Re: Combining voices in American Hymns

[David Wright]

On Tue 13 Sep 2016 at 20:42:16 (-0600), David F. wrote:
> 
> On Sep 8, 2016, at 8:52 AM, David Wright  wrote:
> 
> > There's another "feature" of American hymn books illustrated on
> > http://www.hymnary.org/text/amazing_grace_how_sweet_the_sound#pagescans
> > which I haven't seen any mention of before, and only noticed recently
> > when thumbing my way through a hymnbook during a boring hymn.
> > 
> > We're used to seeing lyrics left-aligned when under a melisma, but
> > centred under the note otherwise. However, some hymnbooks left-align
> > the first lyric on each printed line regardless.
> > 
> > The second hymn from the left, which is a link to
> > http://www.hymnary.org/hymn/G32011/page/484
> > shows this. I don't want it, but can LP do this automatically?
> 
> Ah, yes. It would be nice if Lilypond could be coaxed to do that.
> 
> Also, I’ve noticed that hymnals will often place line breaks inside a measure 
> when the song begins with a partial measure, such that subsequent lines also 
> begin with the same partial measure.  This typically also corresponds to the 
> beginning of a poetic line.
> 
> For example, in this attached version of Amazing Grace, I’d prefer the first 
> line to include first two beats of bar 7 (corresponding to the word “me!” in 
> the first verse).
> 
> I know I can do this by hand, but it would be great if I could tell Lilypond 
> to take an initial partial measure into account when breaking lines.

I do this a lot, and use the following, where this particular
hymn is rather unusual; 12 12 8 8 is rare, and we didn't want
to coerce a 6 6 6 6 4 4 4 4. (Time signatures not printed.)

breaks = {
  s2. s1 s1 s2.
  \bar "" \break
  s2. s1 s1 s2.
  \bar "" \break
  s2. * 4
  \bar "" \break
}

global = {
  \key bf \major
  \time 8/4
  \partial 2.
  s2.
  s1 s1
  \time 6/4
  s1.
  \time 8/4
  s1 s1
  \time 6/4
  s1. s1.
  \time 4/4
  s1 s1 s1 s2.
  \bar "|."
}

\score {
  \transpose f f
  \new GrandStaff <<
\new Staff <<
  \breaks
  { \clef treble \global }
  \new NullVoice = valign { \align }
  \new Lyrics \lyricsto valign { \texti }
  \new Lyrics \lyricsto valign { \textiii }
  \new Lyrics \lyricsto valign { \textiv }
  \new Voice { \voiceOne \soprano }
  \new Voice { \voiceTwo \alto }
>>
\new Staff <<
  { \clef bass \global }
  \new Voice { \voiceOne \tenor }
  \new Voice { \voiceTwo \bass }
>>
  >>
  \layout { }
}

Usually, \breaks is a \repeat unfold N-1 { S } where
S might be s1 * 4 and N is the number of lines.

Cheers,
David.

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Re: Combining voices in American Hymns

[David F.]

On Sep 8, 2016, at 8:52 AM, David Wright  wrote:

> There's another "feature" of American hymn books illustrated on
> http://www.hymnary.org/text/amazing_grace_how_sweet_the_sound#pagescans
> which I haven't seen any mention of before, and only noticed recently
> when thumbing my way through a hymnbook during a boring hymn.
> 
> We're used to seeing lyrics left-aligned when under a melisma, but
> centred under the note otherwise. However, some hymnbooks left-align
> the first lyric on each printed line regardless.
> 
> The second hymn from the left, which is a link to
> http://www.hymnary.org/hymn/G32011/page/484
> shows this. I don't want it, but can LP do this automatically?

Ah, yes. It would be nice if Lilypond could be coaxed to do that.

Also, I’ve noticed that hymnals will often place line breaks inside a measure 
when the song begins with a partial measure, such that subsequent lines also 
begin with the same partial measure.  This typically also corresponds to the 
beginning of a poetic line.

For example, in this attached version of Amazing Grace, I’d prefer the first 
line to include first two beats of bar 7 (corresponding to the word “me!” in 
the first verse).

I know I can do this by hand, but it would be great if I could tell Lilypond to 
take an initial partial measure into account when breaking lines.

David



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Solved Re: Combining voices in American Hymns

[David F.]

On Sep 7, 2016, at 10:56 PM, David F.  wrote:

> Is there a way to combine two voices and print both stems (up and down) when 
> the voices share a note?  \partcombine does not appear to do this by default.

