On 11/28/2012 11:05 AM, Marek Klein wrote:
Hello Steve,
2012/11/28 Steve Tarr <[email protected]
<mailto:[email protected]>>
If I use explicit voices for each part, the stem directions are handled
independently for each voice so I lose the information that the
voices are
crossing over each other. (And I get warning messages about note
collisions
when I compile this.)
What about:
\new Staff <<
\new Voice { \voiceOne \PartOne }
\new Voice { \voiceTwo \PartTwo }
>>
Marek
bug squad member
Marek,
Specifying voiceOne/voiceTwo gives me the same results as in my second
example using << ... \\ ... >> (as it should, since one is just a
shortcut for the other). That is, I see both up and down stems on the
unison first and fourth notes; they're not merged to a single note and
stem as partcombine does.
My larger goal is to highlight the differences between two slightly
different arrangements of the same part while still leaving it clear
which variant came from which source. So I want to show only a single
notehead and stem for the common notes, two noteheads with either common
or individual non-crossed stems where the "voice one" part is higher
than the "voice two" part, and two noteheads with crossed stems where
"voice one" part is below the "voice two" part.
For my immediate project, I can get the results I want if I combine the
parts by hand, forcing stem directions and offsets where necessary, but
that seems to run counter to the Lilypond philosophy and wouldn't be
practical for a large project. Partcombine seems to be exactly what I
want except that it's not applying the notehead shapes where the parts
have crossed over each other. (Perhaps an unintended side effect of
adjusting the noteheads to keep the crossed stems from colliding? I'm
not at all familiar with the code involved so that's a pretty wild guess.)
-Steve
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