The new \crossStaff command distributes chord notes on two staves, e.g.
\version "2.16.0"
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
*4
}
\new Staff {
\clef bass
\override Stem #'direction = #up
Sorry, the formatting has broken my previous post. Here is another attempt...
The new \crossStaff command distributes chord notes on two staves, e.g.
\version "2.16.0"
\layout {
\context {
\PianoStaff
\consists #Span_stem_engraver
}
}
{
\new PianoStaff <<
\new Staff {
4
Hi all,
how do I write a cross-staff chord with stems down? In the following
fragment I want to connect the eighth notes of the upper staff to the eighth
notes in the lower staff, but not to the quarter note in the lower staff:
\version "2.16.0"
\layout {
\context {
\Score
autoBeaming
No ideas? Is it a bug?
Dominik
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/crossStaff-and-stemDown-tp137487p137624.html
Sent from the User mailing list archive at Nabble.com.
___
lilypond-user mailing list
lilypond-user@gn
Hi Eluze,
thanks for your reply.
Eluze wrote
> well - I think originally the idea was to display chords over two staves
> (and nothing more)!
That is what I want to do, but with stems down. Stems up seem to work well.
I have tried with the documentation sample, but same problem:
\layout {
\c
Eluze wrote
> I think the \crossStaff command (and the \autoBeamOn/Off) have to be set
> in the voice (or staff) where the stem originates, i.e. in the upper staff
> if you set \voiceTwo or \stemDown.
Ah, excellent suggestion! This is indeed symmetrical, and working:
\layout {
\context {
\P
Eluze wrote
>
> Thomas Morley wrote
>> Because \voiceThree has \shiftOn enabled.
> exactly - so another solution is (keeping the "natural" order of voices):
Fascinating! Shifting the stem x position seems to cover most cross-staff
cases. Thanks a lot for your help!
Dominik
--
View this messag
I have a similar issue but did not find a reply to the above question. It is
hard to find out what is the order in which music and lyric tracks are
written to the MIDI file. This is necessary to map music and lyrics when
reading the MIDI file in a sequencer program.
Furthermore the order seems to
Hello again,
I have tried to re-import the generated MIDI file using midi2ly. Here is the
result:
\version "2.14.0"
\layout {
\context {
\Voice
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
\remove "Rest_engraver"
\consists "Completion_rest_engraver"
In my installation, Lilypond runtime seems to increase exponentially (at
least not linearly) with the number of pages to engrave. Is there any option
to speed up Lilypond, e.g. by removing time-consuming engravers, such that
the performance only increases (almost) linearly with the number of pages
Xavier Scheuer wrote:
>
> Have you tried ly:minimal-breaking ?
>
> \paper {
> #(define page-breaking ly:minimal-breaking)
> }
>
> http://lilypond.org/doc/v2.13/Documentation/notation/minimal-page-breaking
>
Thanks for your hint. I have tried minimal page breaking, but performance is
I don't want to dive too much into theoretical discussion. And, by the way, I
think Lilypond is doing an excellent job!
But consider the following example: If I breaked down my score by explicit
page breaks, my intuition would be that it should be possible to do the
typesetting job in a linear "p
The \noBreak command seems not to work with automatically tied notes when
using the Completion_heads_engraver.
In the example below, two line breaks are produced although I added \noBreak
after each note. When removing the Completion_heads_engraver or the first
quarter note, everything works as d
I found the following answer in a mail archive:
http://www.mail-archive.com/lilypond-user@gnu.org/msg39200.html
Is this related to my question?
ornello wrote:
>
> The \noBreak command seems not to work with automatically tied notes when
> using the Completion_heads_engraver.
&g
No answer til now. Could anybody reproduce the problem?
Hoping for reply...
--
View this message in context:
http://old.nabble.com/Completion_heads_engraver-and-%5CnoBreak-tp29894579p29933011.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
Phil Holmes-2 wrote:
>
> If you want to prevent breaks at all, you can use the line
>
> \override NonMusicalPaperColumn #'line-break-permission = ##f
>
> as in the example below.
>
Thanks Phil,
you helped me a lot! This is a much better solution than using \noBreaks.
Below I have exte
Thanks for checking that, Neil. I think there are cases where you'll need
manual ties with the Completion_heads_engraver, e.g. if you want to tie a
half followed by an eighth note. The notation alternative proposed by James
is a good workaround however.
Neil Puttock wrote:
>
> On 25 October 201
7;
>
> Thanks
>
> james
>
>> On 25/10/2010 16:53, ornello wrote:
>>>
>>> The following example produces 7 (!) instead of 3 ties.
>>>
>>> Does anybody know a workaround for this?
