Re: Separate voices each on a separate RhythmicStaff
2011/2/10 Ben Finney :
> Howdy all,
>
> My reading of the notation reference suggests that LilyPond can
> automatically place separate voices onto separate staves, by pitching
> those voices differently.
>
> How can this be done for separate rhythm voices? I want separate voices
> (sometimes three or more) to appear on a separate RhythmStaff each.
hi,
i've just stumbled across your e-mail, however, i'm not sure if i can help you.
Is this what you mean?
\score {
{
\relative c' {
\new RhythmicStaff = One { c4 d e f }
<<
{ c d e f | c d e f | c c c c | c c c c }
\new RhythmicStaff = Two { c4 c8 d e4 f | c d e f |
c c c c | c c c8 b c b |}
>>
c4 d e f |
}
}
}
cheers,
Janek
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Re: Splitting polyphonic musing into single voices
Hello Michał, list, 2011/2/21 Michał Kandulski : > I would like to be able to print first a staff with many voices to be played > with piano and then from the same source (perhaps with little alteration) many > staffs with separate voices to be sung. The important thing for the piano > staff > is to look as a normal piano upper staff looks like (all simultaneous notes > should have common stems). Please check http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices to see if it help you combining and/or splitting parts. Christ van Willegen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Splitting polyphonic musing into single voices
W dniu 21 lutego 2011 09:18 użytkownik Christ van Willegen napisał: > Hello Michał, list, > > 2011/2/21 Michał Kandulski : >> I would like to be able to print first a staff with many voices to be played >> with piano and then from the same source (perhaps with little alteration) >> many >> staffs with separate voices to be sung. The important thing for the piano >> staff >> is to look as a normal piano upper staff looks like (all simultaneous notes >> should have common stems). > > Please check > http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices > to see if it help you combining and/or splitting parts. Yes, automatic part combining is probably what you are looking for. Unfortunately as of now it cannot combine more than 2 voices. Offtopic: Michał, you are from Poland, aren't you? cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Line-width and the alignment of the copyright notice
Hallo Reinhold, >> Changing the value of line-width (which according to the documentation sets >> the width of music systems), I noticed that the copyright notice changed >> position too. See the example in the attachment: it left-aligns with the >> staves. > > Actually, what you are observing is a consequence of the tagline being too > wide... It is centered, as long as it is not wieder than the linewidth. > However, in 2.12.x, the left edge of the tagline never moves further to the > left than the page margin. That's what you are observing. > > In 2.13.x (soon to be the 2.14 release), the tagline is always centered and > moves further to the left than the margin, even if it falls off the page on > the left. Thanks! Now I know I'm not doing anything wrong, and I just have to wait for 2.14. -- Vriendelijke groeten, = Best wishes, = Afablajn salutojn, Ivo www.ivo.bouwmans.name ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separate voices each on a separate RhythmicStaff
Jan Warchoł writes:
> i've just stumbled across your e-mail, however, i'm not sure if i can
> help you. Is this what you mean?
>
> \score {
> {
> \relative c' {
> \new RhythmicStaff = One { c4 d e f }
> <<
> { c d e f | c d e f | c c c c | c c c c }
> \new RhythmicStaff = Two { c4 c8 d e4 f | c d e f |
> c c c c | c c c8 b c b |}
> >>
> c4 d e f |
> }
> }
> }
I think so, yes. It's not as I expected it, but it makes sense.
Thank you for your help!
