Re: Multiple staffs for a div. section

[Xavier Scheuer]

On Wed, 29 Sept 2021 at 08:56, Evan Driscoll  wrote:
>
> I am probably missing something fundamental in my LilyPond knowledge that
would help with the following question, but I'm not sure what it is, and
I'm having a lot more difficulty than normal figuring out what to look for
in the manual.
>
> Anyway, the piece starts off in unison, then has a div. section written
on multiple staffs, then comes back together.
>
> I can get multiple staffs with
> <<
> { ...top part.. }
> \new Staff { ...bottom part ...}
> >>
> but what I really want is a staff group. The bracket on the left would be
nice, but even more critical are the shared barlines.
>
> However, I can't figure out how to get a \new StaffGroup to work. If I
use it as shown in the manual (but for the top-level staff creation) with
my two inside, then I get *three* staves, the first one just empty.
>
> LilyBin exemplar with a couple of my attempts: http://lilybin.com/ul6alr/5

Hello,

In this case I typically use a combination of Keep_alive_together_engraver
and VerticalAxisGroup.remove-layer with keepAliveInterfaces.
See NR 1.6.2 Modifying single staves > Hiding staves
http://lilypond.org/doc/v2.23/Documentation/notation/modifying-single-staves.html#hiding-staves

Cheers,
Xavier

-- 
Xavier Scheuer 

Title font

[Mahanidhi]

Hello everybody,
I tried hard to change the title font but nothing happen.
Any suggestion?
\version "2.22.1"
Thanks.

Sent with [ProtonMail](https://protonmail.com/) Secure Email.

Re: Title font

[Valentin Petzel]

Hello Mahanidhi,

If you want to change the font for the title, use

title = \markup { \override #'(font-name . "your font”) Bla bla bla }

Or if you need this for a larger set of works, you may override 
bookTitleMarkup or scoreTitleMarkup to fit your needs.

Cheers,
Valentin

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Description: This is a digitally signed message part.

Re: Multiple staffs for a div. section

[Leo Correia de Verdier]

In this case it’s not that complicated, and you can do it in simpler ways. The 
thing is a StaffGroup must be created before (in musical notation time) any 
staves it’s supposed to contain. Be careful about when you create staves and 
when they’re created automatically for lack of a staff context for a given 
voice to live in.

Here are two examples:

%%%
\version "2.22.1"
music = \relative c'
\new StaffGroup <<
\new Staff { \repeat unfold 10 c'1 \break 
 \repeat unfold 10 c1  \break 
 \repeat unfold 10 c1 }
{ \skip 1*10 
 \new Staff { \repeat unfold 10 c,1 } } >>

\score{
\music
\layout{}
}

musicTwo = 
\relative c' 
\new StaffGroup {
  { \repeat unfold 10 c'1 }
  << { \break \repeat unfold 10 b1 }
 \new Staff { \repeat unfold 10 g1 } >>
  { \break \repeat unfold 10 a1 }
}

\score{
\musicTwo
\layout{}
}
%



> 29 sep. 2021 kl. 10:07 skrev Xavier Scheuer :
> 
> On Wed, 29 Sept 2021 at 08:56, Evan Driscoll  wrote:
> >
> > I am probably missing something fundamental in my LilyPond knowledge that 
> > would help with the following question, but I'm not sure what it is, and 
> > I'm having a lot more difficulty than normal figuring out what to look for 
> > in the manual.
> >
> > Anyway, the piece starts off in unison, then has a div. section written on 
> > multiple staffs, then comes back together.
> >
> > I can get multiple staffs with
> > <<
> > { ...top part.. }
> > \new Staff { ...bottom part ...}
> > >>
> > but what I really want is a staff group. The bracket on the left would be 
> > nice, but even more critical are the shared barlines.
> >
> > However, I can't figure out how to get a \new StaffGroup to work. If I use 
> > it as shown in the manual (but for the top-level staff creation) with my 
> > two inside, then I get *three* staves, the first one just empty.
> >
> > LilyBin exemplar with a couple of my attempts: http://lilybin.com/ul6alr/5
> 
> Hello,
> 
> In this case I typically use a combination of Keep_alive_together_engraver 
> and VerticalAxisGroup.remove-layer with keepAliveInterfaces.
> See NR 1.6.2 Modifying single staves > Hiding staves
> http://lilypond.org/doc/v2.23/Documentation/notation/modifying-single-staves.html#hiding-staves
> 
> Cheers,
> Xavier
> 
> -- 
> Xavier Scheuer 
> 

notelength

[E Appeldoorn]

I'm looking for a way of making a note of indetermined length that looks 
like a breve note.
The note might be 50*4 on the first system, then the system 
automatically breaks. The note then gets tied to the new system where 
the note might be of 101*8 (or any other length). There would be no 
visible barlines along the way..
An example in real life is the nocturne from Serenade Opus 31 by 
Benjamin Britten.

notehead

[E Appeldoorn]

I'm looking for a way to create a note of indetermined length. It should 
look like a Breve. But at one line it may be 50*4 long. Then the line 
breaks and it might be 111*8 long (etc). But still looking the same. The 
note needs in all other ways to behave like a normal note. A real life 
example is to be found in the Nocturne from Serenade Opus 31 by Benjamin 
Britten.

