Re: rolled chords in multivoice classical guitar score
The solution to this enabled me to solve a problem I had, of putting an
arpeggio sign in front of a single (slanted-head) note. As an arpeggio
requires two notes, I had to force the issue, which I did by:
{ \hideNotes f,2.\arpeggio \unHideNotes } \\
{ \improvisationOn d'2.\arpeggio }
and linking the arpeggio across the voices (putting the lower note first
made the visible beam go the right way without being forced; also
\inprovisationOn was already set previously, but needed to be repeated
inside the brackets)
This has solved my problem, but is there a less contrived way?
Paul
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Re: rolled chords in mulivoice classical guitar score
I think I have it, Tom. Took me a long time, too. Try the code below:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
\set Staff.connectArpeggios = ##t
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
\set Staff.connectArpeggios = ##t
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in different
voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
% end ly snippet
%
Tom Cloyd wrote:
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and
running a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff.
Periodically, I want to indicate that the notea co-occuring at a
given point are to be played as a rolled arpeggio. There is NO
chord notated - just two voices with single notes. Please don't
suggest I merge the voices. That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in
chord clusters. Besides, my Lilypond doesn't at all like this stuff
(from the reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in
Re: rolled chords in mulivoice classical guitar score
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in different
voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
% end ly snippet
%
Tom Cloyd wrote:
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and
running a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff.
Periodically, I want to indicate that the notea co-occuring at a
given point are to be played as a rolled arpeggio. There is NO
chord notated - just two voices with single notes. Please don't
suggest I merge the voices. That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in
chord clusters. Besides, my Lilypond doesn't at all like this stuff
(from the reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in
Re: rolled chords in mulivoice classical guitar score
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in different
voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
% end ly snippet
%
Tom Cloyd wrote:
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and
running a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff.
Periodically, I want to indicate that the notea co-occuring at a
given point are to be played as a rolled arpeggio. There is NO
chord notated - just two voices with single notes. Please don't
suggest I merge the voices. That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in
chord clusters. Besides, my Lilypond doesn't at all like this stuff
(from the reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in classical guitar
music. I'm a little surprised there isn't some simple way to indicate
it, but...maybe I'm missing something.
Any help would be much appreciated!
Tom
--
~
Tom Cloyd, MS MA, LMHC - Private practice Psychotherapist
Bellingham, Washington, U.S.A: (360) 920-1226
[EMAIL PROTECTED] (email)
TomCloyd.com (website)
sleightmind.wordpress.com (mental health weblog)
~
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rolled chords in mulivoice classical guitar score
Jonathan,
This looks interesting, and its structure is not hard to discern (for
me), but it requires me to split my guitar scores into voices and write
them separately from beginning to end. This is possible, but not exactly
what one expects to do, except with true multi-voice scores (vocal,
orchestral, etc.).
Further, I find that splitting a score into voices is at times a
formalistic strategy but at other times a practical one. I have several
scores which are simply quicker to notate in two voices, except for a
few measures which make more sense in three voices. Your approach blows
this way of working out of the water. It forces me to split things into
a fixed number of voices from beginning to end.
I remain puzzled about how hard this is all is. It just seems awfully
strained, and I don't yet see a graceful solution - although the
formalistic elegance of your suggestion is appealing for certain types
of scores. But...is this the best approach available for a guitarist?
If so, then I must, in effect, dissect my scores into horizontal layers,
and their complexity instantly increases dramatically. I dread this.
t.
Jonathan Kulp wrote:
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in
different voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename
creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
Re: rolled chords in mulivoice classical guitar score
Adjunct to my previous post -
I'll admit that my Ruby programming experience biases me in the
direction of seeking simple, direct, comprehensible, heuristic
solutions. I think I may have found one -
Building on my notion of using this construct to manage polyphonically
structured scores -
{} \\
{}
it should be possible to restructure voicing so as to force structuring
of chords into expressions which allow use of the simple |\arpeggio
construct. This won't make sense formally, but THAT will not affect the
output score, which, after all IS the point of this exercise.
I can employ this tactic with my score immediately, and it doesn't
require me to completely restructure my scores, or insert all manner of
(to me) incomprehensible code or hacks or whatever. I can just get on
with notating my scores, which really is my objective.
