Untried, but I'm optimistic:
in Frescobaldi, under Edit Preferences, you can define arguments to be
passed to various useful programs, called by file extension. One of the
possibilities is to run a shell script, so why not create a wrapper for
musicxml2ly, with the options you want to pass in?
Oops - I should have thought to check properly. I call it from Frescobaldi,
which doesn't expose the option...
Thanks,
Paul
From: Werner LEMBERG
To:
Cc: , ,
Sent: 01/11/2024 15:25
Subject: Re: merge parts/voices
> I'd be happy if an option to s
> I'd be happy if an option to supress stemUp/stemDown altogether was
> present; removing them is the first thing I do.
Just say `musicxml2ly --help` and you will see, among other options,
```
--nsd --no-stem-directions
ignore stem directions from MusicXML, use li
I'd be happy if an option to supress stemUp/stemDown altogether was present;
removing them is the first thing I do.
Paul
From: Antanas Budriūnas
d) \stemDown and \stemUp received \once in front of each occurrance,
Werner,
On Thu, Oct 31, 2024 at 10:10 AM Werner LEMBERG wrote:
> > c) Full measure rests are now not gathered (e. g. R1 R1 R1 instead
> >of R1*3 in the earlier version) -- regression??
>
> MusicXML test file, please.
>
I sent it to a personal email.
--
Antanas Budriūnas
> c) Full measure rests are now not gathered (e. g. R1 R1 R1 instead
>of R1*3 in the earlier version) -- regression??
MusicXML test file, please.
Werner
if it
>> makes sense.
>> In my opinion the cause of the voices' mess is laying in the initial
>> Finale's file.
>>
>
> Get the latest "unstable" version 2.25.21; that's the one with all the
> musicxml2ly work in it.
>
> I did exactly t
On Wed, Oct 30, 2024 at 2:26 AM Antanas Budriūnas
wrote:
> Hi Knute, All,
>
> I'm currently using LP v. 2.24.1.
> OK I'll try importing musicxml score using latest musicxml2ly if it
> makes sense.
> In my opinion the cause of the voices' mess is laying in the in
On Mon, 28 Oct 2024 17:46:22 -0400 (EDT)
msk...@ansuz.sooke.bc.ca wrote:
> On Mon, 28 Oct 2024, Cameron Hall wrote:
>
> > Is there any way to apply dynamics to a single part that splits into
> > multiple voices? Here's a short excerpt of a piano piece. The
&g
Hi Knute, All,
I'm currently using LP v. 2.24.1.
OK I'll try importing musicxml score using latest musicxml2ly if it
makes sense.
In my opinion the cause of the voices' mess is laying in the initial
Finale's file.
On Tue, Oct 29, 2024 at 5:22 PM Knute Snortum wrote:
>
&g
d it into musicxml using Finale Notepad and after that used
> musicxml2ly to get you guess what.
> There's a piano part (pianoStaff) with very little polyphony but the piano
> music is actually spreaded across 8 voices (4 voices per staff) which makes
> it very difficult to manage n
.
There's a piano part (pianoStaff) with very little polyphony but the piano
music is actually spreaded across 8 voices (4 voices per staff) which makes
it very difficult to manage notehead collisions, rest positions, steam
directions etc.
Most of the parts contains lots of "r" and "s
On Mon, 28 Oct 2024, Cameron Hall wrote:
> Is there any way to apply dynamics to a single part that splits into
> multiple voices? Here's a short excerpt of a piano piece. The dynamics,
Move "Dynamic_performer" from Voice to Staff context. This will make it
harder to have
Is there any way to apply dynamics to a single part that splits into
multiple voices? Here's a short excerpt of a piano piece. The dynamics,
time signature, etc. are in a variable called common. In the generated
MIDI file, the dynamics work for the 1st measure, but as soon as the
top staff s
in a way that I think looks better
(and doesn't produce the warning about the collision).
The main things going on here are using \\ within << >> to create separate
voices (after which it becomes an important constraint to keep ties
within-voice); grouping notes into chords wher
I have the feeling I miss / don't understand something conceptually. I
would like to understand why lily refuses to engrave the slur of the
first fis.
