Greetings. Things have been going very well for me with Lilypond,
until now. However, an interesting problem has arisen. (I'm running
ver. 2.11.62, on Kubuntu Linux 8.04.1).
In my guitar scores, I like my fingering indications (left hand only)
to precede a voice's note(s), directly to the left. In the score
below, I find that breaking a voice into sub-voices, briefly,
destroys the placement of my fingerings and string indications -
rendering the score as it would be if I utterly failed to use chord
constructs. The problem continues only for as long as the sub-voices
are coded separately.
Yet, the Lilypond Learning manual indicates that what I'm doing
(brief specification of subvoices) is possible, and may even be the
best way of handling the brief appearance of an additional voice (
see p. 52 - the section beginning "More deeply nested polyphony
constructs are possible, and if a voice appears only briefly this
might be a more natural way to typeset the music:..."
The problem to which I refer occurs in measures 10 (fingering - "3" -
for A on beat 3 collides with rest, as it's placed above rather than
to the side of the note), and 15 (which is such a mess it's unreadable).
I really have no idea what I'm doing wrong. I could get it to come
out OK by explicitly coding 3 voices, but that's simply a lot more
work, and doing the way I'm attempting at present is a much quicker
path to a playable score - or rather it was until now.
I'd appreciate any ideas anyone has.
t. (score code follows)
=== begin score ===
\version "2.11.62"
#(set-global-staff-size 20) % 20 this is said to be standard for most
scores
date = #(strftime "%Y.%m.%d" (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% ***** centered top *****
%dedication="dedication" %centered above title, top of page one
title = "Chorale #1" %centered below dedication
%subtitle = "subtitle" %centered below title
subsubtitle = \markup { "(2008.11.03) - version" \date } %centered
below subtitle
%piece = "(piece)" %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = "Classical Guitar" %{ centered below the
subsubtitle, and at the top of pages (other than the first page). %}
% ***** flush right *****
composer = \markup \center-column {"Tom Cloyd" \small
"address@hidden" } %flush right
%arranger = "{arranger}" %flush right below composer
%opus = "{opus}" %flush right below arranger
% ***** centered, bottom of page *****
copyright = "© 2008 Tom Cloyd" %centered at the bottom of the
first page
tagline = \markup { \small "score set with Lilipond
(http://lilypond.org/web/)"} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size "letter" 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =====================================
% LH fingering orientations
sfol = \set fingeringOrientations = #'(left)
sfor = \set fingeringOrientations = #'(right)
sfod = \set fingeringOrientations = #'(down)
sfou = \set fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set strokeFingerOrientations = #'(left)
ssfor = \set strokeFingerOrientations = #'(right)
ssfod = \set strokeFingerOrientations = #'(down)
ssfou = \set strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set stringNumberOrientations = #'(left) %(down right up)
ssnou = \set stringNumberOrientations = #'(up)
ssnod = \set stringNumberOrientations = #'(down)
ssnor = \set stringNumberOrientations = #'(right)
% VOICE ONE ========================================
melody = \relative c' {
\clef "treble_8"
\key a \minor
\time 4/4
\tempo "Moderato" 4 = 98 %{ metronome marking will be in
parentheses, if accompanied by verbal tempo marking; or just precede
it with empty parentheses to obtain metron. marking in parens. %}
\voiceOne
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
e2 < f-1 >4 ^"2/6 C I" < g-4 > |
g4. e8 c2 ^"C I" |
c < d-4 >4 e |
d2 ^"C III" < e-4 >4 g |
< a-4 >2 < a-4 >4 ^"5/6 C III" < g-1 > |
% m 6 ===== ===== ===== =====
< e c g >2 < d b-2 g-3 > ^"C III" | \break
e2 < g-4 >4 < b-4 > |
a ^"3/6 C V" < b-4 > < c-4 >2 |
< b-4 >4 -\tweak #'extra-offset #'(-3 . 0)^"3/6 C V" < a-1 > < g-1 b,
>4. -\tweak #'extra-offset #'(0 . 0)^"3/6 C IV" < a-1 >8 |
< a e >2 ^"C V" g\rest |
\bar ":|:"
% m 11 ===== ===== ===== =====
e2 f4 ^"C I" < g-4 > |
e2 <g-4 > |
\break e < d-4
>4 b |
< c g> a b2 |
< a-1 > b | % m 16 ===== ===== ===== =====
c ^"C I" < c-1 > |
d ^"C III" e | < f-1 >2 g4 ^" C III" b |
\break
a2 ^"C V" < b-1 >4 < d-4 > |
< c-4 >2 ^"3/6 C V" b4 c |
% m 21 ===== ===== ===== =====
< a-2 >4 < b-4 > < gis-4 > a |
< a-4 >1 |
\bar ":|:"
< c,-1 >2 c4. ^"C I" d8 |
d4. e8 e2 |
g4. e8 e2 |
% m 26 ===== ===== ===== =====
< g-1 >4 < a-4 > g e |
g e < g d >4. ^"C III" < e-4 >8 |
< e-4 >2 e |
e2 < f-1 >4 < g-4 > |
\bar ":|" r4 < e c-1\3 b a-\tweak #'extra-offset #'(0 .
