Kieren MacMillan <kie...@kierenmacmillan.info> writes: > Hi George, > > [n.b. I’ve cc'ed the list, as per standard practice in the Lilypond > community.] > >> Thank you very much! It worked perfectly just by inserting "\tweak >> X-offset #1" before the 16th rest in my original code > > Oh, great! I didn’t think to try only that tweak. > >> I didn't quite understand the reasons for changing \voiceFour and \voiceOne >> in the tenor part > > Lilypond’s \voiceX commands automatically set a lot of parameters > (default stem/tie/slur direction, etc.) according to where the voice > “sits” on the staff; the odd-numbered voices (\voiceOne, \voiceThree, > etc.) act as if they are “on top” (so stems/ties/slurs go up), while > even-numbered voices (\voiceTwo, \voiceFour, etc.) act as if they are > “underneath” (stems/ties/slurs down, etc.). > > When the tenor voice is in the lower staff, it is on top, so \voiceOne > makes the most sense (because there are only two voices); when it > moves to the upper staff, it is (at least in your example) on the > bottom, so \voiceFour makes the most sense (because \voiceTwo is > already taken by the alto).
\voiceTwo is for the outermost low voice, so the alto may be better off \voiceFour ? -- David Kastrup
