RE: what is the musical ornament called that looks like a mordent but has curl in front of it?

[Mark Stephen Mrotek]

Ben,

 

Lilypond command is

\downprall

 

See:
https://lilypond.org/doc/v2.22/Documentation/notation/list-of-articulations#ornament-scripts

 

Ma

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Ben Bradshaw
Sent: Thursday, October 26, 2023 9:36 PM
To: Kenneth Wolcott 
Cc: Lily Pond 
Subject: Re: what is the musical ornament called that looks like a mordent but 
has curl in front of it?

 

Hmm Google failed me and didn't bring that page up. That's way better!

 

On Thu, Oct 26, 2023, 10:33 PM Kenneth Wolcott mailto:kennethwolc...@gmail.com> > wrote:

Ah! a \downmordent :-) I was looking right at it on the Lilypond list
of ornaments...

On Thu, Oct 26, 2023 at 8:28 PM Kenneth Wolcott
mailto:kennethwolc...@gmail.com> > wrote:
>
> Hi;
>
> what is the musical ornament called that looks like a mordent but has
> curl in front of it?
>
> I'm engraving a 8notes.com   Tuba+Piano arrangement of the 
> Aria from the
> Goldberg Variations.
>
> Attached is a screenshot.
>
> Thanks,
> Ken Wolcott

Clipping of ornamentation glyphs (was: what is the musical ornament...)

[Aaron Hill]

On 2023-10-27 6:57 am, Mark Stephen Mrotek wrote:

\downprall

See:
https://lilypond.org/doc/v2.22/Documentation/notation/list-of-articulations#ornament-scripts


I just noticed something with both that version of the documentation as 
well as 2.25 [1].  The curl of the "up" or "down" is getting clipped at 
the top and bottom of the ornamentation snippets.  However, "line" seems 
to be intact.  Are the bounds of these curl glyphs not being calculated 
correctly in the underlying font?  Or is something else causing the 
snippets to clip too tightly?


[1]: 
https://lilypond.org/doc/v2.25/Documentation/notation/ornament-scripts



-- Aaron Hill

Re: Clipping of ornamentation glyphs

[Werner LEMBERG]

> I just noticed something with both that version of the documentation
> as well as 2.25 [1].  The curl of the "up" or "down" is getting
> clipped at the top and bottom of the ornamentation snippets.
> However, "line" seems to be intact.  Are the bounds of these curl
> glyphs not being calculated correctly in the underlying font?  Or is
> something else causing the snippets to clip too tightly?

As can be seen in the attached image, the box information in the
Metafont source code used internally by LilyPond to place objects
doesn't always encompass the whole glyph shape.  This is intentional,
mostly due to the historical development of LilyPond – in the
beginning, there weren't skylines.

I'm not sure whether LilyPond will ever be able to avoid cropping
completely.  It's not a trivial task, AFAIK, and it would mean a lot
of work to fix it.

To get properly cropped images you can use the `pdfcrop` tool (from
TeXLive or CTAN), for example.  It internally uses Ghostscript to
render a high-resolution image, which in turn is used to derive a
proper bounding box.  I've attached such a PDF using this code

```prallup.ly
{
  \omit Staff.TimeSignature
  f''^\prallup e'_\prallup b'\prallup
}

\paper { tagline = ##f }
```

and created with

```
lilypond prallup.ly
pdfcrop --hires prallup.pdf prallup.cropped.pdf
```


Werner



prallup.cropped.pdf
Description: Adobe PDF document

Re: Pickup measure

[Aaron Hill]

On 2023-10-27 6:13 pm, Will Turner wrote:

I imported a Musicxml file of a hymn. The first measure is a pickup
measure but it imports as a full measure 3/4 with only a quarter note
in it. You can see that the measure appears to contain room for 3
beats instead of one. When I play this in Musescore, it plays as a
pickup measure, and the measure doesn't have all that space in it.

Using \partial 4 on the first measure, I'm trying to make the existing
first measure look like a pickup measure and, if possible, actually be
a pickup measure. The result I get looks like this. It redistributes
the other measures and the end of every line is now a pickup measure.
How do I make only the first measure a pickup measure?


Without the .ly file itself, it is hard to say.

But I suspect the quarter notes from the first measure are being 
converted to something like 4*3, essentially making a quarter take up 
the whole time of the measure, which sort of looks like a pickup note.  
(This would likely be a problem with the source XML or the converter.)


