It's my belief that the following code should have produced a 16-bar
single-staff polyphony, but instead, the second voice follows the first
voice consecutively and I get 32 bars.
\version "2.12.3"
\header {subtitle = "Single staff polyphony (but only measure 8 has more
than
Hi,
I have a question regarding single staff polyphony. When two voices share
the same pitch LilyPond (2.6.3) will show the two notes next to each other.
I would like to alter this so that only one note appears with beams up and
down. If notes have different time values, I'd like the
Richard Opheim wrote:
>
> It's my belief that the following code should have produced a 16-bar
> single-staff polyphony, but instead, the second voice follows the first
> voice consecutively and I get 32 bars.
>
usually a polyphonic sequence is enclosed in << … >
This is bar 110 from the Mertz guitar transcription of Schubert's
Aufenthalt:
\version "2.13.28"
\relative c'' {
\new Staff <<
\new Voice = "one" { \voiceOne 4 r }
\new Voice = "two" { \voiceTwo e,,4 r }
\new Voice = "four" { \voiceFour \times 2/3 { s8 e,>} }
>
Looking over NR 1.5.2, I see what appears to be a typo in the fifth
paragraph of the 'Single-staff polyphony' page.
"The method exposed creates two new voices when the <<{...} \\ {...}>>
construction is found in the code; to temporally add only one additional
voic
Use \new Voice \voiceOne ... \voiceTwo ...
\new Staff <<
\new Voice { \voiceOne \A }
\new Voice { \voiceTwo \B }
>>
and if you want only one note appears
use "s" for the seconde voice
1) a4
b) s8 c8
I have a question regarding single staff polyphony. When two voices
you can add
\override Staff.NoteCollision #'merge-differently-headed = ##t
and this should do it
d
On 27 May 2007, at 14:29, Norman Hamilton wrote:
Hi,
I have a question regarding single staff polyphony. When two voices
share the same pitch LilyPond (2.6.3) will show the two notes
I'm trying to typeset a passage with two voices on the same staff. Both voices
use double slurs, and I need the slurs within each voice to be parallel (i.e.
both slurs in the top voice need to curve up). What would be the best way to do
this?
\version "2.16.1"
\relative c'' {
<<
{ \set do
Hi Nick,
> For some reason, a) the rest in voiceOne doesn't avoid the top e in voiceFour
> without being explicitly placed (don't know why, as similar rests in voiceOne
> manage to automatically avoid notes in voiceFour in the couple of dozen
> previous bars in the piece where this construction
On 22/07/10 22:38, Kieren MacMillan wrote:
Hi Nick,
For some reason, a) the rest in voiceOne doesn't avoid the top e in voiceFour
without being explicitly placed (don't know why, as similar rests in voiceOne
manage to automatically avoid notes in voiceFour in the couple of dozen
previous
Thanks, I applied all your suggestions.
Cheers,
- Graham
On Sun, 10 Aug 2008 13:40:16 +0100
Daniel Hulme <[EMAIL PROTECTED]> wrote:
> Looking over NR 1.5.2, I see what appears to be a typo in the fifth
> paragraph of the 'Single-staff polyphony' page.
>
> "T
2008/8/11 Graham Percival <[EMAIL PROTECTED]>:
> Thanks, I applied all your suggestions.
Thank you, Graham, I've been very disconnected and missed this.
--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org
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lilypond-
lt;
\new Voice {
\voiceOne
e2( f)
}
\new Voice {
\override NoteColumn.force-hshift = #.005
\voiceThree
b 2( c)
}
>>
}
hth
Eluze
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/doubleSlurs-in-single-staff-polyphony-tp138697p
Just in case : if \version "2.16.1" you should use :
\override NoteColumn #'force-hshift = #.005
2013/1/3 Eluze
> \relative c'' {
> \new Staff <<
> \new Voice {
> \voiceOne
> e2( f)
> }
> \new Voice {
> \override NoteColumn.force-hshift = #.005
> \voiceThre
Pierre Perol-Schneider wrote
> Just in case : if \version "2.16.1" you should use :
thanks, I always forget - should we make a request for a
backward-converter!?
Eluze
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/doubleSlurs-in-single-staff-polyphony-tp
Eluze writes:
> Pierre Perol-Schneider wrote
>> Just in case : if \version "2.16.1" you should use :
>
> thanks, I always forget - should we make a request for a
> backward-converter!?
What do we want done before releasing 2.18?
--
David Kastrup
__
Am 03.01.2013 18:22, schrieb David Kastrup:
Eluze writes:
Pierre Perol-Schneider wrote
Just in case : if \version "2.16.1" you should use :
thanks, I always forget - should we make a request for a
backward-converter!?