I still hope for a more high level elegant solution, as, I believe, is
your inclination as well. I will continue to watch this thread
carefully, hoping to see something develop. In truth, if it comes from
anyone, I think it's likely to be from you, so...I want to encourage you
to keep thinking about it.
Thanks for your care and effort on this matter,
t.
|
Jonathan Kulp wrote:
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in
different voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename
creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
Re: rolled chords in mulivoice classical guitar score
Sorry. I spoke too soon. This is no solution. It messes up the VISIBLE
voicing in the score - the direction of stems. It also cannot be used to
arpeggiate across chords where different voices have different durations
- unless one breaks notes up into tied groups. This a bad solution.
Sigh. I still have no accessible solution.
t.
Tom Cloyd wrote:
Adjunct to my previous post -
I'll admit that my Ruby programming experience biases me in the
direction of seeking simple, direct, comprehensible, heuristic
solutions. I think I may have found one -
Building on my notion of using this construct to manage polyphonically
structured scores -
{} \\
{}
it should be possible to restructure voicing so as to force
structuring of chords into expressions which allow use of the simple
|\arpeggio construct. This won't make sense formally, but THAT will
not affect the output score, which, after all IS the point of this
exercise.
I can employ this tactic with my score immediately, and it doesn't
require me to completely restructure my scores, or insert all manner
of (to me) incomprehensible code or hacks or whatever. I can just get
on with notating my scores, which really is my objective.
I still hope for a more high level elegant solution, as, I believe, is
your inclination as well. I will continue to watch this thread
carefully, hoping to see something develop. In truth, if it comes from
anyone, I think it's likely to be from you, so...I want to encourage
you to keep thinking about it.
Thanks for your care and effort on this matter,
t.
|
Jonathan Kulp wrote:
Ok this is better. I put the \set Staff.connectArpeggios in the
score block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across
voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation.
But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I
already
have. But nothing I try works - it all causes prodigious errors. For
example, this is NOT accepted...
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
\clef treble
\key e \minor
\time 3/4
\tempo 4 = 90
[...]
I've tried all the variations I can imagine, and I cannot find any
real-world examples that show me the solution, and I cannot make sense
of things logically. Why do I have to create a new staff to get a
single
arpeggio? If I want to do this arbitrarily, why is the setup for it so
arcane? I must not be understanding something, but can't see what.
Any help would be appreciated (!).
t.
Can you suggest what I need to do?
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in
different voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename
creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
Re: rolled chords in mulivoice classical guitar score
Hmm. These organizational things are a matter of preference, of course.
Still, I don't see why you'd have to rewrite things so dramatically.
I thought I saw in one of your posts here that you had all the notes in
one variable. It seems like this \score block ought to work even when
all the notes are held in one variable that has mostly one voice and
only occasionally another. Could you attach the actual code of one of
your scores (not abbreviated, but the whole score) so I can really see
what you're working with? I bet this score block can be modified to
work just how you want. The reason I spent so much time figuring out
this problem of arpeggiation across voices is because I know that I'll
want to do it myself at some point, and in fact have already added one
to an existing score where I had just been too lazy to figure out how
before (!).
Personally, I do break my guitar pieces into separate voices, each held
in a different variable, then assemble them onto the staff in the \score
block. I didn't do it this way originally but came to the conclusion
eventually that it was the way to go, so as to avoid having to do lots
of { } \\ {} all over the place. In the orchestral piece I'm
engraving right now, I have different variables for the voices of, say,
flutes 1-2. Now, a lot of the time, the fluteOneNotes variable holds
the music for *both* flutes 1 and 2 since they move together with the
same rhythms often, so in those places the fluteTwoNotes just has
full-measure skips (s1*35 or something) while fluteOneNotes has lots
of chords. At this moment I can't recall precisely why I decided to
do it this way instead of just putting the occasional {}\\{} in
there, but I think it had to do with the length of the multivoice
passages. If they were any longer than about two or three bars, then I
broke them up into different variables for each voice because I don't
like having this construct {}\\{} spread over multiple lines in my
text file--too hard to keep track of it.
Anyway please do send me a file, even off-list if you want, because I
think the problem of making an arpeggio span different voices is solved
now and it's gotten into matters of organization instead of technical
problems. Best,
Jon
Tom Cloyd wrote:
Jonathan,
This looks interesting, and its structure is not hard to discern (for
me), but it requires me to split my guitar scores into voices and write
them separately from beginning to end. This is possible, but not exactly
what one expects to do, except with true multi-voice scores (vocal,
orchestral, etc.).
