RE: Problem with rest collision
On 4/18/06 10:31 PM, Jefferson dos Santos Felix [EMAIL PROTECTED] wrote:
\version 2.8.1
\score
{
{a8 d' f' a'} \\ {r8 c' d' r}
}
Try this it seems to work here.
\version 2.8.1
\score
{
{a8 d' f' a'} \\ {d8\rest c' d' r}
}
Section 6.1.6 makes it clear that rests can be moved to specific pitches to
avoid collisions. I'm not sure why this collision should happen as I thought
there were mechanisms to avoid collisions but they still seem to persist.
Walter Hofmeister
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Something like #'height-limit for ties in 2.8.1?
Hi list, (version 2.8.1 on debian sarge) With \override Slur #'height-limit = #'3 it is possible to get a slur with higher maximum point. I'm very surprised to realize, that there doesn't seem to be the same feature for ties. Or couldn't I simply find it? Thanks for any help ... Best Regards Roland ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Problem with polyphony - noteheads don't merge
Hello,
I am typesetting a classical guitar piece, with four voices in the same
staff. I tried different possibilities to include
\override Staff.NoteCollision
#'merge-differently-headed = ##t
But the noteheads won't merge (see picture unmerged.png). If I replace
the note in the third voice by an invisible break (e is replaced by
s), it works perfectly. (picture: merged.png).
Does anyone have an idea how to fix the problem?
I attach the complete file to this Email.
Thanks a lot!
Stefan
\version 2.8.1
\header {
title = Introduktion und Variationen über einem Thema von Mozart
composer = Fernando Sor
}
flat = \markup { \raise #0.4 \smaller \musicglyph #accidentals--2 }
sharp = \markup { \raise #0.6 \smaller \musicglyph #accidentals-2 }
textcodaysym = \markup { \hspace #1 \raise #1.1 \musicglyph #scripts-coda}
StaffAVoiceA = \relative c {
\voiceOne
\clef G_8
\key g \major
\time 4/4
\override Staff.NoteCollision
#'merge-differently-headed = ##t
e'2 e4.. e16 | e2 r4 r8. b16 ~ | % 3
b g' 2 a c fis 4 g b e | b e 2dis!4 r | % 5
fis2 fis4.. fis16 | fis2 r | % 7
b, b'-2 \grace { a'16 } b, b' 4\grace { a'16 } b, b' 4|
e-0 g-3 2r | % 9
e e4 e | fis4.. g16 fis4 fis | % 11
gis!2 gis4 gis | a4.. a16 c8 r r4 | % 13
a2 \times 2/3 { b8 e, f! }\override TupletNumber #'transparent = ##t
\times 2/3 { fis! g gis! } | a2 e g 4r8. g16 | % 15
g c, 4 fis8 r16 fis fis4 e8 r16 e | \times 2/3 { dis!8 b b } \times
2/3 {\stemDown b' \stemUp b, b } \times 2/3 {\stemDown b''\stemUp b,, b }
a'8. a16 | % 17
g4 \times 2/3 {\stemDown b8 \stemUp b, b } \times 2/3 {\stemDown b''
\stemUp b,, b } e8. e16 | \times 2/3 { dis!8 b b } \times 2/3 { \stemDown b'
\stemUp b, b } \times 2/3 { \stemDown b'' \stemUp b,, b } a' r16 fis | % 19
g4 \times 2/3 {\stemDown b8 \stemUp b, b } \times 2/3 {\stemDown
b''\stemUp b,, b } e8. e16 | fis, dis'! 8r s4 s e'8. e16 | % 21
fis, dis'! 2r4 e'8. e16 | dis!4 s \override TupletNumber
#'transparent = ##f \times 2/3 { r4 b8 } e8. e16 | % 23
fis, dis'! 4r8 r4 dis! b' r8 | dis! b' 2r4\fermata r8
b''16. a32
\bar |.
