Dear list!
Is there a neat way to achieve two (unmerged) accidentals of the same type in
front of an unison? I can produce the attached output by means of some hacking,
but am wondering if there is a way of preventing them being merged in the first
place.
doublesharp.pdf
Description: Adobe P
al.alteration #1/2 fih' fis'> }
%
> 25 feb. 2020 kl. 16:25 skrev Pierre Perol-Schneider
> :
>
> Hi Leo,
> Since I don't know how you made it, here's what I'd do:
>
> \version "2.19.84"
> { }
> %% or
> { }
>
>
There is no need for the parallel construct, as long as you place the \markup
outside the argument for \chordmode.
This works:
…
\chordmode {c,,1:3.5.8} ^\markup ”Var. I"
\chordmode {c,,2:3.5.8 d,,2:3.5.8
e,,4:3.5.8 f,,2:3.5/+c r4} \bar "|.”
...
> 11 mars 2020 kl. 17:30 skrev K
Dear list!
I’m working on a piece with a lot of whole note tremolos and was wondering if
any of you have a nice workaround for the beams (issues 318 and 704). I would
like them slanted (with the same slope as a regular beam), centered between the
noteheads and avoiding accidentals on the second
For the sake of clarity, a MWE:
%%%
\version "2.20.0"
\repeat tremolo 16 {dis'32 dis’’}
%%%
> 19 mars 2020 kl. 11:01 skrev Leo Correia de Verdier
> :
>
> Dear list!
>
> I’m working on a piece with a lot of whole note tremolos and was wonde
leNoteTremolo #12 #1.3 #0 a'16 b’
}
%%%%%%%%%%%%%
> 19 mars 2020 kl. 12:08 skrev Thomas Morley :
>
> Am Do., 19. März 2020 um 11:12 Uhr schrieb Leo Correia de Verdier
> :
>>
>> For the sake of clarity, a MWE:
>>
>> %%%
>>
>>
ssage))
(iota amount 1 1)))
\paper { ragged-right = ##f }
{
\suppressWarning 3 "weird stem size"
\clef alto
\wholeNoteTremolo #8 #'(0 . 1.5) { gis'16 }
\wholeNoteTremolo #16 { 32 }
\wholeNoteTremolo #4 #'(0 . 3.5) { 8 }
\time 6/4
\wholeNoteTremolo #12 #&#
This is the issue described in the end of the grace note section here
http://lilypond.org/doc/v2.20/Documentation/notation/special-rhythmic-concerns#grace-notes
.
If you insert a spacer of the same length ( \grace s16 ) in all other staves at
the same time (after "\repeat \volta 2 {" ) the doub
In that case you can use \fermataMarkup
(Från telefonen)
> 1 maj 2020 kl. 15:28 skrev Bernhard Kleine :
>
> The piece
> \version "2.20.0"
> \language "deutsch"
> sopranoVoice = \relative c'' { \dynamicUp b,4 d f b | R1\fermata
> }
>
> \score {
> \new Staff \with {
> instrumentName = "
For the doubled b (the first notes) you’ll want
\once \override NoteColumn.force-hshift = #1
before the b in voice 2
> 28 juni 2020 kl. 23:34 skrev Mark Stephen Mrotek :
>
> Jasmuth,
>
> See the attached.
>
> Mark
>
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr.
Dear list!
Does a command or function exist that would force the horizontal spacing to
adapt to a markup, something like textLengthOn, but that would only take the
current context into account? If not, would it make sense to try to create one?
(Asking just due to my lack of understanding of the
Thanks a lot!
This is a good suggestion to achieve what I’m looking for. My final goal is
actually to put scores in these markups, somewhat similar to what is discussed
in this thread:
https://lists.gnu.org/archive/html/lilypond-user/2011-03/msg00749.html . The
purpose is to set a section of
Something like:
\version "2.20.0"
<<
\new Staff = "basso" {
\clef bass c1 }
\new FiguredBass \with { alignAboveContext = "basso" }
\figuremode {
<7>2 <6-> }
>>
> 2 sep. 2020 kl. 11:25 skrev Leszek Wroński :
>
> Dear Experts,
>
> I would like to have the figures in my figur
You can have an event function like:
\version "2.20.0"
mx = #(define-event-function (placement) (pair?)