Further, I find that splitting a score into voices is at times a
formalistic strategy but at other times a practical one. I have several
scores which are simply quicker to notate in two voices, except for a
few measures which make more sense in three voices. Your approach blows
this way of working out of the water. It forces me to split things into
a fixed number of voices from beginning to end.
I remain puzzled about how hard this is all is. It just seems awfully
strained, and I don't yet see a graceful solution - although the
formalistic elegance of your suggestion is appealing for certain types
of scores. But...is this the best approach available for a guitarist?
If so, then I must, in effect, dissect my scores into horizontal layers,
and their complexity instantly increases dramatically. I dread this.
t.
Jonathan Kulp wrote:
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version 2.11.62
melody = \relative c'' {
\voiceOne
e4\arpeggio d f d f2
}
bass = \relative c' {
\voiceTwo
d2\arpeggio g b2
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = melody { \melody }
\context Voice = bass { \bass }
\layout { }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 160 4)
}
}
}
Tom Cloyd wrote:
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 3 part voicing}
\score {
\new Staff {
(staff definitions stuff)
\staffClassicalGuitar
}
\layout...
\midi...
}
\paper
I got this structure right from the Lilypond 2.11.60 documentation. But
I cannot find a place to put this stuff -
\new Staff \with {
\consists Span_arpeggio_engraver
}
where it will be accepted. Starting a new staff in the middle of a
measure makes no sense. OR in the middle of a line. So, I assume the
\with... thing needs to go into the existing \new Staff... I already
have. But nothing I try works - it all causes prodigious errors.
Re: rolled chords in mulivoice classical guitar score
Jonathan,
First, thank you for your continued interest. Attached is my engraving
of the 5th section of a Variations and Theme piece I have written -
the theme comes last. The F# added to the final chord is my addition,
and is there to remind listeners of the harmonic flavor of the
variations they've heard previously. I have indicated with arp. below
the staff where I seek to place arpeggiation indicators.
I have added some comments below. I'm very interested in how you handle
this whole problem of setting multipart guitar scores, as I'm much in
the learning phase, still, at this point (obviously), so I'm grateful
for your comments.
Jonathan Kulp wrote:
Hmm. These organizational things are a matter of preference, of
course. Still, I don't see why you'd have to rewrite things so
dramatically. I thought I saw in one of your posts here that you had
all the notes in one variable.
Yes - an idea taken from some of the Lilypond documentation. Could be
useful where one adds, say, a second guitar or a flute or whatever, I'm
thinking.
It seems like this \score block ought to work even when all the notes
are held in one variable that has mostly one voice and only
occasionally another.
Well, it's mostly 2 and sometimes 3, actually.
Could you attach the actual code of one of your scores (not
abbreviated, but the whole score) so I can really see what you're
working with? I bet this score block can be modified to work just how
you want.
I'd be fascinated to see yourideas on this.
The reason I spent so much time figuring out this problem of
arpeggiation across voices is because I know that I'll want to do it
myself at some point, and in fact have already added one to an
existing score where I had just been too lazy to figure out how before
(!).
Ah...good - I like it when my problems lead to solutions for others as well.
Personally, I do break my guitar pieces into separate voices, each
held in a different variable, then assemble them onto the staff in the
\score block. I didn't do it this way originally but came to the
conclusion eventually that it was the way to go, so as to avoid having
to do lots of { } \\ {} all over the place. In the orchestral
piece I'm engraving right now, I have different variables for the
voices of, say, flutes 1-2. Now, a lot of the time, the
fluteOneNotes variable holds the music for *both* flutes 1 and 2
since they move together with the same rhythms often, so in those
places the fluteTwoNotes just has full-measure skips (s1*35 or
something) while fluteOneNotes has lots of chords. At this moment I
can't recall precisely why I decided to do it this way instead of just
putting the occasional {}\\{} in there, but I think it had to do
with the length of the multivoice passages. If they were any longer
than about two or three bars, then I broke them up into different
variables for each voice because I don't like having this construct
{}\\{} spread over multiple lines in my text file--too hard to
keep track of it.
OK, I CAN see some advantages with this approach. For one, it forces a
kind of formalism which probably isn't a bad idea - a relentless part
analysis. Especially could be useful for a composer, as opposed to
someone merely setting down a piece from a score or whatever. Clearly a
more orchestral approach, and also one that well fits one such as I who
is much inclined to muck around a lot with Rennaisance and Baroque score
that may be played or transcribed for classical guitar. Dowland comes
readily to mind.
