Re: Chordal polyphony - suggestion
Like Tomas, I would very much like to be able to tie notes from two or
more voices, to the single note or chord following (or preceding) those
momentary or temporary voices.
It is possible to do this with the actual code. Karl gave me this trick.
To make two voices look like they are in the same chord, put \stemUp
or \stemDown (depending on the situation) to one of the voices, then
put \stemDown (or \stemUp) to separate them again. The stems of both
voices are perfectly merged, so it looks like a single voice chord.
Here is an example :
\version 2.11.11
\relative c''
{
c e g2
{
%this note is with the chord
\stemDown g'2~ |
%this one is in a separate voice
\stemUp g2~
%this one is with the chord again
\stemDown g2
} \\
{
c, e2~ |
c e4 b d
c e2
}
c e g2 %don't need to use \stemUp or \stemDown again, since the voice
outside
% the is a different voice than the voices inside.
% (See Section 6.3.3 - Basic Polyphony, in the User's manual)
}
Maybe not ethical but the result is perfect!
Cheers,
Frédéric Chiasson
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Re: Chordal polyphony - suggestion
Hello,
poor copyist of works by Smetana or Rachmaninoff - the code would be
cluttered with \stemXXX commands, effectively loosing LilyPond's
automatic stem directioning ... :-(
Tomas Valusek
Frédéric Chiasson napsal(a):
Like Tomas, I would very much like to be able to tie notes from two or
more voices, to the single note or chord following (or preceding) those
momentary or temporary voices.
It is possible to do this with the actual code. Karl gave me this trick.
To make two voices look like they are in the same chord, put \stemUp
or \stemDown (depending on the situation) to one of the voices, then
put \stemDown (or \stemUp) to separate them again. The stems of both
voices are perfectly merged, so it looks like a single voice chord.
Here is an example :
\version 2.11.11
\relative c''
{
c e g2
{
%this note is with the chord
\stemDown g'2~ |
%this one is in a separate voice
\stemUp g2~
%this one is with the chord again
\stemDown g2
} \\
{
c, e2~ |
c e4 b d
c e2
}
c e g2 %don't need to use \stemUp or \stemDown again, since the
voice outside
% the is a different voice than the voices inside.
% (See Section 6.3.3 - Basic Polyphony, in the User's manual)
}
Maybe not ethical but the result is perfect!
Cheers,
Frédéric Chiasson
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Re: Chordal polyphony - suggestion
To make two voices look like they are in the same chord, put \stemUp or \stemDown (depending on the situation) to one of the voices, then put \stemDown (or \stemUp) to separate them again. The stems of both voices are perfectly merged, so it looks like a single voice chord. This gives very ugly results if you need a lot of ties -- currently, LilyPond doesn't take different voices into account for computing ties in chords. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chordal polyphony - suggestion
On Wed, Dec 27, 2006 at 11:01:44PM +0100, Tomas Valusek wrote: I'm a pianist, and in piano music, itš quite usual that polyphony is occasional - in many times, I need say that one note is hanging over several other notes in the same hand. Like Tomas, I play piano and compose for that instrument. Piano music, like Tomas writes, often splits into temporary voices within a single staff, all played with the same hand, lasting only a fraction of a measure for instance, that resolve into a single note or chord in one voice, often tied to one or more notes from one or more of those temporary voices. These temporary voices are typically used, in notation, to produce a score that is less cluttered, simpler and better looking than one in which the same effect is produced by using just one voice (per hand) but with numerous extra tied notes for the portions of a chord that are sustained while a few fingers play a melody that interweaves between the notes of the sustained chord. Like Tomas, I would very much like to be able to tie notes from two or more voices, to the single note or chord following (or preceding) those momentary or temporary voices. * I would be very happy to sponsor a solution, if a solution is possible* --so that these pseudo- or temporary voices in polyphonic music, unlike the more strict monophonic voices within polyphonic music, can have ties and perhaps other markings that extend from outside the temporary multi-voice context into the multi-voice context, or vice-versa. The piano piece I'm working on now has many of these temporary, mere portion-of-a-measure polyphonic sections for the right hand, in which a single voice playing individual notes or chords, splits into 2 or 3 voices before merging again into a single voice, often with ties necessary between the multi-voice section and the single voice section. Therefore, I'm personally faced with a decision: whether to try to write tricky and complex lilypond code, or to simplify the notation by ignoring how the piece is actually performed and not breaking into temporary voices which necessitate many messy, cluttered-looking partially tied chords. Steve D New Mexico, US -- Remember, democracy never lasts long. It soon wastes, exhausts, and murders itself. There never was a democracy yet that did not commit suicide. -John Adams, 1814 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chordal polyphony - suggestion
On Sat, Jan 13, 2007 at 12:59:04PM -0700, Steve D wrote: [...] Piano music, like Tomas writes, often splits into temporary voices within a single staff, all played with the same hand, lasting only a fraction of a measure for instance, that resolve into a single note or chord in one voice, often tied to one or more notes from one or more of those temporary voices. To be less ambiguous, I should have written-- ...that resolve into a single voice composed of either a single note or a chord, in which the single note or notes of that single-voice chord are often tied to notes from one *or more* of the voices of the preceding (or following) multi-voice section. This type of multi-voice polyphony is distinct from more formal structured multi-voice music in that it is often used for the sake of convenience and clarity. When the notes played by either the right or left hand of a pianist are notated with multiple voices at times, it both simplifies the appearance of the score considerably, and gives cues to the performer as to how the music should be performed, making melodies that move within a chord structure more obvious, for example, and with fewer tied notes for the portion of a chord that is sustained while the melody moves and changes. -Steve D -- The objective of the Patriot Act [is to make] the population visible and the Justice Department invisible. The Act inverts the constitutional requirement that people's lives be private and the work of government officials be public; it instead crafts a set of conditions that make our inner lives transparent and the workings of government opaque. -Elaine Scarry, Acts of Resistance, Harper's Magazine, May, 2004 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Chordal polyphony - suggestion
Hello,
I'm a pianist, and in piano music, itš quite usual that polyphony is
occasional - in many times, I need say that one note is hanging over
several other notes in the same hand. What's the difference between my
proposed chordal polyphony and the way polyphony is now implemented in
LilyPond?
1. Notes occuring in both ends of the chordal polyphony block are
treated as chord, so the tie can lead to any voice on the beginning and
from any voice on ending of chordal polyphony block without explicit
voice management.
2. If in the specific time point there are several notes of the same
duration in different voices, they are treated as single chord with
automatic stem direction handling.
3. Chordal polyphony voices differ from VoceXXX normal polyphony voices,
placement and shifting of notes is dynamic.
Suppose the syntactic delimiter for chordal polyphony is ... ,
then it would be easy to write:
\relative cˇˇ {
\time 3/4
c8 a~
a4 \\
f8 f
f4
}
... and to get resutl similar to one shown in attachement (different
notation software was used). I hate the balast I must write in LilyPond
to get such a result.
I wish you happy new year.
Tomas Valusek
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Correction - Chordal polyphony - suggestion
Hello,
a little typo occured in my snippet - correct is:
\relative cˇˇ {
\time 3/4
c8 a~
a4 \\
f8 f~
f4
}
Tomas Valusek
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