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## Re: Voices, ties and rests

 From: Phil Holmes Subject: Re: Voices, ties and rests Date: Wed, 15 Jun 2011 14:00:13 +0100

----- Original Message ----- From: "James Harkins" <address@hidden>
To: "lily-users" <address@hidden>
Sent: Wednesday, June 15, 2011 10:51 AM
Subject: Voices, ties and rests


Hi,


Just joined the mailing list after fiddling about with lilypond off and on for the past month or so -- now I need to produce some "real" notation so, time to hook up to the community.


(Apologies in advance if this is a duplicate post -- I initially subscribed my "send-to" address, which unfortunately is different from the "from" address that my e-mail client inserts. I've now subscribed both addresses -- admins, no need to approve the earlier post, which I believe is awaiting moderation.)


Thanks to the excellent documentation (and the easy access to it in Frescobaldi), I've been able to figure out almost everything that I need to do. This one has me stumped (example pasted below).


I'd like to produce the visual effect of a tie between the octave E's spanning the bar line concluding measure 1, which also crosses from the top to the bottom staff. I have a vague guess that the answer might be a phrasing slur with doubleSlurs enabled, but I'm wondering if there's a better way.


Plus... after that, I want to sustain the E's as a pedal point, and it feels a bit uncomfortable to keep all of those notes in a top-staff voice (appearing in the bottom staff just because of \change Staff = "left"). How can I switch the notes over to write them within the "left = " block, but still have ties?


One more question (thought this would be easy to find in the manual) -- since effectively only one layer is displayed in m2-3, I don't need the rests to be offset upward. How do I override that behavior of \voiceOne? (I did eventually find the syntax b'4\rest, but seems clunky and verbose... better way?)


Thanks... btw, I'm completely hooked on lilypond after only a little bit of use. Everything that I hated in Finale seems to be much better handled here :)

James

~~~
\version "2.12.3"

\include "english.ly"

\paper {
#(set-paper-size "a4")
}

global = {
\key d \major
\numericTimeSignature
\time 4/4
}

right = \relative c'' {
\global
\times 2/3 { <b, b'>8 ( <d d'>8 <e e'>8 ~ }
<e e'>4 ~ <e e'>8. <d d'>16 <e e'>4 )
<<
{ \voiceOne
r4 <b a' d>8 <b a' d> <b a' d>4 r8 <b a' d>8
<b a' d>4 <b a' d> r2
}
\new Voice { \voiceThree
\change Staff = "left"
<e e'>1 ~ <e e'>1
}
>> \oneVoice
}

left = \relative c'' {
\global
% Music follows here.
\voiceTwo
d,1 ~ d1 ~ d1
}

\score {
\new PianoStaff
<<
\new Staff = "right" { \right }
\new Staff = "left" { \left }
>>
\layout {
\context {
\RemoveEmptyStaffContext
% need to hide the left-hand staff when not used
% may need to move this into staves later?
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
~~~




Is there any reason why you've used the "right" voice for the e's in the lower staff? Would it not be simpler to just have these as chords in the left hand voice, and let Lily handle the ties for you? That way, you don't need to set the voice for the upper staff at all, and the rests appear centred.

(There are other options - just checking the simplest).

--
Phil Holmes