Yup. And now that you've got the basics from the Learning Manual it's time to go have a look at the Notation Reference for the more detailed look. Specifically http://lilypond.org/doc/v2.23/Documentation/notation/multiple-voices
There's a whole lot of documentation - like, lots and lots and even more lots. A whole lot of back and forth from the basics (Learning Manual) to the more advanced (Notation Reference) to the hardcore guts of the system (Internals Reference). I'm at the point I keep a browser window open with something like 15 tabs open all the time, so as to keep all the different docs readily available. I keep trying to just do a full read-through of all the docs, but I keep getting sidetracked before I can make it all the way through. (I tend to get sidetracked pretty easily. I am, after all, a blond.)
Few more comments scattered below ...
On Mon, Dec 5, 2022 at 3:33 AM J Martin Rushton <martinrushton56@btinternet.com> wrote:
Thanks PierreThat section seems to point me back to my original attempt:<< \relative c' {\stemDown g'4 <g c>4 g4 <g f>4 } \\ \relative c' { s8 b'8 s8 d8 e4 d4 } >> | << \relative c' { <g' e>4 <c g>4 } \\ \relative c' \autoBeamOff { c'8 <b d,>8 e,8 <d' f,>8 } >> <c' g e>4 <b g d>4 |which was adapted from the manuals.
Addressed above - I still think cutting this apart into a series of variables as shown by Pierre would help clarify what's going on.
Best,MartinOn Sun, 2022-12-04 at 23:38 +0100, Pierre Perol-Schneider wrote:Le dim. 4 déc. 2022 à 23:09, J Martin Rushton <martinrushton56@btinternet.com> a écrit :Hi PierreYes, I like that. I hadn't come across \tiny before, it does help make things nicer.
One of a handful of predefined font size adjustments that are available. Yeah, that says font. Notes are considered fonts ... kind of. Enough that many font adjustments work just fine on them.
I assume that the "tenor bells" is simply an artefact from a template - I can't see that it does anything. In the alto bells would you advise the rest? Remember that ringers are following a line and a space of the staff, not a line of music, and I would think that s2 would be better.I assume the \voiceXXX clauses are to set the stem directions?
Among other things. Full explanation is in the Notation Reference I linked to above.
% SNIP
altoBells = \fixed c' {
\voiceTwo \tiny
| %mes. 13
s8 b s d' d'2\rest
That's a neat trick with the \rest. Is that relatively new in the 2.23 series? I don't remember seeing that in the docs before, though I could have easily simply missed it.
| %mes. 14
s8 <d b> s <f d'> s4 s
| %mes. 15
s
}
\new Staff <<
\new Voice \sopranBells
\new Voice \bassBells
\new Voice \tenorBells
\new Voice \altoBells
>>HTH, cheers,PierreLe dim. 4 déc. 2022 à 22:06, J Martin Rushton <martinrushton56@btinternet.com> a écrit :Hi MichaelIt just takes having to explain something to sort it. Those two problematic bars are now:which is much better. I still don't really like the tied quavers where a crotchet is rung, but then you can't have everything! The relevant code is:g8 ~ <g b>8 <g c>8 ~ <g c d>8 <g e>4 <g d>4 | <e g c>8 ~ <d e g b>8 <e g c>8 ~ <f g c d>8 <e g c>4 <d g b>4 |
Personally I think the first version looked better. But that's just me and my personal opinion. Though I had to go look up what quaver and crotchet meant - this debased and corrupted version of English we speak over here led me astray for a bit.
for the accompaniment.Thanks for making me think!MartinOn Sun, 2022-12-04 at 20:39 +0000, J Martin Rushton wrote:Hi MichaelI've mocked up the same two bars in LibreOffice as tablature:Where you see a dot and a number, the dot indicates half a beat's rest, so that row three of the first beat is interpreted as r8 b8 In the second bar, first beat, the "5 6" is c8 b8 The bolded top row indicates the tune, which typically needs to be run a little harder whilst the lower bells ring softer.
Huh. Interesting. I've never seen that before. But then, as I mentioned earlier (somewhere or another ... I think, anyway) I'm not the musician around here. Though at a guess someone good enough at creating the Scheme trickery thing might be able to convince Lilypond to create something along those lines. But that's just a guess. And could very easily be wrong.
Well, I hope some of this might have helped a bit. Or at least, if it didn't help, it didn't go and increase the confusion levels. That sometimes happens when I get let loose on a keyboard. So I think I'm going to go run away now and go play with some more scores - trying to put together a 20 score book. 5 down so far.
Michael