After 3 months away from Lilypond, I'm back, thankfully. All updated
and sailing...right into a wall. I could really use a hint about this
current problem.
I cannot get a horizontal shift of a note, resulting in an ugly
collision. I think the problem is the "too many clashing note columns"
warnings I keep getting. I dimly recall someone telling me what to do
with that, but it's long gone from my memory, and in any case hasn't
been a problem (that I'm aware of). My score is, and has been, working
well. This is an old problem I'm trying to fix tonight.
At the risk of overload, I'll include the full program and CLI output,
the latter first:
===begin CLI output
t...@tomc-desktop:~/Music/Music_scores/Lilypond$ lilypond chorale01.ly
GNU LilyPond 2.12.2
Processing `chorale01.ly'
Parsing...
Interpreting music... [8][16][24]
Preprocessing graphical objects...
chorale01.ly:168:18: warning: ignoring too many clashing note columns
{ < f-3 c-1 > <
d-2 b-3 >| }\\
chorale01.ly:168:6: warning: ignoring too many clashing note columns
{ <
f-3 c-1 > < d-2 b-3 >| }\\
chorale01.ly:156:65: warning: ignoring too many clashing note columns
{< e-1 >2 \once \override NoteColumn #'force-hshift = #2.0 <
a-1 >4
g |} \\
chorale01.ly:156:7: warning: ignoring too many clashing note columns
{<
e-1 >2 \once \override NoteColumn #'force-hshift = #2.0 < a-1 >4
g |} \\
Interpreting music...
MIDI output to `chorale01.midi'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `chorale01.ps'...
Converting to `./chorale01.pdf'...
t...@tomc-desktop:~/Music/Music_scores/Lilypond$
=== end output
=== begin Ly program ===
\version "2.12.2-1"
#(set-global-staff-size 20) % 20 this is said to be standard for most
scores
date = #(strftime "%Y.%m.%d" (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% ***** centered top *****
%dedication="dedication" %centered above title, top of page one
title = "Chorale #1" %centered below dedication
%subtitle = "subtitle" %centered below title
subsubtitle = \markup { "(2008.11.03) - version" \date } %centered
below subtitle
%piece = "(piece)" %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = "Classical Guitar" %{ centered below the subsubtitle,
and at the top of pages (other than the first page). %}
% ***** flush right *****
composer = \markup \center-column {"Tom Cloyd" \small
"t...@tomcloyd.com" } %flush right
%arranger = "{arranger}" %flush right below composer
%opus = "{opus}" %flush right below arranger
% ***** centered, bottom of page *****
copyright = "© 2008 Tom Cloyd" %centered at the bottom of the first
page
tagline = \markup { \small "score set with Lilipond
(http://lilypond.org/web/)"} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size "letter" 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =====================================
% LH fingering orientations
sfol = \set Staff.fingeringOrientations = #'(left)
sfor = \set Staff.fingeringOrientations = #'(right)
sfod = \set Staff.fingeringOrientations = #'(down)
sfou = \set Staff.fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set Staff.strokeFingerOrientations = #'(left)
ssfor = \set Staff.strokeFingerOrientations = #'(right)
ssfod = \set Staff.strokeFingerOrientations = #'(down)
ssfou = \set Staff.strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set Staff.stringNumberOrientations = #'(left) %(down
right up)
ssnou = \set Staff.stringNumberOrientations = #'(up)
ssnod = \set Staff.stringNumberOrientations = #'(down)
ssnor = \set Staff.stringNumberOrientations = #'(right)
% Finger stroke symbols
strokeUp = \markup { \postscript #"
0.1 setlinewidth
0.5 0 moveto
0.5 2 lineto
0.2 1.4 lineto
0.5 2 moveto
0.8 1.4 lineto
stroke
"}
strokeDown = \markup { \postscript #"
0.1 setlinewidth
0.5 2 moveto
0.5 0 lineto
0.2 0.6 lineto
0.5 0 moveto
0.8 0.6 lineto
stroke
"}
% VOICE ONE ========================================
melody = \relative c' {
\clef "treble_8"
\key a \minor
\time 4/4
\tempo "Moderato" 4 = 98 %{ metronome marking will be in parentheses,
if accompanied by verbal tempo marking; or just precede it with empty
parentheses to obtain metron. marking in parens. %}
\voiceOne
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
< e c-1 g >2 < f-1 >4 < g-4 > |
g4. e8 c2 ^"C I" |
c < d-4 >4 e |
d2 ^"C III" < e-4 >4 g |
< a-4 >2 < a-4 >4 ^"5/6 C III" < g-1 > |
% m 6 ===== ===== ===== =====
< e c g >2 < d b-2 > ^"C III" | \break
e2 < g-4 >4 < b-4 > |
a ^"3/6 C V" < b-4 > < c-4 >2 |
< b-4 >4 -\tweak #'extra-offset #'(-3 . 0)^"3/6 C V" < a-1 > < g-1 b,
>4. -\tweak #'extra-offset #'(-1 . 0)^"3/6 C IV" < a-1 >8 |
< a e c >2 ^"C V" g\rest |
\bar ":|:"
% m 11 ===== ===== ===== ===== \once \override TextScript
#'outside-staff-padding = #2 e2 ^"I" _\markup{ \italic { dolce } }
f4 ^"C I" < g-4 > |
e2 <g-4 > |
\break e < d-4
>4 b |
< c g> a b2 |
a-1 ^"[2*]" b | % m 16 ===== ===== ===== =====
c ^"C I" < c-1 > |
d ^"C III" e | < f-1 c-1 a-2 >2 g4 ^" C III" b
| \break
a2 ^"C V" < b-1 >4 < d-4 > |
< c-4 >2 ^"3/6 C V" b4 c |
% m 21 ===== ===== ===== =====
< a-2 >4 < b-4 > < gis-4 >4. a8 |
< a-4 >1 |
\bar ":|:" \tempo "Adagio"
< c,-1 >2 c4. ^"C I" d8 |
d4. e8 e2 |
g4. e8 e2 |
% m 26 ===== ===== ===== =====
< g-1 >4 < a-4 > g e |
g e < g d >4. ^"C III" < e-4 >8 |
\tempo "Largo" < e-4 >2 e |
e2 < f-1 >4 _"rit." < g-4 > |
\bar ":|" < e c-1\3 b a-\tweak #'extra-offset #'(0 . -0.5)-3-\tweak
#'extra-offset #'(0 . -0.5)\4 >16^\strokeUp\arpeggio ^"[2*]"
< e c b a >8.~-\tweak #'extra-offset #'(0 .
