Yes it does! Thank you very much (and to Patrick as well).
Clearly I need to look more closely at the tweak facility.
Thanks again.
-steve
On Tue, Mar 24, 2009 at 2:40 PM, Kees van den Doel <kvand...@shaw.ca> wrote:
> Does this do the job?
>
> h = #(define-music-function (parser location note) (ly:music?)
> (set!
> (ly:music-property note 'tweaks)
> (acons 'style 'cross
> (ly:music-property note 'tweaks)))
> note)
>
> \relative c' {
> <a-0 e'-2 a-3 c-1 e-0>8
> <a \h e' \h a \h c e>
> <a e' a c e>
> <a \h e' \h a \h c e>
>
> <a e' a c e>
> <a \h e' \h a \h c e>
> <a e' a c e>
> <a \h e' \h a \h c e>
> }
>
> Kees
> ----- Original Message -----
> From: Steve Yegge <steve.ye...@gmail.com>
> Date: Monday, March 23, 2009 9:13 pm
> Subject: mixing notehead styles in chords
> To: lilypond-user@gnu.org
>
> > Hello,
> >
> > In flamenco and bossa-nova guitar music it is quite
> > common to damp some (but not all) strings with the
> > left hand while strumming. The standard notation for
> > this is to have cross-noteheads on the damped strings
> > and normal noteheads on the strings that should ring.
> >
> > Lilypond makes it extremely tedious to deal with this
> > relatively common situation. It's easy to have the entire
> > chord drawn with x-noteheads, but much more difficult
> > to get only some of the notes to have x-noteheads.
> >
> > For instance, let's say we're notating the strumming of
> > eighth-note open A-minor chords, like so:
> >
> > \relative c' {
> > <a-0 e'-2 a-3 c-1 e-0>8
> >
> >
> >
> >
> >
> >
> >
> >
> > }
> >
> >
> > So far the music only needs one voice, and it prints in
> > an easy-to-read (for guitarists) stacked notation, with one
> > stem per chord.
> >
> > But let's say we want every other chord to be partly
> > damped: strings 2, 3 and 4 have x-noteheads, and
> > strings 1 and 5 have normal noteheads. We don't want
> > any other visible changes to the print representation --
> > in particular, this is not polyphonic music, so we don't
> > want up- and down- stems in the same measure, nor
> > notes from any given chord to be horizontally shifted.
> > We just want every other chord to have its middle three
> > noteheads be crosses.
> >
> > The only way to accomplish this, as far as I can tell,
> > requires many manual steps for each measure:
> > - split the music expression into two voices
> > - copy the chords into the second voice
> > - delete all the normal-notehead notes from one voice
> > - delete the cross-notehead notes from the other voice
> > - make the stems and beams in the top voice invisible
> > - turn off note-column collision warnings
> > - in some cases, hack the stem #'length-fraction so
> > that the beam from the lower voice clears the
> > higher.
> > Doing this for the measure above, we get
> >
> > <<
> > \relative c' {
> > \override Stem #'transparent = ##t
> > \override Beam #'transparent = ##t
> > \override NoteColumn #'ignore-
> > collision = ##t
> > <e-2 a-3 c-1>8
> > \override NoteHead #'style = #'cross
> > <e a c>
> > \revert NoteHead #'style
> > <e a c>
> > \override NoteHead #'style = #'cross
> > <e a c>
> >
> > \revert NoteHead #'style
> > <e a c>
> > \override NoteHead #'style = #'cross
> > <e a c>
> > \revert NoteHead #'style
> > <e a c>
> > \override NoteHead #'style = #'cross
> > <e a c>
> > \revert NoteHead #'style
> > } \\
> > \relative c' {
> > \stemUp
> > <a-0 e''-0>8
> >
> > }
> > >>
> >
> > This is somewhat labor-intensive, and annoying to read
> > (although it can be mitigated a bit with macros). But the
> > real problems have only just begun. Now that it's been split
> > into two voices, everything you add to the staff begins to
> > have layout issues. Take a look at the fingerings in the two
> > measures above. In the one-voice version, the fingerings
> > line up nicely, with three above the staff and two below.
> > In the two-voice version, most of the fingerings overlap
> > with other entities, rendering them unreadable.
> >
> > You'll run into the same kinds of issues with every kind of
> > annotation, from string numbers and right hand fingerings
> > through accent marks and TextSpanners. The hack to
> > split the chords into multiple voices wreaks havoc with
> > the layout engine as we add more information to the staff.
> >
> > We could fix this problem by adding another special-case
> > similar to \harmonic for cross-noteheads. But I have a
> > sneaking feeling it wouldn't be the last such special case.
> >
> > It seems like a better solution would be to provide syntax
> > support for overriding individual noteheads within a chord
> > to be arbitrary glyphs or stencils -- whatever you can do
> > with noteheads outside of chords, basically.
> >
> > But I'd take the hack, for now! I'm transcribing a piece
> > that has many of these partly-damped chords, and I'd love
> > to have a way to annotate them properly.
> >
> > Thanks,
> >
> > -steve
> >
> > p.s. Thank you for this awesome system, by the way.
> >
>
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