Re: spurious second treble clef sign, what did I do wrong this time?
Thank you, Leo.
I already had "\grace {s16*3} s1" in the second lh voice, apparently
needed in the the second rh voice?
Thanks,
Ken
On Mon, Feb 20, 2023 at 11:42 PM Leo Correia de Verdier
wrote:
>
> I haven’t been able to open your .ly file since I’m on the telephone, but
> that should be an issue 34. Add s8. right after the clef and time signature
> in the right hand, so that the grace note timing matches between the
> different staves and voices and the extra clefs and time signatures will
> disappear.
>
> HTH
> /Leo
>
> > 21 feb. 2023 kl. 08:33 skrev Kenneth Wolcott :
> >
> > Hi;
> >
> > I'm engraving a piece of music arranged for Piano that (later) has
> > polyphony in the right hand and left hand.
> >
> > This is Lilypond 2.24.1 on MacOS.
> >
> > There is a spurious second treble clef (and spurious time signature)
> > in the first bar of the right hand (upper) staff.
> >
> > What am I doing wrong that causes this?
> >
> > I am attaching the example pdf which I am engraving from, my
> > Lilypond source and the pdf Lilypond creates.
> >
> > Thanks,
> > Ken Wolcott
> >
> >
> >
Re: spurious second treble clef sign, what did I do wrong this time?
I haven’t been able to open your .ly file since I’m on the telephone, but that should be an issue 34. Add s8. right after the clef and time signature in the right hand, so that the grace note timing matches between the different staves and voices and the extra clefs and time signatures will disappear. HTH /Leo > 21 feb. 2023 kl. 08:33 skrev Kenneth Wolcott : > > Hi; > > I'm engraving a piece of music arranged for Piano that (later) has > polyphony in the right hand and left hand. > > This is Lilypond 2.24.1 on MacOS. > > There is a spurious second treble clef (and spurious time signature) > in the first bar of the right hand (upper) staff. > > What am I doing wrong that causes this? > > I am attaching the example pdf which I am engraving from, my > Lilypond source and the pdf Lilypond creates. > > Thanks, > Ken Wolcott > > >
Re: move chords closer to notes
Le mardi 21 février 2023 à 03:55 +0100, mi...@orbelanet.com a écrit :
> Hi everyone,
> when I write the chords together with one or several melodies, the
> chords form a horizontal line, in such a way that if the range of the
> melody is very wide, some chords end up being very far from the
> notes.
> I attach a sample of the .ly file along with its pdf, where you can
> see
> that the first chords are excessively far from the melody. How can
> this
> behavior be changed?
So you want to break the horizontal alignment of chords?
As far as I know, this would be the easiest way:
\version "2.24.0"
global = {
\key c \major
\partial 4
\time 2/4
}
melody = \relative {
r16 g' g g \bar "||"
<<
{
e' c c c d b b b c8 a r16 d d c c8 b r16 c c b a8 g r16 g fis g \break
c g fis g b g fis g a8 f r16 g fis g b g fis g a f e f g8 e r16 g g g
\break
}
\\
{
g4 gis a16 g f a c4 b, a a16 g c d e4 g fis f r g f e r
}
>>
}
harmonies = \chords {
\set minorChordModifier = \markup { "-" }
s4
c e:7 f2 g c s4 b d2:m g4 g:7 c2
}
\score {
\new Staff
<<
\harmonies
\new Voice {
\global
\melody
}
>>
\layout {
\context {
\Staff
% move ChordNames inside Staff
\accepts ChordNames
}
\context {
\ChordNames
% remove the baseline that aligns chord names together
\remove Axis_group_engraver
% define placement among other outside-staff objects
\override ChordName.outside-staff-priority = 500
% print below staff
\override ChordName.direction = #DOWN
% change distance to staff objects
\override ChordName.outside-staff-padding = 0.5
}
}
}
Best,
Jean
signature.asc
Description: This is a digitally signed message part
move chords closer to notes
Hi everyone,
when I write the chords together with one or several melodies, the
chords form a horizontal line, in such a way that if the range of the
melody is very wide, some chords end up being very far from the notes.
I attach a sample of the .ly file along with its pdf, where you can see
that the first chords are excessively far from the melody. How can this
behavior be changed?
