Re: Flat slurs

[Urs Liska]

Hi Abraham,


Am 13.02.2017 um 23:49 schrieb Abraham Lee:
> On Mon, Feb 13, 2017 at 1:16 PM, Urs Liska  > wrote:
>
> Yes, I'd definitely like to see that. How did you manage to get
> the seamless "thick" line?
>
>
> Ok. You asked for it... ;-)
>
> I did it by completely redefining the stencil completely using a
> markup path. The path has a line thickness and a shape thickness,
> similar to how slurs are created. See below for full code and examples
> (works with 2.18.2 and newer, from my tests).

Thanks for this. I hope to find the time to inspect it more closely.
Interestingly (and unfortunately) there seems to be more or less nothing
in it that I could simply take over since you followed a completely
different approach. But there are interesting ways to interact with the
internals that I will want to study to enhance my repertoire.

As said, "my" version is a special case for multi-segment slurs, and the
approach to get robust flat slurs/ties would rather be writing wrapper
functions for these.

As a suggestion I wrote an alternative wrapper function (very basic
initial version) that you may or may not find interesting:

%

flattenedSlur =
#(define-music-function (mod)(ly:context-mod?)
   (let*
((props (map (lambda (m)
   (cons (second m) (third m)))
  (ly:get-context-mods mod)))
 (start-y (assq-ref props 'start-y))
 (left-height (assq-ref props 'left-height))
 (left-width (assq-ref props 'left-height))
 (right-width (assq-ref props 'right-width))
 (right-height (assq-ref props 'right-height))
 )
#{
  \once \override Slur.stencil =
  #(flattened-slur
start-y left-height left-width right-width right-height)
#}
))

%%

which can be used as


\flattenedSlur \with {
  start-y = 0
  left-height = 2
  left-width = 4
  right-width = 6
  right-height = 3.5
}


Initially this seems much more to type, but on the other hand it's much
easier to read. And most importantly you can incorporate defaults (e.g.
mirroring the height and width arguments if only one is given, or you
could add the 'ratio to optionally override its value).
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Arranging lyrics between 2 staves

[David Sumbler]

On Mon, 2017-02-13 at 12:20 -0500, Kieren MacMillan wrote:
> Hi David,
> 
> > 
> > That seems to work perfectly.
> Glad to hear it.
> 
> > 
> > I'll experiment a bit with the 2 VerticalAxisGroup settings, to see
> > if
> > I can understand the effect each of them has, for my greater
> > understanding!
> Excellent.
> 
> Speaking of greater understanding… Here is a version in which I use
> variables — if there really are no differences in pitches (only
> octaves), this approach (which I actually recommend in every piece!)
> might save you some effort and make your code far more easily
> maintained:
> 
> \version "2.19.48"
> \language "english"
> 
> \layout {
> \context {
> \Lyrics
> \override VerticalAxisGroup.staff-affinity = #CENTER
> \override VerticalAxisGroup.nonstaff-relatedstaff-
> spacing.padding = #1.5
> }
> }
> 
> the_notes = {
> g2 g a1 g2 g a1
> \bar  "|."
> }
> 
> the_lyrics = \lyricmode {
> Words just right! Words just right!
> }
> 
> \new StaffGroup <<
> \new Staff
> \new Voice = "upper" { \clef "bass" \the_notes  }
> \new Lyrics \lyricsto "upper" \the_lyrics
> \new Staff = "lower" { \clef "bass" \transpose c c, \the_notes }
> > 
> > > 
> > > 
> Best,
> Kieren.

Actually, for once I'm ahead of you!  What you suggested is almost
exactly what I already had.  The addition of an alternative mezzo line
was an after-thought.  Originally for each song I had something akin to

voiceMoray = 

When I decided to add the mezzo line, I changed this for clarity to

baritoneMoray = 

and then added 

mezzoMoray = \transpose c c' \baritoneMoray

A few months ago I spent a lot of time trying to create a structure
which would enable me easily to control which postscript and midi files
were created at each run of Lilypond, and which section(s) of a whole
piece would be included.  This is so that I can continually recompile
as I work, and thus check the validity of my input.  The template I
ended up with involves lots of \include statements, with included files
which themselves contain includes down several levels, but it works
well once I have got the initial files set up for a particular piece.
 It certainly has made my life a lot easier than it was when I was
trying to manage great blocks of commented out code in a very long
file.