As pointed out by Phil Holmes, \partcombine has been upgraded in 2.19 and now 
does exactly what I want when I use \partcombine #'(1 . 9).  See .ly and .pdf 
attached.

I really wish \partcombine didn’t obliterate the voices it consumes, though.  
Using the NullVoice is simple enough, but I’d rather not have to do it at all.

David



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Re: Combining voices in American Hymns

[Kieren MacMillan]

Hi Karlin,

Unless you need to manipulate the voices separately under some other 
circumstance (e.g., you’re reusing the voices independently in some other 
score), I might suggest coding your snippet using chords, and then just 
handling the split note(s) individually e.g.:

  SNIPPET BEGINS
\version "2.18.2"

split =
#(define-music-function (parser location music1 music2)
   (ly:music? ly:music?)
   #{ <<
 { \voiceOne $music1 }
 \context Voice = "2" { \voiceTwo $music2 }
  >> \oneVoice
   #})

SopranoAltoMusic = \relative c' {
  4   
   \split { c } { c }  
}

\score {
  \new Staff = "sopranoalto" \SopranoAltoMusic
}
  SNIPPET ENDS

This avoids all those skips, etc.

Hope this helps!
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Combining voices in American Hymns

[J Martin Rushton]

On 13/09/16 22:32, David Wright wrote:
> On Tue 13 Sep 2016 at 21:56:04 (+0100), J Martin Rushton wrote:
>> On 12/09/16 19:21, Karlin High wrote:
>>> On 9/7/2016 11:56 PM, David F. wrote:
 Is there a way to combine two voices and print both stems (up and down) 
 when the voices share a note?  \partcombine does not appear to do this by 
 default.

 American SATB hymns are typically engraved with the soprano and alto 
 voices combined and the tenor and bass voices combined.  If a note in the 
 soprano voice has the same duration as the note in the alto voice, then 
 the notes for soprano and alto will share a stem.  If the durations are 
 different, then there is no sharing.  And if the notes are the same 
 duration and the same pitch, then the note with have both an up stem and a 
 down stem.
>>>
>>> You're not alone with difficulties on American-style part combining. 
>>> Another LilyPond user shared some of her work with me, and I'm still 
>>> studying the approach she uses. Below is a small example I'm using for 
>>> experiments. I'm not very familiar with the inner workings of LilyPond; 
>>> maybe someone will take one look and say, "That will mostly work, but 
>>> you will run into problems with such-and-such situations."
>>> --
>>> Karlin High
>>> Missouri, USA
>> 
>>
>> How is this "American-style"?  It sounds just the same as hymnbooks on
>> this side of the pond have done since (at least) the 19thC.  I tried to
>> enclose a scan of "Hymns Ancient & Modern" (the standard Anglican
>> hymnbook) of 1868 but it was rejected as too large [sorry moderator].
>> Briefly: SA in the treble clef, TB in the bass, note heads combined
>> where appropriate with the stems indicating which voice they apply to.
>> Is this not what you were describing?
> 
> Three examples attached. The words in the English style will be
> printed below. (This post is an oversimplification.)
> 
> Cheers,
> David.
> 
OK, thanks.  Atlantic & English are common in hymnbooks here - the old
(1923?) Methodist hymnbook used both styles.  I can now see the American
is different.  Slightly OT: how does the American system differentiate
when the voices cross?  For example between E for Alto + G for Soprano
compared to E for S + G for A.

Regards,
Martin



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Re: Combining voices in American Hymns

[Rutger Hofman]

On 09/14/2016 12:18 AM, David F. wrote:

On Sep 13, 2016, at 4:14 PM, Rutger Hofman  wrote:


On 09/13/2016 11:32 PM, David Wright wrote:

On Tue 13 Sep 2016 at 21:56:04 (+0100), J Martin Rushton wrote:

On 12/09/16 19:21, Karlin High wrote:

On 9/7/2016 11:56 PM, David F. wrote:

Is there a way to combine two voices and print both stems (up and down) when 
the voices share a note?  \partcombine does not appear to do this by default.

American SATB hymns are typically engraved with the soprano and alto voices 
combined and the tenor and bass voices combined.  If a note in the soprano 
voice has the same duration as the note in the alto voice, then the notes for 
soprano and alto will share a stem.  If the durations are different, then there 
is no sharing.  And if the notes are the same duration and the same pitch, then 
the note with have both an up stem and a down stem.