>>>
>>> --
I have attached a two-voice polyphonic example where I am using the
Completion_heads_engraver in combination with Score.skipTypesetting. In the
second voice, only the first quarter of note g'2. is displayed. When
removing either the Completion_heads_engraver or skipTypesetting, everything
works as
No ideas yet?
ornello wrote:
>
> I have attached a two-voice polyphonic example where I am using the
> Completion_heads_engraver in combination with Score.skipTypesetting. In
> the second voice, only the first quarter of note g'2. is displayed. When
>
Is there any chance to start a piece with a "||" bar line?
I have tried this:
\version "2.12.2"
{
\time 4/4
\bar "||"
c''4
}
but it does not show the bar line (it works for "|:", however).
I have found the following hack:
\version "2.12.2"
{
\time 4/4
\grace s
\bar "||"
c''4
}
but this is no
Thanks Graham,
Graham Percival-3 wrote:
>
> I suggest
> \partial 64 s64
> \bar "||"
> and I'm pretty certain it'll work if you put it in all staves.
>
this leaves an additional space between time signature and bar line which I
wanted to avoid using the grace (which has no duration).
I ha
I have to correct my previous message. My solution is not working because it
affects all line breaks (not just the beginning of the piece. So I'll try
your suggestion, Graham...
ornello wrote:
>
> Thanks Graham,
>
>
> Graham Percival-3 wrote:
>>
>> I sugges
Thanks for your hint, Robin - that looks best to me! For multiple staves, I
had to use Score.BarLine:
\version "2.12.2"
\score {
<<
\new Staff <<
\time 4/4
\new Voice {
\once \override Score.BarLine #'glyph-name = "||"
\bar "|:"
c''4
}
>>
\new PianoStaff <<
\new Staff <<
\time 4/4
\new Voice {
Hello,
the following (incomplete) example includes a volta bracket which should
span from bar 9 to 12. However it stops with the line break after bar 9. Any
idea what I am doing wrong?
\version "2.12.2"
\score {
\new Staff <<
\key bes \major
\numericTimeSignature \time 4/4
\clef violin
\new Vo
@James: I think my problem is similar to
http://code.google.com/p/lilypond/issues/detail?id=1325
It seems there is some bad hack going on in volta-bracket.cc
(Volta_bracket_interface::modify_edge_height).
I have not found a workaround...
@Phil: I don't agree. Have a look at the following modifi
inal Message-
> From: lilypond-user-bounces+james.lowe=datacore@gnu.org
> [mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On Behalf
> Of ornello
> Sent: 09 February 2011 13:47
> To: lilypond-user@gnu.org
> Subject: Volta bracket not surviving line break
>
ayed as desired. Seems that the
above statement explicitly removes volta brackets without start and end edge
(there is no comment, however). Do you know the reason?
ornello wrote:
>
> I think my problem is similar to
> http://code.google.com/p/lilypond/issues/detail?id=1325
> It s
The following LY produces a segmentation fault:
\version "2.12.3"
\layout {
\context {
\Voice
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
}
}
{
e'16 ~
< e' b' > 4
}
Does anybody know a workaround or quickfix?
Thanks for any advice...
..
Here i
Hello again,
I thÃnk there is a wrong index is in completion-note-heads-engraver.cc, line
223:
Pitch *p_last
= unsmob_pitch (tie_note_candidate_events_[j]->get_property
("pitch"));
but should be
Pitch *p_last
= unsmob_pitch (tie_note_candidat
The completion heads engraver produces duplicate ties (see following
example):
--
\version "2.12.3"
\layout {
\context {
\Voice
\remove "Note_heads_engraver"
\consists "Completion_heads_engraver"
}
}
{
c2 ~ c8
}
-
This example produces correct
I am using RemoveEmptyStaffContext to hide empty staves. Now I want to show
bar numbers for each bar above the first "visible" staff of each system.
My first attempt was to set
BarNumber #'break-visibility = #all-visible
for the entire score:
\version "2.12.2"
\layout {
\context {
\Score
Simple question but I did not find it in the forum:
Is it possible to let LilyPond automatically wrap instrument names and
markups that do not fit on the page (see following example)?
{
\new Staff {
\set Staff.instrumentName = "long instrument name"
c1 c1 c1 c1 c1 c1 c1 c1
c1 ^ \markup { l
Thanks for the suggestion. I already knew about the \wordwrap command but I
was thinking of something where I do not have to specify a fixed line width.
Consider adding line breaks or notes before the markup note - then you
always need to adjust the line width depending on the horizontal position
>
>
>> Consider adding line breaks or notes before the markup note - then you
>> always need to adjust the line width depending on the horizontal position
>> at which the markup note is displayed.