David


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Baritone and treble clef

[David Sumbler]

On Mon, 2017-02-13 at 22:58 +0100, Simon Albrecht wrote:
> On 13.02.2017 17:43, Kieren MacMillan wrote:
> > 
> > > 
> > > The piece I am setting can be sung by a baritone or by a mezzo-
> > > soprano.
> > >   In the score, therefore, there are 2 vocal staves, one for each
> > > of the
> > > alternative voices.  The staves contain identical music apart
> > > from an
> > > octave diffence in pitch and different clefs.
> > Aside: Have you thought about just having one staff, and putting
> > the clef modifier (i.e., subscript 8) in parentheses?
> I agree. Baritones have no trouble whatsoever singing from treble
> clef. 
> I’d not even bother to put the clef modifier there, because it’s 
> self-explanatory if you write ‘Mezzosoprano or baritone’. But that
> may 
> be from my personal dislike of \clef "treble_8". Historically, when 
> people started notating tenors with treble clefs, it was transposing 
> notation, the whole ‘octavated clef’ idea being in this case a 
> misconception. (advanced piano notation being a different issue)
> 
> Best, Simon

I am reluctant to remove the baritone line, written in bass clef, for 2
reasons:
1) the piece was originally written for baritone singer, and I would
therefore not like anyone to get the impression that the male voice is
merely an less desirable alternative to the female voice.
2) I may 
be mistaken, since I am not generally involved in performing vocal
music, but I think it would be unusual for a baritone to be expected to
read treble clef.  I am sure that most can, but that is hardly the
point: I used to be a flute-player, and I could easily have read my
music in bass clef (performing the necessary 1- or 2-octave
transpostion), but in 55 years I was never expected to.

David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Baritone and treble clef

[Phil Holmes]

- Original Message - 
From: "David Sumbler" 

2) I may
be mistaken, since I am not generally involved in performing vocal
music, but I think it would be unusual for a baritone to be expected to
read treble clef. I am sure that most can, but that is hardly the
point: I used to be a flute-player, and I could easily have read my
music in bass clef (performing the necessary 1- or 2-octave
transpostion), but in 55 years I was never expected to.

David



You are mistaken.  Baritone singers read music in treble clef all the time. 
A speak as one who has been singing from both bass and treble clef for 
40-odd years.


--
Phil Holmes 



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Baritone and treble clef

[Urs Liska]

Hi David,


Am 14.02.2017 um 12:52 schrieb David Sumbler:
> On Mon, 2017-02-13 at 22:58 +0100, Simon Albrecht wrote:
>> On 13.02.2017 17:43, Kieren MacMillan wrote:
 The piece I am setting can be sung by a baritone or by a mezzo-
 soprano.
   In the score, therefore, there are 2 vocal staves, one for each
 of the
 alternative voices.  The staves contain identical music apart
 from an
 octave diffence in pitch and different clefs.
>>> Aside: Have you thought about just having one staff, and putting
>>> the clef modifier (i.e., subscript 8) in parentheses?
>> I agree. Baritones have no trouble whatsoever singing from treble
>> clef. 
>> I’d not even bother to put the clef modifier there, because it’s 
>> self-explanatory if you write ‘Mezzosoprano or baritone’. But that
>> may 
>> be from my personal dislike of \clef "treble_8". Historically, when 
>> people started notating tenors with treble clefs, it was transposing 
>> notation, the whole ‘octavated clef’ idea being in this case a 
>> misconception. (advanced piano notation being a different issue)
>>
>> Best, Simon

If I'm not mistaken you didn't specify what kind and era of music we are
talking about, so that might make things different.

> I am reluctant to remove the baritone line, written in bass clef, for 2
> reasons:
> 1) the piece was originally written for baritone singer, and I would
> therefore not like anyone to get the impression that the male voice is
> merely an less desirable alternative to the female voice.

Traditionally, i.e. at least in the late eighteenth and the nineteenth
century, music that was explicitly set for baritone or bass was notated
in bass clef. Music that could be equally sung by both voices (I suppose
this goes mainly (only?) for songs) are in treble clef, without any
modifier.

> 2) I may 
> be mistaken, since I am not generally involved in performing vocal
> music, but I think it would be unusual for a baritone to be expected to
> read treble clef.  I am sure that most can, but that is hardly the
> point: I used to be a flute-player, and I could easily have read my
> music in bass clef (performing the necessary 1- or 2-octave
> transpostion), but in 55 years I was never expected to.

