We've had a few questions about ties between voices (especially ties from
polyphony to chords). It seems that you can get this behaviour simply by
moving the Tie_engraver form the Voice context to the Staff context. Note
that the Tie_engraver was probably designed to live in the Voice context, so
Rutger Hofman cs.vu.nl> writes:
>
> Bertalan Fodor wrote:
> >
> >> I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
> >> and couldn't get the first chord to print as 4 different voices of
> >> which three have upward stems. Lilypond gives me "warning: ignoring
> >> too
Thanks for the additional suggestions. The variation of your
polyphony syntax was close, but the two stems did not merge
together because of the offset from the smaller notehead on the
alternate pitch. The example called grob-tweak.ly in the
Regression Test document was exactly what I was lookin
Bertalan Fodor wrote:
I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
and couldn't get the first chord to print as 4 different voices of
which three have upward stems. Lilypond gives me "warning: ignoring
too many clashing note columns", and collapses all three into one
I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
and couldn't get the first chord to print as 4 different voices of
which three have upward stems. Lilypond gives me "warning: ignoring
too many clashing note columns", and collapses all three into one
chord. If we would ha
Bertalan Fodor wrote:
> Graham Percival-2 wrote:
Upro wrote:
1. The score has four voises. All have their own stems. I find it
extremely
complicated to arrange stems/notes in the same order (right to
left), and
stems in the correct direction.
I personally would condense this down to one
1. The score has four voises. All have their own stems. I find it
extremely
complicated to arrange stems/notes in the same order (right to left), and
stems in the correct direction.
I personally would condense this down to one or possibly two voices.
Somebody else might have other sugge
Upro wrote:
Graham Percival-2 wrote:
I personally would condense this down to one or possibly two voices.
Somebody else might have other suggestions.
Suggestions like condensing a four voiced, polyphonic piece by Bach for an
Urtext edition for one of the major publishers seems to me a strange
Graham Percival-2 wrote:
>
> Upro wrote:
>> 1. The score has four voises. All have their own stems. I find it
>> extremely
>> complicated to arrange stems/notes in the same order (right to left), and
>> stems in the correct direction.
>
> I personally would condense this down to one or possibl
Upro wrote:
1. The score has four voises. All have their own stems. I find it extremely
complicated to arrange stems/notes in the same order (right to left), and
stems in the correct direction.
I personally would condense this down to one or possibly two voices.
Somebody else might have other
Hello!
I have been using Lilypond some years ago, without needs for too good
formattzig, but now I decided to try to make an edition for a major
publisher with lilypond.
However, I have found that there are several issues that I find too time
consuming and complicated to rate lilypond as "profes
Here's a new version that keeps the main version in the same Voice context,
which should solve your lyrics problems. Also, it doesn't set any stem
directions,
so both versions will have the stems in the same direction (unless the
pitches are
too different).
\version "2.10.0"
\relative c'{
c d
Mats,
Thank you for your suggestion. When I tried using that syntax, I
found two problems. First, the alternate note has a separate stem
from the preferred pitch. The alternate note needs to use the same
stem as the preferred pitch, as when using the chord operator < >.
The second problem that
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