Thanks in advance.\version "2.24.0"
global = {
\key c \major
\partial 4
\time 2/4
}
melody = \relative {
r16 g' g g \bar "||"
<<
{
e' c c c d b b b c8 a r16 d d c c8 b r16 c c b a8 g r16 g fis g \break
c g fis g b g fis g a8 f r16 g fis g b g fis g a f e f g8 e r16 g g g
\break
}
\\
{
g4 gis a16 g f a c4 b, a a16 g c d e4 g fis f r g f e r
}
>>
}
harmonies = \chords {
\set minorChordModifier = \markup { "-" }
s4
c e:7 f2 g c s4 b d2:m g4 g:7 c2
}
\score {
\new Staff
<<
\harmonies
\new Voice {
\global
\melody
}
>>
\layout {
}
}
adios.pdf
Description: Adobe PDF document
Re: Lilypond zip file doesn't include the lilypond app?
Hello Benjamin, Welcome to this list. So you know, your message was manually approved because you are not a list subscriber. Please subscribe on [https://lists.gnu.org/mailman/listinfo/lilypond-user](https://lists.gnu.org/mailman/listinfo/lilypond-user) in order to fix this (you can choose not to receive list messages if you don't want to). Thanks. Le lundi 20 février 2023 à 17:23 -0800, Benjamin Wilson a écrit : > Dear GNU project, > I recently downloaded Lilypond for Mac. It downloads as a zip file, but after > I unzip the files I cannot locate an actual application that I can open. I > see all kinds of supplements, but I can't actually find the application at > all. I am running Ventura 13, so my system is up to date. Is there anything I > am missing? Thanks in advance, You are not missing any `.app` package, it simply doesn't exist, and you don't need it either, because LilyPond is a command-line program. Where you downloaded LilyPond, i.e., [https://lilypond.org/download.html](https://lilypond.org/download.html), under "Essential links for new users", you can find the link to the learning manual, which shows how to get LilyPond running for the first time. Best, Jean signature.asc Description: This is a digitally signed message part
Lilypond zip file doesn't include the lilypond app?
Dear GNU project, I recently downloaded Lilypond for Mac. It downloads as a zip file, but after I unzip the files I cannot locate an actual application that I can open. I see all kinds of supplements, but I can't actually find the application at all. I am running Ventura 13, so my system is up to date. Is there anything I am missing? Thanks in advance, Benjamin Wilson
Re: Determining requested output files
> On Feb 20, 2023, at 7:33 AM, Jean Abou Samra wrote: > > (Adding back the list) Sorry about losing the list. > > Le dimanche 19 février 2023 à 12:46 -0500, R. Padraic Springuel a écrit : > >> It’s part of my system for having make automatically figure out dependencies >> when running LilyPond: >> https://github.com/rpspringuel/lilypond_make/tree/GNUmake_dependencies >> The changes to the backend require some updates to the system to work with >> 2.24. >> > I see that you also have a branch where you ask LilyPond what it has > generated after it has generated it. What about doing something much simpler: > always call LilyPond with -o emptydir, where emptydir is an empty directory, > and move the files afterwards. Then you know exactly what has been generated > without having to ask LilyPond. > Hadn’t thought of that, but it might be a workable idea. I actually use the system exemplified on that other branch for my own work because, as is pointed out in the article linked in the README on that branch, once you know the dependency file is out of date, you know that the score itself is out of date and so can safely build both at the same time. I’m already using a SED script to add the midi file to the dependency list, so it shouldn’t be too difficult to modify that to replace some default placeholder (that LilyPond itself puts in the dly file) with a proper list of the actually generated files. The one thing I don’t like is that the dly file that LilyPond produces as part of its run won’t be usable under this strategy without the SED modifications in the make recipe, but I suppose that’s just me picking nits rather than a real problem for someone using the system. ✝✝ Fr. Samuel, OSB (R. Padraic Springuel) St. Anselm’s Abbey 4501 South Dakota Ave, NE Washington, DC, 20017 202-269-2300 (c) 202-853-7036 PAX ☧ ΧΡΙΣΤΟΣ
Re: Default value of top-margin setting
Thanks to you and Aaron! On Mon, Feb 20, 2023 at 10:37 PM Valentin Petzel wrote: > Hello Paolo, > > the default value for top-margin is set in > > ly/paper-defaults-init.ly > > Currently this is 10mm scaled to the selected paper size (so for the > default > paper size (A4) this is 10mm, for other sizes this is scaled accodingly). > > Cheers, > Valentin > > Am Montag, 20. Februar 2023, 22:30:51 CET schrieb Paolo Prete: > > Hello, > > > > Regarding the top-margin setting of the \paper block, where can I find > its > > default value(s) for the various versions (2.20.x, 2.21.x, 2.22.x etc.) ? > > > > Thanks! > >
Re: Default value of top-margin setting
Hello Paolo, the default value for top-margin is set in ly/paper-defaults-init.ly Currently this is 10mm scaled to the selected paper size (so for the default paper size (A4) this is 10mm, for other sizes this is scaled accodingly). Cheers, Valentin Am Montag, 20. Februar 2023, 22:30:51 CET schrieb Paolo Prete: > Hello, > > Regarding the top-margin setting of the \paper block, where can I find its > default value(s) for the various versions (2.20.x, 2.21.x, 2.22.x etc.) ? > > Thanks! signature.asc Description: This is a digitally signed message part.