You're not alone with difficulties on American-style part combining.
Another LilyPond user shared some of her work with me, and I'm still
studying the approach she uses. Below is a small example I'm using for
experiments. I'm not very familiar with the inner workings of LilyPond;
maybe someone will take one look and say, "That will mostly work, but
you will run into problems with such-and-such situations."
--
Karlin High
Missouri, USA




My guess is that \partcombine #'(1 . 9) or \partcombine #'(2 . 9) does what you 
specify. I attach code for default partcombine and both your options. Beware 
that stem crossings need to lead to uncombined notes.


Why 9 as the second argument to \partcombine?


That is specified as Lilypond's default. Of course you can choose any 
number you prefer.


Rutger


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Re: Combining voices in American Hymns

[David F.]

On Sep 13, 2016, at 4:14 PM, Rutger Hofman  wrote:

> On 09/13/2016 11:32 PM, David Wright wrote:
>> On Tue 13 Sep 2016 at 21:56:04 (+0100), J Martin Rushton wrote:
>>> On 12/09/16 19:21, Karlin High wrote:
 On 9/7/2016 11:56 PM, David F. wrote:
> Is there a way to combine two voices and print both stems (up and down) 
> when the voices share a note?  \partcombine does not appear to do this by 
> default.
> 
> American SATB hymns are typically engraved with the soprano and alto 
> voices combined and the tenor and bass voices combined.  If a note in the 
> soprano voice has the same duration as the note in the alto voice, then 
> the notes for soprano and alto will share a stem.  If the durations are 
> different, then there is no sharing.  And if the notes are the same 
> duration and the same pitch, then the note with have both an up stem and 
> a down stem.
 
 You're not alone with difficulties on American-style part combining.
 Another LilyPond user shared some of her work with me, and I'm still
 studying the approach she uses. Below is a small example I'm using for
 experiments. I'm not very familiar with the inner workings of LilyPond;
 maybe someone will take one look and say, "That will mostly work, but
 you will run into problems with such-and-such situations."
 --
 Karlin High
 Missouri, USA
>>> 
> 
> My guess is that \partcombine #'(1 . 9) or \partcombine #'(2 . 9) does what 
> you specify. I attach code for default partcombine and both your options. 
> Beware that stem crossings need to lead to uncombined notes.

Why 9 as the second argument to \partcombine?

David


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Re: Combining voices in American Hymns

[Rutger Hofman]

On 09/13/2016 11:32 PM, David Wright wrote:

On Tue 13 Sep 2016 at 21:56:04 (+0100), J Martin Rushton wrote:

On 12/09/16 19:21, Karlin High wrote:

On 9/7/2016 11:56 PM, David F. wrote:

Is there a way to combine two voices and print both stems (up and down) when 
the voices share a note?  \partcombine does not appear to do this by default.

American SATB hymns are typically engraved with the soprano and alto voices 
combined and the tenor and bass voices combined.  If a note in the soprano 
voice has the same duration as the note in the alto voice, then the notes for 
soprano and alto will share a stem.  If the durations are different, then there 
is no sharing.  And if the notes are the same duration and the same pitch, then 
the note with have both an up stem and a down stem.


You're not alone with difficulties on American-style part combining.
Another LilyPond user shared some of her work with me, and I'm still
studying the approach she uses. Below is a small example I'm using for
experiments. I'm not very familiar with the inner workings of LilyPond;
maybe someone will take one look and say, "That will mostly work, but
you will run into problems with such-and-such situations."
--
Karlin High
Missouri, USA




My guess is that \partcombine #'(1 . 9) or \partcombine #'(2 . 9) does 
what you specify. I attach code for default partcombine and both your 
options. Beware that stem crossings need to lead to uncombined notes.


soprano = \relative c''' { b a g f e d c b a g f e }
alto = \relative c'' { c c c c c c c c c c c c }

\score {
\new Staff <<
\partcombine
\soprano
\alto
>>
}

\score {
\new Staff <<
\partcombine #'(2 . 9)
\soprano
\alto
>>
}

\score {
\new Staff <<
\partcombine #'(1 . 9)
\soprano
\alto
>>
}

Rutger Hofman
Amsterdam

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Re: Combining voices in American Hymns

[David Wright]

