See.
https://lilypond.org/doc/v2.23/Documentation/learning/i_0027m-hearing-voices.html
Cheers,
Pierre
Le dim. 4 déc. 2022 à 23:09, J Martin Rushton <
martinrushto...@btinternet.com> a écrit :
> Hi Pierre
>
> Yes, I like that. I hadn't come across \tiny before, it does help make
> things nicer. I assume that the "tenor bells" is simply an artefact from a
> template - I can't see that it does anything. In the alto bells would you
> advise the rest? Remember that ringers are following a line and a space of
> the staff, not a line of music, and I would think that s2 would be better.
>
> I assume the \voiceXXX clauses are to set the stem directions?
>
> Thanks,
> Martin
>
> On Sun, 2022-12-04 at 22:48 +0100, Pierre Perol-Schneider wrote:
>
> Hi Martin,
> Sorry but the last attempt is hardly readable.
> As Michael suggested previously, precising voices might help ; also, you
> could change some voice sizes for a better reading.
> E.g. something like:
> sopranBells = \fixed c'' {
> \voiceOne
> | %mes. 13
> g4 r8 g8 4 4
> | %mes. 14
> g4 4 4 4
> | %mes. 15
> s4
> }
>
> bassBells = \fixed c' {
> \voiceTwo
> | %mes. 13
> g4 <g c'> <e g> <d g>
> | %mes. 14
> <e g c'>4 q <e g c'> <d g b>
> | %mes. 15
> s4
> }
>
> tenorBells = \fixed c' {
> \voiceThree \tiny
> | %mes. 13
> s1
> | %mes. 14
> s1
> | %mes. 15
> s4
> }
>
> altoBells = \fixed c' {
> \voiceTwo \tiny
> | %mes. 13
> s8 b s d' d'2\rest
> | %mes. 14
> s8 <d b> s <f d'> s4 s
> | %mes. 15
> s
> }
>
> \new Staff <<
> \new Voice \sopranBells
> \new Voice \bassBells
> \new Voice \tenorBells
> \new Voice \altoBells
> >>
>
> HTH, cheers,
> Pierre
>
> Le dim. 4 déc. 2022 à 22:06, J Martin Rushton <
> martinrushto...@btinternet.com> a écrit :
>
> Hi Michael
>
> It just takes having to explain something to sort it. Those two
> problematic bars are now:
>
> which is much better. I still don't really like the tied quavers where a
> crotchet is rung, but then you can't have everything! The relevant code is:
>
> g8 ~ <g b>8 <g c>8 ~ <g c d>8 <g e>4 <g d>4 | <e g c>8 ~ <d e g b>8 <e g
> c>8 ~ <f g c d>8 <e g c>4 <d g b>4 |
>
> for the accompaniment.
>
> Thanks for making me think!
> Martin
>
> On Sun, 2022-12-04 at 20:39 +0000, J Martin Rushton wrote:
>
> Hi Michael
>
> I've mocked up the same two bars in LibreOffice as tablature:
>
>
>
> Where you see a dot and a number, the dot indicates half a beat's rest, so
> that row three of the first beat is interpreted as r8 b8 In the second
> bar, first beat, the "5 6" is c8 b8 The bolded top row indicates the
> tune, which typically needs to be run a little harder whilst the lower
> bells ring softer. The problem comes with setting, for instance, the first
> beat. I tried using things like
>
> << \relative c' {\stemDown g'4 <g c>4 g4 <g f>4 } \\ \relative c' { s8 b'8
> s8 d8 e4 d4 } >> | << \relative c' { <g' e>4 <c g>4 } \\ \relative c'
> \autoBeamOff { c'8 <b d,>8 e,8 <d' f,>8 } >> <c' g e>4 <b g d>4 |
>
> for the accompaniment but it is horrible and confused. I've a feeling that
> need to change the g'4 in the first beat to g'8 ~ g8 to keep all the stems
> together. I'll report back after testing.
>
> I hope that that clarifies things a little,
>
> Martin
>
> On Sun, 2022-12-04 at 13:14 -0500, Michael Werner wrote:
>
> Hi Martin.
>
> Well, I'm still pretty new to Lilypond but I have done some handbell
> music. I don't play them myself - my mother is the musician while I'm her
> tech support, I guess would be the way to phrase it. My approach with
> the more complex pieces her group was doing was to generate a somewhat
> simplified version just for her. I would make sure to retain enough of the
> main melody line that she could follow it, while cutting out anything else
> I could. Of course I had to make sure to leave in the notes that she was
> responsible for. Wouldn't work too well without them. Also I would put a
> larger callout symbol above each note she rings to help her see them -
> she's pushing 80 years old and her eyesight is going. While I was at it, I
> would also produce a complete version. But that was mainly just me playing
> around and gaining some experience.
>
> A lot of that was made a bit easier by just carving up the piece in
> multiple voices, with each voice going into a variable. Then I could
> assemble the appropriate piece of music by just calling the variables I
> needed for that particular version. Lots of possibilities to redo entire
> scores without having to retype a whole bunch of music.
>
> As for handbell tablature I've never seen it. None of the handbell music
> she has brought home for me to play with has had any tablature, just the
> "normal" music. Tablature for a few other instruments, yes, but not
> handbells.
>
> Well, this was kind of rambling - sorry about that. Like I said I'm still
> kinda new to Lilypond. It's been an interesting journey so far, with still
> quite a long ways to go. Still trying to get a decent grasp on the whole
> Scheme thing. Oh well. Just gotta keep trying, I guess. Hope maybe
> something in all this might have helped maybe a bit.
>
> Michael
>
> On Sun, Dec 4, 2022 at 12:46 PM J Martin Rushton <
> martinrushto...@btinternet.com> wrote:
>
> Hi all,
>
> Our handbell team rings some pieces from normal scores, and some from a
> tablature notation. I had a go at converting one of our favourite pieces
> from tablature to scores, but some of the bars become so complex that I'm
> not sure this helps at all.
>
>
>
>
> Has anyone else done handbells on Lilypond? As a supplementary question,
> does anyone know of any software that can generate handbell tablatures?
>
> Thanks,
> Martin
>
> --
>
>
> J Martin Rushton MBCS
>
> --
>
>
> J Martin Rushton MBCS
>
> --
>
>
> J Martin Rushton MBCS
>
> --
>
> J Martin Rushton MBCS
>