On the question of why the first tie does not appear: there is a note
(a2) in the voice between the first and second fis1 that interrupts the
>>>>> "Sebastian" == Sebastian Menge writes:
Sebastian> [1 ] Hi
Sebastian> I have a (organ) piece with different "voices"(?) stacking
Sebastian> up to chords.
Sebastian> Since this is rather homophonic, I'd not use individual
Sebastian> v
Hi
I have a (organ) piece with different "voices"(?) stacking up to chords.
Since this is rather homophonic, I'd not use individual voices - the slurs
look ugly then.
I came up with the following (hardly minimal) example. Lily gives me many
warnings, so I wonder if I could make
On Tue, 8 Oct 2024 17:29:00 -0700
Knute Snortum wrote:
> On Tue, Oct 8, 2024 at 9:38 AM Cameron Hall
> wrote:
>
> > I'm trying to add dynamics to a part that splits into two, then goes
> > back into a unison section. The problem is that the crescendo
> > starts in the divisi section and ends in
On Tue, Oct 8, 2024 at 9:38 AM Cameron Hall wrote:
> I'm trying to add dynamics to a part that splits into two, then goes
> back into a unison section. The problem is that the crescendo starts in
> the divisi section and ends in the unison section. I've tried this, but
> it doesn't allow me to te
The easiest way to handle this is to continue one of the voices into the
unison section and use \oneVoice.
On Tue, Oct 8, 2024, 12:38 PM Cameron Hall wrote:
> I'm trying to add dynamics to a part that splits into two, then goes
> back into a unison section. The problem is that th
I'm trying to add dynamics to a part that splits into two, then goes
back into a unison section. The problem is that the crescendo starts in
the divisi section and ends in the unison section. I've tried this, but
it doesn't allow me to terminate the crescendo. I want the crescendo to
start in measu
> \time 5/4
> {
> \after 2\< \after 8*7 \>
> \repeat unfold 10 {e16 f} \!|
> }
> }
>
> \score {
> \new Staff \example
> }
>
> which prints:
>
>
> Trying it with a two voices fragment, doesn’t work:
>
> \version "2
Dear Stu,
I don't think that is the problem here, because in original OP snippet,
if you comment out the line `\new Voice { \voiceFour e,2 }`, there is no
barcheck fail, and if you try the following example you can hear how the
upper notes become out of sync with the lower notes in the midi.
On 2024-09-16 14:27, Knute Snortum wrote:
On Mon, Sep 16, 2024 at 2:14 PM Knute Snortum wrote:
On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
In my book, an appoggiatura is executed at least with the written
duration, and here you take 3/16 of time from 1/8. Ho
On Mon, Sep 16, 2024 at 2:14 PM Knute Snortum wrote:
>
> On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
>
>>
>> In my book, an appoggiatura is executed at least with the written
>> duration, and here you take 3/16 of time from 1/8. How is that supposed
>> to work? You probably want \acc
On Mon, Sep 16, 2024 at 12:15 PM David Kastrup wrote:
>
> In my book, an appoggiatura is executed at least with the written
> duration, and here you take 3/16 of time from 1/8. How is that supposed
> to work? You probably want \acciaccatura or \grace instead.
I think you're right that I need
Knute Snortum writes:
> I have discovered that LilyPond 2.25.19 produces a bad bar check warning
> under certain circumstances. The three parts are 1) using two voices, 2)
> an appoggiatura, 3) using articulate.ly. Below is my example code:
>
> %%%
> \version "
I have discovered that LilyPond 2.25.19 produces a bad bar check warning
under certain circumstances. The three parts are 1) using two voices, 2)
an appoggiatura, 3) using articulate.ly. Below is my example code:
%%%
\version "2.25.19"
rightHand = \relative {
\time 3/4
<<
On 09/09/2024 18:00, Sebastian Menge via LilyPond user discussion wrote:
Thanks Paul that works. However, there are warnings.
Here is a fixed version without warnings.
