Yup. And now that you've got the basics from the Learning Manual it's time
to go have a look at the Notation Reference for the more detailed look.
Specifically
http://lilypond.org/doc/v2.23/Documentation/notation/multiple-voices
There's a whole lot of documentation - like, lots and lots and even more
lots. A whole lot of back and forth from the basics (Learning Manual) to
the more advanced (Notation Reference) to the hardcore guts of the system
(Internals Reference). I'm at the point I keep a browser window open with
something like 15 tabs open all the time, so as to keep all the different
docs readily available. I keep trying to just do a full read-through of all
the docs, but I keep getting sidetracked before I can make it all the way
through. (I tend to get sidetracked pretty easily. I am, after all, a
blond.)
Few more comments scattered below ...
On Mon, Dec 5, 2022 at 3:33 AM J Martin Rushton <
martinrushto...@btinternet.com> wrote:
> Thanks Pierre
>
> That section seems to point me back to my original attempt:
> << \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 |
> which was adapted from the manuals.
>
Addressed above - I still think cutting this apart into a series of
variables as shown by Pierre would help clarify what's going on.
> Best,
> Martin
>
> On Sun, 2022-12-04 at 23:38 +0100, Pierre Perol-Schneider wrote:
>
> 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.
>
>
One of a handful of predefined font size adjustments that are available.
Yeah, that says font. Notes are considered fonts ... kind of. Enough that
many font adjustments work just fine on them.
> 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?
>
>
Among other things. Full explanation is in the Notation Reference I linked
to above.
% SNIP
altoBells = \fixed c' {
> \voiceTwo \tiny
> | %mes. 13
> s8 b s d' d'2\rest
>
>
That's a neat trick with the \rest. Is that relatively new in the 2.23
series? I don't remember seeing that in the docs before, though I could
have easily simply missed it.
> | %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 |
>
>
Personally I think the first version looked better. But that's just me and
my personal opinion. Though I had to go look up what quaver and crotchet
meant - this debased and corrupted version of English we speak over here
led me astray for a bit.
>
> 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.
>
>
Huh. Interesting. I've never seen that before. But then, as I mentioned
earlier (somewhere or another ... I think, anyway) I'm not the musician
around here. Though at a guess someone good enough at creating the Scheme
trickery thing might be able to convince Lilypond to create something along
those lines. But that's just a guess. And could very easily be wrong.
Well, I hope some of this might have helped a bit. Or at least, if it
didn't help, it didn't go and increase the confusion levels. That sometimes
happens when I get let loose on a keyboard. So I think I'm going to go run
away now and go play with some more scores - trying to put together a 20
score book. 5 down so far.
Michael
