I'm setting a fairly short song. It's sixteen measures, in the
standard four voice parts. I used Frescobaldi to set up the basic
structure, so the syntax I'm using comes from modifying what it put
out.
What causes the grief is that the last measure in the soprano part is
polyphonic (or polyrythmic
Behalf Of Tim
Slattery
Sent: Monday, March 25, 2019 9:29 AM
To: lilypond-user@gnu.org
Subject: Tangled up in Lilypond syntax
I'm setting a fairly short song. It's sixteen measures, in the standard four
voice parts. I used Frescobaldi to set up the basic structure, so the syntax
I'm u
inal Message-
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
> Tim
> Slattery
> Sent: Monday, March 25, 2019 9:29 AM
> To: lilypond-user@gnu.org
> Subject: Tangled up in Lilypond syntax
>
> I'm setting a fairly sh
;>
>> http://lilypond.org/doc/v2.19/Documentation/learning/i_0027m-hearing-voices
>>
>> Mark
>>
>> -Original Message-
>> From: lilypond-user
>> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
>> Tim
>> Slattery
Opps. True. No \\ if using my earlier code. Thanks for catching that!
Guy Stalnaker
jimmyg...@gmail.com
On Mon, Mar 25, 2019 at 1:02 PM Lukas-Fabian Moser wrote:
>
> Slight amendation of Mark's suggestion. Since you're doing a vocal
> composition, to keep lyrics applied into this temporary pol
Slight amendation of Mark's suggestion. Since you're doing a vocal
composition, to keep lyrics applied into this temporary poloyphonic
context, use this syntax:
<< { \voiceOne } \\
\new Voice { \voiceTwo { } }
>> \oneVoice
Lyrics set to the voice will carry into the temporary polyphonic
con
And since we're talking about temporary polyphonic contexts (TPC) there are
a few other things, like lyrics, that don't work in to and out of them.
Mostly multi-note events like slurs, crescendos, etc. You cannot start them
outside a TPC and conclude them inside one, or start them inside a TPC and
Lukas-Fabian Moser wrote:
>\new Staff \relative a' {
> a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
>\oneVoice a a a
>}
>\addlyrics { \repeat unfold 10 test }
That did it! Thanks for saving me much time and grief.
--
Tim Slattery
tim risingdove com
__
Lilyponders,
While I don't use \relative (so this isn't a topic for my personal use), I
am curious about what happens in this excerpt that Mr. Moser provided:
\new Staff \relative a' {
a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
\oneVoice a a a
}
\addlyrics { \repeat unfold
Guy Stalnaker writes:
> Lilyponders,
>
> While I don't use \relative (so this isn't a topic for my personal use), I
> am curious about what happens in this excerpt that Mr. Moser provided:
>
> \new Staff \relative a' {
>a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
> \oneVoic
Hi Guy,
> While I don't use \relative
Good choice. =)
> \new Staff \relative a' {
>a a a << { \voiceOne a a a } \new Voice { \voiceTwo e b b } >>
> \oneVoice a a a
> }
> \addlyrics { \repeat unfold 10 test }
>
> What I engrave this with LP 2.19.82 the a pitches after the temporary
> poly
On 2019-03-27 3:35 pm, Flaming Hakama by Elaine wrote:
-- Forwarded message --
From: Kieren MacMillan
To: Guy Stalnaker
Cc: Tim Slattery , Lilypond-User Mailing List <
lilypond-user@gnu.org>
Date: Tue, 26 Mar 2019 15:16:03 -0400
Subject: Re: Tangled up in Lilypond syn
Hi there,
> The issue is not \relative, per se. I wish people would stop maligning it.
If it didn’t cause so many problems (especially for newbies) that are easily
avoided by not using it, I wouldn’t keep getting up on my soapbox. Believe me:
I’d prefer not to get my exercise that way. ;)
>
Hi Aaron,
> I tend to think of something like \relative to be a lower-level construct,
> intended to be used as close as possible to the pitches in question. Since I
> try to keep things organized in variables where content and structure are not
> intermixed, \relative never appears at a highe
Am Do., 28. März 2019 um 00:10 Uhr schrieb Kieren MacMillan
:
>
> Hi there,
>
> > The issue is not \relative, per se. I wish people would stop maligning it.
>
> If it didn’t cause so many problems (especially for newbies) that are easily
> avoided by not using it,
I disagree (partly).
I remembe
On 2019-03-27 4:19 pm, Kieren MacMillan wrote:
That’s great… But essentially all of the documentation has \relative
at the top-level. So what is a newbie to think, other than "My code
should look like
\paper { … }
\header {…}
\relative c' { … }
But then they start to cut and paste code bits,
Hi Aaron,
> I adopted \relative simply because pitches on the treble staff would
> otherwise require at least one apostrophe.
> […] I desire more to avoid excessive redundancy.
Look at \fixed. =)
Hope that helps!
Kieren.
Kieren MacMillan, composer
‣ website:
On Wed 27 Mar 2019 at 19:19:10 (-0400), Kieren MacMillan wrote:
> Hi Aaron,
>
> > I tend to think of something like \relative to be a lower-level construct,
> > intended to be used as close as possible to the pitches in question. Since
> > I try to keep things organized in variables where conte
Hi David,
> My understanding of the EE (which I've never used) is close to zero,
> but I thought it was conceptually a late part of the LP process,
> whereas \relative is just about the earliest. So I'm not sure
> I understand how you use the former to substitute for the latter.
Well, for example
Hi David,
OH!
>> (Ironically, most of the things I used to use \relative for I now handle
>> with the edition-engraver!)
That was a typo/brainfart: I meant most of the things I used to use \tag for…
Sorry!
Kieren.
Kieren MacMillan, composer
‣ website: www.kier
On Wed 27 Mar 2019 at 21:19:47 (-0400), Kieren MacMillan wrote:
> Hi David,
>
> OH!
>
> >> (Ironically, most of the things I used to use \relative for I now handle
> >> with the edition-engraver!)
>
> That was a typo/brainfart: I meant most of the things I used to use \tag for…
>
> Sorry!
No
On 3/28/19, Aaron Hill wrote:
> That said, I fully agree with advising folks who intend on moving music
> around more fluidly to avoid \relative since it adds a maintenance chore
> that would otherwise impede the creative process.
Heh. This is one of the (few) subjects I’d tend to disagree with
K
On Thu 28 Mar 2019 at 09:52:26 (+0100), Valentin Villenave wrote:
> On 3/28/19, Aaron Hill wrote:
> > That said, I fully agree with advising folks who intend on moving music
> > around more fluidly to avoid \relative since it adds a maintenance chore
> > that would otherwise impede the creative pr
I'm not trained in tonic solfa and don't find any advantage in singing
by using it. That said, I'm as likely to write "fah" over an entrance
that's difficult to pitch as writing "IV', but my "fah" relates to
the key that the music *feels* like it's in at the time. (I have a
good memory for pitc
On Thu 28 Mar 2019 at 21:45:31 (+0100), Lukas-Fabian Moser wrote:
>
> > I'm not trained in tonic solfa and don't find any advantage in singing
> > by using it. That said, I'm as likely to write "fah" over an entrance
> > that's difficult to pitch as writing "IV', but my "fah" relates to
> > the ke
Aaron Hill writes:
> On 2019-03-27 4:19 pm, Kieren MacMillan wrote:
>> That’s great… But essentially all of the documentation has \relative
>> at the top-level. So what is a newbie to think, other than "My code
>> should look like
>>
>> \paper { … }
>>
>> \header {…}
>>
>> \relative c' { … }
>>
>
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