#{
-\tweak extra-offset #placement
-\markup { \teeny \sans x }
#} )
{ f4 -\mx #'(1.6 . 1.4)
f' -\mx #'(1.5 . 1.43)
f'' -\mx #'(1.5 . 4.93)
f''' -\mx #'(1.5 .
Hi Claire!
There is also another mistake in your code:
When you use \override it’s supposed to be followed by a Grob name and the
property that’s going to be overridden, like
\override Stem.direction = #UP
When using the commands \stemUp and \stemDown you just write for instance
\once \stemUp,
I have the following situation:
\version "2.20.0"
\new StaffGroup
<< \new Staff \with { \magnifyStaff #2/3 }
{c''1 \bar "|."}
\new Staff
{c'1 \bar "|.”} >>
Where the bars on the different sized staves have different thicknesses
according to their staff size. How would be the best way to
You just write both of them, like
c-.->
(Or is that for some reason not working?)
> 21 sep. 2020 kl. 22:45 skrev Kenneth Wolcott :
>
> Hi;
>
> c-. and c-> Lilypond articulation engravings I understand, but I
> don't understand how to put a dot underneath the note and then a right
> angle brack
Do you mean like this:
%%%
\version "2.20.0"
\new RhythmicStaff {
<< { 8 } \\ { 8 } >>
}
%%%
If so, to the program it is two eights in different voices, you can read more
about it here:
https://lilypond.org/doc/v2.20/Documentation/learning/i_0027m-hearing-voices
If you want t
2 2 1 1)
> 4 8 \override Stem.direction = #DOWN 8 \override Stem.direction = #UP 4
> \override Stem.direction = #DOWN 4 \override Stem.direction = #UP << 4 \\ 4
> >> \override Stem.direction = #UP 8 \override Stem.direction = #DOWN 8 \bar
> "|."
> }
> \addlyric
This is a hard-solved issue we have lived with for long time, ant probably the
most common source of questions on this list.
While Andrew’s solution is perfect in this situation, where the time signatures
in the second voice are redundant, it may not work everywhere. The solution
would then be
I’m not sure if this is an interesting suggestion, but if you want this as the
actual clef you could write
%%
\once \override Staff.Clef.stencil = #ly:text-interface::print
\once \override Staff.Clef.text = \markup {
\override #'(font-size . -6.5)
\unit-height-column { First
Does this give what you’re looking for?
\paper {
#(define page-breaking ly:one-line-auto-height-breaking)
}
> 26 jan. 2021 kl. 17:56 skrev Amelie Protscher :
>
> Dear list members,
>
> although I'm a veteran user since 1.6.6, I've just come across a problem
> that I can't solve on my own an
If anyone is going to attempt to create a function or engraver for adding those
slashes automatically there is a thread Urs started last summer about
Indicating duration with lines where there might be some code worth reusing for
this.
> 26 mars 2021 kl. 21:01 skrev Jean Abou Samra :
>
> Hell
Hi Vladimir!
You can include these lines in a layout block:
\layout {
\context {
\Lyrics
\consists "Bar_engraver"
\consists "Separating_line_group_engraver"
\hide BarLine
}
}
(Its also possible to put the consists and hide in a \with statement in each
Hi Nikolaj!
I’m not really familiar with this kind of notation, so I might have
misunderstood your question.
In a layout block in your file you have the line
\override HorizontalBracket.direction = #DOWN
If you change that to #UP , does that do what you want? You will probably want
to change
There are also functions written that create this kind of spanners, for
instance at
https://lists.gnu.org/archive/html/lilypond-user/2013-05/msg00405.html
(I think there might also be a newer version, but I’m not sure)
This has the benefit that the words in the spanner are not forced to align wit
Is this something like what you’re looking for?