--
\ “The Vatican is not a state.… a state must have people. There |
`\are no Vaticanians.… No-one gets born in the Vatican except by |
_o__)an unfortunate accident.” —Geoffrey Robertson, 2010-09-18 |
Ben Finney
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Re: Splitting polyphonic musing into single voices
Hello Michał, list, 2011/2/21 Michał Kandulski: I would like to be able to print first a staff with many voices to be played with piano and then from the same source (perhaps with little alteration) many staffs with separate voices to be sung. The important thing for the piano staff is to look as a normal piano upper staff looks like (all simultaneous notes should have common stems). Please check http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices to see if it help you combining and/or splitting parts. Yes, automatic part combining is probably what you are looking for. Unfortunately as of now it cannot combine more than 2 voices. The section "Identical rhythms" is probably what I need and it seems not to limit the number of "voices". Offtopic: Michał, you are from Poland, aren't you? Jes of kors! :) Cheers, Michał ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question - temporary voices in vocal music
- Original Message - From: "Janek Warchoł" To: "James Lowe" ; "colinpkcampbell" Cc: "Phil Holmes" ; ; "Trevor Daniels" ; "Shane Brandes" ; "Francisco Vila" ; "lilypond-user" Sent: Sunday, February 20, 2011 10:54 PM Subject: Re: engraving question - temporary voices in vocal music W dniu 20 lutego 2011 01:50:15 UTC+1 użytkownik James Lowe napisał: Hello, From: Janek Warchoł 2011/2/19 Phil Holmes : Just to back up my "either is OK" comment, here's a little bit from Chappell's version of the Gondoliers. Personally I think this is lazy, but it's how they've done it. Your example puzzles me, as i see no reason to mix two kinds of notation here... Don't string players have to put up with this kind of thing all the time? They just add the notation 'div'/'non-div' or 'unison'. Why not for vocal? I don't know how to explain this... I mean, there is only one melody throughout that measure, no structural changes. In my opinion it should either have all notes double-stemmed, or all notes single-stemmed. Maybe the attachment will explain what i mean. W dniu 20 lutego 2011 02:15:51 UTC+1 użytkownik Colin Campbell napisał: As a choral singer, the "explicit" image says sopranos and altos sharing a staff; the "problem" implies a single voice splitting, probably temporarily, into e.g. Sop 1 and Sop 2. Generally i agree; if the rhythyms are identical i'd notate it like that. But if soprano splits temporarily into S1 and S2 which have different rhythyms, explicit polyphonic notation is necessary. cheers, Janek = I was simply illustrating that the standard of professional engraving at around 1900 wasn't very precise. I am transcribing Gondoliers to LilyPond, and if you count accidentals where they shouldn't be, there are literally hundreds of errors. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Turning off visible dynamics on lower piano staff
- Original Message -
From: "Janek Warchoł"
To: "Doug Ewell"
Cc: "lilypond-user"
Sent: Sunday, February 20, 2011 11:16 PM
Subject: Re: Turning off visible dynamics on lower piano staff
2011/2/20 Doug Ewell :
First-time poster, so please be gentle.
We always are :)
Welcome to the community!
I have an original piano score, just 50 measures long but with volta
repeats
and alternate endings and a coda, which I am relying on to create both the
PDF and the MIDI output.
I'd like to display the dynamics between the two staves, but the "piano
centered dynamics" example in the documentation looks like it might not
work
for this piece, because of the alternate endings and such.
While i'm not familiar with these new piano centered dynamics, i'm
pretty sure that our development team wouldn't create a solution that
lacks support for repeats and alternate endings. Just be sure to
create alternatives in that dynamics context, too.
Could you try using "piano centered dynamics" and sending us a message
if this fails, with a tiny example of the code? (for information on
tiny examples see http://lilypond.org/website/tiny-examples.html )
And I can't
simply use \f and friends in the upper staff only, not the lower, because
the MIDI wouldn't come out right.
Is there a simple way to turn off the dynamics engravers for just the
lower
staff?
I was pretty sure that
\score {
\new PianoStaff {
<<
\new Staff { d'2\p f'4 g'\f }
\new Staff \with { \remove Dynamic_engraver } { b4\f g\ff a2\p }
>>
}
}
would do the trick, but it doesn't do anything at all, and i have no idea
why.
Anyone?
I was, as well, and got the same result (i.e. no effect). Also with 2.12.3,
and I don't go back before then.
--
Phil Holmes
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RE: engraving question - temporary voices in vocal music
Hello
)-Original Message-
)From: Janek Warchoł [mailto:lemniskata.bernoull...@gmail.com]
)Sent: 20 February 2011 22:54
)To: James Lowe; colinpkcampbell
)Cc: Phil Holmes; davidandrewrog...@gmail.com; Trevor Daniels; Shane
)Brandes; Francisco Vila; lilypond-user
)Subject: Re: engraving question - temporary voices in vocal music
)
)W dniu 20 lutego 2011 01:50:15 UTC+1 użytkownik James Lowe
) napisał:
)> Don't string players have to put up with this kind of thing all the time?
)>
)> They just add the notation 'div'/'non-div' or 'unison'.
)>
)> Why not for vocal?