\version "2.24.0"
\score {
\relative { g2 ~ << g2 \new Voice {\voiceOne c8 d e f} >> }
\layout { }
}
--
Timothy Lanfear
Hi,
May be something like:
\score {
\relative { << { g2 ~ g2}\\ {s2 \stemUp c8 d e f} >> }
\layout { }
}
Hope this helps,
Jean B.
Le lundi 09 septembre 2024 à 17:20 +0200, Sebastian Menge via LilyPond
user discussion a écrit :
> Hi
>
> I would like to tie a note into a short polyphon sect
I would like to tie a note into a short polyphon section \score { \relative { g2 ~ << g2 \\ {\stemUp c8 d e
f} >> } \layout { } } But that gives a warning and no tie. (It is intended to have two half notes tied) You
can't tie across voices, that's true. this works tho
> I’d like for the bracket to extend to the end of the bar. [...]
If you use `<< { } // { } >>`, the voices are using names '0', '1',
etc. However, if you use `<< { } \new Voice { } >>`, the name of the
first voice in `<<>>`
I have this snippet:
\version "2.24.3"
\layout {
\context { \Voice
\consists Horizontal_bracket_engraver
}
}
\relative c'' {
a8 a b\startGroup b\stopGroup << {c4 d} \\ {a2} >>
}
[image.png]
I’d like for the bracket to extend to the end of the bar. Of course the “simple
solution”
Hi Fennel,
This might be a little hacky, but…
%%% SNIPPET BEGINS
\version "2.24.3"
"fing13" =
\tweak X-offset #-1
\tweak Y-offset 0
\finger \markup \override #'(baseline-skip . 1.25) \column { "1" "3" }
\relative c'' {
<< { c4 d-2 } \\ a2-\"fing13" >>
}
%%% SNIPPET ENDS
You could ea
>
> % \after 2 \< \after 8*7 \!\> \after 2 \!
> s2 d8(c b2)
Make that
s2 d8(\< c \after 8 \> b2) <>\!
\after doesn't work the way you indented your code suggests you
think it does. The syntax is
\after DURATION ARTICULATION MUSIC
and gives something roughly equivalent to
<
6 f} \!|
}
}
\score {
\new Staff \example
}
which prints:
Trying it with a two voices fragment, doesn’t work:
\version "2.25.14"
\language "english"
example = \relative c'' {
\clef treble
\key f \major
\time 5/4
<<
\new Voice {
On Wed, May 1, 2024 at 10:55 PM Robert Garrigos wrote:
> Oh this is a bit embarrassing, such a basic error….. sorry, I never
> realized that the parenthesis needs to be right after the first note.
>
Nothing to be embarrassed about. It takes some getting used to.
--
Knute Snortum
anfear
> Sent: Wednesday, May 1, 2024 2:15 PM
> To: Robert Garrigos ; LilyPond Users
>
> Subject: Re: slurs problem with voices
>
> On 01/05/2024 21:57, Robert Garrigos wrote:
>>
>> Why is not the first example working? I tried with explicit voicing with the
>
, May 1, 2024 2:15 PM
To: Robert Garrigos ; LilyPond Users
Subject: Re: slurs problem with voices
On 01/05/2024 21:57, Robert Garrigos wrote:
Why is not the first example working? I tried with explicit voicing with the
same results.
Thanks.
Robert
The slur starts at the d2 so must be
On Wed, May 1, 2024 at 1:59 PM Robert Garrigos wrote:
> I have this music to engrave, note the slur:
> [...]
> Why is not the first example working? I tried with explicit voicing with
> the same results.
>
Slurs in LilyPond are "post events", meaning they always go *after* the
note. So if you
On 01/05/2024 21:57, Robert Garrigos wrote:
Why is not the first example working? I tried with explicit voicing with the
same results.
Thanks.
Robert
The slur starts at the d2 so must be placed with that note following the
pitch and duration,
{ d4 d2( | \hideNotes ef8)}
--
Timothy Lanfea
Hi Robert,
> I tried different approaches but cannot get that slur.