What do we want done before releasing 2.18?
:-D
_
жимъ, от -- ло -- жимъ по -- пе -- че -- ни --
е,
от -- ло -- жимъ,
от -- ло -- жимъ по -- пе -- че -- ни -- е.
}
--
View this message in context:
http://old.nabble.com/single-staff-polyphony-with-changing-lyrics-tp29393190p29393190.html
Sent from the Gnu - Lilypond - User mailing list archive a
Hi,
the following example shows three bars with should all show the eighth
notes as in bar 1 with kneed beams. But I could not get it working in
single staff polyphony environment (bar 2 and 3), neither automatically
nor manually. Can someone give me a hint please what to do.
Thanks,
Mari
hat I
have not launched it as public draft yet, and that I have not received
any feedback on the first subsection Single-staff polyphony, could you
take it a quick look and tell me if you think this is written in a
grammatically correct-enough English? After that, I'll announce the
draft with more
Guitar music has a lot of this stuff:
\relative c' {
<<
{g'16 d' b d}
\\
{g,4}
>>
}
where the G in the top part lines up with the G in the bottom and they
share the same notehead; exactly as expected and wanted.
However in this:
\relative c' {
\time 3/8
<<
{g'8 b d}
\\
Hi all,
how can I tweak the form of a tie in one voice in order to avoid a collision of
the tie with the notes of another voice of a single staff polyphony? I do not
merely want to move the tie position but bend the tie to almost achieve a
semicircle above the noteheads of the other voice
Hi,
I try to get those notes in one measure, but the appear in 2 measures
The c should be under the bes' and the es should be under the r8.
Can't figure out what I'm doing wrong..
Thanks in advance,
Kees
\version "2.6.5"
<<
\new Staff
{
\time 4/4
\key es \major
\clef treble
>From a list conversation
>(http://lilypond.1069038.n5.nabble.com/Full-bar-rests-in-multi-voiced-piano-scores-question-and-a-suggestion-td29115.html#a29121)
> from 2008:
"So far, there's no automatic support in LilyPond to avoid collisions between
multi-measure rests and other objects."
Is this
On Aug 10, 2010, at 2:02 AM, apqc wrote:
>
> Hello :)
>
> I have run into an issue with a choral piece (Gretchaninov's Cherubic Hymn)
> of which I am making an edition.
>
> In the tenor part, the voice splits and I need to align the lyrics
> differently: in bar 3 of the extract below, the lowe
mari+lilyp...@mailbox.org writes:
> Hi,
>
> the following example shows three bars with should all show the eighth
> notes as in bar 1 with kneed beams. But I could not get it working in
> single staff polyphony environment (bar 2 and 3), neither automatically
> nor manually. C
2008/8/18 David Stocker <[EMAIL PROTECTED]>:
> Good job. I'm copying this to the list simply to let folks know I'm happy to
> look over English documentation for correct grammar. If anyone feels that he
> needs another pair of eyes to look over revisions to the documentation, then
> please feel fr
Sure,
Just let me know when you're finished with a section or part of a
section and I'll have a look (just remember to state where the revisions
begin and end, so as to avoid duplicate work).
Thanks,
Dave
Valentin Villenave wrote:
2008/8/18 David Stocker <[EMAIL PROTECTED]>:
Good job.
Hi Mike,
Is there something in the manual I've missed?
merge-differently-dotted
merge-differently-headed
HTH!
Kieren.
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Ah, I see... so it's the dotted note that makes the difference in the 2
examples. Makes sense. I guess i didn't think of looking under
'Collision Resolution'. Thanks!
Incidentally Kieren are you related to Keith and/or Edward? Keith was
the Chairman of the music dept. at Ottawa U when I was t
Mike Blackstock wrote:
Incidentally Kieren are you related to Keith and/or Edward? Keith was
the Chairman of the music dept. at Ottawa U when I was there.
Well if you are my apologies - it's 'Ernest' not 'Edward' of course.
M.
___
lilypond-u
Hi Mike,
Incidentally Kieren are you related to Keith and/or Edward? Keith
was the Chairman of the music dept. at Ottawa U when I was there.
Well if you are my apologies - it's 'Ernest' not 'Edward' of course.