%%
\version "2.22.1"
\new Score
\new PianoStaff
<<
\new Staff << {c''2 b'4 a' g'1} \\ {e'2. f'4 e'2 d'} >>
\new Staff << {\clef bass g2. a8 b c'2 b} \\ {c4 e2 d4 g1} >>
>>
\layout {
\context {
\Voice
\override NoteHead.before-line-bre
You can write
\override Staff.KeySignature.sharp-positions = #'(2)
As described here:
https://lilypond.org/doc/v2.22/Documentation/notation/displaying-pitches#key-signature
Or even better, place it in a layout block, so it affects all staves.
HTH
/Leo
> 24 juni 2021 kl. 06:10 skrev darki...@je
This is the intended behavior of partCombine. In the usual use case, with the
same notehead size you still want to be able to follow each voice, so
partCombine doesn’t merge them into chords when they’re crossed. (This is
obscured in your first example because you are using \stemUp there, otherw
\with { \stemUp }
### music goes here
> 1 juli 2021 kl. 10:54 skrev Leo Correia de Verdier
> :
>
> This is the intended behavior of partCombine. In the usual use case, with the
> same notehead size you still want to be able to follow each voice, so
> p
Dear list!
I’m attempting to use partCombine on a pair of voices that contain glissandi,
like this:
%%
\version "2.22.1"
\partCombine
{c''8 b' \glissando a'2. }
{e'4 \glissando f'2. }
%%%
Is there any way to make that work?
There is also a possibly harder case I will come across in th
Combine \soprano \localFontSize -3 \tenor >>
> } % distinguish 2 voices, but not combined
>
> mezzo = { f'4 g'4 4 b'4 c''2 }
> baritone = { d'4 e' \skip 4 g' a'2 }
> \new Score { \new Staff << \partCombine \mezzo \localFontSize
There is this snippet at the lsr that could solve the problem for you:
https://lsr.di.unimi.it/LSR/Item?id=1098
> 10 juli 2021 kl. 13:16 skrev Peter Struys :
>
> Newbie question.
> Is it possible to indent another line than the default first line ?
> (in this attached sample the third line)
>
While I might have misunderstood what you’re after I think the answers in this
thread https://mail.gnu.org/archive/html/lilypond-user/2021-05/msg00018.html
may give you some useful hints if you center the markups produced by
\score-lines instead of right-aligning them, as was the case there.
> 1
The reason for it breaking is that in the code you posted there are vertical
lines ” || " instead of backslashes ” \\ ” separating the voices.
The bracket issue is that the override needs to go in a context where the
tuples sees it. By default it goes into the Voice context here, and the << … \
Basically, change all RestEvent:s into SkipEvent:s
> 13 sep. 2021 kl. 15:49 skrev Leo Correia de Verdier
> :
>
> Dear list!
>
> How would I go about to write a scheme function that converts all rests in a
> passage of music to spacer rests?
>
> Thanks in advance!
>
> /Leo
Dear list!
How would I go about to write a scheme function that converts all rests in a
passage of music to spacer rests?
Thanks in advance!
/Leo
Thanks a lot!
Especially for the extending lilypond doc, which I knew is out there but didn’t
know the name of and couldn’t find. Great work!
> 13 sep. 2021 kl. 16:07 skrev Jean Abou Samra :
>
> Le 13/09/2021 à 15:49, Leo Correia de Verdier a écrit :
>> Dear list!
>>
&g
There might be more elegant ways to do it (there probably is), but I have a
variable I define in my output files, is-loaded-file and then I can use #(if
(defined? 'is-loaded-file) … ) in the definition files to test. This requires a
situation where there’s a clear separation between ”definition
It’s not very elegant, but I would in your situation move the bar rather than
the grace notes, like
{ f'1 \bar "" \acciaccatura { c'8 d’ } \bar "|" e'1 }
Watch out for multiple barlines resulting from grace timing!
> 14 sep. 2021 kl. 11:34 skrev Paul Hodges :
>
> I have successfully used http
That and swapping the 2 and the ~ back to their original places made the
snippet work for me.
> 14 sep. 2021 kl. 22:08 skrev Brian Barker :
>
> At 14:55 14/09/2021 -0500, Carlos Martinez wrote:
>> ...