\version "2.25.14"
\language "english"
global = {
\key ef \minor
\time 3/4
}
\relative c' {
\clef treble
\global
<<
{ bf'4 cf2 \tweak staff-position #5.1 ~ | 8 8 r8 r8 }
\\
{ d4 d2( | \hideNotes ef8) }
I have this music to engrave, note the slur:
I tried different approaches but cannot get that slur. This is my code, with
two examples:
\version "2.25.14"
\language "english"
global = {
\key ef \minor
\time 3/4
}
first_example = \relative c' {
\clef treble
\global
<<
{bf'4 \once
Dear William, Aaron and Pierre,
thank you so much for your quick reply.
I ended up writing it using the hint by Aaron like this (which I find
makes writing the individual voices easier and also 'flipping' the color
over to the other voice):
/\version "2.24.3"
\relativ
Hi Joop,
I'd forget voices and do:
\version "2.24.3"
nr = \tweak color #red \etc
\relative c
{
f'2( g4.)
8 |
<\nr d f>4 q <\nr e g>16 <\nr f a>
a8 r4
}
HTH, cheers,
Pierre
Le lun. 18 mars 2024 à 18:44, Go77 a écrit :
lor = #red
g8 | d4 d4 e16 f
\revert NoteHead.color } >>
a8 r4
} /
This results in the noteheads of /both /voices being colored instead of
only the upper one (in this case):
So, is there any way to achieve my goal of coloring only the upper
notes?
Sin
g8 | d4 d4 e16 f
\revert NoteHead.color } >>
a8 r4
} /
This results in the noteheads of /both /voices being colored instead of
only the upper one (in this case):
So, is there any way to achieve my goal of coloring only the upper notes?
Joop
--
Wil
e16 f
\revert NoteHead.color } >>
a8 r4
} /
This results in the noteheads of /both /voices being colored instead of
only the upper one (in this case):
So, is there any way to achieve my goal of coloring only the upper notes?
Joop
n, etc.) according to where the voice
> “sits” on the staff; the odd-numbered voices (\voiceOne, \voiceThree,
> etc.) act as if they are “on top” (so stems/ties/slurs go up), while
> even-numbered voices (\voiceTwo, \voiceFour, etc.) act as if they are
> “underneath” (stems/ties/slurs down,
didn't quite understand the reasons for changing \voiceFour and \voiceOne
> in the tenor part
Lilypond’s \voiceX commands automatically set a lot of parameters (default
stem/tie/slur direction, etc.) according to where the voice “sits” on the
staff; the odd-numbered voices (\voiceOne, \
Hi George,
> Currently, I am transcribing Bach's Fantasia and Fugue in a minor (BWV 904),
> but I am dealing with a rest collision between the fugue voices on measure
> 69. Specifically, on the 4th beat I have not found a way to give distance
> between the a' from the
Hi everyone,
Currently, I am transcribing Bach's *Fantasia and Fugue in a minor* (BWV
904), but I am dealing with a rest collision between the fugue voices on
measure 69. Specifically, on the 4th beat I have not found a way to give
distance between the *a'* from the alto and the 16th
ilypond does implicitely create a new Staff.
Now, when Lilypond encounters \\ as element of a music expression it will
split the elements along these and create individual voices. So
<< chordNames voiceI \\ voiceII >>
becomes
<< \new Voice { \voiceOne << chordNames vo
Hi all,
I'm using lilypond to practice my voice leading. I want to keep the harmony
as a separate voice for the sake of tidiness. However, when I add a second
voice, the chords appear underneath the staff as opposed to above it. How
do I fix this?
Example:
\version "2.25.11"
\language "english"
I just joined this group and have learned so much already. First time
answering. Hope this is right (works for me anyway.)
Butter Cream:
for the first tie put the first b-flat in the same "voice."
for the 2nd tie use \repeatTie.
\repeat volta 2 {
4 8 ~ r8 << { bes4~ } \\ { s4 } >> |
Welcome!
From: Butter Cream
Sent: Wednesday, January 24, 2024 4:29 PM
To: Leo Correia de Verdier ; Mark Stephen
Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: Ties across voices; tried two methods
Thank you! I will implement your suggestions.