>>
> I have no idea how to get the line-width of the actual measure (I even
> believe the text
I have found the following workaround:
\version "2.12.2"
\layout {
\context {
\Score
\remove "Bar_number_engraver"
}
% \context {
%\RemoveEmptyStaffContext
% }
}
\relative c' <<
\new Staff
\with {
\consists "Bar_number_engraver"
\override BarNumber #'break-
I have an unmetered measure in my piece like
{
\override Score.BarNumber #'break-visibility = #all-visible
c1 \cadenzaOn c4 d e f g f e d \cadenzaOff \bar "|" c1
}
As specified in the documentation, bar numbering is resumed at the end of
the cadenza as if the cadenza were not there. Howeve
Works perfectly.
Many thanks
--
View this message in context:
http://old.nabble.com/Increment-bar-number-after-cadenza-tp33371658p33371909.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
___
lilypond-user mailing list
lil
I have found a strange effect when using \stemNeutral. In the following
snippet some of the rests belonging to voice 1 are placed below the note in
voice 2:
{
\new Staff <<
\key d \major
\numericTimeSignature \time 3/8
\clef bass
\new Voice {
\voiceOne
\stemNeutral
\clef violin
\bar "||"
r8
< dis
The following measure produces a collision of a stem with the half note in
voice 3:
\version "2.14.2"
{
\new Staff <<
\key c \major
\time 4/4
\clef violin
\new Voice {
\voiceOne
\once \override Stem #'direction = #up b'8\trill
r8
\once \override Stem #'direction = #up cis''8.[ \(
\once \overr
Hello Eluze,
thanks for your quick reply!
Eluze wrote:
>
> why do you specify once \override Stem #'direction = #up each time?
> with \voiceOne or \voiceThree this happens automatically!
> and with \voiceTwo all stems (and other grobs) are directed down!
>
The snippet comes from a generated
Eluze wrote:
>
> I guess you're using version 2.14.2 - right!?
>
> since 2.15.24 your example positions the rests where expected.
>
> so I suggest to upgrade to the latest unstable version.
>
> and I also suggest to send minimal snippets where everything not needed to
> show the effect that l
What is the right way to write a grace note at the beginning of the score (or
after a clef/time/key signature change)? Here is my attempt:
\version "2.14.2"
{
\new PianoStaff <<
\new Staff <<
\key bes \major
\time 4/4
\clef violin
\new Voice {
\grace a'8 (
a''1 )
}
>>
\new Staff <<
\clef bass
\
Thanks to everybody for your valuable suggestions. I prefer the solution
proposed by Jean-Charles because it also works for staves with multiple
voices.
A question concerning the placement of clef/key/time signatures: Is it
always best to place them in each voice? I placed them in the staff becau
Hello *,
is there a way to make a visible note silent? It should be displayed when
creating PDF, but not played when creating MIDI output. Or do I have to
replace these notes by silences in my LY file for generating the MIDI file?
I know the \killCues command for cue notes, but how do I remove no
synchronized. Or am I
missing something?
Best,
ornello
--
View this message in context:
http://old.nabble.com/Make-visible-note-silent-tp33956940p33957492.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
___
lilypond-user
volume = 0 for a note?
ornello
--
View this message in context:
http://old.nabble.com/Make-visible-note-silent-tp33956940p33957578.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
___
lilypond-user mailing list
lilypond-u
and 2 get out
of sync in measure 3.
When I remove each of the first 16th grace notes, such that they sum up to
an eighth note, the resulting MIDI is in sync.
Any ideas or comments?
ornello
-
\version "2.14.2"
\score {
<<
\tim
can also
be heard when uncommenting the \midi command.
Is this a known bug or am I missing someting?
ornello
---
\version "2.14.2"
\score
{
%\unfoldRepeats
\new Voice {
\clef bass
< des,
e,
g,
bes, > 8\staccato
\repeat tremolo 14
Hi again,
has anybody been able to reproduce the sync problem?
It is not a player problem - I could reproduce it with various MIDI players.
Strangely enough, removing either measure 1 or measure 2 resolves the sync
problem, so it is hard for me to find a simpler example...
ornello
--
View
you, I missed the "Going back in MIDI time" message. Replacing
\grace {
cis''16[ (
b'
ais']
}
b'16 )
with scaled durations works fine:
\grace {
cis''16*1/2[ (
b'
ais']
}
b'16 )
ornello
--
View this message in context:
http://old.nabb
x27;'8] )
des''8
}
c''4
\afterGrace
aes''4
{
g''32[
f''32
ees''32
des''32
c''32
bes'32
aes'32
g'32]
}
}
When removing the Completion_heads_engraver it looks fine.
greetings,
ornello
--
View thi
52 matches
Mail list logo
