On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate staves,
or give one the \voiceOne and the other the \voiceTwo appellations.
Ah! I didn't notice this because
Am 21.12.2014 um 18:00 schrieb Br. Samuel Springuel:
On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate staves,
or give one the \voiceOne and the other the
The piece I'm typesetting is a modern chant Our Father that we use in
our morning office. It's sung acapella and has a melody and harmony
line. The lyrics, dynamics, and articulations are always in sync
between the two parts, it's just that the harmony has a different note
(effectively, the
Hi,
Does the piece you are reproducing have two sets of articulations, both
above the staff? I can't remember ever having seen that kind of notation
before.
If you want to remove the articulations from one voice you can add the
following line to it (place it in the same block as the music,
On 2014-12-21 3:27 PM, Kevin Barry wrote:
Does the piece you are reproducing have two sets of articulations,
both above the staff? I can't remember ever having seen that kind of
notation before.
No, it has only one set of articulations, but they apply to
both parts when they appear.
If you
Am 21. Dezember 2014 21:57:37 MEZ, schrieb Br. Samuel Springuel
rpspring...@gmail.com:
On 2014-12-21 3:27 PM, Kevin Barry wrote:
Does the piece you are reproducing have two sets of articulations,
both above the staff? I can't remember ever having seen that kind of
notation before.
No, it
Am 21. Dezember 2014 21:09:23 MEZ, schrieb Br. Samuel Springuel
rpspring...@gmail.com:
The piece I'm typesetting is a modern chant Our Father that we use in
our morning office. It's sung acapella and has a melody and harmony
line. The lyrics, dynamics, and articulations are always in sync
Br == Br Samuel Springuel rpspring...@gmail.com writes:
Br On 2014-12-21 12:20 AM, pe...@chubb.wattle.id.au wrote:
As both cases have the same stem direction one has to be shifted.
Usually if you want two voices you either give them separate
staves, or give one the \voiceOne and the other the
On 2014-12-21 4:30 PM, Urs Liska wrote:
Your irritation originates in the fact that you want to produce a
score that*looks* like chords but is structurally a polyphonic
setting. There's nothing wrong with this but it implies expecting
some uncommon behaviour. Concretely you have to hide the
peter at chubb.wattle.id.au writes:
As an aside, dutch note names and \relative make data entry MUCH
faster. See below (part 2).
FWIW, English note names are shorter if you use f for flat and s for
sharp: cs vs cis is 33% more efficient.
I understand why some prefer the Dutch names, as you
So, I'm trying out voices for the first time, switching a piece I had
written using chords for single staff polyphony to using voices. In the
process I have run into a couple of things I don't understand:
1) Some notes that don't collide (to my eye), are getting shifted as if
they did. When
Br == Br Samuel Springuel rpspring...@gmail.com writes:
Br 1) Some notes that don't collide (to my eye), are getting shifted
Br as if they did. When the same pair of notes are set as a chord,
Br there is no shift. Clearly there's a difference between what
Br lilypond considers a collision
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