Sent via the Samsung Galaxy S20 FE 5G
Mrotek
Cc: Butter Cream ; lilypond-user@gnu.org
Subject: Re: Ties across voices; tried two methods
Also: your tie needs to end in the same voice it started. \new Voice and the
<<\\>> construct both create other voices. If you remove \new Voice = “melody”
from your first attempt it will
Also: your tie needs to end in the same voice it started. \new Voice and the
<<\\>> construct both create other voices. If you remove \new Voice = “melody”
from your first attempt it will work, as the last note of the tie is then in
the same voice as the first.
> 25 jan. 2024
across voices; tried two methods
Hi ponders, I have a piece of music with alternative ending. The last
measure prior to the alternative is a single voice has a tied note to both
endings. I'v e tried two methods but both methods produce similar error:
{with no tie} Any help would be apprec
Hi ponders, I have a piece of music with alternative ending. The last measure
prior to the alternative is a single voice has a tied note to both endings. I'v
e tried two methods but both methods produce similar error: {with no tie} Any
help would be appreciated.
*.ly:100:42: warning: unterminat
Thank you kindly, Kieran. I appreciate your time.
I agree about the structure. Thank you for the example. I'll follow that.
Whatever else needs adjusting I'm sure I can force-\tweak into place.
Jakob
On 17.12.2023 15.49, Kieren MacMillan wrote:
Hi Jakob,
Does anyone know how to align Voice
Hi Jakob,
> Does anyone know how to align VoiceOne (green) further left to match the
> horizontal position of VoiceFour (red)?
You could switch the \voiceTwo and \voiceFour commands… but that creates an
even less pleasing result [IMO].
There are also ways to tweak the horizontal position of th
.
The voices from the top (stem up) are counted 1, 3, 5, ... The voices
from the bottom (stem down) are counted 2, 4, 6, ...
If I understand you correctly, in the following music example, green is
VoiceOne, blue is VoiceTwo and red is VoiceFour.
I think that looks good, actually, and is fairly
Jakob,
As I see it you have 5 voices in the music yet only 4 voices in your code.
Is this piece for organ?
You might consider putting the “pedal” into a separate staff.
Frescobaldi has a “wizard” under “file”, “score wizard”, “keyboard”, “organ”.
Mark
From: lilypond-user-bounces
w \voiceOne. \voiceFour is the voice above
\voiceTwo.
The voices from the top (stem up) are counted 1, 3, 5, ... The voices
from the bottom (stem down) are counted 2, 4, 6, ...
For anything exceeding two voices, this is not exactly intuitive.
--
David Kastrup
Greetings!
I've always struggled with multiple voice and getting things to align
correctly. I assume there's some basic truth I'm missing.
I'm attempting to transcribe an organ chorale and have run into a
problem with these three bars:
I have tried all sorts of combination of \Voice and \
On Mon, Nov 27, 2023 at 11:16 AM Michael Werner wrote:
> On Mon, Nov 27, 2023 at 7:43 AM Kevin Cole wrote:
>
>> Thanks. Not sure how I missed that in my search... That seems the best
>> answer -- though, alas, the MIDI arpeggiator cannot take advantage of it.
>> (I may be able to suss that out "
Hi Kevin,
On Mon, Nov 27, 2023 at 7:43 AM Kevin Cole wrote:
> Thanks. Not sure how I missed that in my search... That seems the best
> answer -- though, alas, the MIDI arpeggiator cannot take advantage of it.
> (I may be able to suss that out "the hard way" manually though.)
>
Sorry, but MIDI i
On Mon, Nov 27, 2023 at 12:33 AM Michael Werner wrote:
> Hi Kevin,
>
> On Sun, Nov 26, 2023 at 7:38 PM Kevin Cole wrote:
>
>> I'm looking at a pice of music that shows an arpeggio between two
>> dotted half-notes in one voice and a quarter-note in the other voice.
>> Specifically, in the wee sni
Hi Kevin,
On Sun, Nov 26, 2023 at 7:38 PM Kevin Cole wrote:
> I'm looking at a pice of music that shows an arpeggio between two
> dotted half-notes in one voice and a quarter-note in the other voice.
> Specifically, in the wee snippet below, the first e4 in the first
> voice is at the top of the
On Sun, Nov 26, 2023 at 4:38 PM Kevin Cole wrote:
> I'm looking at a pice of music that shows an arpeggio between two
> dotted half-notes in one voice and a quarter-note in the other voice.
