with > the more complex pieces her group was doing was to generate a somewhat > simplified version just for her. I would make sure to retain enough of the > main melody line that she could follow it, while cutting out anything else > I could. Of course I had to make sure to leave in the notes that she was > responsible for. Wouldn't work too well without them. Also I would put a > larger callout symbol above each note she rings to help her see them - > she's pushing 80 years old and her eyesight is going. While I was at it, I > would also produce a complete version. But that was mainly just me playing > around and gaining some experience. > > A lot of that was made a bit easier by just carving up the piece in > multiple voices, with each voice going into a variable. Then I could > assemble the appropriate piece of music by just calling the variables I > needed for that particular version. Lots of possibilities to redo entire > scores without having to retype a whole bunch of music. > > As for handbell tablature I've never seen it. None of the handbell music > she has brought home for me to play with has had any tablature, just the > "normal" music. Tablature for a few other instruments, yes, but not > handbells. > > Well, this was kind of rambling - sorry about that. Like I said I'm still > kinda new to Lilypond. It's been an interesting journey so far, with still > quite a long ways to go. Still trying to get a decent grasp on the whole > Scheme thing. Oh well. Just gotta keep trying, I guess. Hope maybe > something in all this might have helped maybe a bit. > > Michael > > On Sun, Dec 4, 2022 at 12:46 PM J Martin Rushton < > martinrushto...@btinternet.com> wrote: > > Hi all, > > Our handbell team rings some pieces from normal scores, and some from a > tablature notation. I had a go at converting one of our favourite pieces > from tablature to scores, but some of the bars become so complex that I'm > not sure this helps at all. > > > > > Has anyone else done handbells on Lilypond? As a supplementary question, > does anyone know of any software that can generate handbell tablatures? > > Thanks, > Martin > > -- > > > J Martin Rushton MBCS > > -- > > > J Martin Rushton MBCS > > -- > > > J Martin Rushton MBCS > > -- > > J Martin Rushton MBCS >