On Tue 13 Sep 2016 at 21:56:04 (+0100), J Martin Rushton wrote:
> On 12/09/16 19:21, Karlin High wrote:
> > On 9/7/2016 11:56 PM, David F. wrote:
> >> Is there a way to combine two voices and print both stems (up and down) 
> >> when the voices share a note?  \partcombine does not appear to do this by 
> >> default.
> >>
> >> American SATB hymns are typically engraved with the soprano and alto 
> >> voices combined and the tenor and bass voices combined.  If a note in the 
> >> soprano voice has the same duration as the note in the alto voice, then 
> >> the notes for soprano and alto will share a stem.  If the durations are 
> >> different, then there is no sharing.  And if the notes are the same 
> >> duration and the same pitch, then the note with have both an up stem and a 
> >> down stem.
> > 
> > You're not alone with difficulties on American-style part combining. 
> > Another LilyPond user shared some of her work with me, and I'm still 
> > studying the approach she uses. Below is a small example I'm using for 
> > experiments. I'm not very familiar with the inner workings of LilyPond; 
> > maybe someone will take one look and say, "That will mostly work, but 
> > you will run into problems with such-and-such situations."
> > --
> > Karlin High
> > Missouri, USA
> 
> 
> How is this "American-style"?  It sounds just the same as hymnbooks on
> this side of the pond have done since (at least) the 19thC.  I tried to
> enclose a scan of "Hymns Ancient & Modern" (the standard Anglican
> hymnbook) of 1868 but it was rejected as too large [sorry moderator].
> Briefly: SA in the treble clef, TB in the bass, note heads combined
> where appropriate with the stems indicating which voice they apply to.
> Is this not what you were describing?

Three examples attached. The words in the English style will be
printed below. (This post is an oversimplification.)

Cheers,
David.
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Re: Combining voices in American Hymns

[J Martin Rushton]

On 12/09/16 19:21, Karlin High wrote:
> On 9/7/2016 11:56 PM, David F. wrote:
>> Is there a way to combine two voices and print both stems (up and down) when 
>> the voices share a note?  \partcombine does not appear to do this by default.
>>
>> American SATB hymns are typically engraved with the soprano and alto voices 
>> combined and the tenor and bass voices combined.  If a note in the soprano 
>> voice has the same duration as the note in the alto voice, then the notes 
>> for soprano and alto will share a stem.  If the durations are different, 
>> then there is no sharing.  And if the notes are the same duration and the 
>> same pitch, then the note with have both an up stem and a down stem.
> 
> You're not alone with difficulties on American-style part combining. 
> Another LilyPond user shared some of her work with me, and I'm still 
> studying the approach she uses. Below is a small example I'm using for 
> experiments. I'm not very familiar with the inner workings of LilyPond; 
> maybe someone will take one look and say, "That will mostly work, but 
> you will run into problems with such-and-such situations."
> --
> Karlin High
> Missouri, USA


How is this "American-style"?  It sounds just the same as hymnbooks on
this side of the pond have done since (at least) the 19thC.  I tried to
enclose a scan of "Hymns Ancient & Modern" (the standard Anglican
hymnbook) of 1868 but it was rejected as too large [sorry moderator].
Briefly: SA in the treble clef, TB in the bass, note heads combined
where appropriate with the stems indicating which voice they apply to.
Is this not what you were describing?

Regards,
Martin




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Re: Combining voices in American Hymns

[Karlin High]

On 9/7/2016 11:56 PM, David F. wrote:
> Is there a way to combine two voices and print both stems (up and down) when 
> the voices share a note?  \partcombine does not appear to do this by default.
>
> American SATB hymns are typically engraved with the soprano and alto voices 
> combined and the tenor and bass voices combined.  If a note in the soprano 
> voice has the same duration as the note in the alto voice, then the notes for 
> soprano and alto will share a stem.  If the durations are different, then 
> there is no sharing.  And if the notes are the same duration and the same 
> pitch, then the note with have both an up stem and a down stem.

You're not alone with difficulties on American-style part combining. 
Another LilyPond user shared some of her work with me, and I'm still 
studying the approach she uses. Below is a small example I'm using for 
experiments. I'm not very familiar with the inner workings of LilyPond; 
maybe someone will take one look and say, "That will mostly work, but 
you will run into problems with such-and-such situations."
--
Karlin High
Missouri, USA

% BEGIN LILYPOND CODE
\version "2.18.2"

SopranoAltoUpMusic = \relative c {
   <<
 % Soprano notes
 {
   e' f g a b c d e
 }
 % Alto up-stem notes
 {
   c, d e f g s b c
 }
   >>
}

% Alto down-stem notes
AltoDownMusic = \relative c' {
   s s s s s c' s s
}

\score {
   \new Staff = "sopranoalto" <<
 \new Voice = "soprano-alto-up" { \voiceOne \SopranoAltoUpMusic }
 \new Voice = "alto-down" { \voiceTwo \AltoDownMusic }
   >>
}
% END LILYPOND CODE