}
StaffAVoiceB = \relative c {
\voiceTwo
\override Staff.NoteCollision
#'merge-differently-headed = ##t
e, b' e g b 2 e b' e g b e b' e g b s % 3
r4 e'2. fis a r4 % 5
b, dis! b' 2 b dis! b' b dis! b' s % 7
s1 s % 9
g2 g4 g a2 a4 a % 11
b2 b4 b c2 a8 r r4 % 13
a'2 g e' 4s fis2 e4 r % 15
a,2 ais! b fis' b 4s s \times 2/3 { fis''8 b, b } \override
TupletNumber #'transparent = ##t % 17
\times 2/3 { e b b } s4 s \times 2/3 { g8 b b } b, fis' 4s s
\times 2/3 { fis''8 b, dis! } % 19
\times 2/3 { e b b } s4 s \times 2/3 { g8 b g } b,4 s2. % 21
\override TupletNumber #'transparent = ##f \times 2/3 { r8 b b }
\override TupletNumber #'transparent = ##t \times 2/3 { c ( b ) b } \override
TupletBracket #'transparent = ##t \times 2/3 { ais! ( b ) b } b4 \times 2/3 {
r8 b b } \times 2/3 { c ( b ) b } \times 2/3 { ais! ( b ) b } b4 ~ % 23
b r8 r4 b r8 b2 r2
}
StaffAVoiceC = \relative c {
\voiceThree
\override Staff.NoteCollision
#'merge-differently-headed = ##t
s1 s % 3
s s % 5
s s % 7
s s % 9
\times 2/3 { g8 \stemDown e' b' e b' } \times 2/3 { e b'
e b' e b' } \times 2/3 {\stemUp g, \stemDown e' b' e b'
}\override TupletNumber #'transparent = ##t \times 2/3 { \stemUp g, \stemDown
e' b' e b' } \times 2/3 {\stemUp a, \stemDown e' c' e c' }
\times 2/3 { e c' e c' e c' } \times 2/3 {\stemUp a,\stemDown e'
c' e c' } \times 2/3 { \stemUp a,\stemDown e' c' e c' } % 11
\times 2/3 {\stemUp b\stemDown e d' e d' } \times 2/3 { e d'
e d' e d' } \times 2/3 {\stemUp b\stemDown e d' e d' }
\times 2/3 {\stemUp b \stemDown e d' e d' } \times 2/3 { \stemUp c
\stemDown c' e c e } \times 2/3 { c e c e c e } s2 % 13
\times 2/3 {\stemUp a8 dis! e } \times 2/3 { fis e dis! } s2 \times
2/3 { fis,8 b c } \times 2/3 { cis! d dis! } \times 2/3 { e, g gis! }
\stemDown \times 2/3 { a ais! b } % 15
\times 2/3 { \stemUp a, \stemDown a' c a c } \times 2/3 { a
c a c a c } \times 2/3 {\stemUp ais,! \stemDown g' cis! g cis
} \times 2/3 { g cis g cis g cis } s1 % 17
s
}
StaffAVoiceD = \relative c {
\voiceFour
\override Staff.NoteCollision
#'merge-differently-headed = ##t
s1 s % 3
s s % 5
s s % 7
s s % 9
s s % 11
s s % 13
change alignment of Lyric with extender
[ Lilypond 2.8.1 ]
Hello, all!
I tweak some of the lyrics in my piece(s) to make the note spacing a
little more pleasing -- I have even defined some presets, e.g.,
lyrLH = { \once \override LyricText #'self-alignment-X = #-0.5 }
lyrRH = { \once \override LyricText #'self-alignment-X = #0.5 }
which means align this syllable halfway to left-aligned and ...
right-aligned, respectively.
This is working fabulously, EXCEPT where the lyric has an extender
(__), in which case an override like lyrRH has no effect (i.e., the
syllable remains in the default position, fully left-aligned).
Can anyone tell me how I can override the alignment of an extended
syllable?
Thanks,
Kieren.