> Specifically, in the wee snippet below, the first e4 in the first
> voice is at the top of the arpeggio a
I'm looking at a pice of music that shows an arpeggio between two
dotted half-notes in one voice and a quarter-note in the other voice.
Specifically, in the wee snippet below, the first e4 in the first
voice is at the top of the arpeggio above the 2 in the second
voice.
%%
<<
On Wed, Sep 20, 2023 at 09:37:27AM -0400, Kevin Cole wrote:
>I'm not quite sure how to ask the question.
>Is there a way to play the same melody as different voices with different
>time offsets -- i.e. without duplicating it and adding rests at the
>beginnings
Am 20.09.23 um 15:37 schrieb Kevin Cole:
I'm not quite sure how to ask the question.
Is there a way to play the same melody as different voices with
different time offsets -- i.e. without duplicating it and adding rests
at the beginnings of the duplicates? (I only want it in the MIDI
I'm not quite sure how to ask the question.
Is there a way to play the same melody as different voices with different
time offsets -- i.e. without duplicating it and adding rests at the
beginnings of the duplicates? (I only want it in the MIDI part, as the
printed part would only need to di
Thanks. This works if I match all the rests I want centered in both voices.
William Rehwinkel’s suggestion of using a pitched rest also works, but is
slightly more difficult to deal with in \relative mode as it may affect the
notes following.
> On Aug 10, 2023, at 10:15 PM, David Wright wr
> other voice. But rests in voices are vertically offset from the center
> depending on which voice is in use:
>
> \version "2.24.1"
>
> upper = \relative c'' {
> \new Voice {
> \voiceOne c4 r4 c4 r4
> }
> \new Voice {
> \voiceTwo
Dear Jin,
You can write 4\rest instead of r4 to specify what "pitch"
(vertical position) the rest should appear at. You should write the note
that is the middle line of the staff for it to appear like a \oneVoice
rest. So
\version "2.25.6"
upper = \relative c'' {
\new Voice {
\voiceOn
I’m transcribing some piano music where it is helpful to use \voiceOne and
\voiceTwo for some extended polyphonic sections. When I come across shared
rests, I’ve been putting in rests in one voice and invisible rests in the other
voice. But rests in voices are vertically offset from the center
; c4
> }
>
> \\
> { \new Voice
> \voiceTwo % Voice = "2"
> \stemDown
> r4 r8 f,4 f8| % 4
> a2.~| % 5
> a4
> }
>
>>>
So
s LilyPond to create the voices (with `\voiceOne`, etc.) implicitly.
Here, you're doing it explicitly.
- It should be `\new Voice { ... }` and not `{ \new Voice ... }`.
- You should put `\oneVoice` after the `<< >>` construct in order to reset the
stem direction to be computed
Hi, I’m trying to get a tie to cross the barline into a split voice measure. I have tried with and without the \voiceOne command but cannot get this to work. Can any one help me? John McWilliam Sent from Mail for Windows
Voice_with_tie.ly
Description: Binary data
Le samedi 11 février 2023 à 22:14 +0100, Valentin Petzel a écrit :
> 2) Instead of using such a parallel global thing with \hide BarLine we can
> achieve the same effect by doing
>
> \version "2.24.0"
>
> \layout {
> \override Staff.BarLine.stencil =
> #(grob-transformer 'stencil
>
elative c' {
f1 f f \fine
}
bass = \relative c'' {
c1 c c \fine
}
words = \lyricmode {
la la la
}
\new StaffGroup
<<
\new Staff {
\voices 1,2<< \sopI \\ \sopII >>
}
\new Lyrics \lyricsto "2" \words
\new Staff { << \bass
thx Jean and Valentin - very helpful!
Always amazing how fast this user group is!