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Re: New \partcombine in 2.19 Was: Re: Combining voices in American Hymns

[Phil Holmes]

The reason that the difference with your various parameters to partcombine 
isn't clear is that your music isn't well designed to show the difference. 
Try it with the notes shown in the Notation Reference:


\version "2.19"
instrumentOne = \relative {
a4 b c d |
e f g a |
b c d e |
}

instrumentTwo = \relative {
c'4 c c c |
c c c c |
c c c c |
}

It appears that 2.19.47 has some issues with font caching (or lack of it). 
Try with an earlier 2.19 version:


http://download.linuxaudio.org/lilypond/binaries/

--
Phil Holmes


- Original Message - 
From: "David F." <dav...@gmx.us>

To: <lilypond-user@gnu.org>
Sent: Friday, September 09, 2016 1:49 AM
Subject: New \partcombine in 2.19 Was: Re: Combining voices in American 
Hymns




On Sep 8, 2016, at 2:09 AM, Phil Holmes <m...@philholmes.net> wrote:

Partcombine has been improved in 2.19.  See 
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining


Ah, yes.  That looks very close to what I want.  In fact \partcombine #'(1 . 
0) appears to do the trick.


But I do not understand what the two new arguments do.  The documentation 
linked above has a paragraph that tries to explain the new arguments, but I 
simply do not understand.  Also, some quick experimentation didn’t shed any 
more light.


\version "2.19"
instrumentOne = \relative {
 c'1 |
 b2 c |
 a4 b c d |
}

instrumentTwo = \relative {
 c'1 |
 c2 c |
 c4 c c c |
}

<<
 % These all generate the same output
 \new Staff \partcombine \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(0 . 0) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(0 . 1) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(0 . 2) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(0 . 3) \instrumentOne \instrumentTwo

 % These all generate the same output
 \new Staff \partcombine #'(1 . 0) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(1 . 1) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(1 . 2) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(1 . 3) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(2 . 0) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(2 . 1) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(2 . 2) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(3 . 0) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(3 . 1) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(3 . 2) \instrumentOne \instrumentTwo
 \new Staff \partcombine #'(3 . 3) \instrumentOne \instrumentTwo




Also, Lilypond 2.19 is 5x to 10x slower on my Mac.

David


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New \partcombine in 2.19 Was: Re: Combining voices in American Hymns

[David F.]

On Sep 8, 2016, at 2:09 AM, Phil Holmes  wrote:

> Partcombine has been improved in 2.19.  See 
> http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining

Ah, yes.  That looks very close to what I want.  In fact \partcombine #'(1 . 0) 
appears to do the trick.

But I do not understand what the two new arguments do.  The documentation 
linked above has a paragraph that tries to explain the new arguments, but I 
simply do not understand.  Also, some quick experimentation didn’t shed any 
more light.

\version "2.19"
instrumentOne = \relative {
  c'1 |
  b2 c |
  a4 b c d |
}

instrumentTwo = \relative {
  c'1 |
  c2 c |
  c4 c c c |
}

<<
  % These all generate the same output
  \new Staff \partcombine \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(0 . 0) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(0 . 1) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(0 . 2) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(0 . 3) \instrumentOne \instrumentTwo

  % These all generate the same output
  \new Staff \partcombine #'(1 . 0) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(1 . 1) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(1 . 2) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(1 . 3) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(2 . 0) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(2 . 1) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(2 . 2) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(2 . 3) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(3 . 0) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(3 . 1) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(3 . 2) \instrumentOne \instrumentTwo
  \new Staff \partcombine #'(3 . 3) \instrumentOne \instrumentTwo
>>

Also, Lilypond 2.19 is 5x to 10x slower on my Mac.

David


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Re: Combining voices in American Hymns

[David Wright]

On Thu 08 Sep 2016 at 10:18:45 (+0200), Urs Liska wrote:
> Am 08.09.2016 um 10:09 schrieb Phil Holmes:
> > - Original Message - From: "Urs Liska" <u...@openlilylib.org>
> > Sent: Thursday, September 08, 2016 7:47 AM
> > Subject: Re: Combining voices in American Hymns
> >> Am 08.09.2016 um 07:14 schrieb Noeck:
> >>> it is on the same page in the docs:
> >>> http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
> >>> The normal \voiceOne and \voiceTwo contruct shows each voice with their
> >>> stems (and slurs etc.) in different directions.
> >>>
> >>> Partcombine is exactly for the case you don't want: to print two voices
> >>> combined into one without different stems for same notes.
> >>
> >> But on the very same page are also described the commands
> >> \partcombineApart
> >> and
> >> \partcombineApartOnce
> >>
> >> which do exactly what you need (if I'm not mistaken completely).
> >
> > Partcombine has been improved in 2.19.  See
> > http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining
> 
> Ah, sorry, of course it's not "the very same page" ...

