Re: Choir-Parts - working with \tag#' - Mulitmeasure Rests not printed
Hi Christian, Unless I'm misunderstanding what you want, it really seems to me like this would be better solved by building the scores independently, rather than using tags and “breaking down” the scores late in the process. Have you considered that option? Do you know about \partCombine, etc.? Cheers, Kieren.
Re: Multiple instances of same articulation/bowing on one note
Hi Ahanu, g_\upbow ^\upbow g g % fails I would personally consider that a bug! As for a "solution", what about this? << g_\upbow \\ <>^\upbow >> Not *that* much better than your hack… but maybe a little better? Kieren.
Re: Multiple instances of same articulation/bowing on one note
Hi all,
I would personally consider that a bug!
script-engraver.cc:
void
Script_engraver::listen_articulation (Stream_event *ev)
{
/* Discard double articulations for part-combining. */
for (vsize i = 0; i < scripts_.size (); i++)
if (scm_is_eq (get_property (scripts_[i].event_, "articulation-type"),
get_property (ev, "articulation-type")))
return;
Umm...
The fact that it's coded doesn't make it not a bug… ;)
Should this be stripped down to a single markup without warning?
{ g_\markup "umm…" ^\markup "umm…" }
If the user intentionally doubles anything -- be it articulation,
markup, dynamic, or whatever -- I consider it a bug it it's stripped
from the output.
Kieren.
Re: vertical spacing of footnotes
Hi all, As can be seen in the attached image, the vertical distances between the footnotes are not identical. What is the recommended way to fix this? Looks like this is due to the presence or absence of descenders. If you added something like "\transparent q" to the end of the markup, it should ensure lines without descenders will have the same height as those with them. Am I the only one who thinks users shouldn’t have to add transparent letters with ascenders and descenders in order to have a consistent line height?! Working with text should not require such efforts… Kieren
Re: Benefits of Cairo backend over Ghostscript for PDF
Hi Andrew, In this day of gigabyte this an terabyte that, does a large PDF matter very much? What is the issue of concern? 1. For transferring/emailing, smaller is better for a number of reasons. 2. For those of us (e.g., Music Directors) who store and use multiple PDFs of complete musicals or operas (and, in the case of workshops, the associated scripts/libretti) on an iPad, the size of each PDF can make a huge difference, both in terms of the storage requirements and the responsiveness within the workflow. Hope that helps clarify! Kieren.
Re: Alternate Measures
Hi Greg, Is there a way I can set something at the top of the file where I can specify which version of the measure(s) I want engraved? Look for \tag, and you'll find exactly what you want! Hope that helps, Kieren.
Re: Anybody else playing with GPT4 and Lilypond?
Hi Saul, A practical follow up question: what is currently the largest repertoire of publicly available Lilypond scores? Ideally, something like the complete Bach chorales or Mozart piano sonatas. Mutopia? Kieren.
Re: Slurs running into each other
Hi Peter,
What can I do to avoid the outer slur colliding with the inner slurs?
Code the inner slurs as Slurs and the *outer* slur as a PhrasingSlur,
rather than the other way around (as you did):
f4\p\( aes8( des16. c32) |
c8.( bes32 aes) g8\) r8 |
As a secondary question, I always find that when I use a \tempo
indication, it always seems much too close to the staff. What is the
most elegant way of adding some vertical space below the tempo marking?
Most of my published music has a bigger gap, even if not much. Is there
a way to set this as a default for ALL scores?
I’ve \tweak-ed the padding here, but you can set it in a \layout block
and \include that file in all scores if you want(ed):
TheBusiness = \relative b' {
\key f \minor
\time 2/4
\tweak padding 2 \tempo "Andante Sostenuto"
r2 |
f4\p\( aes8( des16. c32) |
c8.( bes32 aes) g8\) r8 |
}
\score {
\new Staff {
\TheBusiness
}
\layout {}
}
Hope that helps!
Kieren.
Re: Tremolo/triplet problem
Hi Ralph, Shouldn’t the d be 4. [not 4]? bf2.:6 c4.:3 d4:3 | Maybe I’m misunderstanding…? Cheers, Kieren.
Re: ragged-bottom and spacing for individual pages
Hi Paul,
I have a separate voice where I put all my breaks and pageBreaks. I
haven't been able to make a blank markup. TIA on how to do that.
e.g.:
\version "2.25.1"
\paper {
indent = 0
ragged-bottom = ##f
}
{
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
c'1 \break c'1-\tweak padding 132 _\markup " " \pageBreak
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
}
Hope that helps!
Kieren.
Re: Problems hiding clef using \omit
Hi Dirck, I don't know what the term is for this "8", so i was not successful searching the manuals and snippets. ClefModifier <https://lilypond.org/doc/v2.25/Documentation/internals/clefmodifier> Hope that helps! Kieren.
Re: Disable all padding and collision around markup
Hi William,
In the following example, I use a section label and a TextScript on a
note. I offset the markup text so that it appears inside the staff, but
it still makes the section text higher up. I would like to know if it
is possible to disable this padding around the TextScript, so that the
section label appears directly over the staff without the extra space,
the same way as it does when there is no text script.
There are ways to "disable the padding" (a.k.a. have the spacing engine
ignore the TextScript). However, it might be just as easy — or maybe
even easier? — to simply tweak the X-offset and Y-offset rather than
using extra-offset:
%%% SNIPPET BEGINS
% --
\version "2.25.7"
\score {
\relative c' {
\once \override NoteHead.extra-spacing-width = #'( -6 . 0 )
\once \override TextScript.extra-offset = #'(-6 . -3)
\once \override TextScript.outside-staff-priority = ##f
\sectionLabel "Section label (extra-offset)"
\clef alto c2^\markup\whiteout\bold "Text"
}
}
\score {
\relative c' {
\once \override NoteHead.extra-spacing-width = #'( -6 . 0 )
\once \override TextScript.X-offset = -6
\once \override TextScript.Y-offset = -0.375
\once \override TextScript.outside-staff-priority = ##f
\sectionLabel "Section label (X-offset + Y-offset)"
\clef alto c2^\markup\whiteout\bold "Text"
}
}
%%% SNIPPET ENDS
Hope this helps!
Kieren.
Re: I'll be in Freiburg/Basel 9-10 January
Janek! It's been almost a decade since I've been active in the LilyPond community, so I'm not sure who can remember me Just the other day, I ran across my journal from the conference in which you wrote a whole bunch of helpful things (about managing development branches, amongst other things). :) I'll be travelling to Freiburg in a week for the funeral of Urs Liska. If anyone would like to meet - in Freiburg or in Basel - let me know. I so wish I could be there. Please convey my deepest sympathies to Urs’s family, and raise a glass in his honour if a suitable occasion arises. Best, Kieren.
Re: Different line breaks in parts
Hi Walter (et al.):
I am trying to produce a small score for a quartet and parts. What I
am trying to do is to be able to specify different line breaks for
each part. Because the note density is different for each part,
Lilypond produces parts that are too dense for my taste.
First thing to realise is that you can change the "density" of the
notes with the command/property
\override SpacingSpanner #'base-shortest-duration
as seen in the following snippet:
%%
\version "2.11.41"\include "english.ly"
\paper { ragged-right = ##t }
theMusic = \relative
{
c4 d8 e f4 g8 a |
bf4 af8 gf f4 ef8 df |
c1
}
\score
{
\theMusic
}
\score
{
\theMusic
\layout
{
\context
{
\Score
\override SpacingSpanner #'base-shortest-duration = #(ly:make-
moment 1 12)
}
}
}
\score
{
\theMusic
\layout
{
\context
{
\Score
\override SpacingSpanner #'base-shortest-duration = #(ly:make-
moment 1 24)
}
}
}
%%%
I also find Lilypond's default spacing to be (slightly) too cramped
for my taste -- I increase the default spacing in almost every score.
not necessarily have the line breaks in the same places
It may be that the spacing issue is the only one you need to fix --
i.e., once you increase the default spacing, Lily might just produce
"perfect" scores for all versions (i.e., score and parts)! =)
If not, you will need to define manual breaks (as suggested, e.g., by
Mark). However, I recommend that you keep the break definition
OUTSIDE of the music content -- after all, breaks are strictly
"presentation", and thus should be separate from content. [The #'tag
construct is a useful one, but it encourages mixing content with
presentation, which is not always desirable in the long run; in
particular, if you choose to define line breaks "per edition", your
music can quickly become cluttered with more #'tag elements than
actual notes!]