Introduction brackets

[Jefferson Felix]

Hi everyone,

I'm working on some hymns and noticed that I need to add square brackets
just above the treble clef to indicate the introductory part of the hymn
(usually performed by an organ or orchestra before the choir sings).

As an example, I can show a sheet of music from the hymnal of The Church of
Jesus Christ of Latter-day Saints:

https://media.ldscdn.org/pdf/music/hymns/2001-01-1000-nearer-my-god-to-thee-eng.pdf

I tried using \startGroup and \stopGroup, but this creates a long slash
through every bar, which is not ideal (I believe this one is for analysis
purposes).

I searched for the snippets, but I didn't find anything like that.


Thanks,

-- 
---
Jefferson dos Santos Felix

Re: notelength

[Leo Correia de Verdier]

Do you mean like: 


\version "2.22.1"
<<\new Voice \with { \remove "Forbid_line_break_engraver"}
  % just so this example doesn't run out of the edge of paper
  { \temporary \override Staff.BarLine.transparent = ##t
fis'\breve*50/8 % a quarter is 1/8 of a regular breve, so 50/8
gis'\breve*101/16 % an eight is a sixteenth
\revert Staff.BarLine.transparent a8 b c' d' e' f' g' 
a'1~ a' }
  \new Staff{ \repeat unfold 7 {\repeat unfold 32 d'8 \break } }>>


You have to set the lengths of the breve notes manually, though.

> 29 sep. 2021 kl. 20:38 skrev E Appeldoorn :
> 
> I'm looking for a way of making a note of indetermined length that looks like 
> a breve note.
> The note might be 50*4 on the first system, then the system automatically 
> breaks. The note then gets tied to the new system where the note might be of 
> 101*8 (or any other length). There would be no visible barlines along the 
> way..
> An example in real life is the nocturne from Serenade Opus 31 by Benjamin 
> Britten.
> 

Re: Introduction brackets

[Hans Aikema]

> On 29 Sep 2021, at 21:28, Jefferson Felix  wrote:
> 
> Hi everyone,
> 
> I'm working on some hymns and noticed that I need to add square brackets just 
> above the treble clef to indicate the introductory part of the hymn (usually 
> performed by an organ or orchestra before the choir sings).
> 
> As an example, I can show a sheet of music from the hymnal of The Church of 
> Jesus Christ of Latter-day Saints:
> 
> https://media.ldscdn.org/pdf/music/hymns/2001-01-1000-nearer-my-god-to-thee-eng.pdf
>  
> 
> 
> I tried using \startGroup and \stopGroup, but this creates a long slash 
> through every bar, which is not ideal (I believe this one is for analysis 
> purposes).
> 
> I searched for the snippets, but I didn't find anything like that.
> 
> 
> Thanks,
> 
> -- 
> ---
> Jefferson dos Santos Felix

Inspired by LSR 843 (https://lsr.di.unimi.it/LSR/Snippet?id=843) for the 
Postscript commands to create a square hook, a way to do it that in my view 
even fits semantically is by using custom rehearsal marks

%%%

\version "2.22.0"

introductionStartHook = \markup {
  \path #0.25 #'((moveto 0 0)
 (lineto 0 0.8 )
 (lineto 0.8 0.8))
}

introductionEndHook = \markup {
  \path #0.25 #'((moveto 0 0.8)
 (lineto 0.8 0.8)
 (lineto 0.8 0))
}


{
  \once \override Score.RehearsalMark.self-alignment-X = #LEFT \mark 
\introductionStartHook c''2
  d'' \once \override Score.RehearsalMark.self-alignment-X = #RIGHT \mark 
\introductionEndHook
  e''
  d''
}

%%%

voiceOne and oneVoice

[Kira Garvie]

Hello all!
I realize this is a pretty basic question... but what is the
difference between voiceOne and oneVoice? I am writing a multivoice
keyboard-style hymn (as opposed to SATB chorale style) and the directions
say to switch between oneVoice and voiceOne as needed for stem direction...
"(d) Add voiceOne and oneVoice tags throughout to indicate stem direction.
If
there is no separately stemmed second part at the first note, oneVoice is
assumed."
Do I need to give an example?
Thank you!
Kira

Re: voiceOne and oneVoice

[Lukas-Fabian Moser]

Hi Kira,

Am 30.09.21 um 00:32 schrieb Kira Garvie:
I realize this is a pretty basic question... but what is the 
difference between voiceOne and oneVoice? I am writing a multivoice 
keyboard-style hymn (as opposed to SATB chorale style) and the 
directions say to switch between oneVoice and voiceOne as needed for 
stem direction...
"(d) Add voiceOne and oneVoice tags throughout to indicate stem 
direction. If
there is no separately stemmed second part at the first note, oneVoice 
is assumed."