I believe I saw both of them in a genealogy report years ago… but
it's a pretty
Hello,
I'm trying to create a score which contains a piano staff, has single
staff polyphony and has lyrics placed between the staves (only one
voice). I have managed to create the staves and the different voices,
but whatever I try I can't get the lyrics to work. I've been stru
Patrick Schmidt wrote Tuesday, July 14, 2009 3:44 PM
how can I tweak the form of a tie in one voice in order to avoid a
collision of
the tie with the notes of another voice of a single staff
polyphony? I do not
merely want to move the tie position but bend the tie to almost
achieve a
:19 +0100
> Von: "Trevor Daniels"
> An: "Patrick Schmidt" , lilypond-user@gnu.org
> Betreff: Re: Tweaking ties in single staff polyphony
>
> Patrick Schmidt wrote Tuesday, July 14, 2009 3:44 PM
>
> > how can I tweak the form of a tie in one voice in
Patrick, you wrote Tuesday, July 14, 2009 6:27 PM
thank you for the hint. It took me a while to find
out that the commands have to be right in front of
the note to which the tie is attached.
Thanks for the feedback. I've clarified that point
in the docs.
Trevor
_
Hello,
In a song, there is a second voice singing the same lyrics for a
short time, so I would like to keep only one staff.
The following example is OK :
% ** this does not work
\new Staff \relative c' {<<
{ s2. e'8 e~
e4 e8 e~ e2
}
{ r2. g,8 a~
a4^\markup \fre
Hi Kees!
> I try to get those notes in one measure, but the appear in 2 measures
As you want two voices to happen simultanously you have to include them in
<< ... >>
\version "2.6.5"
<<
\new Staff
{
\time 4/4
\key es \major
\clef treble
\relative {
<<
Hello, Kees:
\version "2.6.5"
<<
\new Staff
{
\time 4/4
\key es \major
\clef treble
\relative{
Note the additional << >> surrounding your parts here:
<< {4 r8 4 8} \\
{c,2 es} >>
Then continue...
}
}
>>
Thies,
Thanks, that does the job!!
Regards,
Kees
Thies Albrecht schreef:
Hi Kees!
> > I try to get those notes in one measure, but the appear in 2 measures
As you want two voices to happen simultanously you have to include them in
<< ... >>
\version "2.6.5"
<<
\new Staff
{
\
D]>
Sent: Monday, December 06, 2004 5:56 AM
Subject: [Mutopia-discuss] Merging rests in single-staff polyphony
> In a song with a short polyphonic section at the end, I wrote something
like
> this:
>
> << { f g } \\ { d e } >> r4 << { a b } \\ { f g } >>
>
cott Horne
> -Original Message-
> From: Ruud van Silfhout [mailto:[EMAIL PROTECTED]
> Sent: 6 décembre 2004 14:31
> To: Lilypond user
> Cc: P Scott Horne; [EMAIL PROTECTED]
> Subject: Fw: Merging rests in single-staff polyphony
>
> Hi,
>
> I think this q
Hello,
I found long ago a way to center rests in single-staff polyphony. But
I dont find it anymore, neither in doc or google (or did I use wrong
words for searching).
To be more explicit, lilypond gives naturally the first rests of the
attachment (beat 2), and I try to obtain automatically the
In the following, to look correctly positioned, the final A in the bar
needs to be moved slightly to the right relative to the notes in the
other voice each side of it. I tried moving the note to the right using
\override NoteColumn #'force-hshift, but that didn't move the note. What
can I use?
Daniel Rosen
Sent: Thursday, December 13, 2012 10:00 AM
To: lilypond-user@gnu.org
Subject: Full bar rests in single-staff polyphony
>From a list conversation
>(http://lilypond.1069038.n5.nabble.com/Full-bar-rests-in-multi-voiced-piano-scores-question-and-a-suggestion-td29115.html#a29121)
> f
Daniel Rosen gmail.com> writes:
> "So far, there's no automatic support in LilyPond to avoid collisions between
> multi-measure rests and other objects."
>
> Is this still the case?
Yes.
> If so, is there a reason that this feature can't be added?
I think that part of reason full-measure re
> -Original Message-
> From: Keith OHara [mailto:k-ohara5...@oco.net]
> Sent: Saturday, December 15, 2012 2:01 AM
> To: lilypond-user@gnu.org
> Subject: Re: Full bar rests in single-staff polyphony
>
> Daniel Rosen gmail.com> writes:
>
> > "S
:
\relative c' { fis2^\( ~ fis4 g c,\) }
Is that what you mean?
Hope that helps!
Jon
Ari Torhamo wrote:
Hello,
I'm trying to create a score which contains a piano staff, has single
staff polyphony and has lyrics placed between the staves (only one
voice). I have managed to create the stav
ma, 2008-10-06 kello 23:19 -0500, Jonathan Kulp kirjoitti:
> I know you can make the slurs attach to the stem side if you use
> phrasing slurs and use either ^ or _ to tell it which direction to go:
>
> \relative c' { fis2^\( ~ fis4 g c,\) }
>
> Is that what you mean?