An example of what I'm suggesting is included below -- hope it helps!
Kieren.
___
partANotes =
{
...
}
partABreaks =
{
\repeat "unfold" 5 { s1 \noBreak } \break
\repeat "unfold" 7 { s1 \noBreak } \break
...
}
partBNotes =
{
...
}
partBBreaks =
{
\repeat "unfold" 6 { s1 \noBreak } \break
\repeat "unfold" 4 { s1 \noBreak } \break
...
}
...
fullScoreBreaks =
{
\repeat "unfold" 2 { s1 \noBreak } \break
\repeat "unfold" 12 { s1 \noBreak } \break
...
}
% FULL SCORE
\score
{
<<
\new Staff = "A" << \partANotes \fullScoreBreaks >>
\new Staff = "B" << \partBNotes >>
>>
}
% PART A
\score
{
\new Staff = "A" << \partANotes \partABreaks >>
}
...
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building a DIY Lilypond engraving server
Hey y'all, I've got a long-term Lilypond-related project I'm interested in working on, and I wanted to brainstorm a bit... I'm planning to publish all my music using Lilypond... of course! ;-) And for the most part, I will be personally making all the engraving choices (ahead of time), generating the appropriate PDFs, and making them available as "static documents" -- the standard publishing workflow. However, for my (Broadway-style) musicals, I'm hoping to allow the "consumers" to make certain choices and have Lilypond "dynamically" generate them the scores/parts/etc. Specifically, the customer should be able to accomplish as many as possible/feasible of the following: 1. Specify transpositions (on a per-song or even per section basis). 2. Make cuts (i.e., omit sections of the music). 3. Add/remove/modify repeats (e.g., "In Song #1, make mm. 22-24 a vamp"). 4. Force page turns. 5. Choose cue setups (e.g., "Reed 4 music: Song #1 goes into the synth part; Song #2 into the Reed 3 part; ..."). I'm sure there are other potential/desirable mods I'm not thinking of right now, but that's a good place to start this thread... What I'm looking for are some "best practices" for how this might be set up -- first from a technological standpoint (e.g., how to configure such a server), and second from a Lily-code standpoint (e.g., how to write code that would allow "in-line" modifications of the volta structures). Like I said, this is a *long-term* thought, so there's no rush... but if anyone has any bright ideas, I'd love to hear them! =) Best wishes, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Context creation
Hi Jesse,
If \context allegedly allows one to add notes to an existing context,
why does the following example not do so?
\version "2.10.33"
\new Staff = "mycontext" \relative c' { c4 d e f g2. }
\context Staff = "mycontext" \relative c' { g'4 g f e d c1 }
Because you have asked (implicitly) for two different Staff
contexts. =)
What you want is to force the two musics to be *consecutive* rather
than *concurrent*:
{ \new Staff = "mycontext" \relative c' { c4 d e f g2. } \context
Staff = "mycontext" \relative c' { g'4 g f e d c1 } }
Hope this helps!
Kieren.
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Re: piano chamber music score question
Hi Dan, Hi, I have assembled the piano score part for a violin, cello, piano trio arrangement, and I was wondering if there is a way to shrink the violin and cello staffs on the score so that they aren't as big as the piano part (to increase visibility and overall space). thanks! See Example 6.5 on the page linked here: <http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Staff- notation> Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
unexpected behaviour with subdivideBeams
Hey 'Ponders!
1. Can anyone explain the odd behaviour of the attached snippet? In
the output I get, the absence of the "\set subdivideBeams..." line in
the second example results in the music being in two different Staff
(as opposed to Voice) contexts!!
2. I discovered this issue while trying to solve another problem: the
"6/8" beaming of the 16th triplets despite the 3/4 time (as seen in
the first example). If anyone can help me with that as well, I'd
appreciate it.
Thanks!
Kieren.
%%
\version "2.11.47"
\include "english.ly"
musicA = \relative
{
\time 3/4
#(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
#(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
\set subdivideBeams = ##t \set beatLength = #(ly:make-moment 1 8)
<<
{ \voiceOne
\times 2/3 { fs'16 d' cs } \times 2/3 { b a gs } \times 2/3 { fs
gs a } \times 2/3 { gs fs e }
\times 2/3 { d e fs } \times 2/3 { e d cs } |
}
\new Voice { \voiceTwo
fs8 e d cs b as |
}
>> \oneVoice |
}
\score { \musicA }
musicB = \relative
{
\time 3/4
#(override-auto-beam-setting '(end * * 3 4) 1 4 'Score)
#(override-auto-beam-setting '(end * * 3 4) 2 4 'Score)
<<
{ \voiceOne
\times 2/3 { fs'16 d' cs } \times 2/3 { b a gs } \times 2/3 { fs
gs a } \times 2/3 { gs fs e }
\times 2/3 { d e fs } \times 2/3 { e d cs } |
}
\new Voice { \voiceTwo
fs8 e d cs b as |
}
>> \oneVoice |
}
\score { \musicB }
%%%
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Re: markup question
Hi James,
Oh, thanks, I actually solved my problem.
When Mats said
I hope you know about the built-in capabilities in LilyPond to
handle non-standard
key signatures. As long as you only want to have normal flat and
sharp symbols
in your custom key signature, there should be no need to typeset
it manually using markups.
I believe he was pointing you towards a solution more like
{
\set Staff.printKeyCancellation = ##f
\once \override Staff.KeySignature #'X-extent = #'(0 . 6)
\set Staff.keySignature = #'(((0 . 5) . -1/2) ((0 . 2) . -1/2) ((0 .
6) . -1/2))
\clef mezzosoprano
\once \override Staff.TimeSignature #'X-extent = #'(-4 . -0.5)
\grace { s1 }
\once \override Staff.Clef #'full-size-change = ##t
\clef tenor
\once \override Staff.KeySignature #'rotation = #'(180 0 -.43)
\set Staff.keySignature = #'(((0 . 1) . -1/4) ((0 . 4) . -1/4) ((0 .
0) . -1/4))
s1
}
While it's a few more lines of code than yours, it is "more correct",
musically speaking.
What I mean by that is, my code really *has* changed the key
signature -- so that, for example, accidentals will work "as
expected", you won't have problems with transposition, the spacing of
the key signature elements are consistent, etc. -- whereas your code
simply makes the key signature *look* like it's been changed.
Hope this helps!
Kieren.
[p.s. For the record, I didn't take the time to make sure that the
second key signature change was "correct" -- if you adopt this
option, you'll have to make sure that the scale tones are actually
adjusted according to your wishes...]
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Re: Slur in wrong place: rests too high: adjust stave separation for just one system
Hi Frederick,
In the following extract, the slur from b to a is too high. Is there a
remedy for this?
You can always use #'extra-offset to move it.
Also, why are the quaver rests so high?
Do I have to write c8\rest or something for each one?
See the docs on "explicitly instantiating voices" (or whatever it is
now) to see what you were doing wrong -- this should get you on the
right track:
slurFix = \once \override Slur #'extra-offset = #'(0 . -1)
\score
{
\relative c'
{
r8 r8\<
<<
{ \voiceTwo \slurFix ^( )\![ c] }
\new Voice { \voiceOne d' ~ d16( c a g) \bar "||" }
>>
}
}
Hope this helps!
