Hello: A question about rests in multi-voiced piano scores: Most of the time I am now using a four voiced layout for writing classical piano music.
The problem is with full bar rests. The rests can be moved on the staff by using b'2\rest without problem, but when the rest is a full bar long the syntax is R2 (in 2/4 time). Lilypond would normally figure out that these rests should be merged. But since I'm using this four voiced layout, I think lilypond doesn't figure out that these rests should be merged into one. How do i get Lilypond to do this automatically? I'm not sure how its done manually either. rhOne = { \clef treble \time 2/4 \mark "Sehr rasch " \key c \minor \voiceOne \relative c' \override Staff.NoteCollision #'merge-differently-dotted = ##t \times 4/5 { \stemNeutral g'16[ d' \chlh bf d g, ] } \chrh r8 | % bar 40 \repeat volta 2 { r8 | % bar 40 R2 | % bar 41 r2 | % bar 42 r2 | % bar 43 b'4\rest b'8\rest } } rhTwo = { \clef treble \relative c \time 2/4 \key c \minor \voiceTwo s4*2 | % bar 39 s4*2 | % bar 40 R2 | % bar 41 s4*2 | % bar 42 } lhTwo = { \clef bass \time 2/4 \key c \minor \relative c \voiceTwo \override Staff.NoteCollision #'merge-differently-dotted = ##t \partial 16 \skip 16 s4*2 | % bar 39 s4*2 | % bar 40 s4*2 | % bar 41 \repeat volta 2 { g16[ fs ] | g16[ af f g ] ef[ f d ef ] | % bar 41 c16->[ d ef g ] c'[ d' ef' b ] | % bar 42 c'->[ b c' e ] af->[ g af e ] | % bar 43 f->[ e f d ] g[ f ef d ] | % bar 44 } } \score{ \context PianoStaff << \set PianoStaff.instrumentName = \markup { \large \bold { { "7" }}} \context Staff = rh { << \context Voice = rhupper { \rhOne } \context Voice = rhlower { \rhTwo } >> } \context Staff = lh { << \context Voice = lhupper { \lhOne } \context Voice = lhlower { \lhTwo } >> } >> \layout { \context { \RemoveEmptyStaffContext } \context { \Score \override NonMusicalPaperColumn % this actually works well! (∂œ) #'line-break-system-details = #'((alignment-offsets . (0 -12))) } \version "2.11.28" } \midi { } } While its not all four voiced, almost all the time there is a need for at least one extra staff. So, simply having them there means that I don't have to add voices on the fly as much. This also serves well when voices switch from one hand to the other alternately. At first I assumed it was overkill but at this point I think its the way to begin most scores. The only trick is in making sure you account for all the skipped bars, otherwise things like repeat voltas cause problems. This layout has worked very well for me and I'd suggest it as a beginning point for anyone transcribing classical piano music. As well, one of my problems in solving problems with Lilypond is that so much of what I try to do with piano music is not unique to piano music and is covered elsewhere in Lilypond, so I find myself having to first figure out who else or what other kind of music might use this particular feature. I look through almost all of Lilypond to solve problems writing piano music. Perhaps some references could be included pointing to the places where these problems are covered. The rest issue I've asked about is one of the ones that have troubled me currently. The piano section is small, but so much of the complexity of writing it is covered elsewhere in Lilypond under other kinds of music typesetting. I am watching for those kinds of issues and will mention them as I find them. This is the first of those issues. cheers, and thanks David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com "Music is enough for one's life time, but one life time is not enough for music" Sergei Rachmaninov
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