RE: tie across voices
Timothy, Thank you, exactly what I wanted. Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Timothy Lanfear Sent: Sunday, December 23, 2018 2:07 PM To: lilypond-user@gnu.org Subject: Re: tie across voices On 23/12/2018 21:35, Mark Stephen Mrotek wrote: > > Hello, > > Please see attached snippet. > > In measure 3 the two e flats should be tied. > > I have looked at using transparent as given in > > http://lsr.di.unimi.it/LSR/Snippet?id=8 > > yet that would collide with the quarter rest. > > Any suggestions would be greatly appreciated. > > How about this? \version "2.19.81" { \time 6/8 \clef "bass" << \new Voice \relative c { \voiceOne bes8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. s4. d4. s | } \new Voice \relative c' { \voiceTwo s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3^~ \stemUp ees8 d^1 c^2 \stemNeutral | } \new Voice \relative c { \voiceFour s2.*2 | s4. r4 a8-4~ | a g bes'-1~ bes a-2 g-3 | } >> } \relative c' { \time 6/8 \clef bass << { bes,8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. ees8 d-1 c-2 | d4. s | } \\ { s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3 r4 a,8-4~ | a g bes'-1~ bes a-2 g-3 | } >> } -- Timothy Lanfear, Bristol, UK. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: tie across voices
Jay, Beautiful, and it preserves the voice leading! Thank you! Mark From: Jay Anderson [mailto:horndud...@gmail.com] Sent: Sunday, December 23, 2018 3:11 PM To: Mark Stephen Mrotek Cc: lilypond-user Subject: Re: tie across voices On Sun, Dec 23, 2018 at 2:40 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: Please see attached snippet. In measure 3 the two e flats should be tied. I have looked at using transparent as given in http://lsr.di.unimi.it/LSR/Snippet?id=8 yet that would “collide” with the quarter rest. My favorite way to deal with this is to switch the voices. = \score { \relative c' { \time 6/8 \clef bass << \new Voice { \voiceOne bes,8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. \voiceTwo r4 a,8-4~ | a g bes'-1~ bes a-2 g-3 | } \new Voice { \voiceTwo s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3~ \voiceOne ees8 d-1 c-2 | d4. s | } >> \oneVoice } } = There's also the spanner-id, but I don't believe that works for ties. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie across voices
On Sun, Dec 23, 2018 at 2:40 PM Mark Stephen Mrotek wrote: > Please see attached snippet. > > In measure 3 the two e flats should be tied. > > I have looked at using transparent as given in > > http://lsr.di.unimi.it/LSR/Snippet?id=8 > > yet that would “collide” with the quarter rest. > My favorite way to deal with this is to switch the voices. = \score { \relative c' { \time 6/8 \clef bass << \new Voice { \voiceOne bes,8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. \voiceTwo r4 a,8-4~ | a g bes'-1~ bes a-2 g-3 | } \new Voice { \voiceTwo s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3~ \voiceOne ees8 d-1 c-2 | d4. s | } >> \oneVoice } } = There's also the spanner-id, but I don't believe that works for ties. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie across voices
On 23/12/2018 21:35, Mark Stephen Mrotek wrote: Hello, Please see attached snippet. In measure 3 the two e flats should be tied. I have looked at using transparent as given in http://lsr.di.unimi.it/LSR/Snippet?id=8 yet that would “collide” with the quarter rest. Any suggestions would be greatly appreciated. How about this? \version "2.19.81" { \time 6/8 \clef "bass" << \new Voice \relative c { \voiceOne bes8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. s4. d4. s | } \new Voice \relative c' { \voiceTwo s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3^~ \stemUp ees8 d^1 c^2 \stemNeutral | } \new Voice \relative c { \voiceFour s2.*2 | s4. r4 a8-4~ | a g bes'-1~ bes a-2 g-3 | } >> } \relative c' { \time 6/8 \clef bass << { bes,8-5 bes'-1 d-2~ d8 c-1 bes-2 | c4. r4 f,8-2 | g4. ees8 d-1 c-2 | d4. s | } \\ { s4. r4 g8-4~ | g f-5 aes-2~ aes g-1 d-4~ | d c ees-3 r4 a,8-4~ | a g bes'-1~ bes a-2 g-3 | } >> } -- Timothy Lanfear, Bristol, UK. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie across voices