Kieren.
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Re: Raised 6th step in figured bass
Hi Reinhold,
How can I generate the raised 6th figure using a backward slash
through the 6?
Maybe you could start with
\markup { \slashed-digit #6 }
or
\markup { \combine \musicglyph #"six" \translate #'(0.2 . -0.1)
\fontsize #3.5 "/" }
and tweak as necessary?
Hope this helps!
Kieren.
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seeking suggestions: stage directions "staff"
Hi all! I'm engraving my current work -- a "live film" (as we're currently calling it) -- and would like some help on one matter. In the score, I need to include (1) the script, and (2) stage directions. These items will be text, and will be synchronized with the music to some degree, but not rhythmicised in any strict way. My current plan is to use one extra Staff context (with all the normal engravers removed) for each of these two text "streams", and simply attach \markuplines to notes (or rests or skips). Does anyone have a better suggestion? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: seeking suggestions: stage directions "staff"
Hi Valentin,
It will not work, i'm afraid. \markuplines cannot work inside a
\score block, IIRC.
I've gotten around that by using
\markup \override #'(line-width . 64) \wordwrap { ... }
If you're up for a sponsorship or a bounty, I'll gladly join you!
Well, from the thread you referenced, it looks like you're doing/
needing something different than I am (right now)... I simply want to
run a series of stage directions or script lines/cues above the
(musical portion of the) score -- e.g., "Lights up on Little John and
Robin Hood." -- without attaching the text to a specific instrument.
Best,
Kieren.
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Re: how to set different line-widths for different movements within same score?
Hi Peter,
I would like to set two short movements of a piece
on the same page, but with different line-widths
No problem:
%%
\version "2.11.47"
\paper { ragged-right = ##f indent = 0 }
\score
{
{ r4 c d e f g a b c1 }
\layout { line-width = 8\cm }
}
\score
{
{ r4 c d e f g a b c1 }
}
%%
Hope this helps!
Kieren.
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Re: constructing a jazz piece
Hi Bernie,
i'm happy to find a way to "globalize" rehearsal marks, double bar
lines, etc.
can anyone help me figure out why my /global block is creating
a new staff below my instrument staves each time?
Your code adds the \global in its own (implicit) Staff:
\new StaffGroup = "horns" <<
\global
\new ChordNames = "trpchords" \transpose c d {\harmony}
is the same as
\new StaffGroup = "horns" <<
\new Staff \global
\new ChordNames = "trpchords" \transpose c d {\harmony}
You need to COMBINE the global stuff with some other staff's music --
see the trumpet staff in the attached (modified) code.
Hope this helps!
Kieren.
%%
\version "2.11.47"
global =
{
\time 5/4 \set Score.markFormatter = #format-mark-box-letters
\tempo 4=108
s1^"Intro - open" s4 | s1 s4 |
s4 \mark \default s1 |
\repeat unfold 7 { s1 s4 } \bar "||"
s4 \mark \default s1 |
\repeat unfold 7 { s1 s4 } \bar "||"
s4 \mark \default s1 |
\repeat unfold 6 { s1 s4 } \bar "|."
}
harmony = { c'' }
trumpet = { c'' }
tenorsaxone = { c'' }
trbn = { c'' }
piano = { c'' }
%% and then later on in the score block
\score
{
<<
\new StaffGroup = "horns"
<<
\new ChordNames = "trpchords" \transpose c d { \harmony
}
\new Staff = "trumpet" << \global \trumpet >>
\new ChordNames = "tenorchords" \transpose c d {
\harmony }
\new Staff = "tenorsaxone" \tenorsaxone
\new ChordNames = "chords" \harmony
\new Staff = "trbn" \trbn
>>
\new StaffGroup = "rhythm"
<<
\new ChordNames = "chords" \harmony
\new PianoStaff = "piano"
<<
\new Staff = "rh" \piano
\new Staff = "lh" \piano
>>
>>
>>
}
%%
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Re: how to set different line-widths for different movements within same score?
Hi Peter, Now I just need to figure out how to straightforwardly adjust staff sizes between the different movements. See 4.2.1 in the docs (v2.11). As for "straightforwardly"... Does anyone know why it is that "layout- set-staff-size does not change the distance between the staff lines"?? It's quite a pain to try to figure out the correct magstep adjustment for every different score and/or staff size used... =\ SPONSORSHIP OFFER: Lilypond should have a single command which sets the staff/font size straightforwardly. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to extract parts
Hi Rael,
How we can extract parts from a orchestral score like the scores
from mutopia project
(I'm trying the Beethoven Romanze op. 50).
1. Create a text file (e.g., "Romanze_cornig_part.ly") in the same
folder as the rest of the Romanze, with the code
\version "2.11.47"
\include "cornig.ly"
\score { \cornig }
2. Compile the file using Lilypond.
3. Repeat for each desired part.
And would be great if we have some better explanation of this
feature in the official documentation..
This is all explained pretty well in the documentation.
Regards,
Kieren.
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Re: change default horizontal spacing
Hi James,
While I'm not particularly fond of how wide the spacing in the
earlier example is,
I prefer it to the spacing in the later example. So, I'm starting
to wonder
about how I can get somwhere in between.
I fear you're comparing apples to oranges: from the sample documents
you posted, it seems clear that the earlier document was specifically
stretched to fill the whole page, whereas the later document wasn't.
For example, try this code in your current version, and you'll find
it's essentially identical to the earlier version:
\header { title = "A scale in LilyPond"}
\paper { ragged-right = ##f }
\relative {\time 3/4 c\ppp d\pp e\p f\mp g\mf a\f b c\ff d\fff }
In other words, make sure you're comparing similar outputs before
changing something like the "default horizontal spacing".
Of course, If you really *do* want to change the DHS, there's lots of
information on how to do it in the documentation!
Regards,
Kieren.
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Re: Roman numeral analysis
Hi Jesse, Hugo, et al.: I think this would be a wonderful implamentation for a future version of Lilypond. I know that lots of people would benefit from a context like this. Well, in as much as this could possibly be done -- without *immense* amounts of programming (and some AI) -- it's already in there: ChordNames can certainly be overridden to show (e.g.) "V 6/4" in place of "C/G". In other words, using ChordNames.chordNameExceptions and \transpose, you can probably already get pretty close to what you want in the current version. As for *real* (i.e., human-equivalent) analysis, it will be extremely difficult to have this automated... heck, it's often extremely difficult to get two *humans* to agree on the analysis of a given musical passage! ;-) Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how do I control the size of the musical fonts?
Hi Victor,
Suppose I want to shrink a whole score by a few percent so that it
takes one page less?
That info is in the documentation -- specifically, in Section 4.2.1
("Setting the staff size").
Or in piano + solo instrument, it's customary to print the solo
slightly smaller in the score. How do I do that?
There are snippets showing you how to do this in the LSR -- search
for "staff size".
Best wishes,
Kieren.
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Re: Partial measures at the end of a piece
Hi Steven, Is there a good way to have a partial measure at the end of a piece and not get barcheck warnings? Since it's the end of the piece, why not just leave off the final | in your code? Its absence will not stop the actual (visible/engraved) barline from appearing... If you really want to "kill-fill the bar" but keep the | in your code, you could always use \time 4/4 c1 | c2.*4/3 | Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \layout { \context { \Staff \set ... = ... } } don't work (see NR 5.1.4)
Hi Germain,
NR 5.1.4 states that the \set keyword is optional.
I don't think that's correct -- i.e., as you've discovered, you CAN'T
use \set in the \layout { \context { ... }} block!
Is this a regression, or a doc issue ?
This has always been the case, as I recall -- so it sounds like a doc
issue to me.
Best,
Kieren.
