On 3 Jan 2006, at 10:42 am, Maarten Storm wrote:
You could do
\override Rest #'staff-position = #x
where x is a number indicating the position on the staff. Positive
above the middle line, negative under it.
You can find a good example in the regression tests.
Ah, I see, you put it in the polyphonic voice and it really does only
change the rest for that voice. I was using loads of << ... \\ ... >>
constructs, rather than
typing four separate parts like you would with a string quartet or four
voices. Then I'd put the override at the top of the score where of
course it didn't work, so I went off on the tangent of trying to get
something like \override VoiceOne.Rest ... to work (which of course I
couldn't). Thanks for your help with this.
Actually, I think the explicit positioning with eg b'2\rest might be
the thing. The reason is that after typesetting, I'm running the whole
lot through a lex program to convert it to 19-divisions of the octave
(cis != des) which will then be played on a retuned MIDI keyboard so
that each octave covers an octave and a fifth of keys. So if I use the
explicit placement for all the rests, there won't be any nasty
surprises when the version with scordatura tuning version for keyboard
(?!) is typeset.
All this is very unlikely to make any sense at the moment, but I urge
people to come along to the gig if they are interested and around at
the time...
http://markov.music.gla.ac.uk/cmt-wiki/NextSeminar#nism
If anyone is interested in the 19-divisions-of-the-octave microtonality
stuff, maybe they can email me off list and I'll send them some
resources.
One final tiny little point of interest. I've noticed that the rest
placement is actually much worse in 2.6 (specifically 2.6.3 debian
unstable) than 2.4 on my powerbook, so that there are collisions with
rests in addition the eccentric placement.
The attached snippet shows what I mean. In the first bar, the b
semibreve collides with the minim rest in (the implicit) voiceTwo.
Also, just a very very minor thing, but the braces at the left hand
side of the staff have increased in size since 2.4. This looks fine,
but they collide with the bar numbers now, so you have to increase
their offset to generate really nice output. (I think I know how yo do
this).
I notice I'm a few minor revisions behind the stable release, I'm just
using what's in the debian unstable branch. Here're the first three
bars anyway, with the collision in bar 1 and the very high rest
placement in bar 3.
When I've got the whole thing sorted, I'll put it on Mutopia or
something... I wonder how many people have ill-tempered keyboards so
they can play it though? :)
\version "2.6.3"
\header {
title = "Ut, re, mi, fa, sol, la."
composer = "John Bull"
}
\score {
\new GrandStaff <<
\new Staff {
#(set-accidental-style 'voice)
%% Bar 1
\time 3/1
g1 a << b \\ {r2 g} >>
%% Bar 2
\time 4/1
<< {c'1 d'} \\ {a2 c'~ c' b2:16} >>
<< {e'1 e'} \\ {c'4 g c'2~ c'4 b g a } >>
%% Bar 3
<< b1 d' >>
<< a c' >>
<< {r2 d'~ d' c'~} \\ {b1 a} >>
}
\new Staff {
#(set-accidental-style 'voice)
\clef bass
%% Bar 1
r2 g~ g f << r1 \\ {e2. d4} >>
%% Bar 2
<< r2 \\ c2 >>
<< {g1 f2 e2. d4 c d e c} \\ {e2 d1 c2 a,~ a,4 b, c2} >>
%% Bar 3
<< {g4 d} \\ b,2 >>
<< {g2~ g4 e fis2} \\ {a,4 g, a,1} >>
<< g2 \\ {g,4 a,} >>
<< {g2~ g4 f f2} \\ {b,4 c d2 a,} >>
}
>>
\layout {
\context {
\Staff
\remove Time_signature_engraver
}
}
} % end of score
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