As Phil said, you are mistaken. If you're a baritone and you want to
sing *any* of the usual suspects in Lied literature from Schubert over
Brahms to Webern you'll have treble clef most of the time, with the
exception of explicit bass songs. Even songs for tenor are usually
written in treble clef.

So if you want to indicate a part to be performed by mezzo or baritone
you'd probably want to have just a single staff with treble clef, and
something like "Mezzo or baritone" as the "instrument name".

HTH
Urs

> David
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Baritone and treble clef

[David Sumbler]

On Tue, 2017-02-14 at 12:03 +, Phil Holmes wrote:
> - Original Message - 
> From: "David Sumbler" 
> > 
> > 2) I may
> > be mistaken, since I am not generally involved in performing vocal
> > music, but I think it would be unusual for a baritone to be
> > expected to
> > read treble clef. I am sure that most can, but that is hardly the
> > point: I used to be a flute-player, and I could easily have read my
> > music in bass clef (performing the necessary 1- or 2-octave
> > transpostion), but in 55 years I was never expected to.
> > 
> > David
> 
> You are mistaken.  Baritone singers read music in treble clef all the
> time. 
> A speak as one who has been singing from both bass and treble clef
> for 40-odd years.

Well, there you are then - I said I might be mistaken, and I was right!

David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

A staff change and phrasing slur problem

[Robert Blackstone]

Dear all,

I have been struggling for many hours with a pianoscore in which the mostly 
polyphonic text regularly switches between the treble staff and the bass staff.
There should be (phrasing-) slurs joining the beamed groups of notes.
Sometimes these slurs do not appear, as in the upper voice  between b.2 an b.3 
in the ME.
Probably I do something wrong but I have not been able to find out what.

Can someone help me out?

Thanks in advance.

Best regards,

Robert Blackstone


% 
\version "2.18.2"

upper  = {
  \clef treble
  \time 3/8
s8 s8 s8 | %1
s8 s8 s8 | %2
s8 s8 s8  | %3  
 }

lower = {
  \clef bass
  \time 3/8
  << { a8 [ b ]  \( c' [  \)  }  \\ {\stemDown  c8 [ d ]\( e [ \)  } >> | %1
<< { d'8 ] \( \change Staff = "upper" e' \) [ f' ] \(  }  \\ { \stemDown f8 \(  
] g \)  [ a  ]  \(   } >> | %2
<< { \change Staff = "upper"  g' \)  [ a' b' ]   }  \\ { \change Staff = 
"upper" \stemDown b \)  [ c' d'  ]  } >> | %3  
}

\score {
  \new PianoStaff 
  }
  <<
\new Staff = "upper" \upper
\new Staff = "lower"  \lower
  >>
  \layout { }
}

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Style(sheet) challenge

[Urs Liska]

Hi all,

I'd like to ask if there are a few people around here who are interested
in joining a small "style sheet challenge". The task is to prepare two
pages of music to match a published score as closely as possible. We
want to get as far as possible with stylesheets and have to apply as few
local tweaks as possible.

The plan is to submit this sample to the publisher who will consider
commissioning a proof-of-example edition with LilyPond. It's surely a
less-than-50% chance anything real will come through this, but
impressing this addressee will be a good thing on the long run either
way. At least it will be thoroughly reviewed.

I have already entered the music and sort-of proofread it, so we can
directly plunge into the stylesheet investigations.

Anyone interested please contact me privately and I'll give you access
to the repository.

Best
Urs

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Urs Liska]

Am 14.02.2017 um 14:27 schrieb Robert Blackstone:
> Dear all,
>
> I have been struggling for many hours with a pianoscore in which the mostly 
> polyphonic text regularly switches between the treble staff and the bass 
> staff.
> There should be (phrasing-) slurs joining the beamed groups of notes.
> Sometimes these slurs do not appear, as in the upper voice  between b.2 an 
> b.3 in the ME.
> Probably I do something wrong but I have not been able to find out what.
>
> Can someone help me out?

The actual problem is that the notes are encapsulated in different Voice
expressions and therefore can't be connected by spanners such as slurs
or \< \! etc.

When you write
c' << { d'' } // { d' } >> c'
LilyPond creates two temporary voices for the d-s (and make them
\voiceOne and \voiceTwo implicitly), while the original voice is
suspended during the polyphonic section.