Re: Default value of top-margin setting
On 2023-02-20 1:30 pm, Paolo Prete wrote: Hello, Regarding the top-margin setting of the \paper block, where can I find its default value(s) for the various versions (2.20.x, 2.21.x, 2.22.x etc.) ? I think you are looking for top-margin-default defined in paper-defaults-init.ly. -- Aaron Hill
Default value of top-margin setting
Hello, Regarding the top-margin setting of the \paper block, where can I find its default value(s) for the various versions (2.20.x, 2.21.x, 2.22.x etc.) ? Thanks!
Re: I did not previously realize that Lilypond would automatically update pre-existing scores
Le samedi 18 février 2023 à 22:19 +0100, Jean Abou Samra a écrit : > Le samedi 18 février 2023 à 22:09 +0100, Valentin Petzel a écrit : > > > I do think that even in this case Lilypond should > > issue a warning. > > https://www.mail-archive.com/lilypond-devel@gnu.org/msg78847.html [https://gitlab.com/lilypond/lilypond/-/issues/6537](https://gitlab.com/lilypond/lilypond/-/issues/6537) signature.asc Description: This is a digitally signed message part
Re: Avoid double beaming
Hello Jogchum,
you will see that \partCombine does make very basic decisions, so often you
will find yourself in need to manually intervene (often this is not a question
about adding slurs to each voice). In case you want to force a particular
behaviour use one of the commands
\partCombineApart
\partCombineChords
\partCombineUnisono
\partCombineSoloI
\partCombineSoloII
in any of the two combined voices or \partCombineAutomatic to switch back to
automatic decision. Here’s a little demonstration how this looks:
\partCombine
{
\time 6/8
e'8 d' c' d'8. e'16 f'8 |
e' s e' d' s d'
}
{
c'8 c' c' c' c' c' |
c' c' c' c' c' c'
}
\partCombine
{
\time 6/8
\partCombineApart
e'8 d' c'
d'8. e'16 f'8 |
\partCombineChords
e' s e' d' s d'
}
{
c'8 c' c' c' c' c' |
c' c' c' c' c' c'
}
Cheers,
Valentin
Am Montag, 20. Februar 2023, 15:18:32 CET schrieb Jogchum Reitsma:
> Op 20-02-2023 om 12:24 schreef Xavier Scheuer:
> > On Mon, 20 Feb 2023 at 12:15, Jogchum Reitsma wrote:
> > > This gives the result I would like to see (well, almost: the first
> >
> > bar still has separated stems/beams, but that's nitpicking).
> >
> > > I applied it to the piece the snippet was an excerpt from, and it
> >
> > renders beautifully.
> >
> > > Thanks a lot!
> >
> > Hello,
> >
> > The first bar will have the stems/beams combined if you add the slur
> > in both sopranoOne and sopranoTwo, as I did in the code I sent in my
> > previous message.
>
> Ah! I oversaw that, and indeed now also the first bar is OK. Thanks again!
>
> > (Actually one could add the \p in sopranoTwo as well, if the dynamics
> > are exactly the same in sopranoOne and sopranoTwo they will only
> > appear once in the combined version.)
>
> Dynamics are the same in both lines. Entered them in both lines, and it
> went as you predicted. Learned again something(s)!