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Re: \layout { \context { \Staff \set ... = ... } } don't work (see NR 5.1.4)
Hi Germain
What a pity... Source code would have looked more balanced
(consistent ?) if there where "\set"s on same level as "\override"s
Agreed... =\
I put all the \set stuff (without "\set"s) at the top of the block:
\context
{
\Score
someProperty = #A
anotherProperty = #B
\override Grob #'property = #C
...
}
But it's not really a perfect solution.
Cheers,
Kieren.
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Re: Additional dynamics for MIDI
Hi Michael:
it would be very useful to have some universal dynamics
for the layout and midi, some additional dynamics for the
layout only and some additional dynamics for the midi only.
Depending on how your brain works, there are two obvious ways to do it:
1. Define three variables:
notesAndUniversalDynamics = {}
layoutDynamics = {}
midiDynamics = {}
and combine them as needed (i.e., #1 and #2 in the "engraved output"
block, and #1 and #3 in the MIDI block).
2. Write everything in one variable, and #'tag the layout-only and
midi-only items, then use #'keep-with-tag in your "engraved output"
and MIDI blocks.
Hope this helps!
Kieren.
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Re: Inspirational Headwords for Chords section of manual
Hey, y'all! We're now looking for a chord- and figured-bass-savvy user to spend 30 *minutes* working on two small examples, like you see at the top of NR 1.x sections. These examples must be legal to add to lilypond, and ideally should be less than four staves in total. I'm happy to whip something up, but it will have to wait until the beginning of July. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Divisi and Unison
Hi Peter,
So, is there a lilypond slashcommand to
render the little diverging arrows (point-
ing "northeast" and "southeast") that appear
at the end of a staff that's about to be
divisi beginning in the next system? Or
has anyone come up with a nice codesnippet
to draw these little arrows?
Still looking for an answer to the above.
You might start with the following:
arrow = \markup { \fontsize #5 \override #'(thickness . 3)
\combine \draw-line #'(0 . 4) \arrow-head #Y #DOWN ##t }
\markup { \combine \raise #-1 \rotate #45 \arrow \raise #1
\rotate #135 \arrow }
Please post your final version -- it would be a useful LSR snippet!
Best,
Kieren.
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CR/LF regression in Lilypond editor
Hello all, Has anyone else run into issues with the way the Lilypond editor (Mac OS X 10.4) handles CR/LF? I don't remember exactly when, but starting at least five or six .01 versions ago, anything I cut and paste from my Lilypond editor to (e.g.) my email would have no CR/LF left in them. [Still happens with 2.11.49 -- I just checked.] It was only an annoyance, until I (just) realised that many confusing errors I've been running into have been from Lily thinking that (e.g.) % some comment a4 b c d was % some comment a4 b c d which, as you can imagine, are quite different! =) Regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stopTrillSpan
Hi James,
I'm wondering if there's a way to do without the spacer notes.
See attached modifications.
Be sure to read the docs, especially the section on "relative mode"
and "explicitly instantiating voices" (or whatever they're called now).
Hope this helps!
Kieren.
%
\version "2.11.47"
original = \relative c'
{
\pitchedTrill 1\startTrillSpan a |
<<
\relative g' { g1\stopTrillSpan }
\\
\relative c' { c2 b } >>
}
kierenA = \relative c'
{
\pitchedTrill 1\startTrillSpan a |
<<
{ \voiceOne \relative g' { g1\stopTrillSpan } }
\new Voice { \voiceTwo \relative c' { c2 b } }
>> \oneVoice
}
kierenB = \relative c'
{
\pitchedTrill 1\startTrillSpan a |
<<
{ \voiceOne g'1\stopTrillSpan }
\new Voice { \voiceTwo c,2 b }
>> \oneVoice
}
\score { \original }
\score { \kierenA }
\score { \kierenB }
%%
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Lilypond-LaTeX on Mac OS X (TeXShop & Lilypond 2.11.x)
Hello all, Has anyone been able to get Lilypond-LaTeX to work on Mac OS X since '--psfonts' was deprecated (2.11.xx)? I'd appreciate hints on how to get it going again... Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-LaTeX on Mac OS X (TeXShop & Lilypond 2.11.x)
Hi all, I've almost got it going, but I keep getting the error global name 'set' is not defined Any hints would be appreciated. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-LaTeX on Mac OS X (TeXShop & Lilypond 2.11.x)
Graham: See http://lists.gnu.org/archive/html/lilypond-devel/2008-03/msg00216.html Thanks! Changing lilypond-book to start with #!/usr/bin/env python seems to fix the problem when lilypond-book is called (manually) from the command line... But I still get the same problem (as seen in my TeXShop log file) when using TeXShop -- any ideas how I can force Python 2.5 to always be used, regardless of whence its called? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inspirational Headwords for Chords section of manual
Hi all, But extremely busy ... maybe we can tempt one of the other composers or other interested parties on the list into working on the next set of headwords? I'm totally willing... but totally swamped until mid-August. =\ Once I get back from the premiere of my newest piece (at the Edinburgh Fringe Festival), I'd love to help out. Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
wordwrap inside markuplines?
[Lilypond 2.11.49]
Hello all!
Just wondering how to best code a wrapped text markup inside a top-
level markup block -- I tried
\markuplines \column-lines
{
\wordwrap { Long text Long text Long text Long text Long text Long
text Long text Long text Long text Long text Long text Long text Long
text Long text Long text Long text Long text Long text Long text Long
text Long text Long text Long text Long text Long text Long text Long
text ends here }
\line { second “line” }
\line { third “line” }
}
but the leading between the wordwrap and the second line is terrible.
Any hints would be greatly appreciated.
Kieren.
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Re: wordwrap inside markuplines?
Hi Reinhold,
Are you sure you don't want to use \wordwrap-lines here?
Looks like I should... but
\markuplines \wordwrap-lines \fontsize #-2
{
\line { [TANTALUS and PELOPS are whispering loudly.] }
\line { \italic { "PELOPS: " } Father, I must speak with you in
confidence. }
\line { \italic { "TANTALUS: " } Yes? }
}
doesn't give me what I want. What am I doing wrong?
Thanks,
Kieren.
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Re: wordwrap inside markuplines?
Hi Reinhold,
Here you really need to use \column-lines...
I was trying that... but it doesn't seem to work either. =\
So, basically, each \markuplines should typically be followed by
\column-lines, and the contents of \column-lines should either be
individual
lines or lists of lines generated by \wordwrap-lines, \justified-
lines and
the like.
The following crashes my copy of Lilypond:
\markuplines \column-lines \fontsize #-2
{
\line { [TANTALUS and PELOPS are whispering loudly.] }
\line { \italic { "PELOPS: " } Father, I must speak with you in
confidence. }
\line { \italic { "TANTALUS: " } Yes. }
\wordwrap-lines { Long text Long text Long text Long text Long text
Long text Long text Long text Long text Long text Long text Long text
Long text Long text Long text Long text Long text Long text Long text
Long text Long text Long text Long text ends here }
\line { \italic { "TANTALUS: " } Wow… that sux. }
}
Am I *still* doing something wrong, or is this a bug?
Thanks,
Kieren.
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Re: wordwrap inside markuplines?
Hi Reinhold,
That \fontsize is the problem. If you remove it, everything works.
[...]
I'm not sure what is the correct way to change the font size of a
markup list
I'm using
\markuplines \override-lines #'(font-size . 2) \override-lines
#'(baseline-skip . 3) \column-lines
{
\wordwrap-lines { Line 1 }
\wordwrap-lines { Line 2 }
...
}
It seems to work; thanks!
Of course, I wish Lilypond had even more fine-tuned control of text
markup (e.g., tab control, indent controls, etc.). I know it's not
meant to be a full-fledged word processor -- but unfortunately,
lilypond-book has its own problems which make it unsuitable for the
project I'm currently engraving.
Thanks again,
Kieren.