In order to connect notes from inside the polyphonic section to the
outside you'd write

c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'

This way the main voice is continued through c' d'' c' while only the d'
is wrapped in an implicit temporary voice.

With this information you should be able to disentangle your example.
Actually I would really not create temporary polyphony for each measure
as this makes things *very* complicated. But of course this may be
related to your real-world example.

HTH
Urs

>
> Thanks in advance.
>
> Best regards,
>
> Robert Blackstone
>
>
> % 
> \version "2.18.2"
>
> upper  = {
>   \clef treble
>   \time 3/8
> s8 s8 s8 | %1
> s8 s8 s8 | %2
> s8 s8 s8  | %3  
>  }
>
> lower = {
>   \clef bass
>   \time 3/8
>   << { a8 [ b ]  \( c' [  \)  }  \\ {\stemDown  c8 [ d ]\( e [ \)  } >> | %1
> << { d'8 ] \( \change Staff = "upper" e' \) [ f' ] \(  }  \\ { \stemDown f8 
> \(  ] g \)  [ a  ]  \(   } >> | %2
> << { \change Staff = "upper"  g' \)  [ a' b' ]   }  \\ { \change Staff = 
> "upper" \stemDown b \)  [ c' d'  ]  } >> | %3  
> }
>
> \score {
>   \new PianoStaff 
>   }
>   <<
> \new Staff = "upper" \upper
> \new Staff = "lower"  \lower
>   >>
>   \layout { }
> }
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: lilyjazz?

[Sharon Rosner]

You need to turn on usage of the jazz font like this:

\version "2.18.2"
\require "lilyjazz"

\layout {
  \context {
\Score \jazzOn
  }
}

chordNames = \chordmode {   e1:maj7 ees:maj7 }
melody = \relative c'  {  e1  ees }

\score  {  
  <<
\new ChordNames { \chordNames  }
\new Staff {  \melody }
\new TabStaff {\melody}
  >>
}

Documentation for the lilyjazz package can be found here, together with a
couple of examples.

Sharon



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/lilyjazz-tp200044p200107.html
Sent from the User mailing list archive at Nabble.com.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: lilyjazz?

[Sharon Rosner]

The lilyjazz package documentation:

https://github.com/lyp-packages/lilyjazz

Sharon



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/lilyjazz-tp200044p200109.html
Sent from the User mailing list archive at Nabble.com.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Baritone and treble clef

[Chris Yate]

On Tue, 14 Feb 2017 at 12:18 David Sumbler  wrote:

>
> > You are mistaken.
> Well, there you are then - I said I might be mistaken, and I was right!
>

Always nice to be proven correct
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Hans Åberg]

> On 14 Feb 2017, at 14:37, Urs Liska  wrote:

> The actual problem is that the notes are encapsulated in different Voice
> expressions and therefore can't be connected by spanners such as slurs
> or \< \! etc.
> 
> When you write
> c' << { d'' } // { d' } >> c'
> LilyPond creates two temporary voices for the d-s (and make them
> \voiceOne and \voiceTwo implicitly), while the original voice is
> suspended during the polyphonic section.
> 
> In order to connect notes from inside the polyphonic section to the
> outside you'd write
> 
> c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'
> 
> This way the main voice is continued through c' d'' c' while only the d'
> is wrapped in an implicit temporary voice.

I have similar problem in the code below, wanting the last note ef4 of the 
first measure to be tied to the one in the following measure. I could not make 
your suggestion work.


\version "2.19.45"

\language "english"

music = \new Staff = main {
  \tempo 4 = 176
  \time 12/8
  \set beatStructure = #'(3 2 2 3 2)

  \override TupletNumber.text = #tuplet-number::calc-fraction-text

  \key c \minor

  \relative c'' {
\tuplet 2/3 {ef16 d ef f}  d8\prall c  d bf
   << {\voiceOne \override TupletNumber.text = 
#tuplet-number::calc-fraction-text
  {\tuplet 2/3 {c8\trill ~ c16 g} c8-. r8 |}}
   \new Voice
  {\voiceTwo \override TupletNumber.text = 
#tuplet-number::calc-fraction-text
  {\tuplet 2/3 {a16 bf c d} ef4\mordent ~ |}} >> \voiceTwo
  }

  \bar "||"

  \relative c'' {
ef4. ~ ef4 ~ ef4 ~ ef4. ~ ef4 |
  }

  \bar "||"
}

\score {
  \music
\layout {}
}



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Urs Liska]