>
> regards, Jogchum
>
> > Cheers,
> > Xavier
signature.asc
Description: This is a digitally signed message part.
Re: Avoid double beaming
Op 20-02-2023 om 12:24 schreef Xavier Scheuer: On Mon, 20 Feb 2023 at 12:15, Jogchum Reitsma wrote: > > This gives the result I would like to see (well, almost: the first bar still has separated stems/beams, but that's nitpicking). > > I applied it to the piece the snippet was an excerpt from, and it renders beautifully. > > Thanks a lot! Hello, The first bar will have the stems/beams combined if you add the slur in both sopranoOne and sopranoTwo, as I did in the code I sent in my previous message. Ah! I oversaw that, and indeed now also the first bar is OK. Thanks again! (Actually one could add the \p in sopranoTwo as well, if the dynamics are exactly the same in sopranoOne and sopranoTwo they will only appear once in the combined version.) Dynamics are the same in both lines. Entered them in both lines, and it went as you predicted. Learned again something(s)! regards, Jogchum Cheers, Xavier -- Xavier Scheuer
Re: Determining requested output files
(Adding back the list) Le dimanche 19 février 2023 à 12:46 -0500, R. Padraic Springuel a écrit : > It’s part of my system for having make automatically figure out dependencies > when running LilyPond: > [https://github.com/rpspringuel/lilypond_make/tree/GNUmake_dependencies](https://github.com/rpspringuel/lilypond_make/tree/GNUmake_dependencies) > > The changes to the backend require some updates to the system to work with > 2.24. I see that you also have a branch where you ask LilyPond what it has generated after it has generated it. What about doing something much simpler: always call LilyPond with `-o emptydir`, where `emptydir` is an empty directory, and move the files afterwards. Then you know exactly what has been generated without having to ask LilyPond. signature.asc Description: This is a digitally signed message part
Re: Avoid double beaming
On Mon, 20 Feb 2023 at 12:15, Jogchum Reitsma wrote: > > This gives the result I would like to see (well, almost: the first bar still has separated stems/beams, but that's nitpicking). > > I applied it to the piece the snippet was an excerpt from, and it renders beautifully. > > Thanks a lot! Hello, The first bar will have the stems/beams combined if you add the slur in both sopranoOne and sopranoTwo, as I did in the code I sent in my previous message. (Actually one could add the \p in sopranoTwo as well, if the dynamics are exactly the same in sopranoOne and sopranoTwo they will only appear once in the combined version.) Cheers, Xavier -- Xavier Scheuer
Re: Avoid double beaming
Op 20-02-2023 om 11:13 schreef Xavier Scheuer:
On Mon, 20 Feb 2023 at 10:44, Jogchum Reitsma wrote:
>
> Hi,
>
> In below snippet, lilypond renders two beams for the two voices, and,
> because I want the stems to have the same direction,
> the result for the 8th-notes is that they seem to be 16th notes.
>
> Is there a way to avoid this, and to join the two beams to one?
Hello,
I would say this is a typical case for \partCombine.
See NR 1.5.2 Multiple voices > Automatic part combining
sopranoOne = \relative c'' {
\key c \major
\time 3/4
r8 a\p a4.( g8) |
\time 2/4
f g a a |
}
sopranoTwo = \relative c' {
\key c \major
\time 3/4
r8 f f4.( e8) |
d e f f
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
\dynamicUp
} {
\partCombine \sopranoOne \sopranoTwo
}
\layout {}
}
Cheers,
Xavier
This gives the result I would like to see (well, almost: the first bar
still has separated stems/beams, but that's nitpicking).
I applied it to the piece the snippet was an excerpt from, and it
renders beautifully.
Thanks a lot!
regards, Jogchum
--
Xavier Scheuer
Re: Avoid double beaming
Op 20-02-2023 om 11:59 schreef Valentin Petzel:
Hi Jogchum,
please keep it on the list!
Not for the first time I stand corrected here, apologies!
The first one does exactly what it states it does,
it creates two voices.
The second one does what you actually want, which is a single voice featuring
all notes as chords. If you have different rhythms you’ll need to combine these
approaches and employ different Voices for these parts and chords for the rest.
As Xavier pointed out this is something you can get (semi-)automatically using
\partCombine.
I used the method Xavier mentioned, and that gives (well, almost but
that's nitpicking, as I shall state in my reply to Xavier) what I would
like to see.