On 2018-12-23 1:35 pm, Mark Stephen Mrotek wrote: In measure 3 the two e flats should be tied. I have looked at using transparent as given in http://lsr.di.unimi.it/LSR/Snippet?id=8 yet that would "collide" with the quarter rest. Any suggestions would be greatly appreciated. It's not perfect, but \laissezVibrer (instead of ~) on the first E flat might work. -- Aaron Hill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: {SPAM 04.7} Re: {SPAM 01.9} Re: Tie across voices
David Sumblerwrites: > The automatic creation of contexts is obviously very useful, especially > when one is just a beginner at Lilypond. But I almost wish that there > were an option to turn it off, which would be useful for forcing > oneself to understand how this all actually works! If there are no contexts created automatically, the user has to accommodate every element and relation of the context hierarchy. That makes stuff like introducing intermediate contexts into the hierarchy much harder than it should be. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: {SPAM 04.7} Re: {SPAM 01.9} Re: Tie across voices
On Fri, 2018-05-04 at 23:55 +0200, Simon Albrecht wrote: > On 04.05.2018 19:23, David Sumbler wrote: > > > > It seems that if, in a > > <<{\musicA} {\musicB}>> > > passage, \musicA does not specify a new Voice, then the music > > before > > the << >> passage and, importantly, also the music afterwards will > > all > > be treated as belonging to the same voice. Is that correct? > Have a look at this example: > > > \version "2.19.80" > > << > c > c > >> > > \new Staff > << > c > c > >> > > \new Staff > << > c > \\ > c > >> > > \new Staff > \new Voice > << > c > c > >> > > > resulting in the attached output. > <<>> just combines music expressions simultaneously. Depending on > which > contexts are explicitly created, separate implicit contexts will be > created or not. > > Best, > Simon I have always found the implicit creation of contexts etc. rather confusing, which is why I have been inclined to define the higher elements of the structure explicitly. I used even to have completely unnecessary \bookpart-s etc. but I try to avoid that sort of thing now. On the other hand, I suppose I have rather tended to take the implicit creation of Voices for granted. Especially in the light of your example, I am starting to think that perhaps I should make it a policy always to define Voices explicitly. As it is, I found your example quite hard to understand, and I dare say I am not alone in that. However, having experimented with it quite a bit, I now see (I think) that: Example 1: here the << informs Lilypond that what follows is music, but the Staff and Voice themselves are created by each of the simultaneous 'c's, which otherwise have nowhere to go. Example 2: here a Staff has already been created, so the simultaneous notes already have somewhere to go and therefore appear on to the same Staff. I think that they each individually create a voice, since they have separate stems and because of the warning that Lilypond gives. Both voices seem to have voiceOne style, presumably since nothing else has been specified; Lilypond is therefore protesting about the resulting collision. Example 3: The << \\ >> construct causes each of the simultaneous notes to have its own voice, specifically voiceOne and voiceTwo. If I add another \\ section the contents go into voiceThree etc. Is that correct? Example 4: Here a voice is explicitly defined, and therefore Lilypond understands that the simultaneous notes both have to go into that one voice, rather than creating new ones: hence the doubled notehead on a single stem. If I add a third note at the same pitch, no more noteheads are produced, but surprisingly Lilypond does not give a warning. Have I understood all of this correctly? Sorry if this all seems elementary, especially since I have been using Lilypond on and off for several years. The automatic creation of contexts is obviously very useful, especially when one is just a beginner at Lilypond. But I almost wish that there were an option to turn it off, which would be useful for forcing oneself to understand how this all actually works! David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: {SPAM 01.9} Re: Tie across voices