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standard fret diagrams \include file
Hello, all -- I'm not a guitarist. I'm currently engraving one of my pop tunes, and would like to print a piano-guitar-vocal score with fret diagrams. I don't want to reinvent the wheel (i.e., by building every fret diagram from scratch, using my fake book as a guide) -- does anyone have a pre-built set of standard fret diagrams that I could use? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PostScript Error
LilyPond uses some very specific Postscript features that most printers and software has problems with. If you search the mailing list archives of lilypond-user and bug-lilypond, you will find several recent discussions related to this. /Mats Quoting Ben [EMAIL PROTECTED]: Hi, I'm using Lilypond v. 2.6.5 on Windows, and whenever I try to open a PostScript file in Jasc Paint Shop Pro 7, the program gives me the following error: The following error has occurred while trying to read the PostScript file: undefiend in A(w/ ^ over it). Is this a bug that was found, or is it something up with my computer? Ben ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Helping with the documentation
Quoting Bart Kummel [EMAIL PROTECTED]: One of the reasons that earlier wiki's weren't a big success could be that people do not want another place to look for documentation. Therefore the best solution (in my opinion) is to replace the current docs with a wiki. I think the way the documentation is done now is a little bit oldfashioned. It may be good for the linux-geeks amongst the lilypond users. But for Windows users, who generally have less knowledge about operating systems, it is now not easy to use and/or to contribute. Actually, one of the earlier wiki's was actually integrated into the manual, so you could click at a button at the bottom of each page in the on-line manual in order to add or read comments, suggestions for updates and so on. Still, the number of contributions was extremely small. Actually, I would say that the number of people who have contributed constructively to the documentation over the last months is much larger than we ever had earlier and as long as Graham thinks the editing task is managable, we shouldn't complain. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
numbers in variable names
Hello, all --
I use a lot of variables, especially when breaking larger works
across multiple pieces (and thus .ly files).
I'd like to name my variables numerically, e.g.,
file01.ly
global01 = { ... }
notes01 = { ... }
file02.ly
global02 = { ... }
notes02 = { ... }
score.ly
\score { \global01 \notes01 }
\markup { splitter text }
\score { \global02 \notes02 }
but Lilypond (more likely LaTeX) won't let me. Does anyone know a
workaround?
Thanks,
Kieren.
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Re: numbers in variable names
Kieren Richard MacMillan wrote: Hello, all -- I use a lot of variables, especially when breaking larger works across multiple pieces (and thus .ly files). snip but Lilypond (more likely LaTeX) won't let me. Does anyone know a workaround? I always use Roman numerals. grin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: numbers in variable names
but Lilypond (more likely LaTeX) won't let me. Does anyone know a workaround? It's LilyPond. LaTeX isn't even used anymore. Roman numerals or spelling out the numbers ( \globalZeroOne ) are the only ways I know to work around it. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to tune space between key signature and first note?
Which LilyPond version? If you search the mailing list archives for bug-lilypond, you will find out that this problem was discussed (and solved, if I remember correctly) during one of the 2.7.x versions. /Mats Raphael Manfredi wrote: Hello, I have a score in A minor (blank key signature) but with a part for a clarinet in B flat, so there is a key signature in B minor for its part (2 sharps). The problem stems from the fact that the notes on the Clarinet parts are too close to the key signature, whereas of course other parts have ample room between the clef and the first note since there is no signature. How can I add a constant offset between the emission of the key signature and the first note on a staff? Thanks, Raphael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur collision
You could do something like
{d8 [g d a']} \\ {\once \override Tie #'extra-offset = #'(0 . -0.5)
e!2~}
{d8 [g d a']} \\ {e2}
/Mats
Tomasz Bojczuk wrote:
Hi
How to remove slur collision with notes in this example ??
{d8 [g d a']} \\ {e!2~}
{d8 [g d a']} \\ {e2}
I've just recomended Lilypond for important peoples :-), so please help me.
Regards
Tomasz
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Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: No clef and key each line
If you read in Common Tweaks in the manual, you can learn about the property called transparent. However, in this case, I don't think you want the removed clefs and key signatures to occupy any space. Then, you can instead add \override Score.KeySignature #'stencil = ##f \override Score.Clef #'stencil = ##f somewhere after the first note (since you don't want it to apply to the first line) in one of the voices. /Mats Denis Bitouzé wrote: Hello, I searched in the documentation and in the archives of the list but I didn't find how to suppress clef and key at beginning of each line, except the first one of course. Thanks in advance for any hint. -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to tune space between key signature and first note?