)
)I don't know how to explain this... I mean, there is only one melody
)throughout that measure, no structural changes. In my opinion it should
)either have all notes double-stemmed, or all notes single-stemmed.
)Maybe the attachment will explain what i mean.
Thanks for taking the time to create some examples.
As a non-vocalist I immediately think that the notes that are NOT
double-stemmed are played (sung) by all - else there would be rests in the
appropriate voice. As unless you are a Tuvan throat singer it is unlikely that
even if the notes were constructed in the < x x > style vs << { x } \\ { x } >>
style that you'd expect the same voice to sing two notes at the same time so
the direction of the stems seems unimportant for vocal - so I still stand by
what I said before that you can use 'div' and 'unison' markups to make it clear
:)
Now of course I am probably making huge sweeping generalizations through
hundreds of years of engraving traditions based on little more than having to
learn to how to engrave a few Violin parts this weekend.
But when I look at these examples it is pretty clear to me.
James
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Re: Italian translation?
On 2/20/2011 1:39 PM, Phil Holmes wrote: In the Gondoliers, the Contadine sing "Per voi, bei signori". According to Google translate, 'bei' does not exist. Is there an Italian speaker here who can say whether it is Italian, or whether Gilbert got it wrong? No google does not know everything! bei is the plural of bello. This would translate to "for you, handsome lords" ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Italian translation?
- Original Message - From: "Marc Mouries" To: Sent: Monday, February 21, 2011 3:53 PM Subject: Re: Italian translation? On 2/20/2011 1:39 PM, Phil Holmes wrote: In the Gondoliers, the Contadine sing "Per voi, bei signori". According to Google translate, 'bei' does not exist. Is there an Italian speaker here who can say whether it is Italian, or whether Gilbert got it wrong? No google does not know everything! bei is the plural of bello. This would translate to "for you, handsome lords" Thanks to everyone. I presume it's an elision of belli? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Splitting polyphonic musing into single voices
2011/2/21 Michal Kandulski I would like to be able to print first a staff with many voices to be played with piano and then from the same source (perhaps with little alteration) many staffs with separate voices to be sung. The important thing for the piano staff is to look as a normal piano upper staff looks like (all simultaneous notes should have common stems). >>> >>> Please check >>> http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices >>> to see if it help you combining and/or splitting parts. >> >> Yes, automatic part combining is probably what you are looking for. >> Unfortunately as of now it cannot combine more than 2 voices. > > The section "Identical rhythms" is probably what I need and it seems not to > limit the number of "voices". Ah, i forgot about this. Indeed, it's the best choice if the rhythms are the same. >> Offtopic: Michał, you are from Poland, aren't you? > > Jes of kors! :) Bardzo mi miło :) Mieszkam w Warszawie i śpiewam w chórze Epifania :) cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Italian translation?
On 2/21/2011 10:56 AM, Phil Holmes wrote: - Original Message - From: "Marc Mouries" To: Sent: Monday, February 21, 2011 3:53 PM Subject: Re: Italian translation? On 2/20/2011 1:39 PM, Phil Holmes wrote: In the Gondoliers, the Contadine sing "Per voi, bei signori". According to Google translate, 'bei' does not exist. Is there an Italian speaker here who can say whether it is Italian, or whether Gilbert got it wrong? No google does not know everything! bei is the plural of bello. This would translate to "for you, handsome lords" Thanks to everyone. I presume it's an elision of belli? no it is when it's placed before a consonant ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Turning off visible dynamics on lower piano staff
\score {
\new PianoStaff {
<<
\new Staff { d'2\p f'4 g'\f }
\new Staff \with { \remove Dynamic_engraver } { b4\f g\ff
a2\p }
>>
}
}
it doesn't do anything at all, and i have no idea why.
Anyone?
No ideas for that.
But here is just a little function that i have already used.
deleteDynamics = #(define-music-function (parser location music) (ly:music?)
(music-filter
(lambda (evt)
(not (memq (ly:music-property evt 'name) (list
'AbsoluteDynamicEvent
'CrescendoEvent
'DecrescendoEvent
music))
\score {
\new PianoStaff {
<<
\new Staff { d'2\p f'4 g'\f }
\new Staff \deleteDynamics { b4\f g\ff a2\p }
>>
}
}
%
Gilles
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Hidden accidentals hiding visible ones
This is probably user error rather than anything else, but I just wasted
20 minutes wondering why an accidental on a note in a score was missing
in the PDF output before realising that the same note appeared earlier
in the same bar but in a hidden voice.