>> \slashedGrace { e8\downbow } ~2\(8 8\)--\downbow |
>>
>> But I am getting an error
>
> Er,
You need to make an end point for the hairpin. In this case you could add some
empty zero-duration placeholder at the end of the measure to attach the end of
the hairpin, like
s1*0\!
or
<>\!
Also, please do minimal examples that can compile to show the problems you’re
having, like
\version "
If you do not want glissando lines on all notes in a chord in order you’ll need
to set a glissandoMap, like
\version "2.22.1"
\relative c'' {
\time 3/4
\slashedGrace {a8}
\once \set glissandoMap = #'((1 . 1))
2 \glissando 8 16 }
It is explained in a little more detail here:
https://lilypond
Dear list!
I’m attempting to write a function that would have to move rests vertically
after line breaking. I would need to move them (grob or stencil) to an
determined position in relation to the staff, but I cannot find what property
of the grob determines its vertical placement. Y-offset is
(pretty-print staff-pos)
))
{ \override Staff.Rest.after-line-breaking = #move-rest-after-line-breaking r2
<< { r4 f''4}
\\
{ e'4 r4 } >>
}
%%%%%%%%%%
> 23 sep. 2021 kl. 12:44 skrev Leo Cor
I can’t tell for sure without seeing the code, but I think you may not need
very advanced code to force the brackets horizontal in your case, and that
something like this is what you’re after:
\version "2.22.1"
\fixed c'' {
\override TupletBracket.direction = #UP
\override Tuple
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 f
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
While this is certainly useful, one should be aware of what is happening. With
the syntax
soprano.1 = c’4
you are not defining a variable soprano.1 as c’4, you are defining the value
corresponding to key 1 in an alist that is the value of variable soprano. This
can be very powerful, useful an
You have put the bracket in the wrong place, in lilypond you do not put the
opening bracket before the first node in the group, but after, the same way you
would write a slur.
\version "2.22.1"
\language "english"
\relative c' { bf32[ df ef ] }
Also, please make your code examples small, just
\vocal }
> #}
> )
>
> I'm using Lilypond 2.22.1 if that makes a difference.
>
> On Tue, Sep 14, 2021 at 12:44 PM Leo Correia de Verdier
> wrote:
> There might be more elegant ways to do it (there probably is), but I have a
> variable I define in my output files,
the other ?
> Mahanidhi
>
> Sent with ProtonMail Secure Email.
>
> ‐‐‐ Original Message ‐‐‐
>
> Il venerdì 1 ottobre 2021 13:21, Leo Correia de Verdier
> ha scritto:
>
>> You have put the bracket in the wrong place, in lilypond you do not put the
>> op
rev Leo Correia de Verdier
> :
>
> As you are writing the music in 4/4 time and merely hiding the barlines the
> beaming still behaves as in an (otherwise invisible) 4/4. The first three
> 32nd happen to fall in the same beat and are beamed together. The in the
> second group the
this?
Thanks!
/Leo
> 26 okt. 2019 kl. 12:39 skrev Thomas Morley :
>
> Am Fr., 25. Okt. 2019 um 22:41 Uhr schrieb Leo Correia de Verdier
> :
>
>> I realized that defining the glissando gradient taking the stencil as point
>> of departure, rather than the grob propertie
the code for taking additional, non-gloss
noteheads into consideration.
glissando-stems-06-problems.ly
Description: Binary data
> 5 okt. 2021 kl. 13:39 skrev Leo Correia de Verdier
> :
>
> Dear Harm and list!
>
> After almost two years I’m back using this code and f
I would use bookpart, like this:
%%%
\version "2.22.1"
\paper { ragged-right = ##f }
\bookpart {
\header {
title = "song"
composer = "me"
}
\score {c'1}
}
\bookpart {
\header {
title = "other song"
composer = "someone else"
}
\score {f'1}
}
\bookpart {
\header {
title = "thir
mposer = "me"}
c'1
}
\pageBreak
\score {
\header { title = "other song" composer = "someone else"}
f'1
}
\pageBreak
\score {
\header { title = "third song" composer = "yet another"}
a''1
}
> 6 okt. 2021 kl. 15:02 skrev Leo
What you are doing is not only writing the each line on a separate line, but
also writing each line as a separate (implicitly created) score. Since they are
in different scores they are not the same music expression and you need to
write out the \relative for each of them.
