Re: Three voices plus tie in RH - notation best practice?

[Jan-Peter Voigt]

Hello James,

this is a question, that really can take hours, nights or whatever ...

Elaine Gould says, Ties shall almost touch the note head and they shall 
not fall onto a stave-line (pp. 60)
Here are two techniques I usally use to solve such problems. First it is 
a scheme-destillation to shape ties (and slurs) with 8 numbers (4 times 
x y offset), wich moves the control points.
The other one is an override of the staff-position. The first technique 
I only use for more difficult pieces: I shortend the a-tie, pushed it 
downwards and flattened it a little bit.
Most times an override of the staff-position does it: I placed the 
cis-tie so that it doesn't lies on the stave-line and nearer to the 
note-heads.
For this shape-thing I sometimes use a shortcut that only takes one 
number to move the two middle-control-points horizontal.

HTH.
Cheers,
Jan-Peter

--snip--
\version "2.14.2"
\include "english.ly"

%%% take care ... some scheme is on the way ...
#(define ((alter-tie offsets) grob)
        ;; get default control-points
        (let ((coords (ly:tie::calc-control-points grob))
              (n 0))
             ;; add offsets to default coordinates
             (define loop (lambda (n)
                       (set-car! (list-ref coords n)
                                 (+ (list-ref offsets (* 2 n))
                                    (car (list-ref coords n))))
                       (set-cdr! (list-ref coords n)
                                 (+ (list-ref offsets (1+ (* 2 n)))
                                    (cdr (list-ref coords n))))
                       (if (< n 3)
                           (loop (1+ n)))))
             ;; return altered coordinates
             (loop n)
             coords))

%%% shape slurs, phrasing slurs and ties
shapeSlur = #(define-music-function (parser location offsets) (list?)
  #{
    \once \override Slur #'control-points = #(alter-curve $offsets)
#})
shapePhSlur = #(define-music-function (parser location offsets) (list?)
  #{
    \once \override PhrasingSlur #'control-points = #(alter-curve $offsets)
#})
shapeTie = #(define-music-function (parser location offsets) (list?)
  #{
    \once \override Tie #'control-points = #(alter-tie $offsets)
#})

%%% OK, back to normal

\score {
  \new PianoStaff <<
    \new Staff {
      \key d \major
      \numericTimeSignature
<<
        \new Voice \relative c'' {
          \voiceOne
%%% try staff-position
          r2 r8 \once \override Tie #'staff-position = #1.8 cs?4.~ cs2
        }
        \new Voice \relative c'' {
          \voiceTwo
          a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e 
fs } a16 fs e fs
          \repeat tremolo 4 { e fs }
        }
        \new Voice \relative c'' {
          \voiceThree
%%% try to shape the tie a little bit
          a2. \shapeTie #'(0 -0.5 0 -0.7 -1 -0.7 -1.5 -0.5) a4^~ a2
        }
>>
      r2
    }
    \new Staff {
      \key d \major \clef bass
      \numericTimeSignature
<<
        \new Voice \relative c' {
          \voiceOne
          g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b } 
g16 b c b
          \repeat tremolo 4 { c b }
        }
        \new Voice \relative c' {
          \voiceTwo
          g2.\sustainOn g4~\sustainOn g2
        }
>>
      r2\sustainOff
    }
>>
}
--snip--


Am 19.10.2011 10:27, schrieb James Harkins:
> Hi, a "notational correctness" question rather than a lilypond technical 
> question, hope that's okay.
>
> A student brought in some work today, some of which calls for three voices in 
> the right hand of a PianoStaff. Minus expressive marks, the lilypond example 
> below gets the point across, but I wonder if there's a better way? The 
> collision at the beginning of bar 2, between the a4~ a2 tie and the c# in voice 
> 1, seems inevitable but it isn't pretty. (\tieDown looks even worse.)
>
> So, those of you with a notation reference or two in your library, how would 
> you handle this?
>
> Thanks!
> James
>
> PS Sorry for the non-tiny example. In this case, the voicing is complex enough 
> that I wanted to be explicit about all the new voices.
>
>
> \version "2.14.2"
> \include "english.ly"
>
> \score {
>    \new PianoStaff<<
>      \new Staff {
>        \key d \major
>        \numericTimeSignature
>        <<
>         \new Voice \relative c'' {
>           \voiceOne
>           r2 r8 cs?4.~ cs2
>         }
>         \new Voice \relative c'' {
>           \voiceTwo
>           a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e fs } a16 
> fs e fs
>           \repeat tremolo 4 { e fs }
>         }
>         \new Voice \relative c'' {
>           \voiceThree
>           a2. a4~ a2
>         }
>        >>
>        r2
>      }
>      \new Staff {
>        \key d \major \clef bass
>        \numericTimeSignature
>        <<
>         \new Voice \relative c' {
>           \voiceOne
>           g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b } g16 b c 
> b
>           \repeat tremolo 4 { c b }
>         }
>         \new Voice \relative c' {
>           \voiceTwo
>           g2.\sustainOn g4~\sustainOn g2
>         }
>        >>
>        r2\sustainOff
>      }
>    >>
> }
>
>
> --
> James Harkins /// dewdrop world
> address@hidden
> http://www.dewdrop-world.net
>
> "Come said the Muse,
> Sing me a song no poet has yet chanted,
> Sing me the universal."  -- Whitman
>
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