Thanks Mats -- I'm still using 2.6.3, waiting for Debian unstable to have 2.8.x packaged so that I can install it cleanly using the packaging system. Raphael Quoting Mats Bengtsson [EMAIL PROTECTED] from ml.lilypond.users: :Which LilyPond version? If you search the mailing list :archives for bug-lilypond, you will find out that this :problem was discussed (and solved, if I remember :correctly) during one of the 2.7.x versions. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extraneous Text Notation Placement (Verse, Chorus, Bridge, etc.)
It's much easier to answer your question if you include a small but complete example of what you tried. Also, please always tell what LilyPond version you use. /Mats Bryan Murdaugh wrote: I'm working on a very large collection of lead sheets and I'd like to label the Verses and Choruses accordingly. The optimal placement of this notation would be above and to the left (or even just to the left) of my Chord line notation. I tried using markup, but it only shows up BELOW the chord line. Has anyone successfully done this? Thanks, Bryan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with rest collision
It certainly looks like a bug, so I forward it there.
/Mats
Jefferson dos Santos Felix wrote:
Another example, to illustrate the problem (I think it's a bug)
\score
{
\override Score.RestCollision #'minimum-distance = #0.75
{g8 a b c' d' e' f' g' a' b' c'' d'' e'' f'' g'' a''} \\
{r8 r r r r r r r r r r r r r r r }
}
Jefferson
2006/4/19, Jefferson dos Santos Felix [EMAIL PROTECTED]
mailto:[EMAIL PROTECTED]:
I try to remove the rest collision of the example below, but no
success:
\version 2.8.1
\score
{
{a8 d' f' a'} \\ {r8 c' d' r}
}
I try to use this:
\override Score.RestCollision #'minimum-distance = #1.75
but the collision persists.
How can I solve it?
Thanks,
--
Jefferson dos Santos Felix
-
felixmusic.net http://felixmusic.net
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Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: numbers in variable names
On 19 Apr 2006, at 19:19, Daniel Johnson wrote: I always use Roman numerals. Interesting, I understand perfectly the weltanschauung behind the technique. Dadaism is the next step. In fact, I automatically convert numbers in letters with a hash table, so you have this Picabian-style variable names: voice152 = voicebec voice065 = voiceafe and so on... This contaminates also my conTeXt files. (sorry, I guess it won't help..) -a- grin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Andrea Valle DAMS - Facoltà di Scienze della Formazione Università degli Studi di Torino http://www.semiotiche.it/andrea [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: No clef and key each line
Mats Bengtsson wrote: If you read in Common Tweaks in the manual, you can learn about the property called transparent. However, in this case, I don't think you want the removed clefs and key signatures to occupy any space. Then, you can instead add \override Score.KeySignature #'stencil = ##f \override Score.Clef #'stencil = ##f somewhere after the first note (since you don't want it to apply to the first line) in one of the voices. That's really cool Mats, I just tried it and it is ideal for jazz leadsheets. Is there a way of doing it that would add a vertical bar line at the start of each line though, rather than leaving it blank as it is at the moment? Cheers! Jennifer ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Beaming- help needed
I'm having a few issues with beaming...
I had to turn manuel beaming on to alter one bar, but now need to go back to
automatic beaming... I can't find any code to do this in the manuel. Can
someone please help?
Here's a sample of the code:
{
\override Staff.TimeSignature #'style = #' ( )
\key g\major
#(set-global-staff-size 16.00)
\set Score.markFormatter = #format-mark-box-alphabet
\override Score.MetronomeMark #' padding = #3
\once \override TextScript #' padding = #2.5
\time 3/8
r16\mf^\markup{ \override #' (font-size . -0.5) \hspace #-5 \bold Andantino
e grazioso } b'16( g'16 e'16) e''8
d''4.
c''4.
b'4.
a'4 b'8
g'8. g'16 c''8
fis'8. g'16 a'8
g'4.