Anyway please do send me a file, even off-list if you want, because I
think the problem of making an arpeggio span different voices is
solved now and it's gotten into matters of organization instead of
technical problems.
Well, it you think so, it's surely the case. We (I) are near to a
practical solution. A cheery thought!
t.
~
Tom Cloyd, MS MA, LMHC - Private practice Psychotherapist
Bellingham, Washington, U.S.A: (360) 920-1226
[EMAIL PROTECTED] (email)
TomCloyd.com (website)
sleightmind.wordpress.com (mental health weblog)
~
\version 2.11.60
#(set-global-staff-size 20) % 20 this is said to be standard for most scores
date = #(strftime %Y.%m.%d (localtime (current-time))) % define a variable to
hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% * centered top *
%dedication={dedication} %centered above title, top of page one
title = Variations on a de Visee Minuet %centered below dedication
subtitle = 5 - theme - Minuet in E Minor %centered below title
subsubtitle = \markup { (2008.10.04-11) - version \date } %centered below
subtitle
%piece = (piece) %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = For Classical Guitar %{ centered below the subsubtitle,
and
Re: rolled chords in mulivoice classical guitar score
Ok I've given this a tiny tweak that I think will work the way you want.
I just removed the two separate voices I had used before in the score
block for the melody and bass, and replaced those with a single voice
called music that will hold all voices, instantiated on-the-fly with
{}\\{}. The arpeggio still works beautifully. I think with this
score block you should be able to move freely between a single voice and
two or more voices and simply add the \arpeggio command whenever you
want one. Is this the behavior you were looking for?
Jon
\version 2.11.62
music = \relative c'' {
c,8 e g c e c g c
{ e4 f g, b g'2\arpeggio } \\ { d2 g,\arpeggio }
}
\score {
\context Staff = guitar \with {
\consists Span_arpeggio_engraver
}
\set Staff.connectArpeggios = ##t
\context Voice = music { \music }
\layout { }
\midi {
\context {
\Score
}
}
}
Tom Cloyd wrote:
Jonathan,
This looks interesting, and its structure is not hard to discern (for
me), but it requires me to split my guitar scores into voices and write
them separately from beginning to end. This is possible, but not exactly
what one expects to do, except with true multi-voice scores (vocal,
orchestral, etc.).
--
Jonathan Kulp
http://www.jonathankulp.com
___
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lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
rolled chords in mulivoice classical guitar score
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and running
a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff. Periodically, I
want to indicate that the notea co-occuring at a given point are to be
played as a rolled arpeggio. There is NO chord notated - just two
voices with single notes. Please don't suggest I merge the voices.
That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in chord
clusters. Besides, my Lilypond doesn't at all like this stuff (from the
reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in classical guitar music.
I'm a little surprised there isn't some simple way to indicate it,
but...maybe I'm missing something.
Any help would be much appreciated!
Tom
--
~
Tom Cloyd, MS MA, LMHC - Private practice Psychotherapist
Bellingham, Washington, U.S.A: (360) 920-1226
[EMAIL PROTECTED] (email)
TomCloyd.com (website)
sleightmind.wordpress.com (mental health weblog)
~
___
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Re: rolled chords in mulivoice classical guitar score
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in different
voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
% end ly snippet
%
Tom Cloyd wrote:
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and running
a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff. Periodically, I
want to indicate that the notea co-occuring at a given point are to be
played as a rolled arpeggio. There is NO chord notated - just two
voices with single notes. Please don't suggest I merge the voices.
That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in chord
clusters. Besides, my Lilypond doesn't at all like this stuff (from the
reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in classical guitar music.
I'm a little surprised there isn't some simple way to indicate it,
but...maybe I'm missing something.
Any help would be much appreciated!
Tom
--
Jonathan Kulp
http://www.jonathankulp.com
___
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Re: rolled chords in mulivoice classical guitar score
Tom Cloyd-2 wrote: I get this error - warning: cannot find file: `consists' This msg means that Lilypond is looking for a file named consists - since you only sent this fragment we cannot check if there is a unwanted \include of such a file or something similar! hth -Eluze -- View this message in context: http://www.nabble.com/rolled-chords-in-mulivoice-classical-guitar-score-tp19953962p19954919.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rolled chords in mulivoice classical guitar score
BTW this works with single notes, too. I changed it as follows and the
arpeggio still works fine:
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e'4\arpeggio d f d f2 } \\
{ d,2\arpeggio g b2 }
}
Jonathan Kulp wrote:
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says Creating arpeggios across notes in different
voices.