> 7 okt. 2021 kl. 11
what in lilyponds syntax and understand what the lines in the
code actually mean.
> 7 okt. 2021 kl. 12:36 skrev Mahanidhi :
>
> If so why the command "global=" works for every lines?
>
> ‐‐‐ Original Message ‐‐‐
> Il giovedì 7 ottobre 2021 12:21, Leo Corre
avoid-slur will work only on within-staff objects. By default Accidental
suggestions are outside-staff, so for this to work, you’ll have to set
outside-staff-priority to ##f. You can adjust staff-padding according to what
distance you want the accidental to the staff.
%%%
\version "2.22.1"
f] ef4 ef8 ff ff [ef] df4\bar "|"
> \break ef8 ef \glissando gf gf4 af8 gf2.\glissando \hideNotes c,4^"
> fine" \unHideNotes \bar "||" ff8 [ \melisma ef df] \melismaEnd df
> \melisma gf \melismaEnd ff [ef]ef2.\bar "|"
> }
>
> \addlyrics {To -- mār __ _ kri -- pār ch
working on a piece for violins, where they play
chords consisting of a glissando on one string and repeated notes on an open
string.
Once again thanks!
/Leo
> 22 okt. 2021 kl. 10:55 skrev Thomas Morley :
>
> Am Di., 5. Okt. 2021 um 13:39 Uhr schrieb Leo Correia de Verdier
> :
>
021 um 00:02 Uhr schrieb Leo Correia de Verdier
> :
>
>> One feature I would find useful would be the ability to make chords with one
>> ”gliss-note” and one regular notehead. I implemented this (not entirely
>> successfully) on top of an earlier version of your c
ext-script-example.ly
Description: Binary data
> 26 okt. 2021 kl. 01:05 skrev Thomas Morley :
>
> Am Mo., 25. Okt. 2021 um 12:00 Uhr schrieb Leo Correia de Verdier
> :
>>
>> Don’t worry, you’re doing far more on this than anyone could reasonably
>> expect.
>>
I’ve just said writing parts (from a score) even if that, for most of my
musicwriting life, mostly meant layout.
> 13 nov. 2021 kl. 23:23 skrev David Nalesnik :
>
> On Sat, Nov 13, 2021 at 3:42 PM Kieren MacMillan
> wrote:
>>
>> Hi all,
>>
>>> The *extraction* of parts is something that onl
This compiled fine for me on lilypond 2.23.3, except for the warning about the
empty ChordNames.
On lilypond 2.20 I got an error message similar to yours (without the filename
weirdness), but it compiled fine if I commented out the ChordNames line or
typed something into its music expression. I
The beam appears since you have both the hidden note and the others in the same
voice. Adding the double backslashes is a shorthand for creating a new voice,
but then I needed to override some directions, since this also sets the first
voice upwards and the second downwards.
\version "2.22.1"
r your reply and suggestion.
> Please bear with my ignorance.
> My understanding is that the construct <<{ } { }>> creates two voices.
> I merely want to use the documentation to achieve a delayed turn.
>
> Mark
>
> -Original Message-
> From: Leo Corre
de works perfectly.
> Why is "\new Voice" not included in the code in the documentation?
>
> Mark
>
> -Original Message-
> From: Lukas-Fabian Moser [mailto:lukasfabianmo...@googlemail.com] On Behalf
> Of Lukas-Fabian Moser
> Sent: Thursday, November 18, 20
I see two possibilities, either a general
\override Stem.no-stem-extend = ##t
Or setting a specific position for the beams in each variable, something like:
\override Beam.positions = #'(-4 . -4)
(Suggested values are 9, 4, -4, -9)
> 24 nov. 2021 kl. 04:50 skrev jerome talkington :
>
> Hello
I think what you’re after, since you already have the vSpace in the markup is
score-markup-spacing = #'((basic-distance . 0)
(minimum-distance . 0)
(stretchability . 0)
(padding . 0))
I would have expected
\override DynamicTextSpanner.bound-details.left.stencil-align-dir-y = #DOWN
to work, since I think that is the property to be changed, but it seems it
needs a lower value, like
\override DynamicTextSpanner.bound-details.left.stencil-align-dir-y = #-2
To align properly.
