Hi David I've made a note to add something about this in the section of the NR that deals with rests. I should get to that in the next few days.
Trevor D > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:lilypond-user-bounces+t.daniels=treda.co.u > [EMAIL PROTECTED] Behalf Of > David Fedoruk > Sent: 25 February 2008 09:37 > To: Lilypond mailing list > Subject: Re: Full bar rests in multi-voiced piano > scores -- question and > asuggestion > > > OK, I think that's partially what I am asking > about. I would just > never have found that myself. I would have asked > the wrong question. > > I think that Zbynek and I might be asking the > same question. Language > is the barrier for both of us. > > Let me re-phrase my question to see if I understand this: > > Normally a half or whole rest sits on the middle > line. The exception > is where there are multiple voices on one staff. > There is yet another > exception to the exception. In piano music, even > though there may be > two voices which are resting, for clarity the two > rests which would > sit one above the other, are merged into one rest > as if there were > only one voice. > > In my case, Lilypond is not acting in this > manner. This action will > have to be invoke manually. It isn't an explicit > placement, it is an > invocation of a usual case that Lilypond isn't acting on. > > This is something akin to the \override > Staff.NoteCollision > #'merge-differently-dotted = ##t, but instead of > notes being merged in > what would be considered a collsion, I want to > override the usual > placement of the rests and instead, place them as > if there were only > one voice. > > I almost found what I was looking for then lost > it. In some way I need > to override the placement of the rests. I think > it was about having a > grob sit x number above middle C. > > Override rest collision and place rests from both > voices in the same > place in the score. > > I'm using the word grob for the first time and I > hope I've used it > correctly. I think this is what the other post > was about. But I have > now clarified what I want lilypond to do. > > I want to get this right because I think this is > something important > for the documentation. Understanding how to ask a > question is primary > in getting an answer. This question seems to have > been a hard one to > ask. > > cheers, > david > > > See > http://lists.gnu.org/archive/html/lilypond-user/20 > 04-03/msg00198.html > > > > /Mats > > > > > > > > David Fedoruk wrote: > > > > >Hello: > > > > > >A question about rests in multi-voiced piano > scores: Most of the time > > >I am now using a four voiced layout for > writing classical piano music. > > > > > >The problem is with full bar rests. The rests > can be moved on the > > >staff by using b'2\rest without problem, but > when the rest is a full > > >bar long the syntax is R2 (in 2/4 time). > Lilypond would normally > > >figure out that these rests should be merged. > But since I'm using this > > >four voiced layout, I think lilypond doesn't > figure out that these > > >rests should be merged into one. How do i get > Lilypond to do this > > >automatically? I'm not sure how its done > manually either. > > > > > > > > >rhOne = { > > > \clef treble > > > \time 2/4 > > > \mark "Sehr rasch " > > > \key c \minor > > > \voiceOne > > > \relative c' > > > \override Staff.NoteCollision > #'merge-differently-dotted = ##t > > > > > > \times 4/5 { \stemNeutral g'16[ d' > \chlh bf d g, ] } \chrh r8 > > > > | % bar 40 > > > \repeat volta 2 { > > > r8 > > > | % bar 40 > > > R2 > > > | % bar 41 > > > r2 > > > | % bar 42 > > > r2 > > > | % bar 43 > > > b'4\rest b'8\rest > > >} > > > } > > > > > > > > >rhTwo = { > > > \clef treble > > > \relative c > > > \time 2/4 > > > \key c \minor > > > \voiceTwo > > > > > > s4*2 > > | % bar 39 > > > s4*2 > > | % bar 40 > > > R2 > > | % bar 41 > > > s4*2 > > | % bar 42 > > >} > > > > > >lhTwo = { > > > \clef bass > > > \time 