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\underline properties
[Lilypond 2.11.49] Hello all, Can the properties of \underline (such as thickness, distance from text, padding/width, etc.) be tweaked? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
best way to code music with instrument-switch
[Lilypond 2.11.49] Hello all! I need to write out some scores and parts that have multiple instrument switches (e.g., flute to alto flute to piccolo) per movement. I like to keep my key signature stuff in a \global variable, but then each new key signature does not appear correctly (i.e., transposed) for the transposing instrument(s). =\ So what I've been doing instead is splitting my music up into sections, with a new section any time there is an instrument switch -- as you can imagine, this makes for ugly Lily-code. Is there an obvious way to handle this -- using a combination of \transposition and \transpose -- which would allow me to: 1. have a single \global variable; 2. enter each player's music, in concert pitch, in a single variable; and, 3. output a C score and a transposed score (and parts), with the correct key signatures in each Staff? Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best way to code music with instrument-switch
Is there an obvious way to handle this -- using a combination of \transposition and \transpose -- which would allow me to: 1. have a single \global variable; 2. enter each player's music, in concert pitch, in a single variable; and, 3. output a C score and a transposed score (and parts), with the correct key signatures in each Staff? For the record, if there's a way to force the KeySignature to redraw in a single part/Staff, that might be a sufficient workaround. Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
defining a \markup-only context ("Staff"?)
[Lilypond 2.11.49]
Hello all,
I'm trying to define a context which will act like a Staff, but will
only contain \markup objects (attached to skips). I may need to put
it above the rest of my GrandStaff, or possibly embed it (e.g.,
between the strings and the piano).
I've started with
\context
{
\type "Engraver_group"
\name "ScriptLine"
\consists "Output_property_engraver"
\consists "Axis_group_engraver"
\consists "Text_engraver"
}
But regardless of where I put my ScriptLine context, it doesn't
trigger vertical spacing correctly -- in particular, it doesn't seem
to have any vertical extent, there are lots of collisions (i.e., it
overlaps with adjacent Staff contexts), and the \markup text (or
entire context?) always floats to the top of the GrandStaff that
contains it.
Without posting an example (which might be hard to reduce), is there
anything someone can see or suggest?
Thanks,
Kieren.
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Re: tweaks
Hi James,
I don't tweak very often, but somehow I'm missing something here.
\override PhrasingSlur #'height-limit = #1
the phrasing slur that follows is generating an error and I just
don't understand.
No error here:
%
\version "2.11.49
"\include "english.ly"
\paper { indent = 0 ragged-right = ##t }
\relative
{
c'\( d e f g1\) \break
\override PhrasingSlur #'height-limit = #1
c,4\( d e f g1\) \break
}
%%%%%%
Must be something else in your code...?
Kieren.
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[repost] CR/LF regression in Mac OS X Lilypond editor
Hello all, Has anyone else run into issues with the way the Lilypond editor (Mac OS X 10.4) handles CR/LF? I don't remember exactly when, but starting at least five or six .01 versions ago, anything I cut and paste from my Lilypond editor to (e.g.) my email would have no CR/LF left in them. [Still happens with 2.11.49 -- I just checked.] It was only an annoyance, until I (just) realised that many confusing errors I've been running into have been from Lily thinking that (e.g.) % some comment a4 b c d was % some comment a4 b c d which, as you can imagine, are quite different! =) Regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best way to code music with instrument-switch
Hi Paul, I always do this manually even if I put the concert key in a global block. I'm not sure what you mean here... what do you always do manually? of course the different players ofter make switches at different places which I agree would make ugly code. Yup. =\ (Thanks for reminding me to use \transposition for midi output). Glad I could help. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
SPONSORSHIP OFFER: centering a context between two other contexts
Hello all, I would pay pretty good money for a *real* solution to the problem of centering one context between two others... In particular, the solution I'm envisioning would solve, once and for all, the age-old "piano with centred dynamics" problem -- right now, I'm fighting with that, and it's frustrating. Of course, the ultimate solution would also be immediately applicable to: placing text/performance instructions between staves; setting a single line of lyrics between two vocal/choral lines; etc. Any takers and/or cosponsors? Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beams
Hi James,
The output has the cross staff beams horribly, horribly wrong.
I'm not sure exactly what you're looking for, but maybe the following
modified code will get you going in the right direction:
%%
\include "english.ly"
global = { \time 6/8 \key ef \major \override Fingering #'avoid-slur
= #'inside }
RH = \relative
{
g'''8 r r16 8 r16 g bf ef | %123
<<
{ \voiceTwo g16 ef bf g \csd \voiceOne ef bf \csu \oneVoice g>4 ~ 16 }
\new Voice { \voiceOne \stemDown s4 r16 s4. } >>
}
LH = \relative
{
\clef bass
ef,,16( bf' ef bf ef bf' ef, bf' ef) r bf,8( | %123
ef8) r \voiceTwo d\rest ef16 \override Fingering #'direction = #1
bf'-1 ef,-2 bf ef-1 bf | %124
}
\score
{
\new PianoStaff
<<
\new Staff = "RH" << \global \RH >>
\new Staff = "LH" << \global \LH >>
>>
}
%%
Cheers,
Kieren.
p.s. I'm curious... why do you use nested \relative commands? For me,
it makes the code much more difficult to read than it needs to be.
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Re: SPONSORSHIP OFFER: centering a context between two other contexts (followup)
Hey all, After thinking about it a bit, it seems to me that the current (*wicked awesome*, BTW) skyline coding could come to the rescue here... =) IMO, the ultimate algorithm for a piano-with-centered-dynamics situation might be as follows: 1. At any given point requiring a dynamic/hairpin, the grob-box containing the dynamic/hairpin is inserted between the skylines of the two surrounding Staff contexts. 2a. If this insertion can be done without the dynamic/hairpin box touching either skyline, the two Staff contexts remain unaffected. 2b. If the dynamic/hairpin grob-box touches either skyline, the lower Staff context is pushed down until the grob-box no longer (or just barely) touches the skylines. [In other words, this context would be "super-skylined" or "flatline- able", with a minimum height of 0 where a Staff context has a minimum height of 4.] 3a. The dynamic/hairpin grob-box #'padding would be user-settable. 3b. There would also be a setting (default = ##f) which would force all dynamic grob-boxes within a single system to be aligned on the same vertical axis. How difficult (read: expen$ive) would it be to add such a feature? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best way to code music with instrument-switch
Hi Paul, Change the key in the music when the player changes to an instrument in another key. But when this happens at the same time as the \global key change, don't you get an error? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best way to code music with instrument-switch
Hi Paul, In fact I don't normally use a \global key change just \global timing and dynamics. Hmmm... unfortunately, that makes for (slightly) more work and (slightly) less-maintainable code. However, it does give me an idea: perhaps one could use \tag in the \global section to control key signature presentation on a per-instrument basis. In any case, we should really -- as a community -- come up with a set of "best practices" (or at least "guidelines"), since this is a situation that is both common and somewhat complicated to handle in Lilypond. One starting place might be an additional command for transposing from one instrument to another. A year or so ago, I sponsored a feature which was related to this... it might help us here. Han-Wen: what ever became of the whole instrumentSwitch sponsorship? Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practices
Graham, We *have* a set of "best practices". They're LM 5 Working on LilyPond projects. Unless I'm missing something, there is no "best practice" on how to (e.g.) efficiently handle instrument switching. There are, of course, several references to the concept widely scattered throughout the documentation, and a few tips/snippets here and there on *some* of the techniques required (e.g., \transpose). But what I'm talking about is a REAL-WORLD, BEST-PRACTICE example/ tutorial -- can you point me to that part of the documentation, please? I wrote them two years ago, and AFAIK nobody has ever read them. Actually, I read them several times several years ago -- when I was engraving "Drunken Moon" -- and have referred to them several times since. For a simple score (which has no key changes and no instrument switches), I suppose the section is sufficient. Sadly, it doesn't solve the myriad other issues that actually arise when writing/coding real multi-instrumentalist music, so it's not as helpful as it should be. We welcome more suggestions for this section, of course. Okay: I suggest you include a section which shows how to code a score consisting of multiple key signature changes, with multiple instrumentalists each of whom switch between two (or more) instruments of different transpositions, and demonstrate how both transposed and non-transposed full scores and parts can be compiled with a minimum of effort and extraneous code, while still conforming to the "best practices" laid out in other sections of the documentation (e.g., use of \global variables, etc.) For the record, I don't think it would be very useful just to put non- peer-reviewed ideas up there, and hope not to lead Lilypond coders astray -- once we, as a community/list, have actually settled on some (truly) best practices, I'll be happy to write them up and submit them for the docs. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practices
Hi Valentin, Not only have I read them too There you go, Graham: at least two people have read your "best practices" docs! ;-) I don't think the docs are incomplete, I think *we* are, as LilyPond coders. I'm afraid all of us are actually making history right here, right now. Translation: The documentation needs to be MORE COMPLETE than it is now, based on the trails WE are blazing with our "unprecedented" scores. There is no reason that any Lilyponder -- especially a newbie -- should have to reinvent the wheel on something as common (in Western chamber and orchestral music) as instrument doublings. For the record, I'm happy to write the final documentation... but I still feel that the discussion thread should stay open for a while, to make sure all options have been considered and the best practice(s) have really been identified. I think we need to confront our practices, our trial-and-error practices etc. to get a better point of view on this. Agreed... which is precisely why I've been posting these discussions! =) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practices
Hello all,
For anyone who is interested in putting their 2¢ in on this
discussion...