In most guitar scores I use a hidden voice for such things as
simultaneous text spanners, arpeggio brackets to indicate barring, etc.
The following example shows that the order of the voices in the source
file affects whether the accidental appears or not:
\version "2.13.50"
\relative c' {
<< {
\override NoteColumn #'ignore-collision = ##t
\override NoteHead #'transparent = ##t
\override Stem #'transparent = ##t
\override Dots #'transparent = ##t
\override Accidental #'transparent = ##t
\override NoteHead #'no-ledgers = ##t
c4 cis cis cis |
}
\\ { c4 c cis cis }
>>
}
\relative c' {
<< { c4 c cis cis }
\\ {
\override NoteColumn #'ignore-collision = ##t
\override NoteHead #'transparent = ##t
\override Stem #'transparent = ##t
\override Dots #'transparent = ##t
\override Accidental #'transparent = ##t
\override NoteHead #'no-ledgers = ##t
c4 cis cis cis |
}
>>
}
Nick
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Re: Hidden accidentals hiding visible ones
Hello Nick, On Tue, Feb 22, 2011 at 7:11 AM, Nick Payne wrote: > This is probably user error rather than anything else, but I just wasted 20 > minutes wondering why an accidental on a note in a score was missing in the > PDF output before realising that the same note appeared earlier in the same > bar but in a hidden voice. Two workarounds come to mind... - You can use cis! to force the # to appear in the visible voice, but you'd need quite a lot of hand work to get this 'right'. - If the rhythm of the hidden voice and the notes are the same, use a musical expression that is the same in both voices. HTH! Christ van Willegen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question - temporary voices in vocal music
2011/2/21 Phil Holmes :
> I was simply illustrating that the standard of professional engraving at
> around 1900 wasn't very precise.
Ah. Perhaps i missed your point, sorry.
> I am transcribing Gondoliers to LilyPond,
> and if you count accidentals where they shouldn't be, there are literally
> hundreds of errors.
Whoa! I'm glad that we live in XXIst century then :)
And have Lily available :D
2011/2/21 James Lowe :
> Hello
>
> )-Original Message-
> )From: Janek Warchoł [mailto:lemniskata.bernoull...@gmail.com]
> )Sent: 20 February 2011 22:54
> )To: James Lowe; colinpkcampbell
> )Cc: Phil Holmes; davidandrewrog...@gmail.com; Trevor Daniels; Shane
> )Brandes; Francisco Vila; lilypond-user
> )Subject: Re: engraving question - temporary voices in vocal music
> )
> )W dniu 20 lutego 2011 01:50:15 UTC+1 użytkownik James Lowe
> ) napisał:
> )> Don't string players have to put up with this kind of thing all the time?
> )>
> )> They just add the notation 'div'/'non-div' or 'unison'.
> )>
> )> Why not for vocal?
> )
> )I don't know how to explain this... I mean, there is only one melody
> )throughout that measure, no structural changes. In my opinion it should
> )either have all notes double-stemmed, or all notes single-stemmed.
> )Maybe the attachment will explain what i mean.
>
> Thanks for taking the time to create some examples.
>
> As a non-vocalist I immediately think that the notes that are NOT
> double-stemmed are played (sung) by all -
> else there would be rests in the appropriate voice. As unless you are a Tuvan
> throat singer it is unlikely that
> even if the notes were constructed in the < x x > style vs << { x } \\ { x }
> >> style that you'd expect the same voice
> to sing two notes at the same time so the direction of the stems seems
> unimportant for vocal -
> so I still stand by what I said before that you can use 'div' and 'unison'
> markups to make it clear :)
>
> Now of course I am probably making huge sweeping generalizations through
> hundreds of years
> of engraving traditions based on little more than having to learn to how to
> engrave a few Violin parts this weekend.
>
> But when I look at these examples it is pretty clear to me.
I'm also fine with both < x x > style and << { x } \\ { x } >> style.
What bothers me is that in the *last three* examples i posted there is a
change from << { x } \\ { x } >> style to < x x > style for no
apparent reason :)
cheers,
Janek
ambiguities.pdf
Description: Adobe PDF document
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