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RE: Full bar rests in multi-voiced piano scores -- question and asuggest
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From: |
Trevor Daniels |
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Subject: |
RE: Full bar rests in multi-voiced piano scores -- question and asuggestion |
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Date: |
Mon, 25 Feb 2008 10:50:15 -0000 |
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: address@hidden
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> address@hidden 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
> > >address@hidden
> > >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: address@hidden
> > 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
>