Here is a simple instrument-doubling-with-key-signature-changes
challenge:
%
\version "2.11.49"
\include "english.ly"
#(set-global-staff-size 14)
\layout { \context { \Score printKeyCancellation = ##f } }
global =
{
\time 4/4 \key c \major s1*2 \bar "||"
\key c \minor s1*2 \bar "||"
\key d \major s1*4 \bar "||"
}
flute = \relative
{
c'4^\markup { flute (in C) } d e f | g1 | c,4 d ef f |
g1^\markup { alto flute (in F) } | d4 e fs g | a1 |
d,4^\markup { piccolo (in C') } e fs g | a1
}
\markup { C SCORE/PART }
\score { \new Staff = "fl" << \global \flute >> }
\markup { TRANSPOSED SCORE/PART }
\score { \new Staff = "fl" << \global \flute >> }
\markup { TRANSPOSED SCORE/PART SHOULD MATCH THE FOLLOWING: }
\score
{
\relative
{
\time 4/4 \key c \major c'4^\markup { flute (in C) } d e f | g1
\bar "||" \key c \minor c,4 d ef f |
\key f \minor c'1^\markup { alto flute (in F) } \bar "||" \key g
\major g4 a b c | d1 |
\key d \major d,,4^\markup { piccolo (in C') } e fs g | a1 \bar
"|."
}
}
%%
The goal is to make this (i.e., the transposed score/part) happen with:
1. a minimum of additional code;
2. a minimum of structural changes (e.g., if possible, we want
to keep the key changes in a single variable, not break up the flute
music variable, etc.);
3. a maximum of code reusability.
In other words, something that can easily be put in a template for
the average Lilypond user.
Good luck!
Kieren.
p.s. For the record, I haven't been able to find a way to use \tag
and \transpose together to solve the problem -- it always requires
code duplication or restructuring -- but my intuition currently says
that's the best approach...
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Re: SPONSORSHIP OFFER: centering a context between two other contexts (followup)
Hi Andrew, The ultimate Aligned Dynamics Engraver as described above would need to handle two cases: Case A, baseline aligned dynamics [...] Case B, vertical centering between skylines on a mark-by mark basis [...] Well put! I don't know how hard that would be, but I think it would be worth it. Agreed -- looking forward to seeing how this idea progresses. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: compressMusic causes error
Hi Stefan,
I don't know, what could be wrong with this snippet:
\version "2.11.49"
\relative { \compressMusic #' (1 . 2 ) {c4 c g' g a a g2 } }
Is it a bug of the version 2.11.49?
In the NEWS section, you'll see that \compressMusic has been renamed
\scaleDurations.
Hope this helps!
Kieren.
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Re: best practices
Hi Ian,
I really appreciate the spirit of the challenge, but can you
correct it as the alto flute's in G?
Oops! I've been going back and forth in both directions (\transpose
and \transposition) so much, I lost track! =\
Thanks for catching that...
Best,
Kieren.
%
\version "2.11.49"
\include "english.ly"
#(set-global-staff-size 14)
\layout { \context { \Score printKeyCancellation =#f } }
global {
\time 4/4\key c \major s1*2 \bar "||"
\key c \minor s1*2 \bar "||"
\key d \major s1*4 \bar "||"
}
flute =relative
{
c'4^\markup { flute (in C) } d e f | g1 | c,4 d ef f |
g1^\markup { alto flute (in G) } | d4 e fs g | a1 |
d,4^\markup { piccolo (in C') } e fs g | a1
}
\markup { C SCORE/PART }
\score { \new Staff =fl" << \global \flute >> }
\markup { TRANSPOSED SCORE/PART }
\score { \new Staff =fl" << \global \flute >> }
\markup { TRANSPOSED SCORE/PART SHOULD MATCH THE FOLLOWING: }
\score
{
\relative
{
\time 4/4 \key c \major c'4^\markup { flute (in C) } d e f |
g1 \bar "||" \key c \minor c,4 d ef f |
\key f \minor c'1^\markup { alto flute (in G) } \bar "||"
\key g \major g4 a b c | d1 |
\key d \major d,,4^\markup { piccolo (in C') } e fs g | a1
\bar "|."
}
}
%%
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Re: How do you move a couple of words down a bit?
Hi Frederick, in version 2.10.33, how do you move lyrics down a bit? Just two words. \override LyircText #'extra-offset = #'(0 . -4) two words \revert LyircText #'extra-offset or \override LyircText #'Y-offset = #-4 two words \revert LyircText #'Y- offset You may have to adjust the -4, of course, to suit your particular situation. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Shifting headers (title, composer, opus, etc.) vertically upward
Hi Drew, The exception, at the moment, is that I don't know how to change the (vertical) position of pieces of the \header block - I want to move the title, composer, poet, etc. text bits vertically upward on the first page so that more systems of music will fit on the page. 1. You can change the way the bookTitleMarkup and scoreTitleMarkup are defined, to make the title block(s) take up less vertical space. 2. You can change \paper properties like before-title-space, after- title-space, and between-title-space, to have more systems fit on the (first) page. 3. You can use \noPageBreak at the end of the system that Lilypond is pushing to page 2, to force it onto page 1. In each case, search the (2.11) docs [including the LSR] for those respective terms -- I'm sure you'll find more than enough info to assist you. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange lyric problem
Hi James, it's processing the % as a word. Are you on MacOS? Regardless, it might be a carriage-return/line-feed issue (like the one I fight with in the MacOS Lilypond editor) -- see what happens if you surround the offending code/line with blank lines. Good luck! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beams
Hi James, So is this a bug? Looks like it... or is there some way around this? Did my solution (posted earlier) not work for you? Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Moving horizontally a \markup block that's outside score
Hi Risto,
was wondering if it's possible to move around
a \markup block that's outside the \score block.
One solution is to use \translate.
Hope this helps!
Kieren.
\paper { indent = #0 }
{
\new ChoirStaff
<<
\new Staff { c'2 c' }
\new Staff { c'2 c' }
>>
}
\markup
{
\translate #'(-1.5 . 0) \column
{
"How to move this horizontally?"
"Preferably up to the thick line on the left."