Hi Adam!
I don’t think you can use \note or \note-by-number any longer when you need
finer control over the output. This snippet can serve as starting point for
more advanced notes and music expressions in markup.
https://lsr.di.unimi.it/LSR/Item?id=1029
HTH
/Leo
> 3 dec. 2021 kl. 13:06 skre
Add
\once \omit Accidental
to the overrides before the questionmark-note
> 8 dec. 2021 kl. 21:09 skrev Rajesh Baskar :
>
>
> Thanks Lukas, it works, but for the accidentals. If you see the example code
> below, is there a way to hide the sharp/flat signs also?
>
> \version "2.22.0"
>
> \lan
Dear list!
Could you help me with a clever way to copy/clone the articulations from
simultaneous notes in one sequential expression to another?
So that I could for instance enter the total articulations of a phrase as
\version "2.23.3"
<<
\new RhythmicStaff \with { \override Script.Y-offset =
mra :
>
> Le 20/12/2021 à 22:28, Leo Correia de Verdier a écrit :
>> Dear list!
>>
>> Could you help me with a clever way to copy/clone the articulations from
>> simultaneous notes in one sequential expression to another?
>> So that I could for instance enter
Sorry, It was my mistake, I was confusing what of my own code I was trying it
on.
> 21 dec. 2021 kl. 09:03 skrev Jean Abou Samra :
>
> Le 21/12/2021 à 00:12, Leo Correia de Verdier a écrit :
>> Thanks a lot!
>>
>> It’s a perfect solution for the typesetting,
Hi Valentin!
Thanks very much for your help!
How would I go about to make the function climb the music tree? (There are
nested sequential music expressions, needed for another function to work)
Could I use for-some-music in some way?
> 21 dec. 2021 kl. 00:15 skrev Valentin Petzel :
>
> Hello
Hi J!
~ is not a slur, it's a tie, so that could be the reason it is not working.
https://lilypond.org/doc/v2.22/Documentation/learning/ties-and-slurs
If not, could you pleas post a minimal example for us to see what could be the
issue?
Slurs across barlines and time signatures are not normally
Adding
\once \override Staff.KeySignature. break-visibility = ##(#f #f #f)
\once \override Staff.Clef.break-visibility = ##(#f #f #f)
\once \omit Score.BarNumber
Together with \stopStaff helps avoids some of the strangeness if the new
piece’s start happens to coincide wi
Hi Yurij
If the question was rather about forcing the beam to be kneed you could do it
like this:
(The auto-knee-gap should be less than the interval between the notes)
\version "2.22.0"
\new Score \new PianoStaff <<
\new Staff = "up" {
\once \override Beam.damping = #+inf.0
\once \override Be
Depending on how you’ll use it \displayLilyMusic may also be useful.
(Från telefonen)
> 12 jan. 2022 kl. 09:35 skrev Mark Knoop :
>
> You might be interested in python-ly
> (https://python-ly.readthedocs.io/en/latest/) which is actually written by
> the Frescobaldi developers and used within
> 31 jan. 2022 kl. 15:56 skrev Paulo Matos :
>
> Ah - grobs is the technical term I needed.
> Where's the best place to find the available grobs that I can style?
https://lilypond.org/doc/v2.21/Documentation/internals/all-layout-objects
Here they are. It can sometimes be hard to figure witch o
Dear list!
Is there a way to have an \include inside a function?
In the attached file includeinfunction.ly the commented out line doesn’t work
(probably for some very logical reason, but still unknown to me). Is there a
way to work around that and have includes inside functions?
(The function i
I differ on that. For me, (and with the perspective of only this measure) both
the option of respelling the a flat in only that chord (looks like the repeated
a flat moves) and respelling the a flats in the whole measure (and having to
read the second between a flat and b flat as a diminished th
Hi Erika!
To globally reduce the size of all articulations (I think that could be
relevant, since many of them will relate to noteheads in a way similar to
accents) you can use this next to the override for notehead fint size.