On 04.05.2018 19:23, David Sumbler wrote: It seems that if, in a <<{\musicA} {\musicB}>> passage, \musicA does not specify a new Voice, then the music before the << >> passage and, importantly, also the music afterwards will all be treated as belonging to the same voice. Is that correct? Have a look at this example: \version "2.19.80" << c c >> \new Staff << c c >> \new Staff << c \\ c >> \new Staff \new Voice << c c >> resulting in the attached output. <<>> just combines music expressions simultaneously. Depending on which contexts are explicitly created, separate implicit contexts will be created or not. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: {SPAM 01.9} Re: Tie across voices
On Thu, 2018-05-03 at 18:43 +0200, Lukas-Fabian Moser wrote: > Hi David, > > Am 03.05.2018 um 18:29 schrieb David Sumbler: > > > > \version "2.19.81" > > > > \new Staff { > > \time 6/8 > > << > > { \once \override MultiMeasureRest.staff-position = #10 > > R2. | r4. e'''~ } > > \\ > > { g''2.~ | g''~ } > > >> > > \oneVoice2.~ | q | > > } > > > One possibility would be: > > \version "2.19.81" > > \new Staff { > \time 6/8 > << > { \once \override MultiMeasureRest.staff-position = #10 > R2. | r4. e'''~ \hideNotes e'''2. } > \\ > { g''2.~ | g''~ > \oneVoice 2.~ | q | > } > >> > } > > If you don't want to continue inside a << \\ >> construct, try > > \version "2.19.81" > > \new Staff { > \time 6/8 > << > { > \voiceTwo g''2.~ | g''~ > } > \new Voice { > \voiceOne \once \override MultiMeasureRest.staff-position = > #10 > R2. | r4. e'''~ \hideNotes e'''2.*0 > } > >> > \oneVoice 2.~ | q | > } > > Explanation: << { } \\ { } >> is a shorthand which creates two new > (named) voices. Just taking << { } \new Voice { } >> makes sure the > first { } pair creates music in the "main" voice which is active > outside > the << >>. Thank you all for your suggestions. I realise now that my original request was unclear: I need both the upper and the lower notes to be tied. The second solution above seems to fit the bill perfectly. It will be very useful immediately, because in this passage of music there are similar divisi sustained notes (but with different entry timings) also in the 2nd violins, violas and cellos. I hadn't hit on the idea of tying the note to another one of zero length; very ingenious and worth remembering. Just to clarify: It seems that if, in a <<{\musicA} {\musicB}>> passage, \musicA does not specify a new Voice, then the music before the << >> passage and, importantly, also the music afterwards will all be treated as belonging to the same voice. Is that correct? David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie across voices
On Thu, May 3, 2018 at 9:30 AM David Sumblerwrote: > \version "2.19.81" > > \new Staff { > \time 6/8 > << > { \once \override MultiMeasureRest.staff-position = #10 > R2. | r4. e'''~ } > \\ > { g''2.~ | g''~ } > >> > \oneVoice 2.~ | q | > } > > In the above I want the lower note to be tied continuously. As it > stands, there is no tie between the 2nd and 3rd bars where the 2 voices > become one. > > I have experimented a lot with invisible notes (as suggested in section > 4.7.1 in the Learning Manual) and with additional voices, but I haven't > yet managed to get the result I want. > > This is taken from a full score where the violins are divisi. The > notes continue for a further 10 bars, so I don't want to continue with > up and down stems, which would look very untidy. > > Can somebody suggest how I can get the effect I want? One more example: %%% \version "2.19.81" \new Staff { \time 6/8 << { \once \override MultiMeasureRest.staff-position = #10 R2. | r4. e'''~ } \\ { g''2.~ | g''~ } >> \context Voice = "2" \oneVoice 2.~ | q | } %%% This works because <<{...}\\{...}>> is short for: << \context Voice = "1" { \voiceOne ... } \context Voice = "2" { \voiceTwo ... } >> --- Knute Snortum (via Gmail) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie across voices