Le samedi 11 février 2023 à 21:39 +0100, Johannes Roeßler a écrit :
| \new Staff { \voices 1,2<< \global \sopI \sopII >> }
\lyricsto "2" { \words } |
Make that
|\new Staff {
Hello Joei,
There are two small mistakes in your code:
\voices still requires you to to separate the Voices using \\, as you can see
by comparing this
\new Staff \voices 1,2,3 << { c' d' e'} a2. {c'4 b2} >>
to this:
\new Staff \voices 1,2,3 << { c
Le samedi 11 février 2023 à 21:39 +0100, Johannes Roeßler a écrit :
> \new Staff {
> \voices 1,2<< \global \sopI \sopII >>
> }
> \lyricsto "2" { \words }
Make that
```
\new Staff {
<< \global \voices 1,2 <
e two voices in one staff.
This is what I've tried:
#
\version "2.24.0"
global = {
\hide Staff.BarLine
s1 s
\undo \hide Staff.BarLine
\bar "|."
}
sopI = \relative c'' {
c1 c
}
sopII = \relative c' {
f1 f
}
bass = \relative
Other than setting the stems to the same direction you can also use
\once \override NoteColumn.force-hshift = 1
(or -1, depending on what voice you want first).
A clarification: Voices have settings for stem direction and shift. For the
noteheads not to be merged they need to have the same stem
Jean-Julien Fleck writes:
> Hello Joei,
>
> Le mer. 11 janv. 2023 à 16:23, Johannes Roeßler a écrit :
>
>> Hi Group,
>>
>> how can I avoid that the same notes in two voices are merged?
>>
>> \version "2.24.0"
>> <<{ a'4 }\\{ a
e invisible stem?).
>
> I have two stemless voices in one staff.
>
>
>
> 8<
>
> \version "2.24.0"
>
> <<{\hide Staff.Stem a4-- }\\{\hide Staff.Stem c4-- }>>
>
> -->8
>
>
>
> Best regards
> Joei
>
>
Hi Group,
how can I have a "tenuto" line directly at the note (and not above or
below the invisible stem?).
I have two stemless voices in one staff.
8<
\version "2.24.0"
<<{\hide Staff.Stem a4-- }\\{\hide Staff.Stem c4-- }>>
-->8
Best regards
Joei
Hello Joei,
Le mer. 11 janv. 2023 à 16:23, Johannes Roeßler a écrit :
> Hi Group,
>
> how can I avoid that the same notes in two voices are merged?
>
> \version "2.24.0"
> <<{ a'4 }\\{ a' }>>
>
Instantiating explicitly the voices can help
Hi Group,
how can I avoid that the same notes in two voices are merged?
\version "2.24.0"
<<{ a'4 }\\{ a' }>>
Best regards
Joei
Hi Mark,
Am 27.11.22 um 04:01 schrieb Mark Mathias:
Using \rest, I can place rests from each of two voices on a staff on
top of each other without interference, thereby allowing use of the
material from each voice in separate scores elsewhere without editing.
Cf:
To explicitly specify a
Using \rest, I can place rests from each of two voices on a staff on top of
each other without interference, thereby allowing use of the material from
each voice in separate scores elsewhere without editing. Cf:
To explicitly specify a rest’s vertical position, write a note followed by
\rest. A
Awesome, thanks Jean!
L
On Sun, 20 Nov 2022, 00:30 Jean Abou Samra, wrote:
> Le 20/11/2022 à 00:02, Luca Fascione a écrit :
> > Hi all,
> > I have some 2 voice music coming from musicxml like this
> >
> > 4 8. 16 ~ ~ 2.
> >
> > and I'd like to split i
Le 20/11/2022 à 00:02, Luca Fascione a écrit :
Hi all,
I have some 2 voice music coming from musicxml like this
4 8. 16 ~ ~ 2.
and I'd like to split it into 2 voices instead:
<<
\new Voice ... { ... a4 g8. d16~ d2. ... }
\new Voice ... { ... c4 b8. g16~ g2. ... }
>>
is t
Hi all,
I have some 2 voice music coming from musicxml like this
4 8. 16 ~ ~ 2.
and I'd like to split it into 2 voices instead:
<<
\new Voice ... { ... a4 g8. d16~ d2. ... }
\new Voice ... { ... c4 b8. g16~ g2. ... }
>>
is there any software / trick that I could use?
(I use F
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