>
> Hope that helps!
Tha
Hi Ari,
What I'd like to see is to have the slur start from the other end
of the
stem - the end where there's no note.
There used to be a functions that allowed you to set the slur to
begin at the stem — it was deprecated/eliminated several versions ago.
Now, you must use \override Slur #'
Hmm. I thought the code I put there gave what you're describing. See
image attached. The slur is on the stem side, nowhere near the
notehead. Is this not what you meant? I'm using version 2.11.61 if
that makes a difference.
Here's the code used for attached image, only slightly different
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
> Hmm. I thought the code I put there gave what you're describing. See
> image attached. The slur is on the stem side, nowhere near the
> notehead. Is this not what you meant? I'm using version 2.11.61 if
> that makes a difference.
ti, 2008-10-07 kello 15:42 -0400, Kieren MacMillan kirjoitti:
> Hi Ari,
>
> > What I'd like to see is to have the slur start from the other end
> > of the
> > stem - the end where there's no note.
>
> There used to be a functions that allowed you to set the slur to
> begin at the stem — it wa
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
I forgot to add, that my Lilypond version is 2.10.33.
Ari
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Ah. I see the problem now. I guess Kieren's suggestion is probably the
way to go. It might be possible to store the override in a variable
instead of having to do it repeatedly in the code. I've never used this
override, though, so I don't know. Good luck!
Jon
Ari Torhamo wrote:
ti, 200
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many. This is a good trick to know. Thanks Kieren :)
\version "2.11.61"
\relative c' {
\once \override Slur #'positions = #'(2 .
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
> Here's a quick test of Kieren's suggestion, showing first the overridden
> slur and then one without the override. Not too hard to do as long as
> there aren't too many.
This slur setting would be the norm. If it's too much work,
Ari Torhamo wrote:
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many.
This slur setting would be the norm. If it's
ke, 2008-10-08 kello 02:34 +0300, Ari Torhamo kirjoitti:
> ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
> > Here's a quick test of Kieren's suggestion, showing first the overridden
> > slur and then one without the override. Not too hard to do as long as
> > there aren't too many.
ti, 2008-10-07 kello 18:55 -0500, Jonathan Kulp kirjoitti:
> I understand. It "is" possible to run Finale on Linux under Wine,
> though, so if he really can't manage Lilypond but does o.k. with Linux
> in general, then perhaps he could just run the occasional proprietary
> piece of software un
ma, 2008-10-06 kello 23:51 -0700, James E. Bailey kirjoitti:
> I'm guessing you're talking about D.2.3, Piano Centered Lyrics. What
> have you tried? If you take away everything but the \new statements,
> and just look at the \score block, what you'll see is
> \new Staff
> \new Lyrics
> \new Staf
> > To make sure that I don't misunderstand, does "#'(2 . 2.5)" mean
> > that the hight of the start and end points of the slur should be
> > set manually (in some units) for every slur?
>
> Afraid so.
Han-Wen? Any chance to improve the slur algorithm to fix this?
Werner
_
Ari Torhamo wrote Wednesday, October 08, 2008 2:37 AM
I have also tried to add "\lyricsto" in different places on the string
above (docs suggest to use it), but then the file won't even render. Can
you see what I'm doing wrong?
The problem is that the PianoStaff context does not accept a Lyr
PNG image attached. This shows the default behavior when the slur is
specifically positioned on the stem side, then there's a manually
positioned slur showing more what it ought to look like, and finally
another slur showing the default behavior when there are more than two
notes being slurred
ke, 2008-10-08 kello 08:33 +0100, Trevor Daniels kirjoitti:
> Ari Torhamo wrote Wednesday, October 08, 2008 2:37 AM
>
> > I have also tried to add "\lyricsto" in different places on the string
> > above (docs suggest to use it), but then the file won't even render. Can
> > you see what I'm doing
2008/10/8 Werner LEMBERG <[EMAIL PROTECTED]>:
> Han-Wen? Any chance to improve the slur algorithm to fix this?
I'd happily add it to the tracker, but I'd need a report and
(preferably) a png image of what LilyPond does and what it should do.
Cheers,
Valentin
___
Terve Ari,
2008/10/8 Ari Torhamo <[EMAIL PROTECTED]>:
> It works, it works! Now I can get forward with what I'm doing :-)
>
> One more thing. I tried to add \lyricsto to the line above, but this
> caused an error message. I'm trying to align the lyrics to the melody,
> so that it wouldn't be nece
2008/10/8 Jonathan Kulp <[EMAIL PROTECTED]>:
> \relative c' {
> % default, when slur is forced to stem side
> c^( d)
> % positioned manually
> \once \override Slur #'positions = #'(0.8 . 1.2)
> c4^( e)
> % default positioning if there are three or more.