\override Script.font-size = #-.5 % or whatever size you want
If yo
If you go for the redefine-solution from the thread the accent is dashLarger
> 10 feb. 2022 kl. 23:59 skrev Leo Correia de Verdier
> :
>
> Hi Erika!
>
> To globally reduce the size of all articulations (I think that could be
> relevant, since many of them will relate
You were almost there:
%%%
\relative {
\time 3/4
\key f \major
\clef bass
\mergeDifferentlyHeadedOn
<<
{ \voiceThree <\tweak duration-log #2 g df'>2 * 1/2 g4 | }
\\
{
\voiceFour \override Beam.details.collision-padding = 0
\scaleDurations 2/3 { g8 bf bf g
Hi Mark!
Generally I work around this using hidden notes or notes with hidden stems. In
your example I think you want a tie rather than a slur (since it’s a held
note), but they both work in the same way with regard to voices.
In your example it could look like:
\version "2.22"
lowerA = \new
It’s not that simple, since in the example all the scores are in the same book.
> 17 feb. 2022 kl. 09:58 skrev Michael Gerdau :
>
>> If I have a book that is structured something like below, then LP
>> produces two midi files: foo.midi and foo-1.midi.
>> Is there a way I can coerce the names into
You would have to structure your files and variables differently, for instance
something like (in pseudocode):
— foo.ly
\include "bar.ily"
\include ”baz.ily”
\book {
\bookpart {
\header {
title = "Bar One"
}
\score {
\barMusic
\layout{}
}
}
\bookpart {
The stencil is what’s actually printed from a grob.
> 6 mars 2022 kl. 02:27 skrev Erika Pirnes :
>
>
> Thank you Aaron, it seems to work! But what does stencil mean exactly?
>
> Best,
> Erika
> Lähettäjä: Aaron Hill
> Lähetetty: lauantai 5. maaliskuuta 2022 18.35
> Vastaanottaja: Erika Pirne
Entirely replacing the actual syntax would not be desirable in my opinion.
Consider the case when it is used in a “global” part/variable in an orchestral
score that usually contains rehearsal marks, tempo, key and time signature
changes and such. As I understand it having \partial to accept only
While it’s hard to know without seeing the contents of the included files I
would guess you could write \voiceOne before the includes of the voices that
should point up and \voiceTwo before the ones that should point down.
> 21 mars 2022 kl. 00:22 skrev Michael Dykes :
>
>
> I have used the
I’m not sure I understood your question right, but I think the usual way to do
it would be to write the ”global” variable as a sequence of tempos, time
signatures and other events separated by spacers or skips.
Something like:
%%
\version "2.23.6"
global = { \time 4/4 \tempo "All
with \oneVoice I prefer just placing them in parallell in
the same explicitly initiated Staff, as I did.
> 22 mars 2022 kl. 10:27 skrev Rip _Mus :
>
> Thank you so much,
> you offered two similar and valid solutions!
>
> Regards
>
>
>
> Il giorno lun 21 mar 20
Hi David!
The issue, put in a slightly simplified way, is that the Voice context to which
the dynamics are attached has moved away from the Staff under which the
dynamics were originally aligned, leaving lilypond ”in doubt” about under what
staff the \mp should be.
The answer in the linked thr
I added necessary supporting code like Michael (and a voice filled with
repeated half notes, so I could hear the tempo) and got it to compile compile
correctly with tempo changes (at least alternating fast and slow sections) on
Lilypond 2.19.82 Frescobaldi 3.1.3, so I wouldn't think that is the
Hi David!
This is our beloved issue 34 again:
https://sourceforge.net/p/testlilyissues/issues/34/
You need to place grace spacers in relevant sequential variables matching the
gracenotes to get them to the right place, as in this fixed code.
%%%
\version "2.22.2"
\includ
An addition:
MarkEvent is not added to the note, but to the staff (it’s often used for
things like rehearsal marks), if you want the markup added to the actual note
you can write it like this:
%
\version "2.18.0"
\score {
{
$ (make-sequential-music
(map (lambda (x)
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