Do I need to give an example?


\voiceOne sets the layout for the current voice as if it is the first of 
several simultaneous voices.

\oneVoice sets the layout for the current voice as if it is an only voice.

If you do in-staff polyphony via

<<

{ \upperMusic } \\ { \lowerMusic }

>>

then the \\ makes LilyPond silently add a \voiceOne to \upperMusic and a 
\voiceTwo to \lowerMusic, making sure that \upperMusic has upward stems, 
articulations etc., and \lowerMusic has everything downwards.


Sometimes it is useful to switch back to "normal" one-voice layout even 
in a polyphonic enivoronment; that can be done using \oneVoice.


A typical application is

\once\oneVoice r8

for a single rest that should be centered mid-staff (often, the other 
voice then has a simultaneous skip: s8). But this construction is not 
needed that often anymore because now there is the Merge_rests_engraver 
that is able to collect simultaneous rests in polyphonic situations and 
merge them to a single ("\oneVoice", so to speak) rest.


As a rule, in writing polyphonic music, it's often useful to use 
\voiceOne, \voiceTwo etc. and \oneVoice, and there a comparatively few 
good situations to use an explicit \stemUp or \stemDown.


Is this clear enough without compilable examples?

Lukas

Re: voiceOne and oneVoice

[David Kastrup]

Lukas-Fabian Moser  writes:

> Hi Kira,
>
> Am 30.09.21 um 00:32 schrieb Kira Garvie:
>> I realize this is a pretty basic question... but what is the
>> difference between voiceOne and oneVoice? I am writing a multivoice
>> keyboard-style hymn (as opposed to SATB chorale style) and the
>> directions say to switch between oneVoice and voiceOne as needed for
>> stem direction...
>> "(d) Add voiceOne and oneVoice tags throughout to indicate stem
>> direction. If
>> there is no separately stemmed second part at the first note,
>> oneVoice is assumed."
>> Do I need to give an example?
>
> \voiceOne sets the layout for the current voice as if it is the first
> of several simultaneous voices.
> \oneVoice sets the layout for the current voice as if it is an only voice.

It would probably be clearer if we had

\firstVoice and \soleVoice instead of \voiceOne and \oneVoice, respectively.

-- 
David Kastrup

Re: voiceOne and oneVoice

[Kira Garvie]

I think that made sense! I will try it out and let you know if it doesnt!

On Wed, Sep 29, 2021 at 6:50 PM David Kastrup  wrote:

> Lukas-Fabian Moser  writes:
>
> > Hi Kira,
> >
> > Am 30.09.21 um 00:32 schrieb Kira Garvie:
> >> I realize this is a pretty basic question... but what is the
> >> difference between voiceOne and oneVoice? I am writing a multivoice
> >> keyboard-style hymn (as opposed to SATB chorale style) and the
> >> directions say to switch between oneVoice and voiceOne as needed for
> >> stem direction...
> >> "(d) Add voiceOne and oneVoice tags throughout to indicate stem
> >> direction. If
> >> there is no separately stemmed second part at the first note,
> >> oneVoice is assumed."
> >> Do I need to give an example?
> >
> > \voiceOne sets the layout for the current voice as if it is the first
> > of several simultaneous voices.
> > \oneVoice sets the layout for the current voice as if it is an only
> voice.
>
> It would probably be clearer if we had
>
> \firstVoice and \soleVoice instead of \voiceOne and \oneVoice,
> respectively.
>
> --
> David Kastrup
>

Re: voiceOne and oneVoice

[Valentin Petzel]

Hi David,

I'd say singleVoice would even be clearer.
But I think maybe it would also be a good idea if we had a synax like \voice 
number. Currently Lilypond only supports four voices, and any more requires 
knowledge about the scheme interface, but \voice1 \voice2, ... could directly 
support an arbitrary amount of voices.

Cheers,
Valentin

30.09.2021 00:50:41 David Kastrup :

> Lukas-Fabian Moser  writes:
> 
>> Hi Kira,
>> 
>> Am 30.09.21 um 00:32 schrieb Kira Garvie:
>>> I realize this is a pretty basic question... but what is the
>>> difference between voiceOne and oneVoice? I am writing a multivoice
>>> keyboard-style hymn (as opposed to SATB chorale style) and the
>>> directions say to switch between oneVoice and voiceOne as needed for
>>> stem direction...
>>> "(d) Add voiceOne and oneVoice tags throughout to indicate stem
>>> direction. If
>>> there is no separately stemmed second part at the first note,
>>> oneVoice is assumed."
>>> Do I need to give an example?
>> 
>> \voiceOne sets the layout for the current voice as if it is the first
>> of several simultaneous voices.
>> \oneVoice sets the layout for the current voice as if it is an only voice.
> 
> It would probably be clearer if we had
> 
> \firstVoice and \soleVoice instead of \voiceOne and \oneVoice, respectively.
> 
> --
> David Kastrup