Evan,
Never used <<{ } { }>>.
Tried to locate it in the manual – no success.
Your question must be answered by someone with more knowledge of the code than
I.
Mark
From: Evan Driscoll [mailto:[email protected]]
Sent: Wednesday, July 03, 2019 10:01 AM
To: Mark Stephen Mrotek <[email protected]>
Cc: Lilypond-User Mailing List <[email protected]>
Subject: Re: Aesthetics question -- how would you typeset this?
The difference between << {...} // {...} >> and chords I get -- but what about
<< {...} {...} >> *without* the //, for example in the first three lines of my
snippet? Those seem to work the same as collating the corresponding notes in
chords.
Evan
On Wed, Jul 3, 2019 at 11:48 AM Mark Stephen Mrotek <[email protected]
<mailto:[email protected]> > wrote:
Evan,
As to your “bonus” question, <<{….}//{….}>> creates two separate voices, as in
polyphony,
While <..> creates a chord.
Mark
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark
<mailto:lilypond-user-bounces%2Bcarsonmark> [email protected]
<mailto:[email protected]> ] On Behalf Of Evan Driscoll
Sent: Tuesday, July 02, 2019 8:54 PM
To: Lilypond-User Mailing List <[email protected]
<mailto:[email protected]> >
Subject: Aesthetics question -- how would you typeset this?
I've got a couple measures that I'm struggling to even figure out what I want
the result from Lilypond to be. I've pasted the snippet below. As picky
connoisseurs of good notation, I'm wondering what other people would do or like
to see. :-) I'm leaning toward the second option but am uncertain.
As a bonus question on Lilypond itself -- what are the differences between
<< { g bf g a ... } { g, g g g } >>
and
<g g,> <bf g,> <g g,> <a g,>
in this context? Aside from the octave changes working relative to different
notes, is there any difference? When should I prefer one to another?
Thanks again,
Evan
\language "english"
\relative c'' {
\key g \minor
\time 3/4
<<
{ s4^"The default, but melody 'lost' in the other visual noise" }
{ r4 g8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4 g8 g g g | g g g g g g | g4 s2 }
>>
\break
\stemDown
<<
{ s4^"I like this more but is forcing the stems departing too much from
standard practice?" }
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4 g8 g g g | g g g g g g | g4 s2 }
>>
\break
\stemNeutral
\clef "tenor"
<<
{ s4^"This also works well but this is an area already with tons of clef
changes and this adds two more"}
{ r4 g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 r2 }
{ s4 g,8 g g g | g4 g8 g g g | g g g g g g | g4 s2 }
>>
\break
\clef "treble"
r4^"I don't like this but for completeness..."
<<
{ g'8[ bf g a] | bf4 a8 bf g bf | a([ g)] g bf g a | bf4 }
\\
{ g,8 g g g | g4 g8 g g g | g[ g] g g g g | g4 }
>> r2
}
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