-0.5)-3-\tweak #'extra-offset #'(0 . -0.5)\4 >2. |
\bar "||" }
% VOICE TWO ========================================
tenor = \relative c' {
\voiceTwo
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
< c-1 g e-2 >2 < c-1 g c,-3 > |
< c g e, >2 < c a-2 f-3 f, > |
< g e-2 e, >2 < a-2 d, f,-1 > |
< b-2 g-3 g, >1 |
< e-3 c-2 a, >2 < e-3 c-2 c,-1 > |
% m 6 ===== ===== ===== =====
< e,-3 >4 f g,2
< b' g e, >2 < b g b,-1 >4 < b g d > |
< e c a-3 >2 < e-1 a,-3 a, > |
< e-1 d-\tweak #'extra-offset #'(0 . -1)-3 e,, > < e-2 e,-4\5 > |
<<
\stemDown
{ c2 a4-3 c | } \\
{ a,1 | }
>>
% m 11 ===== ===== ===== =====
< c' a-2 a,>2 < c a f, > |
<<
{< b g >2 < b g d > |} \\
{e,,1|}
>>
< b'' e,-2 c-3 >2 < g d b-2 > |
< e a, >2 < g d e, > |
<<
\stemDown
{< e-1 >2 < a-1 >4 g |} \\
{< c,-2 a-4\6 >2 < d g,-2 >} |
>>
% m 16 ===== ===== ===== ===== < a'-2 f-3 f, >2 < g e-2 c-3 > |
< b-2 g-3 g, > < c-1 g c,-3 > |
< c-1 a-2 a,-0> < d-1 b-2 g, > |
< e c a, >2 < b g e, > |
< e c a-3 >2 < c-\tweak #'extra-offset #'(1 . 1)-1-\tweak
#'extra-offset #'(1 . 1)\3 b-0 e,-3 >| % m 21
===== ===== ===== =====
< f-3 c-1 d, > < d-2 b-3 e,-1 >|
< e-3 c-2 a, >1|
< g, e-2 a, >2< a-2 f-3 f, > |
< b g e, > <c-1 e,-2 a, > |
< b g b,-2 >2 < c g c, > |
% m 26 ===== ===== ===== =====
< e-3 c-2 a, >4 < e c g,-1 > < b d, e, >2 |
< c-1 e,-2 a, > < b-2 g, > |
< c-3 e,-1 a, > <d-\tweak #'extra-offset #'(0 . -0.7)-4 g, b,-2 > |
< c g c,-3 > < d-4 a-2 c,-3 >4 < b g b,-2 > |
a,1 |
}
\score {
\context Staff = "guitar" \with {
\consists "Span_arpeggio_engraver"
}
<<
%\set Staff.instrumentName="Classical Guitar" %puts name to
left of line one
\set Staff.midiInstrument="acoustic guitar (nylon)"
\set Staff.connectArpeggios = ##t
\context Voice = "melody" \melody
\context Voice = "tenor" \tenor
>>
\layout {
indent = 0.0\cm % remove indent on first staff
}
\midi { %causes generation of midi score
}
}
=== end score ===
--
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Tom Cloyd, MS MA, LMHC - Private practice Psychotherapist
Bellingham, Washington, U.S.A: (360) 920-1226
<< address@hidden >> (email)
<< TomCloyd.com >> (website) << sleightmind.wordpress.com >> (mental
health weblog)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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