\set subdivideBeams = ##t
\set Score.beatLength = #(ly:make-moment 1 8)
gis'16 a'32( gis'32 a'32 gis'32 a'32 gis'32 a'32 gis'32 fis'32 gis'32)
a'8. b'16 c''8 ~
c''16 b'16( gis'16 e'16) d''8
c''4. ~
c''8. b'16 a'8 ~
a'16 d''16( b'16 g'16) g''8
}
\version 2.5.25 % necessary for upgrading to future LilyPond versions.
Here's a link to view the PDF:
http://www.naomimusic.be/PDFs/Soprano%20Cornet.pdf
Cheers :)
I use Windows XP and lilypond version 2.6
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Extra Rests?!
http://www.naomimusic.be/PDFs/Cornet%20in%20Bb.pdf
Above is a PDF of another part I'm doing.
If you look at the 2nd to last line- the first bar of, and the last line, I
think it's pretty obvious what my issue is here!
I have rests in where there shouldn't be... also, it isn't putting in
'breaks' in that last line either can someone please solve the mystery
as the code looks fine to me!
Below is the last chunk of code:
{
r8 r16 cis''16 d''8
d''4. ~
d''8. b'16 c''8 ~
c''8. c''16 f'8
g'8. b'16 e''8
f'8. a'16 d''8
r16 gis'16( b'16 d''16) c''8 ~
c''16 f'16( a'16 c''16) bes'8 ~
bes'16 gis'16 a'4 ~
a'4 gis'8 \break
c''4. ~
c''16 a'16( f'16 d'16) c''8
b'4. ~
b'16 g'16( e'16 c'16) bes'8
a'4. { s16 s16\ s16 s16 s32 s32 s32 s32\! }
R4.
r16\p b'16( a'16 c''16) fis'16( a'16)
r16 a'16( gis'16 b'16) d''8 ~
d''16 r16 r8 r8
R4.
d''16(\ c''16 b'16 a'16) r8
r16 gis'16( b'16 d''16 ~ d''8 ~
d''8) d''8 a'8\!
r16 gis'8 d''8\ c''16 ~
c''16 e'16 gis'8 ees'8\!
r8 r8 e'8\p^\markup{ \override #' (font-size . -0.5) \italic rit. }
b'4. \break
R4.^\markup{ \override #' (font-size . -0.5) \italic A Tempo }
r16 b'16( g'16 e'16) e''8 ~
e''8. c''16 d''8 ~
d''8. b'16 c''8
b'4.
a'16( gis'16 a'4 ~
a'4)^\markup{ \override #' (font-size . -0.5) \italic rit. } gis'8
e'4.
\bar |.
}
\version 2.5.25 % necessary for upgrading to future LilyPond versions.
Cheers :)
I use Windows XP and lilypond version 2.6
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Re: Beaming- help needed
\revert is your friend. Use it on everything you used a \override on. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extra Rests?!
On 19-Apr-06, at 3:42 PM, Naomi McFadyen wrote: Above is a PDF of another part I'm doing. If you look at the 2nd to last line- the first bar of, and the last line, I think it's pretty obvious what my issue is here! I have rests in where there shouldn't be... also, it isn't putting in 'breaks' in that last line either can someone please solve the mystery as the code looks fine to me! Please insert some bar-line checks | into your input file. I think that you will discover that some of your durations are incorrect. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extra Rests?!
.Time signature is 3/8 by the way new bars are on a new line. If the bars didn't have the right value in them, it would cause many more problems than what the PDF shows. -- View this message in context: http://www.nabble.com/Extra-Rests-%21-t1477345.html#a3999190 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extra Rests?!