Thanks again!
regards, Joghum
Cheers,
Valentin
Am Montag, 20. Februar 2023, 11:54:11 CET schrieb Jogchum Reitsma:
Op 20-02-2023 om 11:08 schreef Valentin Petzel:
Hi Jogchum,
the reason for your issues is that you are using voice 2 (i.e. lowest
voice) with a \stemUp, which will cause issues to resolve collision.
Generally you should avoid using \stemUp and \stemDown unless you really
need to use it and rather use the correct Voice.
If you were to use \voiceThree instead (which is the second highest voice)
the Lilypond will properly resolve collision:
\version "2.24.0"
global = {
\key c \major
\time 3/4
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
<<
\new Voice {
\voiceOne
r8 a^\p a4. g8 \time 2/4
f g a a
}
\new Voice {
\voiceThree
r8 f f4.(e8)
d e f f
}
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
} { \sopranoVoice }
\layout { }
}
This renders to something that avoids it being seen as 16th notes, but
not to what I would like to see (that is, both stems and beams being
combined). See the result included.
But in your case I suppose you do not actually want to have two voices but
chords:
You are right, looking at the snippet I posted. But at aother places in
the score there are different rhythms in the two voices, so that won't
work I'm afraid.
But thanks for your advice!
regards, Jogchum
\version "2.24.0"
global = {
\key c \major
\time 3/4
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
<<
{
r8 a^\p a4. g8 \time 2/4
f g a a
}
{
r8 f f4.(e8)
d e f f
}
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
} { \sopranoVoice }
\layout { }
}
Cheers,
Valentin
Am Montag, 20. Februar 2023, 10:43:40 CET schrieb Jogchum Reitsma:
Re: Avoid double beaming
Hi Jogchum,
please keep it on the list! The first one does exactly what it states it does,
it creates two voices.
The second one does what you actually want, which is a single voice featuring
all notes as chords. If you have different rhythms you’ll need to combine these
approaches and employ different Voices for these parts and chords for the rest.
As Xavier pointed out this is something you can get (semi-)automatically using
\partCombine.
Cheers,
Valentin
Am Montag, 20. Februar 2023, 11:54:11 CET schrieb Jogchum Reitsma:
> Op 20-02-2023 om 11:08 schreef Valentin Petzel:
> > Hi Jogchum,
> >
> > the reason for your issues is that you are using voice 2 (i.e. lowest
> > voice) with a \stemUp, which will cause issues to resolve collision.
> > Generally you should avoid using \stemUp and \stemDown unless you really
> > need to use it and rather use the correct Voice.
> >
> > If you were to use \voiceThree instead (which is the second highest voice)
> > the Lilypond will properly resolve collision:
> >
> > \version "2.24.0"
> >
> > global = {
> >
> >\key c \major
> >\time 3/4
> >
> > }
> >
> > sopranoVoice = \relative c'' {
> >
> >\global
> >\dynamicUp
> ><<
> >
> > \new Voice {
> >
> >\voiceOne
> >r8 a^\p a4. g8 \time 2/4
> >f g a a
> >
> > }
> > \new Voice {
> >
> >\voiceThree
> >r8 f f4.(e8)
> >d e f f
> >
> > }
> >
> > }
> >
> > \score {
> >
> >\new Staff \with {
> >
> > instrumentName = "Sopraan"
> > shortInstrumentName = "S."
> >
> >} { \sopranoVoice }
> >\layout { }
> >
> > }
>
> This renders to something that avoids it being seen as 16th notes, but
> not to what I would like to see (that is, both stems and beams being
> combined). See the result included.
>
> > But in your case I suppose you do not actually want to have two voices but
>
> > chords:
> You are right, looking at the snippet I posted. But at aother places in
> the score there are different rhythms in the two voices, so that won't
> work I'm afraid.
>
> But thanks for your advice!
>
> regards, Jogchum
>
> > \version "2.24.0"
> >
> > global = {
> >
> >\key c \major
> >\time 3/4
> >
> > }
> >
> > sopranoVoice = \relative c'' {
> >
> >\global
> >\dynamicUp
> ><<
> >
> > {
> >
> >r8 a^\p a4. g8 \time 2/4
> >f g a a
> >
> > }
> > {
> >
> >r8 f f4.(e8)
> >d e f f
> >
> > }
> >
> > }
> >
> > \score {
> >
> >\new Staff \with {
> >
> > instrumentName = "Sopraan"
> > shortInstrumentName = "S."
