Hello,
Vallentin ever helped me to get a stemBoth function when I wrote the full
score of my song for attending the CCTV piano competition:
stemBoth = #(define-music-function (parser location m) (ly:music?)
#{ << \voiceOne $m \new Voice { \voiceTwo $m } >> \oneVoice #})
Now I'm orchestrating D
Hu,
2009/2/3 胡海鹏 - Hu Haipeng :
> Hello,
> Vallentin ever helped me to get a stemBoth function when I wrote the full
> score of my song for attending the CCTV piano competition:
> stemBoth = #(define-music-function (parser location m) (ly:music?)
> #{ << \voiceOne $m \new Voice { \voiceTwo $m }
Hello,
I encounter a new problem with this function:
stemBoth = #(define-music-function (parser location m) (ly:music?)
#{ << \voiceOne $m \new Voice { \voiceTwo $m } >> \oneVoice #})
When I attach the slur, it is copied too. Now I want a function to write
things like this: the first half of t
Hu Haipeng wrote:
> I don't know whether this gives two stems
No, it doesn't.
It is just a chord, and a chord (in one voice) has only one stem.
In this case the still active \stemUp makes its stem go in a
different direction to the following \stemDown notes and so the
accompanying (automatic
2009/3/5 胡海鹏 - Hu Haipeng :
> I don't
> want to assign two separate voices with plenty of confusing spacer notes.
> \relative c' {
> \stemUp c8(^"I" d e f g a b c | )(_"II" \stemDown c b a g f e d | c1)
> }
Unfortunately, I'm afraid the only proper way to do it is to use
spacer notes. At least,
2009/3/5 Robin Bannister :
> Maybe these are trivial difficulties compared to those you constantly
> cope with, but, as a general priciple, I would have thought you would be
> better off going with the flow:
> not fighting Lilypond but rather
> letting Lilypond do its graphic thing as much as po