Am 14.02.2017 um 15:22 schrieb Hans Åberg:
>
>> On 14 Feb 2017, at 14:37, Urs Liska > > wrote:
>
>> The actual problem is that the notes are encapsulated in different Voice
>> expressions and therefore can't be connected by spanners such as slurs
>> or \< \! etc.
>>
>> When you write
>> c' << { d'' } // { d' } >> c'
>> LilyPond creates two temporary voices for the d-s (and make them
>> \voiceOne and \voiceTwo implicitly), while the original voice is
>> suspended during the polyphonic section.
>>
>> In order to connect notes from inside the polyphonic section to the
>> outside you'd write
>>
>> c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'
>>
>> This way the main voice is continued through c' d'' c' while only the d'
>> is wrapped in an implicit temporary voice.
>
> I have similar problem in the code below, wanting the last note ef4 of
> the first measure to be tied to the one in the following measure. I
> could not make your suggestion work.

Well, the ef4 in the first bar is in the *lower* voice while the ones in
the second bar are in the *upper* voice. In order to tie these notes
both have to be in the upper voice. You can achieve that by either
somehow moving the music in the first bar in the upper voice, adding a
hidden ef in the upper voice (maybe the easiest workaround) or continue
the polyphonic section into the second measure, using skips in the upper
voice (if that is possible in the actual case).

HTH
Urs

>
> 
> \version "2.19.45"
>
> \language "english"
>
> music = \new Staff = main {
>   \tempo 4 = 176
>   \time 12/8
>   \set beatStructure = #'(3 2 2 3 2)
>
>   \override TupletNumber.text = #tuplet-number::calc-fraction-text
>
>   \key c \minor
>
>   \relative c'' {
> \tuplet 2/3 {ef16 d ef f}  d8\prall c  d bf
><< {\voiceOne \override TupletNumber.text =
> #tuplet-number::calc-fraction-text
>   {\tuplet 2/3 {c8\trill ~ c16 g} c8-. r8 |}}
>\new Voice
>   {\voiceTwo \override TupletNumber.text =
> #tuplet-number::calc-fraction-text
>   {\tuplet 2/3 {a16 bf c d} ef4\mordent ~ |}} >> \voiceTwo
>   }
>
>   \bar "||"
>
>   \relative c'' {
> ef4. ~ ef4 ~ ef4 ~ ef4. ~ ef4 |
>   }
>
>   \bar "||"
> }
>
> \score {
>   \music
> \layout {}
> }
> 
>

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Hans Åberg]

> On 14 Feb 2017, at 15:34, Urs Liska  wrote:

>> I have similar problem in the code below, wanting the last note ef4 of the 
>> first measure to be tied to the one in the following measure. I could not 
>> make your suggestion work.
> 
> Well, the ef4 in the first bar is in the *lower* voice while the ones in the 
> second bar are in the *upper* voice. In order to tie these notes both have to 
> be in the upper voice.

Changing the order in the polyphonic measure does not help, nor when using just 
"\\".

> You can achieve that by either somehow moving the music in the first bar in 
> the upper voice, adding a hidden ef in the upper voice (maybe the easiest 
> workaround) or continue the polyphonic section into the second measure, using 
> skips in the upper voice (if that is possible in the actual case).

Those are two different lines for two different instruments that happen to 
overlap in one measure. So it would be most logical to just have this 
polyphonic measure.



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Help coding two different voices in the same bar

[Aldo]

Hello, I am starting now coding in Lilypond and I am trying to learn using
old scores that I have at home.I found a particular bar that I can not code,
no matter what I try.Any help will be greatly appreciated.Look at this
picture, at the second bar...
 thanks!A.



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Help-coding-two-different-voices-in-the-same-bar-tp200088.html
Sent from the User mailing list archive at Nabble.com.___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Help coding two different voices in the same bar

[Aldo]

Hello, Ben, thanks for the tips and for the welcome.
Yes, I saw all your videos (or most of them...)
I'm with 2.19.55 and so far I am learning coding scores that I have here at
home, to see the very basics in action.
Thanks, again.
A.



