2010/12/31 Phil Holmes <m...@philholmes.net>:
> 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 }
>>>
> }
>
>
I'm probably missing something here, but in your example it seems that
\score {
\new Staff <<
\global
\new Voice << \soprano \alto >>
\new Voice \tenor
>>
}
does what you want ?
Sorry if I'm being completely ignorant...
Jakob.
>
>
> --------------------------------------------------------------------------------
>
>
>
>
> 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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