When you add the \partial 4, the first quarter duration of the 4*3 is in 
the anacrusis and then its other two quarters of time push the dotted 
quarter to beat three, which leads to all the other alignment errors.



-- Aaron Hill

Re: Pickup measure

[David Kastrup]

Will Turner  writes:

> I imported a Musicxml file of a hymn. The first measure is a pickup measure
> but it imports as a full measure 3/4 with only a quarter note in it. You
> can see that the measure appears to contain room for 3 beats instead of
> one. When I play this in Musescore, it plays as a pickup measure, and the
> measure doesn't have all that space in it.
>
> [image: image.png]
>
> Using \partial 4 on the first measure, I'm trying to make the existing
> first measure look like a pickup measure and, if possible, actually be a
> pickup measure. The result I get looks like this. It redistributes the
> other measures and the end of every line is now a pickup measure. How do I
> make only the first measure a pickup measure?
>
> [image: image.png]

I suspect you write something like

{ \time 3/4 c'4 \partial 4 ...

when you would need to write

{ \time 3/4 \partial 4 c'4 ...

Namely, you need to write \partial 4 _before_ the partial measure, not
after it.

-- 
David Kastrup

Re: Pickup measure

[Will Turner]

Here is my code:
PartPOneVoiceOne =  {
\clef "treble" \time 3/4 \key d \major | % 1
\tempo "Prayerfully" 4=69 \stemUp \partial 4 fs'4 s2

And that gives me the problem I described. Here is the code in its entirety:

\version "2.24.2"
% automatically converted by musicxml2ly from
C:/Users/willi/Documents/Music Projects/Hymns XML Files/Abide With Me Tis
Eventide.musicxml

\pointAndClickOn

\include "articulate.ly"

%% additional definitions required by the score:
\language "english"


\header {
title = "Abide With Me, ’Tis Eventide"
subtitle = "Hymn 165"
}

#(set-global-staff-size 20.5)
\paper {

paper-width = 21.59\cm
paper-height = 27.94\cm
top-margin = 1.28\cm
bottom-margin = 1.28\cm
left-margin = 1.91\cm
right-margin = 1.91\cm
between-system-space = 0\cm
page-top-space = 0.61\cm
}
\layout {
indent = 0
\context { \Score
autoBeaming = ##f
}
}
PartPOneVoiceOne =  {
\clef "treble" \time 3/4 \key d \major | % 1
\tempo "Prayerfully" 4=69 \stemUp \partial 4 fs'4 s2
\stemUp fs'4. \stemUp fs'8 \stemUp a'8. [ \stemUp fs'16 ] | % 3
\stemUp fs'8. [ \stemUp e'16 ] \stemUp e'4. \stemUp e'8 | % 4
\stemUp g'4. \stemUp g'8 [ \stemUp g'8 ] \stemUp g'8 | % 5
\stemUp fs'2 \stemUp fs'4 \break | % 6
\stemUp fs'4. \stemUp fs'8 \stemUp a'8. [ \stemUp fs'16 ] | % 7
\stemUp fs'8. [ \stemUp e'16 ] \stemUp e'4. \stemUp e'8 | % 8
\stemUp g'4. \stemUp g'8 \stemUp fs'8 [ \stemUp e'8 ] | % 9
\stemUp d'2 \stemUp d'4 \break | \barNumberCheck #10
\stemDown b'4. \stemDown b'8 \stemDown d''8 [ \stemDown b'8 ] | % 11
\stemUp b'8. [ \stemUp a'16 ] \stemUp a'4. \stemUp fs'8 | % 12
\stemUp e'4. \stemUp a'8 \stemUp gs'8 [ \stemUp b'8 ] | % 13
\stemUp a'2 \stemUp a'4 \break | % 14
\stemDown cs''4. \stemDown cs''8 \stemUp b'8 [ \stemUp a'8 ] | % 15
\stemUp b'8. [ \stemUp a'16 ] \stemUp a'4. \stemUp fs'8 | % 16
\stemUp a'4. \stemUp e'8 \stemUp g'8 [ \stemUp g'8 ] | % 17
\stemUp fs'2 \stemUp a'4 \break | % 18
\stemDown d''4.
\stemDown d''8 \stemDown cs''8 [ \stemDown b'8 ] | % 19
\stemUp a'8. [ \stemUp fs'16 ] \stemUp a'4. \stemUp d'8 |
\barNumberCheck #20
\stemUp g'4. \stemUp g'8 \stemUp fs'8 [ \stemUp e'8 ] | % 21
\stemUp d'2 \bar "|."
}

