However, even after adding \voiceOne and \voiceTwo I'm still seeing
the double articulation. It's harder to see (because the articulation
on the lower note tends to collide with the higher note) but it's
still there (see first articulated note below in voiced staff).
Changes are to use the `natural' articulation direction (- instead of
^)
I forced the up direction on the articulations because when I used the
natural articulation direction in chord construction the articulations
appeared below the chord (see third articulated note below in chorded
staff). In the piece I'm reproducing, however, the articulations were
above the notes. Further, this switch still results in double
articulations: one above and one below (see second and third
articulated note below in voiced staff).
To reproduce the articulations I've got, I need it to always appear
over the top note (the piece doesn't have any notes higher than bflat').
As an aside, dutch note names and \relative make data entry MUCH
faster.
I tried both of these before and found the resulting code much harder
to read. I don't speak Dutch and so the Dutch note names don't seem
natural to me ("is" and "es" are too similar to stay distinct). Also,
in relative mode I had lots of trouble telling just exactly which note
I was entering (I'd often have to go back and reset the score because
I'd made a mistake and entered the note in the wrong octave). As a
result I've made a deliberate choice for clarity over speed. It's
purely a personal preference, but this is what makes my life easier.
And I prefer to have bars present in a
longer piece, to allow line breaking and to allow bar checks to be
added in the source, so as to not lose myself when making amendments.
I don't disagree, but I'm working on a non-metrical piece with
arbitrary bar lines. As a result I can't depend on the normal bar
checking mechanisms and have to introduce them manually. Stripping
down to a tiny example hides this (as I've only included a single
"measure" in the example).
%%%%%%%%%%
\version "2.18.2"
\language "english"
mel = {bflat'2 bflat'4^- a'-- a'--}
harm = {g'2 g'4^- c'-- f'--}
chorded = {<g' bflat'>2 <g' bflat'>4-- <c' a'>-- <f' a'>^-}
global = { \key f \major
\set Score.timing = ##f
\omit Stem }
\new Staff \with {
\remove "Time_signature_engraver"
}
<<
\global
\new Voice = "melody" {\voiceOne \global \mel}
\new Voice = "harmony" {\voiceTwo \global \harm}
>>
\new Staff \with {
\remove "Time_signature_engraver"
}
{
\global
\chorded
}
✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝✝
Br. Samuel, OSB
(R. Padraic Springuel)
PAX ☧ ΧΡΙΣΤΟΣ
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