Strictly, the ignore-collision override doesn't just suppress warnings - it
stops LilyPond trying to avoid them. Shane has given you one option for
avoiding the double flag in your final note. An alternative would be to use
\once \override Stem #'length = #n to adjust the stem lengths. Another
option would be to typeset the final alto note as voiceTwo, to make its stem
face downwards.
As Shane has said, I'm not sure there's a general solution, because what you
want isn't something that's generally done - effectively to make chords out
of different voices.
--
Phil Holmes
----- Original Message -----
From: "Tobias Braun" <tob...@braun-oberkochen.de>
To: "Phil Holmes" <m...@philholmes.net>
Cc: "LilyPond User Group" <lilypond-user@gnu.org>
Sent: Friday, December 31, 2010 2:46 AM
Subject: Re: Staff change in piano music - a general approach?
Yes, you perfectly understood me. But using chords is totally impractical
for me as I already have the individual voices as LilyPond code.
I tried as you described below and I'm getting a little closer. However,
there are still some problems, one of which you can see in the attached
example: the final chord consisting of two eighth notes actually looks like
a sixteenth note chord.
\override NoteColumn #'ignore-collision = ##t
is just to suppress the collision warnings, right?
Regards,
Tobias
% example
\version "2.12.3"
global = {
\clef treble
\time 2/2
\key g \dorian
}
soprano = \relative c''' {
\voiceOne
g4 g d4. e8 |
}
alto = \relative c'' {
\voiceOne
b4 c b4. c8 |
}
tenor = \relative c'' {
\voiceTwo
g4 g g2 |
}
\score {
\new Staff <<
\global
\override NoteColumn #'ignore-collision = ##t
\new Voice { \soprano }
\new Voice { \alto }
\new Voice { \tenor }
}
--------------------------------------------------------------------------------
Am 30.12.2010 um 11:21 schrieb Phil Holmes:
Just checking - you can obviously do what you want from a presentation
perspective, since you've provided an example that looks like it came from
LilyPond. I presume you did this using chords, but you want to avoid
using chords in your application?
The way I would do this would be to use:
\override NoteColumn #'ignore-collision = ##t
and then set the alto and soprano parts in voiceOne, and the tenor part in
voiceTwo. You do not need to set these for the duration of the piece, so
when you cross the tenor part to the other stave, you can put the command
\voiceTwo in the alto part and it will now be set into the second voice.
You can also set \voiceOne for the tenor part. You may also want to do:
\override NoteColumn #'ignore-collision = ##f
at the same point.
Let us know how you get on.
--
Phil Holmes
----- Original Message ----- From: "Tobias Braun"
<tob...@braun-oberkochen.de>
To: "Phil Holmes" <m...@philholmes.net>
Cc: <tob...@braun-abstatt.de>; "LilyPond User Group"
<lilypond-user@gnu.org>
Sent: Thursday, December 30, 2010 1:50 AM
Subject: Re: Staff change in piano music - a general approach?
Sorry about the "reply all" thing, I forgot that.
I wasn't aware I was sending an HTML e-mail, sorry. That must have been my
webmail client.
What I actually want to achieve is to have it look as uncluttered as
possible. It should be easy to read when playing it on the piano. I'd
basically like to merge all three voices into as few stems as possible.
E.g. the notes of the first beat in measure 1 which basically form a chord
consisting of three notes of the same duration played at the same time
should appear as "stacked", not next to each other. There is no need to be
able to distinguish the individual voices.
As this is kind of hard to describe, please have a look at the attached
PDF. I guess I'd prefer the first measure to look like "Variant 1", but
"Variant 2" would be acceptable as well. (I achieved this sample PDF
through <> chord syntax, which is not of much use to me as I already have
the individual voices in continuous form.)
Regards,
Tobias
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