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Help-coding-two-different-voices-in-the-same-bar-tp200088p200091.html
Sent from the User mailing list archive at Nabble.com.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Help coding two different voices in the same bar

[Jean Brefort]

Second bar can be coded with:
<<{s2 \slurUp aes4( g)}\\{ ees}>>

Hope this helps,
Jean

Le lundi 13 février 2017 à 18:41 -0700, Aldo a écrit :
> Hello, I am starting now coding in Lilypond and I am trying to learn
> using old scores that I have at home. I found a particular bar that I
> can not code, no matter what I try. Any help will be greatly
> appreciated. Look at this picture, at the second bar...   thanks! A. 
> View this message in context: Help coding two different voices in the
> same bar
> Sent from the User mailing list archive at Nabble.com.
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Hans Åberg]

> On 14 Feb 2017, at 15:34, Urs Liska  wrote:

> Well, the ef4 in the first bar is in the *lower* voice while the ones in the 
> second bar are in the *upper* voice. In order to tie these notes both have to 
> be in the upper voice.

I was able to fix it using this suggestion. Thanks.

> You can achieve that by either somehow moving the music in the first bar in 
> the upper voice, ...

In addition, \voiceOne ... \voiceTwo must appear in order, it seems.




___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Robert Blackstone]

Hi Urs,
Thanks for your explanation and advice (and my apologies for my late reaction. 
Some urgent matter temporarily took me off my engraving activity.) 
So I still have to try out your suggestion. 

I am still puzzled though, for while I can understand that different voices 
cannot be connected by spanners etc., in most instances up till now, with 
identical coding (as far as I could see) the problem did not arise.
I am also a bit puzzled about what  you write near the end of your mail: 
"Actually I would really not create temporary polyphony for each measure as 
this makes things *very* complicated."
Not for each measure. But only for some measures? Or is there an alternative 
that you would use? 

I'll first experiment a bit with your remedy. 

Thanks again.

Bewst regards,
Robert


On 14 Feb 2017, at 14:37 , Urs Liska  wrote:

> 
> 
> Am 14.02.2017 um 14:27 schrieb Robert Blackstone:
>> Dear all,
>> 
>> I have been struggling for many hours with a pianoscore in which the mostly 
>> polyphonic text regularly switches between the treble staff and the bass 
>> staff.
>> There should be (phrasing-) slurs joining the beamed groups of notes.
>> Sometimes these slurs do not appear, as in the upper voice  between b.2 an 
>> b.3 in the ME.
>> Probably I do something wrong but I have not been able to find out what.
>> 
>> Can someone help me out?
> 
> The actual problem is that the notes are encapsulated in different Voice
> expressions and therefore can't be connected by spanners such as slurs
> or \< \! etc.
> 
> When you write
> c' << { d'' } // { d' } >> c'
> LilyPond creates two temporary voices for the d-s (and make them
> \voiceOne and \voiceTwo implicitly), while the original voice is
> suspended during the polyphonic section.
> 
> In order to connect notes from inside the polyphonic section to the
> outside you'd write
> 
> c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'
> 
> This way the main voice is continued through c' d'' c' while only the d'
> is wrapped in an implicit temporary voice.
> 
> With this information you should be able to disentangle your example.
> Actually I would really not create temporary polyphony for each measure
> as this makes things *very* complicated. But of course this may be
> related to your real-world example.
> 
> HTH
> Urs
> 
>> 
>> Thanks in advance.
>> 
>> Best regards,
>> 
>> Robert Blackstone
>> 
>> 
>> % 
>> \version "2.18.2"
>> 
>> upper  = {
>>  \clef treble
>>  \time 3/8
>> s8 s8 s8 | %1
>> s8 s8 s8 | %2
>> s8 s8 s8  | %3  
>> }
>> 
>> lower = {
>>  \clef bass
>>  \time 3/8
>>  << { a8 [ b ]  \( c' [  \)  }  \\ {\stemDown  c8 [ d ]\( e [ \)  } >> | %1
>> << { d'8 ] \( \change Staff = "upper" e' \) [ f' ] \(  }  \\ { \stemDown f8 
>> \(  ] g \)  [ a  ]  \(   } >> | %2
>> << { \change Staff = "upper"  g' \)  [ a' b' ]   }  \\ { \change Staff = 
>> "upper" \stemDown b \)  [ c' d'  ]  } >> | %3  
>> }
>> 
>> \score {
>>  \new PianoStaff 
>>  }
>>  <<
>>\new Staff = "upper" \upper
>>\new Staff = "lower"  \lower
 
>>  \layout { }
>> }
>> 
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> -- 
> u...@openlilylib.org
> https://openlilylib.org
> http://lilypondblog.org
> 
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: A staff change and phrasing slur problem