> c^( d e2 f)
> }
Thanks, added as http
Note that the requested feature rather was to have a property setting
that lets you specify explicitly if you want the slur close to the note
head or close to the end of the stem, as we used to have in old LilyPond
versions, where you could do something like
\override Slur #'attachment = #'(ste
ke, 2008-10-08 kello 13:03 +0300, Risto Vääräniemi kirjoitti:
> Terve Ari,
>
> 2008/10/8 Ari Torhamo <[EMAIL PROTECTED]>:
>
> > It works, it works! Now I can get forward with what I'm doing :-)
> >
> > One more thing. I tried to add \lyricsto to the line above, but this
> > caused an error messa
Citando Christophe Dang Ngoc Chan <[EMAIL PROTECTED]>:
>
> Now I try to dissociate the two voices, and the lyrics do not align
> any longer.
>
> % ** this does not work
> \new Staff \relative c' {<<
> { s2. e'8 e~
>e4 e8 e~ e2
> } \\
> { r2. g,8 a~
>a4^\marku
Le 16 déc. 06 à 13:10, Eduardo Vieira a écrit :
For these cases you
should use \lyricsto and \lyricmode. "
You could do this to fix it:
OK. So I guess I have to put all the lyrics in \lyricsto mode.
I'll try it, thanks a lot.
--
Christophe Dang Ngoc Chan
[EMAIL PROTECTED]
Am 31.12.2014 um 02:45 schrieb Alicuota618:
Hello,
I found long ago a way to center rests in single-staff polyphony. But
I dont find it anymore, neither in doc or google (or did I use wrong
words for searching).
To be more explicit, lilypond gives naturally the first rests of the
attachment
It does perfectly the trick. Many thanks und vielen Dank!
Francois
2014-12-31 3:16 GMT-05:00, Marc Hohl :
> Am 31.12.2014 um 02:45 schrieb Alicuota618:
>> Hello,
>>
>> I found long ago a way to center rests in single-staff polyphony. But
>> I dont find it anymore, n
2012/5/24 Nick Payne :
> In the following, to look correctly positioned, the final A in the bar needs
> to be moved slightly to the right relative to the notes in the other voice
> each side of it. I tried moving the note to the right using \override
> NoteColumn #'force-hshift, but that didn't mov
Nick Payne wrote:
> In the following, to look correctly positioned, the final A in the bar
> needs to be moved slightly to the right relative to the notes in the
> other voice each side of it.
Boy, that's a tough situation. Personally, I would not call your
example "ugly". The note heads, for
On Thu, May 24, 2012 at 9:48 AM, Nick Payne wrote:
> In the following, to look correctly positioned, the final A in the bar needs
> to be moved slightly to the right relative to the notes in the other voice
> each side of it. I tried moving the note to the right using \override
> NoteColumn #'forc
Marek Klein
0918 610 720
http://gregoriana.sk
2012/5/24 Nick Payne
> In the following, to look correctly positioned, the final A in the bar
> needs to be moved slightly to the right relative to the notes in the other
> voice each side of it. I tried moving the note to the right using \override
On Thu, May 24, 2012 at 8:23 PM, Marek Klein wrote:
> Maybe it is proportional notation what you are looking for?
I don't think so. using proportional notation doesn't fix the "lack
of optical spacing between notes in different voices" issue. The a is
still visually closer to c on the left - it
On 25/05/12 02:47, Tim Roberts wrote:
Nick Payne wrote:
In the following, to look correctly positioned, the final A in the bar
needs to be moved slightly to the right relative to the notes in the
other voice each side of it.
Boy, that's a tough situation. Personally, I would not call your
exam
P Scott Horne wrote:
In a song with a short polyphonic section at the end, I wrote something like
this:
<< { f g } \\ { d e } >> r4 << { a b } \\ { f g } >>
It worked as expected, giving a single rest appropriately centred on the
staff. This approach seemed more sensible than defining s
[EMAIL PROTECTED] writes:
> ...
> << \context Voice = melody {\voiceOne f g} \\ { \voiceTwo d e } >>
> \oneVoice r4 ...}
>
> or
>
> \context Voice = melody {
> ...
> << {\voiceOne f g} \new Voice {\voiceTwo d e } >> \oneVoice r4 ...}
>
> or to exploit that the Voice contexts created by <<{...}
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