}
}
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globally set \markup \box #'box-padding
[Lilypond 2.11.49]
Hello all,
I need boxed markups with a set padding, i.e. I'm currently using
^\markup { \override #'(box-padding . 1) \box { ... } }
How can I set this value once, rather than needing to do it each
time? I've tried
\override TextScript #'box-padding = #1
but Lilypond says
"warning: cannot find property type-check for 'box-padding'..."
Any help would be appreciated.
Kieren.
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Re: Are parallel slurs possible?
Hi 'sdfgsdhdshd'... ;-)
In a score with 3 notes, is it possible that the first note has a
dashed slur
with the third, while the second note has a solid slur with the third?
You could do something like the following:
%
\version "2.11.49"
\include "english.ly"
phrasingSlurDashed =
{
\override PhrasingSlur #'dash-period = #0.75
\override PhrasingSlur #'dash-fraction = #0.4
}
\relative
{
\phrasingSlurDashed c'\( d( e)\)
}
%%
Hope this helps!
Kieren.
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Re: globally set \markup \box #'box-padding
Hi Nicolas, Thanks for the tip! I don't know if it is a good advice Why not? [For the record, I'm going to stick with my per-occurrence override, since you've advised against using this tip...] Also, why *isn't* there a better way to set such properties? I would have thought *all* user-settable properties were globally- settable... Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Make LilyPond go on to page two
Hi Frederick, I've assembled a stack of \markups with two \scores within each (cantor/choir). Without seeing the code, it's difficult for me to figure out 1. why you've written your score this way; and, 2. how to help you. Please include a snippet -- minimized, if possible -- which shows the issue(s). Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different rhythmic units for tuplet's numerator and denominator
Hi Uri,
I want to write 3 against 5. [...]
I will argue against most people and most notation manuals and most
modern scores that the only correct way to notate this is 3 eight-
notes
I often feel the same way -- depending on the situation, I often want
(e.g.) 2 half notes as a "tuplet" in a 3/4 bar, whereas the "correct"
way is to have 2 quarters...
Unfortunately no editor allows one to produce it, which is a very
disturbing fact.
Could lilypond be the one?
Naturally... =)
Maybe the following snippet will give you the hint(s) you need:
%
\version "2.11.49"
upper = \relative
{
c'4 c \times 4/3 { c4*1/2 c c }
c4 c \times 4/3 { c8 c c }
}
lower = \relative
{
c'4 c \times 4/5 { c8 c c c c}
c4 c \times 4/5 { c4*1/2 c c c c }
}
<<
\upper
\lower
>>
%%%%%
Hope this helps!
Kieren.
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Re: different rhythmic units for tuplet's numerator and denominator
Hi Uri,
So, the only solution is to indicate in the bracket 3$:5& (where
$=eight note sign
and &=sixteen note sign). I am very new to lilypond, and know no
scheme.
Is what I am asking possible?
Absolutely -- the following example, while not perfect, should give
you the hints you need.
Hope this helps!
Kieren.
%
\version "2.11.49"
tupletExample = \markup
{
\line
{
"5" \translate #'(-0.2 . 0) \fontsize #-4 \general-align #Y #DOWN
\note #"8" #1
:
"3" \translate #'(-0.2 . 0) \fontsize #-4 \general-align #Y #DOWN
\note #"16" #1
}
}
upper = \relative
{
c'4 c \times 4/3 { c4*1/2 c c }
c4 c \times 4/3 { c8 c c }
}
lower = \relative
{
c'4 c
\once \override TupletNumber #'stencil = #ly:text-interface::print
\once \override TupletNumber #'text = \tupletExample
\once \override TupletNumber #'Y-offset = #3
\times 4/5 { c8 c c c c}
c4 c \times 4/5 { c4*1/2 c c c c }
}
<<
\upper
\lower
>>
%
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Re: Barline spanner
Hi Jesse, How can I do this? Search the LSR for "barline": there are lots of examples, including at least one which is exactly what you need. Hope this helps, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LSR search is broken (was: \repeat with upbeat )
Hi Sebastiano, I don't know of any problem with the search function. I still find it odd -- and a bit disconcerting -- that the page says (e.g.) "0-13 of 14 results"... ;-) Of course, many thanks for your work on the LSR! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LSR search is broken (was: \repeat with upbeat )
Sebastiano, I know. I'm trying to fight with a prejudice that dates back to the Romans. It's difficult :). Ha!! Seriously... is one-indexing the LSR code (which is clearly zero- indexed) difficult for some reason? In all the programming I've done — including Java, etc. — I've found reindexing to be fairly easy, in general... Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup and music side by side
Hi Risto,
I was wondering if there's a way to put a markup block, e.g., on the
left side of the paper and the music on the right side of the page?
Don't forget that \markup can include \score (as long as that \score
includes a \layout):
\markup
{
\fill-line
{
\line { words go here }
\score { { a b c d e } \layout {} }
}
}
Hope this helps!
Kieren.
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Re: Special Markup Within Staff?
Hi Eric, I have tried to implement them with a new Voice with custom noteheads and no stems. [...] Was I on the right track treating them as notes in a voice? If they're always played at the same time -- i.e., as chords -- then why not just write them as chords, and \tweak the notehead shape of the appropriate element? Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
where can one find the default settings
[Lilypond 2.11.49] Hello all! Just wondering if there's any documentation on where to find the default settings for a given grob — for example, I don't know where to look to find the default BreathingSign #'font-size setting (which I need right now). [I can easily drill down to the font-interface page, but no specific answer can be found there, because it's an interface shared by so many different grobs...] Once again, I would like to suggest that all settings for a given grob should be available in a single documentation page — e.g., the grob LayoutObject page — so that users don't have to hunt them down in fourteen different places, assuming they even know where to look to begin with. [This list of settings should be *automatically* generated, of course, so that no one would have to manually build it for each new Lilypond version...] Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Size Matters
Hi Dennis, It appears that the #layout-set-staff-size does not set sizes for the same classes of things as set-global-staff-size. set-global-staff-size scales everything, while #layout-set-staff-size does not scale [...] This is definitely one of my big pet peeves with Lilypond — hopefully, someone will soon fix this, since it's obviously not intuitive or useful in it's current behaviour. Look in the docs (incl. LSR) for things with magstep: that will help you find a workaround. Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: staff switches
Hi James,
Is it possible to have staff switches in a separate variable?
I was thinking somthing along the lines of
voiceA = \relative {
c4 d e g,
f e e' d
}
voiceAswitches = {
s2. \change Staff = "LH" s4
s2 \change Staff = "RH" s2
}
\score {
\new PianoStaff
<<
\new Staff = "RH" \voiceA
\new Staff = "LH" <<\clef bass s1*2>>
>>
}
but that doesn't work out so well for me. Any suggestions?
Here's a perfect reason to use \context Voice instead of — or rather,
in addition to — \new Voice:
\version "2.11.49"
voiceA = \relative
{
c4 d e g,
f e e' d
}
voiceAswitches =
{
s2. \change Staff = "LH" s4
s2 \change Staff = "RH" s2
}
\score
{
\new PianoStaff
<<
\new Staff = "RH"
\new Voice = "RH_voice" \voiceA
\context Voice = "RH_voice" \voiceAswitches
\new Staff = "LH" { \clef bass s1*2 }
>>
}
Once the Voice context has been created and populated with the notes,
you are then able to "cram the staff switch information" down its
throat by referencing it using the \context Voice construct. =)
Hope this helps!
Kieren.