Jon
%
% Start cut--pastable-section
%
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
%
% ly snippet:
%
\sourcefilename creating-arpeggios-across-notes-in-different-voices.ly
\sourcefileline 0
%% Do not edit this file; it is auto-generated from LSR
http://lsr.dsi.unimi.it
%% This file is in the public domain.
\version 2.11.62
\header {
lsrtags = expressive-marks
texidoces =
Se puede trazar un símbolo de arpegio entre notas de distintas
voces que están sobre el mismo pentagrama si el grabador
@code{Span_arpeggio_engraver} se traslada al contexto de
@code{Staff} context:
doctitlees = Crear arpegios entre notas de voces distintas
texidoc =
An arpeggio can be drawn across notes in different voices on the same
staff if the @code{Span_arpeggio_engraver} is moved to the @code{Staff}
context:
doctitle = Creating arpeggios across notes in different voices
} % begin verbatim
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {
\set Staff.connectArpeggios = ##t
{ e' g4\arpeggio d f d f2 } \\
{ d, f2\arpeggio g b2 }
}
%
% end ly snippet
%
Tom Cloyd wrote:
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and
running a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff. Periodically,
I want to indicate that the notea co-occuring at a given point are to
be played as a rolled arpeggio. There is NO chord notated - just two
voices with single notes. Please don't suggest I merge the voices.
That's not the solution I'm looking for.
P. 90 of Lilypond Notation reference illustrates a rolled arpeggio
across different notes in the same staff, but it involves notes in
chord clusters. Besides, my Lilypond doesn't at all like this stuff
(from the reference):
\new Staff \with {
\consists Span_arpeggio_engraver
}
\relative c' {...
I get this error - warning: cannot find file: `consists'
So, even if I HAD chord clusters, I'd still have a problem.
This rolled arpeggio business is very common in classical guitar
music. I'm a little surprised there isn't some simple way to indicate
it, but...maybe I'm missing something.
Any help would be much appreciated!
Tom
--
Jonathan Kulp
http://www.jonathankulp.com
___
lilypond-user mailing list
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Re: rolled chords
Am Fri, 10 Oct 2008 11:21:54 -0700 schrieb Danny Sosa [EMAIL PROTECTED]: ... less than 8 minutes and you already solved my problem... The amazing thing is: less than 10 minutes and *3* ppl helped ! Never saw such a helpful community! (well, besides [EMAIL PROTECTED] ;-) ) Seb. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
rolled chords
First of all... thanks to James for his help with mBreak, the magic words
were outside of any music block. I was trying to define mbreak inside the
{}.
Does anyone know how to write rolled chords in Lilypond? it's just like a
little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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Re: rolled chords
\arpeggio
On 10.10.2008, at 20:11, Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic
words were outside of any music block. I was trying to define
mbreak inside the {}.
Does anyone know how to write rolled chords in Lilypond? it's just
like a little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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Re: rolled chords
On 10.10.2008 (11:11), Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic words
were outside of any music block. I was trying to define mbreak inside the
{}.
Does anyone know how to write rolled chords in Lilypond?
The sign in the picture is an arpeggio, which is denoted by appending
\arpeggio to the chord construct:
c e g c1\arpeggio
Look for arpeggio in the manual.
eyolf
--
There's never enough time to do all the nothing you want.
-- Calvin
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Re: rolled chords
... less than 8 minutes and you already solved my problem... you're amazing! haha thank you so much! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rolled chords
\relative c' {
c e g c e1 \arpeggio
}
To apply an unbroken arpeggio line to all voices and staves for piano,
use \set PianoStaff.connectArpeggios = ##t inside your new \PianoStaff
and use \arpeggio on the same beat within each voice context you want it
to apply to. I don't know if the same command works for multiple voices
in guitar staves or if it's something similar.
Best,
David
Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic
words were outside of any music block. I was trying to define mbreak
inside the {}.
Does anyone know how to write rolled chords in Lilypond? it's just
like a little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and guitar music.
Any ideas are greatly appreciated : ]
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