mbine, etc.?
Cheers,
Kieren.
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.
intentionally doubles anything -- be it articulation,
markup, dynamic, or whatever -- I consider it a bug it it's stripped
from the output.
Kieren.
arkup,
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
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.
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.
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.
r8 |
}
\score {
\new Staff {
\TheBusiness
}
\layout {}
}
Hope that helps!
Kieren.
Hi Ralph,
Shouldn’t the d be 4. [not 4]?
bf2.:6 c4.:3 d4:3 |
Maybe I’m misunderstanding…?
Cheers,
Kieren.
reak }
c'1 \break c'1-\tweak padding 132 _\markup " " \pageBreak
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
}
Hope that helps!
Kieren.
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.
verride 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.
able occasion arises.
Best,
Kieren.
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 =
{
...
}
pa
(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.
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'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 = "mycon
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.
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his 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"
hat, 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.
{ \voiceTwo \slurFix ^( )\![ c] }
\new Voice { \voiceOne d' ~ d16( c a g) \bar "||" }
>>
}
}
Hope this helps!
Kieren.
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cessary?
Hope this helps!
Kieren.
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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 bette
quot; -- without attaching the text to a specific instrument.
Best,
Kieren.
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}
}
\score
{
{ r4 c d e f g a b c1 }
}
%%
Hope this helps!
Kieren.
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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
e 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 straightfo
ot;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
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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* (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.
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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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eally 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.
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-- so it sounds like a doc
issue to me.
Best,
Kieren.
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= #A
anotherProperty = #B
\override Grob #'property = #C
...
}
But it's not really a perfect solution.
Cheers,
Kieren.
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#'keep-with-tag in your "engraved output"
and MIDI blocks.
Hope this helps!
Kieren.
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m happy to whip something up, but it will have to wait until the
beginning of July.
Kieren.
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#1
\rotate #135 \arrow }
Please post your final version -- it would be a useful LSR snippet!
Best,
Kieren.
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an imagine, are quite different! =)
Regards,
Kieren.
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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 cal
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.
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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.
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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.
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t the
Edinburgh Fringe Festival), I'd love to help out.
Best,
Kieren.
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terrible.
Any hints would be greatly appreciated.
Kieren.
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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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http://
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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ged 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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[Lilypond 2.11.49]
Hello all,
Can the properties of \underline (such as thickness, distance from
text, padding/width, etc.) be tweaked?
Thanks,
Kieren.
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es in each Staff?
Thanks!
Kieren.
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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.
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(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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t;\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.
__
an imagine, are quite different! =)
Regards,
Kieren.
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s for reminding me to use \transposition for midi output).
Glad I could help.
Kieren.
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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
\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
d such a feature?
Thanks,
Kieren.
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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.
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nd.
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 spo
eas 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.
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n 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.
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de;
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.
ld be worth it.
Agreed -- looking forward to seeing how this idea progresses.
Kieren.
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leDurations.
Hope this helps!
Kieren.
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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...
Be
may have to adjust the -4, of course, to suit your particular
situation.
Hope this helps!
Kieren.
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n 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 thi
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!
K
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.
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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
<<
\n
x27;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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\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.
e thought *all* user-settable properties were globally-
settable...
Thanks,
Kieren.
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ssible -- which shows the
issue(s).
Cheers,
Kieren.
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;>
%%%%%
Hope this helps!
Kieren.
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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" \transla
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.
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http://lis
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.
_
c. — I've found
reindexing to be fairly easy, in general...
Cheers,
Kieren.
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\fill-line
{
\line { words go here }
\score { { a b c d e } \layout {} }
}
}
Hope this helps!
Kieren.
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ehead shape of
the appropriate element?
Hope this helps!
Kieren.
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bject 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 ver
, 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.
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reated 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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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"
this), or program it yourself.
Best regards,
Kieren.
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Hey Steven,
Is it possible to create a tremolo that crosses staves?
Here's a workaround...
Hope it helps!
Kieren.
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\include "english.ly"
fix =
{
\once \override StemTremolo #'beam-width = #4
\once
ce, i.e. use
<< { \voiceOne } \new Voice { \voiceTwo } >> \oneVoice
exchanging \voiceOne and \voiceTwo, if necessary/appropriate.
Kieren.
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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.
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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.
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vamping 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.
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work, but would definitely solve the problem you have.
Hope this helps!
Kieren.
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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.
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ate section/template [with,
perhaps, a small explanatory note in the text, including a link to
the \midi section].
Cheers,
Kieren.
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plates 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.
hy 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.
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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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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.
__
othering 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.
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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.
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Chris (et al.):
What about adding a comment in the template instead?
Sounds like the best plan yet.
Thanks,
Kieren.
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