Hi Pierre
Yes, I like that. I hadn't come across \tiny before, it does help make
things nicer. I assume that the "tenor bells" is simply an artefact
from a template - I can't see that it does anything. In the alto bells
would you advise the rest? Remember that ringers are following a line
and a space of the staff, not a line of music, and I would think that
s2 would be better.
I assume the \voiceXXX clauses are to set the stem directions?
Thanks,Martin
On Sun, 2022-12-04 at 22:48 +0100, Pierre Perol-Schneider wrote:
> Hi Martin,
> Sorry but the last attempt is hardly readable.
> As Michael suggested previously, precising voices might help ; also,
> you could change some voice sizes for a better reading.
> E.g. something like:
> sopranBells = \fixed c'' {
> \voiceOne
> | %mes. 13
> g4 r8 g8 4 4
> | %mes. 14
> g4 4 4 4
> | %mes. 15
> s4
> }
>
> bassBells = \fixed c' {
> \voiceTwo
> | %mes. 13
> g4 <g c'> <e g> <d g>
> | %mes. 14
> <e g c'>4 q <e g c'> <d g b>
> | %mes. 15
> s4
> }
>
> tenorBells = \fixed c' {
> \voiceThree \tiny
> | %mes. 13
> s1
> | %mes. 14
> s1
> | %mes. 15
> s4
> }
>
> altoBells = \fixed c' {
> \voiceTwo \tiny
> | %mes. 13
> s8 b s d' d'2\rest
> | %mes. 14
> s8 <d b> s <f d'> s4 s
> | %mes. 15
> s
> }
>
> \new Staff <<
> \new Voice \sopranBells
> \new Voice \bassBells
> \new Voice \tenorBells
> \new Voice \altoBells
> >>
>
> HTH, cheers,
> Pierre
>
> Le dim. 4 déc. 2022 à 22:06, J Martin Rushton <
> martinrushto...@btinternet.com> a écrit :
> > Hi Michael
> >
> > It just takes having to explain something to sort it. Those two
> > problematic bars are now:
> >
> > which is much better. I still don't really like the tied quavers
> > where a crotchet is rung, but then you can't have everything! The
> > relevant code is:
> >
> > g8 ~ <g b>8 <g c>8 ~ <g c d>8 <g e>4 <g d>4 | <e g c>8 ~ <d e g b>8
> > <e g c>8 ~ <f g c d>8 <e g c>4 <d g b>4 |
> >
> > for the accompaniment.
> >
> > Thanks for making me think!
> > Martin
> >
> > On Sun, 2022-12-04 at 20:39 +0000, J Martin Rushton wrote:
> > > Hi Michael
> > > I've mocked up the same two bars in LibreOffice as tablature:
> > >
> > >
> > > Where you see a dot and a number, the dot indicates half a beat's
> > > rest, so that row three of the first beat is interpreted as r8
> > > b8 In the second bar, first beat, the "5 6" is c8 b8 The
> > > bolded top row indicates the tune, which typically needs to be
> > > run a little harder whilst the lower bells ring softer. The
> > > problem comes with setting, for instance, the first beat. I
> > > tried using things like
> > > << \relative c' {\stemDown g'4 <g c>4 g4 <g f>4 } \\ \relative c'
> > > { s8 b'8 s8 d8 e4 d4 } >> | << \relative c' { <g' e>4 <c g>4 }
> > > \\ \relative c' \autoBeamOff { c'8 <b d,>8 e,8 <d' f,>8 } >> <c'
> > > g e>4 <b g d>4 |
> > > for the accompaniment but it is horrible and confused. I've a
> > > feeling that need to change the g'4 in the first beat to g'8 ~ g8
> > > to keep all the stems together. I'll report back after testing.
> > > I hope that that clarifies things a little,
> > > Martin
> > > On Sun, 2022-12-04 at 13:14 -0500, Michael Werner wrote:
> > > > Hi Martin.
> > > > Well, I'm still pretty new to Lilypond but I have done some
> > > > handbell music. I don't play them myself - my mother is the
> > > > musician while I'm her tech support, I guess would be the way
> > > > to phrase it. My approach with the more complex pieces her
> > > > group was doing was to generate a somewhat simplified version
> > > > just for her. I would make sure to retain enough of the main
> > > > melody line that she could follow it, while cutting out
> > > > anything else I could. Of course I had to make sure to leave in
> > > > the notes that she was responsible for. Wouldn't work too well
> > > > without them. Also I would put a larger callout symbol above
> > > > each note she rings to help her see them - she's pushing 80
> > > > years old and her eyesight is going. While I was at it, I would
> > > > also produce a complete version. But that was mainly just me
> > > > playing around and gaining some experience.
> > > >
> > > > A lot of that was made a bit easier by just carving up the
> > > > piece in multiple voices, with each voice going into a
> > > > variable. Then I could assemble the appropriate piece of music
> > > > by just calling the variables I needed for that particular
> > > > version. Lots of possibilities to redo entire scores without
> > > > having to retype a whole bunch of music.
> > > >
> > > > As for handbell tablature I've never seen it. None of the
> > > > handbell music she has brought home for me to play with has had
> > > > any tablature, just the "normal" music. Tablature for a few
> > > > other instruments, yes, but not handbells.
> > > >
> > > > Well, this was kind of rambling - sorry about that. Like I said
> > > > I'm still kinda new to Lilypond. It's been an interesting
> > > > journey so far, with still quite a long ways to go. Still
> > > > trying to get a decent grasp on the whole Scheme thing. Oh
> > > > well. Just gotta keep trying, I guess. Hope maybe something in
> > > > all this might have helped maybe a bit.
> > > >
> > > > Michael
> > > > On Sun, Dec 4, 2022 at 12:46 PM J Martin Rushton <
> > > > martinrushto...@btinternet.com> wrote:
> > > > > Hi all,
> > > > >
> > > > > Our handbell team rings some pieces from normal scores, and
> > > > > some from a tablature notation. I had a go at converting one
> > > > > of our favourite pieces from tablature to scores, but some of
> > > > > the bars become so complex that I'm not sure this helps at
> > > > > all.
> > > > >
> > > > >
> > > > >
> > > > >
> > > > > Has anyone else done handbells on Lilypond? As a
> > > > > supplementary question, does anyone know of any software that
> > > > > can generate handbell tablatures?
> > > > >
> > > > > Thanks,
> > > > > Martin
> > > > >
> > > > > --
> > > > > J Martin Rushton MBCS
> > > --
> > > J Martin Rushton MBCS
> > --
> > J Martin Rushton MBCS
--
J Martin Rushton MBCS
