Am 11.01.2013 16:17, schrieb Mario Lang:
> Noeck <noeck.marb...@gmx.de> writes:
>
>> Dear Mario,
>> …
>> I would suggest to repeat from the very beginning, and end one measure
>> earlier, too.
>
> Wouldn't that actually change the position of the repeat bar, then?
> I am converting from braille music notation to LilyPond, and I'd like to
> stay true to the original score as much as possible.
> My original score puts the repeat begin barline between the first and
> second measure.
Yes, that would move the repeat bars. If you want to stick to the
original, you will have to leave it as it is.
>> It would make sense to have 2 voices throughout the piece, using:
>> <<
>> \new Voice { a''4.~ | … }
>> \new Voice { g''8 fis''16 e'' d'' c''-2 | … }
>> >>
>>
>> instead of << { } \\ { } >> in every measure.
>
> That is exactly what I was trying to ask with my original post.
> David's answer seemed to suggest that this is not an issue, but I guess
> the confusion arose from my very badly written initial example.
>
In most cases it is not an issue and apparently you can even have
spanners like slurs and ties from one such bar to the next (I only did a
quick check).
> Problem is, my shuffling-round of things for LilyPond to understand them
> correctly will be written down in code, since I am working on a
> converter between tactile and visual music notation.
That sounds good, but also like a big task.
My suggestions were meant for a human typesetting your example score. I
can't tell whether this is a good way for a programm to detect and
convert. Many things seem to work with the splitting by measure, but I
suppose it will be more fragile while compiling with LilyPond than
explicit voices throughout the piece. But it may not be too bad and
perhaps the converter is not more robust neighter.
I tried your second example and it works if the tie does not start in a
chord but also in 2 separate voices:
<< { fis4.-5 } \\ { a4.-3 ~ } >> |
<< { g8 g,4 ~ } \\ { a8 g b } >> |
<g, e>8
Concerning another question: withing a << { a } \\ { b } >>
construction, the first music (a) is always the upper voice (implicit
\voiceOne, stems up, etc.) and the second part (b) is always the lower
voice (implicit \voiceTwo, stems down, etc.).
Cheers,
Joram
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