2.3)^\strokeDown\arpeggio < e c b a >2. |
\bar
"||"
}
% VOICE TWO ========================================
tenor = \relative c' {
\voiceTwo
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
< c,-3 >4 < e-2 > < c'-1 g c,-3 >2 |
< c g e, >2 < c a-2 f-3 f, > |
< g e-2 e, >2 < a-2 d, f,-1 > |
< b-2 g-3 g, >1 |
< e-3 c-2 a, >2 < e-3 c-2 c,-1 > |
% m 6 ===== ===== ===== =====
< e,-2 >4 < f-3 > g g, |
< b' g e, >2 < d-3 g, b,-1 >4 < b g d > |
< e c a-3 >2 < e-1 a,-3 a, > |
< e-1 d-\tweak #'extra-offset #'(0 . -1)-3 e,, > < e-2 e,-4\5 > |
a,,2 < a'-3 >4 c |
% m 11 ===== ===== ===== =====
< c g a, >2 < c-2 a f, > |
< b g e, >2 < b g d > |
< b e,-2 c-3 >2 < g d b-2 > |
< e a, >2 < g d e, > |
<<
\stemDown
{< e-1 >2 \once \override NoteColumn #'force-hshift = #2.0 < a-1 >4
g |} \\
{< c,-2 a-4\6 >2 < d g,-2 >} |
>>
% m 16 ===== ===== ===== ===== < a'-2 f-3 f, >2 < g e-2 c-3 > |
< b-2 g-3 g, > < c-1 g c,-3 > |
d,4 < a-0> < d' b-2 g, >2 |
< e c a, >2 < b g e, > |
< e c a-2 >2 < c-\tweak #'extra-offset #'(1 . 1)-1-\tweak
#'extra-offset #'(1 . 1)\3 b-0 e,-2 >| % m 21
===== ===== ===== =====
<<
\stemDown
{ < f-3 c-1 > < d-2 b-3 >| }\\
{ d,2 e,4 < e'-1 >}
>>
< e'-3 c-2 a, >1|
< g, e-2 a, >2< a-3 e f, > |
< b g e, > <c-1 e,-2 a, > |
< b g b,-2 >2 < c g c, > |
% m 26 ===== ===== ===== =====
< e-3 c-2 a, >4 < e c g,-1 > < b d, e, >2 |
< c-1 e,-2 a, > < b-2 g, > |
< c-3 e,-1 a, > <d-\tweak #'extra-offset #'(0 . -0.7)-4 g, b,-2 > |
< c g c,-3 > < d-4 a-2 c,-3 >4 < b g b,-2 > |
r16 a,8.~\arpeggio a2. |
}
% VOICE THREE =======================================
%{bass = \relative c {
\voiceThree
\stemDown
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
%}
% following is a template
%% -\tweak #'extra-offset #'(0 . 0)
\score {
\context Staff = "guitar" \with {
\consists "Span_arpeggio_engraver"
}
<<
%\set Staff.instrumentName="Classical Guitar" %puts name to left
of line one
\set Staff.midiInstrument="acoustic guitar (nylon)"
\set Staff.connectArpeggios = ##t
\context Voice = "melody" \melody
\context Voice = "tenor" \tenor
%\context Voice = "bass" \bass
>>
\layout {
indent = 0.0\cm % remove indent on first staff
}
\midi { %causes generation of midi score
}
}
\markuplines{
\justified-lines
{[1] Because of the highly chordal nature of this piece, it is in
many ways an etude focusing on chord balance. Many chords need careful
emphasis of certain voices to bring out the most interesting sounds.}
\justified-lines
{[2] I use a partial bar on string 3 and 4 here.}
}
=== end Ly program
THANKS FOR ANY HELP!!!
T.
