Hello Tomas and users,
Take a look at this two examples that I think will further clarify Lilypond
capabilities in handling chords, slurs and different voices.
% This first situation is very common in songbooks:
\new Staff \relative c' { < e c >2^( ~ < f c >2) ^( ~ < e c >1) }
\layout { ragged-right=##t }
% This second example I found in a song, I don't know if it correct notation
practice, but I managed to make Lilypond reproduce it, despite the warnings:
\version "2.8.0"
\header { title = "Excerpt of the song My Refuge"
}
\score { \context Staff {\time 3/4 << \context Voice = soop { \voiceOne
c''2.~ c''2.~ c''2.} \context Voice = con { e'2. \stemDown a'4 g' f'
\stemNeutral e'2.} >>
}
}
\layout { ragged-right=##t }
----- Original Message -----
From: "Tomas Valusek" <[EMAIL PROTECTED]>
To: <lilypond-user@gnu.org>
Sent: Monday, April 10, 2006 1:21 AM
Subject: Re: Polyphony
> Hello,
>
> Mats Bengtsson napsal(a):
> > Musically, this means that two separate music voices merge
> > into a single chord. Obviously, the main hackers behind LilyPond don't
> > think that this makes sense, musically.
>
> Well, there are in fact two kinds of polyphony - melodic and harmonic.
> Consider this little example:
>
> %Begin code
> \version "2.8.1"
>
> \relative c'
> <<
> { e1 } \\ { s2 c }
> >>
> %End code
>
> What does it sa? Are there two melodies like this?
>
> %Begin code
> %Melodic approach
>
> \version "2.8.1"
>
> <<
> \new Staff \relative c' {
> e1
> }
> \new Staff \relative c' {
> r2 c
> }
> >>
> %End code
>
> Or are there just two chords with one tied note, like this?
>
> %Begin code
> %Harmonic approach
>
> \version "2.8.1"
>
> \relative c'
> { e2 ~ <e c> }
> %End code
>
> It seems that LilyPond natively supports only the melodic approach,
> while in piano music the harmonic approach is far more common.
>
> Tomas Valusek
_______________________________________________
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