> >
> >} { \sopranoVoice }
> >\layout { }
> >
> > }
> >
> > Cheers,
> > Valentin
> >
> > Am Montag, 20. Februar 2023, 10:43:40 CET schrieb Jogchum Reitsma:
signature.asc
Description: This is a digitally signed message part.
Re: Avoid double beaming
On Mon, 20 Feb 2023 at 10:44, Jogchum Reitsma wrote:
>
> Hi,
>
> In below snippet, lilypond renders two beams for the two voices, and,
> because I want the stems to have the same direction,
> the result for the 8th-notes is that they seem to be 16th notes.
>
> Is there a way to avoid this, and to join the two beams to one?
Hello,
I would say this is a typical case for \partCombine.
See NR 1.5.2 Multiple voices > Automatic part combining
sopranoOne = \relative c'' {
\key c \major
\time 3/4
r8 a\p a4.( g8) |
\time 2/4
f g a a |
}
sopranoTwo = \relative c' {
\key c \major
\time 3/4
r8 f f4.( e8) |
d e f f
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
\dynamicUp
} {
\partCombine \sopranoOne \sopranoTwo
}
\layout {}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Avoid double beaming
Hi Jogchum,
the reason for your issues is that you are using voice 2 (i.e. lowest voice)
with a \stemUp, which will cause issues to resolve collision. Generally you
should avoid using \stemUp and \stemDown unless you really need to use it and
rather use the correct Voice.
If you were to use \voiceThree instead (which is the second highest voice) the
Lilypond will properly resolve collision:
\version "2.24.0"
global = {
\key c \major
\time 3/4
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
<<
\new Voice {
\voiceOne
r8 a^\p a4. g8 \time 2/4
f g a a
}
\new Voice {
\voiceThree
r8 f f4.(e8)
d e f f
}
>>
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
} { \sopranoVoice }
\layout { }
}
But in your case I suppose you do not actually want to have two voices but
chords:
\version "2.24.0"
global = {
\key c \major
\time 3/4
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
<<
{
r8 a^\p a4. g8 \time 2/4
f g a a
}
{
r8 f f4.(e8)
d e f f
}
>>
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
} { \sopranoVoice }
\layout { }
}
Cheers,
Valentin
Am Montag, 20. Februar 2023, 10:43:40 CET schrieb Jogchum Reitsma:
> Hi,
>
> In below snippet, lilypond renders two beams for the two voices, and,
> because I want the stems to have the same direction,
> the result for the 8th-notes is that they seem to be 16th notes.
>
> Is there a way to avoid this, and to join the two beams to one?
>
> Thanks in advance!,
>
> regards, Jogchum
>
> \version "2.24.0"
>
> global = {
>\key c \major
>\time 3/4
> }
>
> sopranoVoice = \relative c'' {
>\global
>\dynamicUp
> <<
> \new Voice { << { \voiceOne
>r8 a^\p a4. g8 \time 2/4
>f g a a
>
>
> }
> \new Voice { \voiceTwo
> \stemUp
> r8 f f4.(e8)
> d e f f
> }
> >>
> \oneVoice
> }
>
> }
>
> \score {
>\new Staff \with {
> instrumentName = "Sopraan"
> shortInstrumentName = "S."
>} { \sopranoVoice }
>\layout { }
>}
signature.asc
Description: This is a digitally signed message part.
Avoid double beaming
Hi,
In below snippet, lilypond renders two beams for the two voices, and,
because I want the stems to have the same direction,
the result for the 8th-notes is that they seem to be 16th notes.
Is there a way to avoid this, and to join the two beams to one?
Thanks in advance!,
regards, Jogchum
\version "2.24.0"
global = {
\key c \major
\time 3/4
}
sopranoVoice = \relative c'' {
\global
\dynamicUp
<<
\new Voice { << { \voiceOne
r8 a^\p a4. g8 \time 2/4
f g a a
}
\new Voice { \voiceTwo
\stemUp
r8 f f4.(e8)
d e f f
}
>>
\oneVoice
}
>>
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
} { \sopranoVoice }
\layout { }
}
