Here is another (perhaps less elegant) solution:
rh = \relative c'' {
<<
\voiceOne
{
c2.~ | \stemDown \shiftOnn c
}
\\
\new Voice {
\voiceTwo
s2. | \shiftOnn af2 s4
}
\\
\new Voice {
\voiceFour
<bf! g ef>4 af g~ | g f ef |
}
>>
}
lh = \relative c {
\clef bass
<<
{
\voiceOne
s2.
\change Staff = "left" \stemUp c'2. |
}
\new Voice
{
\voiceTwo
% bass
\change Staff="right" s4 \change Staff = "left" c4 bf! |
r4 af g |
}
>>
}
Stan
> On Apr 10, 2016, at 12:51 PM, Joseph N. Srednicki <[email protected]
> <mailto:[email protected]>> wrote:
>
> Hi Andrew (and others on the mailing list):
>
> Thanks for taking the time to write your suggestion.
>
> I pasted your recommended solution into Lilypond. (I also installed Lilypond
> 2.19.38 in Windows to make sure that I am running the same version.)
>
> When I compile, I receive a warning about an unterminated tie for the soprano
> in measures 1 and 2.
>
> To resolve the situation, I tried reversing the order in the temporary voices
> in measure two. In other words, I put the c in the upper voice and the a flat
> in the lower voice. This rearrangement did not get the tie to appear.
>
> Can you or anyone else suggest how to make the tie appear in the soprano c in
> the two measures?
>
> Thanks to anyone who can offer a suggestion.
>
> Joe Srednicki
> <>
> From: Andrew Bernard [mailto:[email protected]
> <mailto:[email protected]>]
> Sent: Saturday, April 9, 2016 11:13 PM
> To: Joseph N. Srednicki <[email protected]
> <mailto:[email protected]>>; [email protected]
> <mailto:[email protected]>
> Subject: Re: Parallel music, adding a voice, stem not appearing
>
> Hi Jospeh,
>
> An erstwhile organist myself, hopefully I can give you an answer.
>
> For me, while parallel music is described in the NR, for pieces of any length
> I find it too hard to untangle what voice is what. Better in my opinion to
> use explicit voices outright and be done with it. Then you have at your
> control all the lilypond machinery for adjusting voices, including offsets
> and so on. Generally you know when you have to introduce highly specifically
> coded tweaks for column offsets to get things to work that you are on the
> wrong track. Lilypond is very good at working out layout issues when you use
> the standard techniques.
>
> Here is a rewrite of your score, using an absolutely standard multi voice
> technique for piano, or organ. I put the voices together in the staves they
> normally live in, but you can separate them all out if you like.
>
> You are correct in saying a temporary voice is needed for the A flat.
>
> One quirk you will find is the matter of the dot on the A flat. You can play
> around with this as you see fit, but the voicing offsets seem fine to me.
>
> The output compares favourably with the score I found on IMSLP.
>
> I would recommend this style of working rather than the parallel music
> approach. One can argue that it is simpler to get voicing matters under
> control. At least, I think so.
>
> You can find the standard template for piano in the MN in Section A 3.1.
>
>
> Andrew
>
>
>
> — snip
>
> \version "2.19.39"
> \language "english"
>
> global = {
> \key c \minor
> \time 3/4
> }
>
> rh = \relative c'' {
> <<
> {
> % soprano
> \voiceOne
> c2.~ |
> <<
> {
> \stemDown
> \shiftOn
> \once \hide Dots
> af
> }
> \\
> {
> \shiftOn c
> }
> >>
> }
> \new Voice
> {
> % alto
> \voiceTwo
> bf!4 af g~ |
> g4 f ef |
> }
> >>
> }
>
> lh = \relative c {
> \clef bass
> <<
> {
> \voiceOne
> % tenor
> \change Staff= "right" \stemDown g''4 \skip 2 |
> \change Staff = "left" \stemUp c,2. |
> }
> \new Voice
> {
> \voiceTwo
> % bass
> \change Staff="right" ef4 \change Staff = "left" c4 bf! |
> r4 af g |
> }
> >>
> }
>
> pedal = \relative c {
> \clef bass
> c2.~ |
> c2. |
> }
>
> \score {
> \new PianoStaff
> <<
> \new Staff = "right" {
> \global
> \rh
> }
> \new Staff = "left" {
> \global
> \lh
> }
>
> \new Staff = "pedal" {
> \global
> \pedal
> }
> >>
> }
> — snip
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