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
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