There's another "feature" of American hymn books illustrated on
http://www.hymnary.org/text/amazing_grace_how_sweet_the_sound#pagescans
which I haven't seen any mention of before, and only noticed recently
when thumbing my way through a hymnbook during a boring hymn.

We're used to seeing lyrics left-aligned when under a melisma, but
centred under the note otherwise. However, some hymnbooks left-align
the first lyric on each printed line regardless.

The second hymn from the left, which is a link to
http://www.hymnary.org/hymn/G32011/page/484
shows this. I don't want it, but can LP do this automatically?

This example also left-aligns the start of each poetic line,
which is easy to do oneself of course. The next example along
http://www.hymnary.org/hymn/CGH2010/page/554
doesn't treat poetic lines, but only the printed lines and
melismas.

As we're on the subject, I've noticed that some hymnbooks also
add verse numbers at the start of each printed line once the
number of verses reaches five, which was the subject of
http://lists.gnu.org/archive/html/lilypond-user/2016-06/msg00469.html
I don't know how they would interact with these alignments.

Cheers,
David.

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Re: Combining voices in American Hymns

[Urs Liska]

Am 08.09.2016 um 10:09 schrieb Phil Holmes:
> - Original Message - From: "Urs Liska" <u...@openlilylib.org>
> To: <lilypond-user@gnu.org>
> Sent: Thursday, September 08, 2016 7:47 AM
> Subject: Re: Combining voices in American Hymns
>
>
>>
>>
>> Am 08.09.2016 um 07:14 schrieb Noeck:
>>> Hi David,
>>>
>>> it is on the same page in the docs:
>>> http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
>>> The normal \voiceOne and \voiceTwo contruct shows each voice with their
>>> stems (and slurs etc.) in different directions.
>>>
>>> Partcombine is exactly for the case you don't want: to print two voices
>>> combined into one without different stems for same notes.
>>>
>>> Cheers,
>>> Joram
>>
>> But on the very same page are also described the commands
>> \partcombineApart
>> and
>> \partcombineApartOnce
>>
>> which do exactly what you need (if I'm not mistaken completely).
>>
>> Urs
>
> Partcombine has been improved in 2.19.  See
> http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining

Ah, sorry, of course it's not "the very same page" ...

>
> -- 
> Phil Holmes


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Re: Combining voices in American Hymns

[Phil Holmes]

- Original Message - 
From: "Urs Liska" <u...@openlilylib.org>

To: <lilypond-user@gnu.org>
Sent: Thursday, September 08, 2016 7:47 AM
Subject: Re: Combining voices in American Hymns





Am 08.09.2016 um 07:14 schrieb Noeck:

Hi David,

it is on the same page in the docs:
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
The normal \voiceOne and \voiceTwo contruct shows each voice with their
stems (and slurs etc.) in different directions.

Partcombine is exactly for the case you don't want: to print two voices
combined into one without different stems for same notes.

Cheers,
Joram


But on the very same page are also described the commands
\partcombineApart
and
\partcombineApartOnce

which do exactly what you need (if I'm not mistaken completely).

Urs


Partcombine has been improved in 2.19.  See 
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining


--
Phil Holmes 



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Re: Combining voices in American Hymns

[Urs Liska]

Am 08.09.2016 um 07:14 schrieb Noeck:
> Hi David,
>
> it is on the same page in the docs:
> http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
> The normal \voiceOne and \voiceTwo contruct shows each voice with their
> stems (and slurs etc.) in different directions.
>
> Partcombine is exactly for the case you don't want: to print two voices
> combined into one without different stems for same notes.
>
> Cheers,
> Joram

But on the very same page are also described the commands
\partcombineApart
and
\partcombineApartOnce

which do exactly what you need (if I'm not mistaken completely).

Urs

>
>
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Re: Combining voices in American Hymns

[Noeck]

Hi David,

it is on the same page in the docs:
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
The normal \voiceOne and \voiceTwo contruct shows each voice with their
stems (and slurs etc.) in different directions.

Partcombine is exactly for the case you don't want: to print two voices
combined into one without different stems for same notes.

Cheers,
Joram


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