David Sumblerwrites: > \version "2.19.81" > > \new Staff { > \time 6/8 > << > { \once \override MultiMeasureRest.staff-position = #10 > R2. | r4. e'''~ } > \\ > { g''2.~ | g''~ } > >> > \oneVoice 2.~ | q | > } > > In the above I want the lower note to be tied continuously. As it > stands, there is no tie between the 2nd and 3rd bars where the 2 voices > become one. > > I have experimented a lot with invisible notes (as suggested in section > 4.7.1 in the Learning Manual) and with additional voices, but I haven't > yet managed to get the result I want. > > This is taken from a full score where the violins are divisi. The > notes continue for a further 10 bars, so I don't want to continue with > up and down stems, which would look very untidy. > > Can somebody suggest how I can get the effect I want? \version "2.19.81" \new Voice = "main" { \time 6/8 \voices 1,"main" << { \once \override MultiMeasureRest.staff-position = #10 R2. | r4. e'''~ } \\ { \voiceTwo g''2.~ | g''~ } >> \oneVoice 2.~ | q | } -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie across voices
Hi David, Am 03.05.2018 um 18:29 schrieb David Sumbler: \version "2.19.81" \new Staff { \time 6/8 << { \once \override MultiMeasureRest.staff-position = #10 R2. | r4. e'''~ } \\ { g''2.~ | g''~ } >> \oneVoice2.~ | q | } One possibility would be: \version "2.19.81" \new Staff { \time 6/8 << { \once \override MultiMeasureRest.staff-position = #10 R2. | r4. e'''~ \hideNotes e'''2. } \\ { g''2.~ | g''~ \oneVoice 2.~ | q | } >> } If you don't want to continue inside a << \\ >> construct, try \version "2.19.81" \new Staff { \time 6/8 << { \voiceTwo g''2.~ | g''~ } \new Voice { \voiceOne \once \override MultiMeasureRest.staff-position = #10 R2. | r4. e'''~ \hideNotes e'''2.*0 } >> \oneVoice 2.~ | q | } Explanation: << { } \\ { } >> is a shorthand which creates two new (named) voices. Just taking << { } \new Voice { } >> makes sure the first { } pair creates music in the "main" voice which is active outside the << >>. Best Lukas ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Tie across voices
Thanks, Nathan. Your solution worked perfectly. Joe Srednicki -Original Message- From: Nathan Ho [mailto:nat...@snappizz.com] Sent: Friday, February 12, 2016 10:42 PM To: Joseph N. Srednicki <jnsredni...@verizon.net> Cc: lilypond-user@gnu.org; lilypond-user-bounces+nathan=snappizz@gnu.org Subject: Re: Tie across voices On 2016-02-12 15:37, Joseph N. Srednicki wrote: > In the following three-beat example, I am trying to tie the > upper-voice note in the second beat with the lower-voice note of the > third beat. > > My example seems to work somewhat, but the notes of the upper and > lower voices of the second and third beats do not align vertically as > they should. > > Can someone please explain how to align the upper and lower voices in > the second and third beats or another approach to the problem of > coding the tie across voices? > > I tried using \shiftOn to align the voices, but I was unsuccessful. > > I used Google to search and found the snippet located at > http://lsr.di.unimi.it/LSR/Snippet?id=8 [1]. I tried to follow this > snippet as an example. Hi Joseph, Here's how you fix the shifting problem: \language "english" \relative c' {\key d\major \time 3/8 << { fs8 b d } \\ { cs,8 es b' } \\ { \override NoteColumn.force-hshift = #0 \hideNotes s8 b8~ b8 } >> } Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie across voices
On 2016-02-12 15:37, Joseph N. Srednicki wrote: In the following three-beat example, I am trying to tie the upper-voice note in the second beat with the lower-voice note of the third beat. My example seems to work somewhat, but the notes of the upper and lower voices of the second and third beats do not align vertically as they should. Can someone please explain how to align the upper and lower voices in the second and third beats or another approach to the problem of coding the tie across voices? I tried using \shiftOn to align the voices, but I was unsuccessful. I used Google to search and found the snippet located at http://lsr.di.unimi.it/LSR/Snippet?id=8 [1]. I tried to follow this snippet as an example. Hi Joseph, Here's how you fix the shifting problem: \language "english" \relative c' {\key d\major \time 3/8 << { fs8 b d } \\ { cs,8 es b' } \\ { \override NoteColumn.force-hshift = #0 \hideNotes s8 b8~ b8 } >> } Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user