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Re: staff switches
p.s. For the record, you can also do it in a single command:
\version "2.11.49"
voiceA = \relative
{
c4 d e g,
f e e' d
}
voiceAswitches =
{
s2. \change Staff = "LH" s4
s2 \change Staff = "RH" s2
}
\score
{
\new PianoStaff
<<
\new Staff = "RH" \new Voice = "RH_voice" << \voiceA
\voiceAswitches >>
\new Staff = "LH" { \clef bass s1*2 }
>>
}
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Re: Slur ending repeated
Hi, Maybe in next versions they had correction these bug.. For the record, this is not a "bug"... you are asking for a new feature. If you are really interested in having this feature in Lilypond, please sponsor the feature (n.b., I would be willing to chip in a few Euros for this), or program it yourself. Best regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tremolo that crosses staves?
Hey Steven,
Is it possible to create a tremolo that crosses staves?
Here's a workaround...
Hope it helps!
Kieren.
___
\version "2.11.49"
\include "english.ly"
fix =
{
\once \override StemTremolo #'beam-width = #4
\once \override StemTremolo #'extra-offset = #'(2.5 . 7.5)
}
\score
{
\new GrandStaff
<<
\new Staff \relative { s2 1*1/2 }
\new Staff \relative { \clef treble \fix 1*1/2:32 s2 }
>>
}
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Re: lyrics following split voices
Hi Paul,
When I use << { } \\ { } >> without voice naming to show note
variations
in different verses of a song the parallel music gets skipped by the
lyrics. I have read all the relevant 2.11 docs without finding a
way to
name the voices so that the lyrics get attached to the parallel music.
This exact same issue has been discussed countless times on this
mailing list... =\
Any ideas or pointers to documentation to make more sense of this?
Look in the documentation for how to explicitly instantiate voices --
you need to explicitly instantiate the second voice, i.e. use
<< { \voiceOne } \new Voice { \voiceTwo } >> \oneVoice
exchanging \voiceOne and \voiceTwo, if necessary/appropriate.
Kieren.
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Re: Tweaking Vertical Position of a Tie
Hi Don, Is there another way to move a tie up just one time? Try \once \override Tie #'Y-offset = #1 Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I represent a Bb(b9)13 chord in chordmode?
Hi Henk, There are examples in the docs, as well as many threads in the mail archive, which show how to rename chords. Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[no subject]
Hey Graham (et al.): I'm back out of my rabbit hole for a while... =) What can I do to help the docs project? At one point, we were talking about me doing some "large scale", "real world" examples — putting together a real tutorial on chord name changes, revamping the examples on stylesheets, trying to develop comprehensive transposing- part guidelines, etc. — and that's still fine by me, if that's the best use of my skills and time. Best wishes, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange tempo 2
Hi David, I need to print both 4 = 53 and 4 ~ 4. = 53 ...on separate staves. I'm thinking I'm back to my polyphonic solution above. One possibility would be to move the mark engraver to the Staff context, and use \tag for the different elements — it's a lot more work, but would definitely solve the problem you have. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: autobeams
Hi Daniel, Under what circumstances would you want the upper part to be a different voice from the one-voice part? One case is when you want lyrics or dynamics (etc.) to be attached to the lower part. Hope this helps, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi Doc-tors!
Could you review the docs
Sure!
I would be surprised if the current "finished" sections did not
contain at least one inaccuracy -- to say nothing of omissions.
Sounds like a job for... me. =)
No one has yet looked at the templates at the end of the Learning
Manual.
Okay — I'll start there.
First observation: since the A.1 Single Staff templates are
explicitly named "Notes only", "Notes and lyrics", etc., I don't
think there should be a \midi{} block in the \score. That should be
explained and introduced in a separate section/template [with,
perhaps, a small explanatory note in the text, including a link to
the \midi section].
Cheers,
Kieren.
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Re: doc work
Hi again,
Am I the only one that thinks
upper = { BLAH }
\new Staff = "upper" \upper
is potentially confusing? I think it's too easy for a newbie to infer
that the variable name and the context name need to match, which of
course is not true. If I were re-coding the A.2.1 template (at least,
with an eye to fix that particular problem), I would write
upperNotes = \relative c'' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
lowerNotes = \relative c {
\clef bass
\key c \major
\time 4/4
a2 c
}
\score {
\new PianoStaff = "PianoStaff_piano"
<<
\set PianoStaff.instrumentName = #"Piano "
\new Staff = "Staff_piano_upper" \upperNotes
\new Staff = "Staff_piano_lower" \lowerNotes
>>
\layout { }
}
Maybe it's too verbose for the examples... but it would be nice (IMO)
to have something — even a note in the text — to make it clear that
the names don't need to match.
Also, I'm not sure that it's good practice to have spaces in the
instrumentName: this is just lazy programming, and may lead to
problems later (e.g., when they decide to center-align the names).
Finally:
1. Modern practice for vocal music engraving is to ALWAYS beam
eighth notes; and,
2. Including \autoBeamOff in these "simple" templates might be
confusing.
Therefore, I think we should leave \autoBeamOff out of the mix, and
either put a note to the effect of "for typesetting older vocal
music, use \autoBeamOff" or (better yet, IMO) leave it for the vocal
music section proper.
Cheers,
Kieren.
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Re: doc work
Hi Mats, What's wrong with a template that gives you a MIDI file for free, even if you didn't expect it. In my experience — both personally (years ago) and seeing waves of newbies picking up Lilypond in the past few years — one of the most confusing parts about learning Lilypond is figuring out which code is necessary and which isn't. \midi isn't necessary if you don't want a MIDI output file... but the code is included in every "simple" template, and so the implication is that it's essential code. Furthermore, it takes more processing time to make the MIDI file, especially with very large files — why slow down the process when you don't need to? If I was a LilyPond beginner and suddenly discovered a MIDI file with the same name as my score PDF file, I would certainly get curious to listen to it and read more about that possibility in the manual. And if I *didn't* want a bunch of extra files suddenly popping up in my directory (which I didn't, when I was starting out with Lilypond), then it would just irritate me to no end (which it did). To take your argument to its (illogical) extreme, why don't we just add *all Lilypond features* into one "simple" template and let the Lilypond beginners "suddenly discover" everything that Lilypond can do all at once? ;-) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi all,
Any specific reason the (e.g.) String Quartet templates use
Violinone = \new Voice { \relative c'' { …
when we haven't explicitly instantiated Voice contexts in other
examples/templates?
Thanks,
Kieren.
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Re: doc work
Hi all, I would have to go home and look into my music engraving handbook to verify your claims. "Beaming of notes associated with a lyric now follows standard notational practice. (Traditional practice, now obsolete, was to use flags for eighth notes, sixteenth notes, etc. Beams were used only for melismas.)" — The Essential Dictionary of Music Notation (Gerou & Lusk), pg. 186 I hope you compare the templates with what the LM and NR (at least the sections that have been updated) have to say. Will do! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi Mats, I have never seen any question on the mailing list on how to turn the MIDI off That's because I figured it out by myself... ;-) quite a number of questions on if it's possible to get MIDI output and how to do it. My answer: "RT(F)M". =) If you have ever touched some other music typesetting program, you will certainly be acquainted to the possibility of listening to the output for proof "reading" and will expect to have the same in LilyPond. Yes, but that's comparing apples and oranges: in Finale (e.g.), you don't have to *add* a line of code in order to make the MIDI work (or, alternatively, remove it in order to disable MIDI output). Furthermore, there are *many* things about MIDI that are neither clear nor simple — witness the number of questions on the list about changing MIDI tempo, making dynamics work in multiple staves, etc. I think it would be "cleaner" to put MIDI all by itself in its own doc section: that way, if a user has gone to the trouble of getting MIDI output in the first place, they're already in place to learn about other MIDI features and tweaks without bothering the list. Well, you decide! I'll keep the thread open for a while, and then make a final decision based on the majority of responses I get. Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi Jonathan, I couldn't make it work b/c I couldn't figure out *where* to stick the MIDI block. I would offer that was a result of faulty MIDI documentation, not faulty templates. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Chris (et al.): What about adding a comment in the template instead? Sounds like the best plan yet. Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