Naomi: Your code comes out just fine here (Mac OS X, Lilypond 2.8.1) -- perhaps the error is earlier in the code, or in another part? Ensure that all of your \times (for tuplets) are not \time (which would force a time signature change). Good luck! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
using oneVoice vs force-hshift in polyphany and alternatives
Sure, the notes are in the right place. The interaction between the various
parts is baffling though. Using \oneVoice to set the notes over one another
seems to make the stems go up; \stemDown erases the effect of \oneVoice and
\oneVoice cancels \stemDown. Apparently \override NoteColumn #'force-hshift
= #0.0 accomplishes the what I want without side effects.
What is \oneVoice meant to be used for? Can someone list separately all the
things it does?
Finally, I don't understand the scoping rules at play here. How come I can
comment out some of the stem overrides while leaving them in effect?
Stephen
Vier.png
Description: PNG image
\version 2.8.0
\paper {
#(set-paper-size a5)
indent = 0\mm
}
upper = {
\time 3/8
\key b \minor
{fis'4( ~ fis'16 a') | }
\\ {fis'16( \tieUp d' ~ \once \override Stem #'transparent = ##t d'
\change Staff = lower \stemUp
\once \override Staff.Clef #'extra-offset = #'(-2.0 . -0.25)
\once \override Staff.Clef #'font-size = #-1
\clef G g ~ g e 8) | }
\\ {s8 d'4 | }
\\ { \oneVoice
\override Stem #'length = #13.5
\override Stem #'flag-style = #'no-flag
s8 b16 s8. | }
{g'4( ~ g'16 fis') | }
\\ {g'16( \tieUp e' ~ \once \override Stem #'transparent = ##t e'
\change Staff = lower \stemUp
a fis d) | }
\\ {s8 e'4 | }
\\ { \oneVoice
%\override Stem #'length = #'(3.5 3.5 7.0 4.5 5.0)
%\override Stem #'flag-style = #'no-flag
s8 cis'16 s8. | }
\\ { s4. }
\\ { \override NoteColumn #'force-hshift = #-0.6484375
\override NoteHead #'transparent = ##t
\change Staff = lower s8. a | }
\\ { s4. }
\\ { \change Staff = lower s4 fis8 | }
\\ { \oneVoice
\override Stem #'flag-style = #'no-flag
\change Staff = lower s4 s16 d | }
{cis'4( ~ cis'16 b16) | }
\\ {cis'16( \tieUp a ~ \once \override Stem #'transparent = ##t a
\change Staff = lower \stemUp
\once \override Staff.Clef #'font-size = #1
\clef F d b, g,) | }
\\ {s8 a4 | }
\\ { %\oneVoice
\override Stem #'length = #7.0
%\override Stem #'flag-style = #'no-flag
\override NoteColumn #'force-hshift = #0.0
s8 fis16 s8. | }
\\ { s4. }
\\ { \override NoteColumn #'force-hshift = #-0.6484375
\override NoteHead #'transparent = ##t
\change Staff = lower s8. d | }
\\ { s4. }
\\ { \change Staff = lower s4 b,8 | }
\\ { \oneVoice
\override Stem #'flag-style = #'no-flag
\change Staff = lower s4 s16 g, | }
}
dynamics = {
\override DynamicText #'extra-offset = #'(-1 . 2)
s\p
}
\score {
\context PianoStaff
\context Staff=upper \transpose c c' \upper
\context Dynamics=dynamics \dynamics
\context Staff=lower
\clef bass \key b \minor s4. | s4. | s4. |
\layout {
\context {
\type Engraver_group
\name Dynamics
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists Dynamic_engraver
\override DynamicText #'extra-offset = #'(0 . 2.5)
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
}
\context {
\PianoStaff
\accepts Dynamics
\override VerticalAlignment #'forced-distance = #6.75
}
}
\midi { \tempo 4=36 }
}
Brahms.png
Description: PNG image
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changing measure/BarLine spacing defaults
[ Lilypond 2.8.1 ] Hello, all! I'd like to put a little extra padding around every BarLine -- i.e., I find that Lilypond puts the first note too close to the beginning of the measure and the last note too close to the end. Unfortunately, I can't seem to find the right combination of space- alist values -- can anyone give me a hint? Or is BarLine.space-alist not the thing I should be messing with? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using oneVoice vs force-hshift in polyphany and alternatives
Quoting Stephen [EMAIL PROTECTED]: Sure, the notes are in the right place. The interaction between the various parts is baffling though. Using \oneVoice to set the notes over one another seems to make the stems go up; \stemDown erases the effect of \oneVoice and \oneVoice cancels \stemDown. Apparently \override NoteColumn #'force-hshift = #0.0 accomplishes the what I want without side effects. What is \oneVoice meant to be used for? Can someone list separately all the things it does? See Sect. Explicitly instantiating voices for a list of what \voiceOne, ..., \voiceFour do. \oneVoice reverts the settings done by any of \voiceOne ... \voiceFour, so among others it does a \revert Stem #'direction which is what you noted. /Mats Finally, I don't understand the scoping rules at play here. How come I can comment out some of the stem overrides while leaving them in effect? Stephen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extraneous Text Notation Placement (Verse, Chorus, Bridge, etc.)