[Urs Liska]

Am 14.02.2017 um 22:51 schrieb Robert Blackstone:
> Hi Urs,
> Thanks for your explanation and advice (and my apologies for my late 
> reaction. Some urgent matter temporarily took me off my engraving activity.) 
> So I still have to try out your suggestion. 
>
> I am still puzzled though, for while I can understand that different voices 
> cannot be connected by spanners etc., in most instances up till now, with 
> identical coding (as far as I could see) the problem did not arise.
> I am also a bit puzzled about what  you write near the end of your mail: 
> "Actually I would really not create temporary polyphony for each measure as 
> this makes things *very* complicated."
> Not for each measure. But only for some measures? Or is there an alternative 
> that you would use? 

Just a short remark. Basically the music you showed in the example is a
two-voice polyphony. So I would wrap each voice in *one* Voice
expression from start to end:

<<
  {
%all the music for the upper voice
  }
  \new Voice
  {
%all the music for the lower voice
  }
>>

instead of creating this polyphony construct newly for each measure.
Urs

>
> I'll first experiment a bit with your remedy. 
>
> Thanks again.
>
> Bewst regards,
> Robert
>
>
> On 14 Feb 2017, at 14:37 , Urs Liska  wrote:
>
>>
>> Am 14.02.2017 um 14:27 schrieb Robert Blackstone:
>>> Dear all,
>>>
>>> I have been struggling for many hours with a pianoscore in which the mostly 
>>> polyphonic text regularly switches between the treble staff and the bass 
>>> staff.
>>> There should be (phrasing-) slurs joining the beamed groups of notes.
>>> Sometimes these slurs do not appear, as in the upper voice  between b.2 an 
>>> b.3 in the ME.
>>> Probably I do something wrong but I have not been able to find out what.
>>>
>>> Can someone help me out?
>> The actual problem is that the notes are encapsulated in different Voice
>> expressions and therefore can't be connected by spanners such as slurs
>> or \< \! etc.
>>
>> When you write
>> c' << { d'' } // { d' } >> c'
>> LilyPond creates two temporary voices for the d-s (and make them
>> \voiceOne and \voiceTwo implicitly), while the original voice is
>> suspended during the polyphonic section.
>>
>> In order to connect notes from inside the polyphonic section to the
>> outside you'd write
>>
>> c' << { \voiceOne d'' } \new Voice { \voiceTwo d' } >> \oneVoice c'
>>
>> This way the main voice is continued through c' d'' c' while only the d'
>> is wrapped in an implicit temporary voice.
>>
>> With this information you should be able to disentangle your example.
>> Actually I would really not create temporary polyphony for each measure
>> as this makes things *very* complicated. But of course this may be
>> related to your real-world example.
>>
>> HTH
>> Urs
>>
>>> Thanks in advance.
>>>
>>> Best regards,
>>>
>>> Robert Blackstone
>>>
>>>
>>> % 
>>> \version "2.18.2"
>>>
>>> upper  = {
>>>  \clef treble
>>>  \time 3/8
>>> s8 s8 s8 | %1
>>> s8 s8 s8 | %2
>>> s8 s8 s8  | %3  
>>> }
>>>
>>> lower = {
>>>  \clef bass
>>>  \time 3/8
>>>  << { a8 [ b ]  \( c' [  \)  }  \\ {\stemDown  c8 [ d ]\( e [ \)  } >> | %1
>>> << { d'8 ] \( \change Staff = "upper" e' \) [ f' ] \(  }  \\ { \stemDown f8 
>>> \(  ] g \)  [ a  ]  \(   } >> | %2
>>> << { \change Staff = "upper"  g' \)  [ a' b' ]   }  \\ { \change Staff = 
>>> "upper" \stemDown b \)  [ c' d'  ]  } >> | %3  
>>> }
>>>
>>> \score {
>>>  \new PianoStaff 
>>>  }
>>>  <<
>>>\new Staff = "upper" \upper
>>>\new Staff = "lower"  \lower
>>>  \layout { }
>>> }
>>> 
>>> ___
>>> lilypond-user mailing list
>>> lilypond-user@gnu.org
>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>> -- 
>> u...@openlilylib.org
>> https://openlilylib.org
>> http://lilypondblog.org
>>
>>
>> ___
>> lilypond-user mailing list
>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user