Scarlatti, polyphony within a keyboard score
Hello:
Scarlatti looks simple but of course is not. I'm using a Longo
edition to create a basic score which I will edit (hopefully) from
the Kirkpatrick facsimile into a performing edition.
I have this specific problem for the moment which wil lead to another
question about schemes.
--- Sscoe Snip --
\version 2.11.27
\include english.ly
Sonata_Emajor_K530.ly
\version 2.10.25
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
e b fs r4 r8 \bar || % Bar 20
\key e \minor r8 b''8 \grace a16 g8 fs e d | % Bar 21
\override Staff.NoteCollision # merge-differently-dotted = ##t
{ c,2 \stemUp a'4 | } \\ % bar 22
\grace b16 c2. |
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
r4 r8 e' b fs \bar || % Bar 20
\key e \minor e4 r4 r |% Bar 21
r8 a''8 fs8 ds cs b | % Bar 22
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
-- end Score -
This renders, but not as it is supposed to. The right hand should have
a second voice joining and the dotted half c and half note c should be
the same note with stems going both up and down. Instead it renders as
if it were new bars of consecutive score,
I also get this Guile error: error:
- snip -
GUILE signaled an error for the expression beginning here
\override Staff.NoteCollision #
merge-differently-dotted = ##t
Unbound variable: merge-differently-dotted
- snip
The line breeaks in the error are as they appear when I invoke
lilypond in the shell.
First, I think I do no quite undersand the override and collision and
Second, have I added the new polyphonic voice correctly?
Do I need to put something in the scheme definitions about these new
polyphonic bits? The occur with regularity in this peice but are
transitory in nature. They last a few measures then the voice simply
disappears as is not uncommon in piano scores.
Cheers,
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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Re: Scarlatti, polyphony within a keyboard score
Hi David,
On 7/1/07, David Fedoruk [EMAIL PROTECTED] wrote:
\version 2.11.27
\include english.ly
Sonata_Emajor_K530.ly
\version 2.10.25
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
e b fs r4 r8 \bar || % Bar 20
\key e \minor r8 b''8 \grace a16 g8 fs e d | % Bar 21
\override Staff.NoteCollision # merge-differently-dotted = ##t
{ c,2 \stemUp a'4 | } \\ % bar 22
\grace b16 c2. |
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
r4 r8 e' b fs \bar ||% Bar 20
\key e \minor e4 r4 r |%
Bar 21
r8 a''8 fs8 ds cs b | % Bar 22
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
-- end Score -
This renders, but not as it is supposed to. The right hand should have
a second voice joining and the dotted half c and half note c should be
the same note with stems going both up and down. Instead it renders as
if it were new bars of consecutive score,
The basic syntax for a polyphonic section is as follows:
{ musicA } \\ { musicB }
So for your problem section, you'd change it to this:
{ c,2 a'4 | } \\ % bar 22
{ \grace b16 c2. }
You don't need the \stemUp switch, since the first polyphonic voice
automatically becomes \voiceOne and has its stems placed up.
I also get this Guile error: error:
- snip -
GUILE signaled an error for the expression beginning here
\override Staff.NoteCollision #
merge-differently-dotted = ##t
Unbound variable: merge-differently-dotted
- snip
The line breeaks in the error are as they appear when I invoke
lilypond in the shell.
There's an apostrophe missing from the override, i.e.
\override Staff.NoteCollision #'merge-differently-dotted = ##t
Here's my suggested corrected snippet, with some changes to a few note
pitches. Is this what you're after?
\version 2.10.25
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
e8 b fs r4 r8 \bar || % Bar 20
\key e \minor r8 b'8 \grace a16 g8 fs e d | % Bar 21
\override Staff.NoteCollision #'merge-differently-dotted = ##t
{ c2 a'4 | } \\ % bar 22
{\grace b,16 c2. }
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
r4 r8 e' b fs \bar ||% Bar 20
\key e \minor e4 r4 r |%
Bar 21
r8 a'8 fs8 ds cs b | % Bar 22
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
Regards,
Neil
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Re: Scarlatti, polyphony within a keyboard score
The basic syntax for a polyphonic section is as follows:
{ musicA } \\ { musicB }
So for your problem section, you'd change it to this:
{ c,2 a'4 | } \\ % bar 22
{ \grace b16 c2. }
You don't need the \stemUp switch, since the first polyphonic voice
automatically becomes \voiceOne and has its stems placed up.
I also get this Guile error: error:
- snip -
GUILE signaled an error for the expression beginning here
\override Staff.NoteCollision #
merge-differently-dotted
= ##t
Unbound variable: merge-differently-dotted
- snip
The line breeaks in the error are as they appear when I invoke
lilypond in the shell.
There's an apostrophe missing from the override, i.e.
\override Staff.NoteCollision #'merge-differently-dotted = ##t
Here's my suggested corrected snippet, with some changes to a few note
pitches. Is this what you're after?
Preciesely, except that I had to add an octave displacement upward
to the initial b, then it rederened exactly the way it should. Now, I
need to change the template I'm using because this piece, like many
other piano works, is essentially 3 or more voices (one or two in
each hand). This one has three voices running for the remains three
quarters of it and in places it lapses into four part counterpoint
Since most of this music is not two voices (right and left hand) but
three or four, is there a way to add those possibliities to the scheme
below?\new voice = upper1 \upper1 ? would that work? It would
need \new voice = upper1 \upper1 ?
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new voice = upper1 \upper1
\new Staff = lower \lower
\new voice = lower1 \lower1
\layout { }
\midi { }
}
Another question was alluded to by someone in a recent post. I have
been taught that scripts and programs are parsed line by line.
Obviously, lilyond does not do it exactly this way. The only other
possibility I can think of is that it parses first by section, ie.
Header, version, scheme, then music. Within each part it runs code
line by line. Only fatal errors stop the rendering process. Am I on
the right track here?
Thanks for your help!
Cheers,
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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