You can easily typeset a text annotation below or above a note
using
c^Text above or c_Text below
respectively, as described in the section of Text scripts in the
manual. See also the section on Text marks. However, your example code
below doesn't include any chords, so I can't say how that solves your
problem.
Note also that \markup{ Verse 1 } is completely equivalent to Verse
1. The only reason to use \markup is if you want to do
some fancy layout, like changing the font size/shape or including
music symbols or ...
/Mats
Quoting bryan murdaugh [EMAIL PROTECTED]:
I'm using 2.8.1-1. This is what I tried
(this yields an error)
verseonemelody = \relative c {
\clef treble
\key c\major
\time 6/8
r4.\markup { Verse 1 } r4 e'8 g4.~ g8 f8 d8 e16 g16~ g4~ g4
(this puts the markup inline with the text)
verseonelyrics = \lyricmode {
\set stanza = 1. {
\markup { Verse 1 }
Our Sav -- ior has ris -- en.
I was able at one point, though I do not know how, to get the markup to
appear between the staves and the chord line, but I can't seem to reproduce
that behavior. I'm very confused about where the \markup keyword is
appropriate.
Thanks,
bryan
On 4/19/06, Mats Bengtsson [EMAIL PROTECTED] wrote:
It's much easier to answer your question if you include a small
but complete example of what you tried. Also, please always
tell what LilyPond version you use.
/Mats
Bryan Murdaugh wrote:
I'm working on a very large collection of lead sheets and I'd like to
label the
Verses and Choruses accordingly. The optimal placement of this notation
would
be above and to the left (or even just to the left) of my Chord line
notation.
I tried using markup, but it only shows up BELOW the chord line. Has
anyone
successfully done this?
Thanks,
Bryan
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
--
Bryan Murdaugh
803.553.3011
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setting word-space more globally?
Is there any way that the word-space property can be set more globally,
instead of within each specific \markup itself? Specifically is there any
way that I can set word-space property at the Lyrics staff level? I use the
following markup repeatedly and I want to find a way to shorten up my source
code because constantly resetting word-space is redundant:
varDomSevFltFivIII = \markup {\override #'(word-space . 0.1) \center-align
{ \line { D { \super \line { 7 \flat 5 } } }
{ \fret-diagram-terse #4;x;4;5;3;x; } } }
Since I use several variables like the above in the Lyrics staff, I want to
set word-space at Lyrics level and eliminate it from each specific variable.
(because there are several variables like the above that contain this same
redundant word-space expression).
Also usage of word-space is not documented in the manual, it may be an item
to add, same for baseline-skip.
Thanks
Rick
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View this message in context:
http://www.nabble.com/setting-word-space-more-globally--t1478545.html#a4001433
Sent from the Gnu - Lilypond - User forum at Nabble.com.
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Re: Beaming- help needed
The corresponding command if you have \set something is \unset, as described in Section 9.1.2 Changing context properties on the fly. /Mats Quoting Geoff Horton [EMAIL PROTECTED]: \revert is your friend. Use it on everything you used a \override on. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
