Re: Usability Question

[Mats Bengtsson]

You have received a large number of answers already, but
I'm not sure how many of your original questions have really
been answered. First of all, here's an alternative version of
your code that hopefully is somewhat closer to what you want.

#(set-global-staff-size 17)
%     \version "2.10.7"
    \include"deutsch.ly"

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

\header {
   title = \markup \center-align  \italic { "Sonata 1ma a Violino Solo 
senza
Basso di J. S. Bach"}
}


myVoiceOne = {\voiceOne \tieDown}
myVoiceTwo = {\voiceTwo \tieUp}
myVoiceThree = {\voiceThree \tieDown}
myVoiceFive = { #(context-spec-music (make-voice-props-set 4) 'Voice) 
\tieDown }

melody = \relative c' {
 \clef treble
 \key g \minor
 \time 4/4
 <<
   \new Voice {
     \voiceOne
     g''4 ~  g32[ f( es d c b a b64 )g] \myVoiceThree
     g8[ fis~] fis32[ e( d e fis g a c64 )b] |
     c8[~ c32 d64( c b32 c] c16.\trill b64 c d16 )a
   }
   \new Voice {
     \myVoiceThree
     b4 s \myVoiceOne c s | fis s
   }
   \new Voice {\myVoiceFive d,}
   \new Voice {\myVoiceTwo g,4 s a s | d8 s s4 }
 >>

}

\score {
       \new Staff \melody
       \layout { }
}


What I did here was
- To keep each voice together over a longer section, not split
 them up into half beats (this is a matter of taste, but may
 save some typing, especially if you want the same tweak to
 apply to a longer section).
- Explicitly instantiate voices instead of using the << ... \\ ... >>
 feature.
- Correspondingly, I explicitly specify \voiceOne ...
- Since most of your comments related to the fact that the
 ties have the same direction as the stems when you use the
 default \voiceOne, ... \voiceFour macros, I defined alternative
 versions called \myVoiceOne ... \myVoiceFive, that set the
 ties in the opposite direction.

Keep asking and keep reading the manual.

  /Mats

Upro wrote:

> Hello!
>
> I have been using Lilypond some years ago, without needs for too good
> formattzig, but now I decided to try to make an edition for a major
> publisher with lilypond.
>
> However, I have found that there are several issues that I find too time
> consuming and complicated to rate lilypond as "professionally usable".
>
> But being an optimist I decided to post some general questions to see what
> others think and know.
>
> My example score is some bars for violin by Bach. Let's go!
>
> 1. The score has four voises. All have their own stems. I find it extremely
> complicated to arrange stems/notes in the same order (right to left), and
> stems in the correct direction. 
> All solutions I have found in the forum are either rather laborious, or
> involve programming. I do not have the intention nor the tie to learn scheme
> or improve/recover my knowledge of Python to follow this path.
>
> 2. I have not found an easy way to change the placement of ties (over or
> below the notes)
>
> 3. I have also not found a neatly usable command to try to make a score into
> one page, or to force a system/line brake.
>
> 4. I have not found a way to make a tie from within a polyphonic passage
> into a neiboring honophone section. I used a workaraond by keeping the
> adjacent passage within the polyphonic sectin, but I would like to find a
> way to avoid that.
>
> I include the cntents of my ilypond file, and a jpg of what I would liem to
> see.
>
> I would really appreciate concise and useful help. This is for maybe the
> most reknowned publisher and could also be a landmark for lilypond - if I
> can achioeve my goal with lilypond (and not Sibelius...).
>
> Here are my comments on the file/score:
> a) First chord: I would liem to have the same stem direction/order in my
> file as in the image (up-up-up-down from top to bottom)
> b) Why do the stems in bar 1, second quarter, point upwards AND the tie is
> on top?
> c) Bar 1, 4th quarter: Again: Why is the tie on top and not on bottom?
> d) 2nd bar, first quarter: As in a) I would like to change the order of the
> notes.
> e) 2nd bar, first quarter: Two tied eight notes c: Why is the tie not closer
> to the noteheads?
> f) 2nd bar, second tie: Again, it should be on top.
>
> If I have to continue like this for the rest of this opus magnum I' kill
> myself ;-)
>
> TIA, upro
>
> #(set-global-staff-size 17)
> %     \version "2.10.7"
>     \include"deutsch.ly"
>
> \paper {
>  #(set-paper-size "a4")
> } 
>
> \header {
>         title = \markup \center-align  \italic { "Sonata 1ma a Violino Solo 
> senza
> Basso di J. S. Bach"}
> }
>
>
>     melody = \relative c' {
>        \clef treble
>
>        \key g \minor
>
>        \time 4/4
>
>                 
>                 << { g''4 ~  g32[ f( es d c b a b64 )g] }\\{  b4}\\{d,}\\{ 
> g,}\\>>
>
>                 <<  { c'4} \\ \\ { g8[ fis~] fis32[ e( d e fis g a c64 )b]} \\ { a,4 
> } >>
> |
> 		 
> 		 << {fis''4} \\ {c8[( c32) d64( c b32 c] c16.\trill b64 c d16 )a} \\ {d,8}
>                   >>              
>
> }
>
> \score {
>        \new Staff \melody
>        \layout { }
> }
>
>
> http://www.nabble.com/file/5663/bach.jpg 
>  


--
=============================================
        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
=============================================