PartPOneVoiceOneChords =  \chordmode {
| % 1
d4:5 s2 | % 2
s4. s8 s8. s16 | % 3
a8.:5 s16 s4. s8 | % 4
s4. s8 s8 s8 | % 5
d2:5 s4 | % 6
s4. s8 s8. s16 | % 7
a8.:5 s16 s4. s8 | % 8
s4. s8 a8:7 s8 | % 9
d2:5 s4 | \barNumberCheck #10
g4.:5 s8 s8 s8 | % 11
d8.:5 s16 s4. s8 | % 12
a4.:5 s8 e8:5 s8 | % 13
a2:5 s4 | % 14
a4.:7 s8 s8 s8 | % 15
d8.:5 s16 s4. s8 | % 16
a4.:5 s8 s8 s8 | % 17
d2:5 d4:7 | % 18
g4.:5 s8 s8 s8 | % 19
d8.:5 s16 s4. s8 | \barNumberCheck #20
e4.:m5 s8 a8:5 s8 | % 21
d2:5 \bar "|."
}

PartPOneVoiceOneLyricsOne =  \lyricmode {\set ignoreMelismata = ##t A --
bide with "me;" "’tis" e -- ven -- "tide." The day is past and
"gone;" The shad -- ows of the eve -- ning "fall;" The night is com
-- ing "on." With -- in my heart a wel -- come "guest," With -- in
my home a -- "bide." O Sa -- "vior," stay this night with "me;" Be
-- "hold," "’tis" e -- ven -- "tide." O Sav -- "ior," stay this
night with "me;" Be -- "hold," "’tis" e -- ven -- "tide."
}

PartPOneVoiceOneLyricsTwo =  \lyricmode {\set ignoreMelismata = ##t A --
bide with "me;" "’tis" e -- ven -- "tide." Thy walk to -- day with
me Has made my heart with -- in me "burn," As I com -- muned with
"thee." Thy ear -- nest words have filled my soul And kept me near
thy "side." O\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1
}

PartPOneVoiceOneLyricsThree =  \lyricmode {\set ignoreMelismata = ##t A
-- bide with "me;" "’tis" e -- ven -- "tide." And love will be the
night If I can -- not com -- mune with thee Nor find in thee my
"light." The dark -- ness of the "world," I "fear," Would in my home
a -- "bide." O\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1 \skip1
\skip1 \skip1
}

PartPOneVoiceTwo =  {
\clef "bass" \time 3/4 \key d \major | % 1
\stemDown 4 s2 | % 2
\stemDown 4. \stemDown 8 \stemDown 8. [
\stemDown 16 ] | % 3
\stemDown 8. [ \stemDown 16 ] \stemDown 4.
\stemDown 8 | % 4
\stemDown 4. \stemDown 8 \stemDown 8 [
\stemDown 8 ] | % 5
\stemDown 2 \stemDown 4 \break | % 6
\stemDown 4. \stemDown 8 \stemDown 8. [
\stemDown 16 ] | % 7
\stemDown 8. [ \stemDown 16 ] \stemDown 4.
\stemDown 8 | % 8
\stemDown 4. \stemDown 8 \stemDown 8 [
\stemDown 8 ] | % 9
\stemDown 2 \stemDown 4

Re: Pickup measure

[Colin Campbell]

Part of the problem is solved when you take out the s2 after the 
\partial notes in each part. The purpose of \partial is to avoid having 
to supply "missing" time in the first bar. You might, as a suggestion, 
consider moving your \breaks *before* the quarter notes instead of 
after, to follow the text a bit better visually, at least to my taste. 
Others may chime in on the bar check problem, but at least deleting the 
spacers gets you close.


Cheers,

Colin

On 2023-10-27 22:03, Will Turner wrote:

Here is my code:
PartPOneVoiceOne =  {
    \clef "treble" \time 3/4 \key d \major | % 1
    \tempo "Prayerfully" 4=69 \stemUp \partial 4 fs'4 s2


PartPOneVoiceOne =  {

    \clef "treble" \time 3/4 \key d \major | % 1
    \tempo "Prayerfully" 4=69 \stemUp \partial 4 fs'4 s2

Delete this s2

    

PartPOneVoiceTwo =  {
    \clef "bass" \time 3/4 \key d \major | % 1
    \stemDown 4 s2 | % 2


Delete this s2 too.