2/4 > > > \key c \minor > > > \relative c > > > \voiceTwo > > > \override Staff.NoteCollision > #'merge-differently-dotted = ##t > > > \partial 16 \skip 16 > > > > > > s4*2 > > | % bar 39 > > > s4*2 > > | % bar 40 > > > s4*2 > > | % bar 41 > > > > > > \repeat volta 2 { g16[ fs ] > | > > > g16[ af f g ] ef[ f d ef ] > > | % bar 41 > > > c16->[ d ef g ] c'[ d' ef' b ] > > | % bar 42 > > > c'->[ b c' e ] af->[ g af e ] > > | % bar 43 > > > f->[ e f d ] g[ f ef d ] > > | % bar 44 > > > > > > } > > > > > >} > > >\score{ > > > \context PianoStaff > > > << > > > \set PianoStaff.instrumentName = > \markup { \large \bold { { "7" }}} > > > \context Staff = rh { > > > << > > > \context Voice = rhupper { \rhOne } > > > \context Voice = rhlower { \rhTwo } > > > > > > >> > > > } > > > > > > \context Staff = lh { > > > << > > > \context Voice = lhupper { \lhOne } > > > \context Voice = lhlower { \lhTwo } > > > >> > > > } > > > >> > > > > > > \layout { > > > \context { \RemoveEmptyStaffContext } > > > \context { > > > \Score > > > \override > NonMusicalPaperColumn % this actually works well! (∂œ) > > > > #'line-break-system-details = > #'((alignment-offsets . (0 -12))) > > > } > > > > > > \version "2.11.28" > > > > > > > > > } > > > \midi { } > > >} > > > > > > > > >While its not all four voiced, almost all the > time there is a need for > > >at least one extra staff. So, simply having > them there means that I > > >don't have to add voices on the fly as much. > This also serves well > > >when voices switch from one hand to the other > alternately. At first I > > >assumed it was overkill but at this point I > think its the way to begin > > >most scores. The only trick is in making sure > you account for all the > > >skipped bars, otherwise things like repeat > voltas cause problems. This > > >layout has worked very well for me and I'd > suggest it as a beginning > > >point for anyone transcribing classical piano music. > > > > > >As well, one of my problems in solving > problems with Lilypond is that > > >so much of what I try to do with piano music > is not unique to piano > > >music and is covered elsewhere in Lilypond, > so I find myself having to > > >first figure out who else or what other kind > of music might use this > > >particular feature. I look through almost all > of Lilypond to solve > > >problems writing piano music. Perhaps some > references could be > > >included pointing to the places where these > problems are covered. The > > >rest issue I've asked about is one of the > ones that have troubled me > > >currently. The piano section is small, but so > much of the complexity > > >of writing it is covered elsewhere in > Lilypond under other kinds of > > >music typesetting. > > > > > >I am watching for those kinds of issues and > will mention them as I > > >find them. This is the first of those issues. > > > > > >cheers, and thanks > > >David > > > > > > > > > >------------------------------------------------- > ----------------------- > > > > > >_______________________________________________ > > >lilypond-user mailing list > > >[email protected] > > >http://lists.gnu.org/mailman/listinfo/lilypond-user > > > > > > > > > > > > -- > > ============================================= > > Mats Bengtsson > > Signal Processing > > Signals, Sensors and Systems > > Royal Institute of Technology > > SE-100 44 STOCKHOLM > > Sweden > > Phone: (+46) 8 790 8463 > > Fax: (+46) 8 790 7260 > > Email: [EMAIL PROTECTED] > > WWW: http://www.s3.kth.se/~mabe > > ============================================= > > > > > > > > -- > David Fedoruk > B.Mus. UBC,1986 > Certificate in Internet Systems Administration, UBC, 2003 > > > http://recordjackethistorian.wordpress.com > "Music is enough for one's life time, but one > life time is not enough > for music" Sergei Rachmaninov > _______________________________________________ lilypond-user mailing list [email protected] http://lists.gnu.org/mailman/listinfo/lilypond-user
