Re: Multiple sections in ChoirStaff
Geoff Horton geoff.horton at gmail.com writes:
Also, can someone please explain
the significance of the { s1 } in the \new Lyrics lines? I cannot
find any reference to this anywhere in the manual.
That's one way I know this isn't my template--I am really not fond of
setting up parts that way.
I am -- it saves lots of space for simpler choral music. ;-)
The thing is, when you have music like this:
sop -- ra -- no ly -- rics
[ staff with soprano voice and alto voice ]
al --to ly -- rics
...*and* you use \lyricsto, *and* the name of the voice context for the soprano
voice is defined below the \lyricsto command (as it would be above without the
s1 trick), the \lyricsto references a voice name that doesn't exist yet.
So you need to create and name the lyrics context first, to get it in the right
place; then you create and name the voice it belongs to, and finally you add the
actual lyrics.
All of this is only relevant if you have lyrics above the staff which contains
the voice the lyrics should align to, which again should only happen if you 1)
have two voices in a staff and 2) the voices have different lyrics.
In many cases, you'll have differing lyrics only in a few places, in which case
it's normal to typeset only the divergent lyrics. In that case, you can save
some typing by having the timing information in the lyrics and avoid \lyricsto,
and then you don't need the s1 trick there. If the lyrics are different all the
time, you're probably better off with four staves anyway, and again (because the
lyrics are below the staff) you don't need the s1 trick.
But in case you need it, it's there in the template. ;-)
Hope this explains more than it confuses...
--
Arvid
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Re: Some Questions
Mats Bengtsson wrote:
If you want to have several \score{...} blocks within the
same file and use different sizes in each, you can use
\score{
...
\layout{
#(layout-set-staff-size 15)
}
}
Could that be added to the manual please?
Ole
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Re: Setting lyrics to an invisible note?
On 11/27/06, Mats Bengtsson [EMAIL PROTECTED] wrote: Did you try to search for invisible notes or transparent notes or hidden notes in the index of the manual? No, and I should have. My apologies. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDf and Ps outputs
On 11/26/06, Cesar Penagos [EMAIL PROTECTED] wrote:
--- Mensaje Remitido ---
De: Cesar Penagos [EMAIL PROTECTED]
A: lilypond-user@gnu.org lilypond-user@gnu.org
Asunto: Some Questions
Fecha: Sun, 26 Nov 2006 11:58:18 -0600
Dear Lilyponders:
I have installed the 2.10 version running under windows XP.
I'm working in a large orchestral score.
I have two questions:
Hi Cesar,
1. I have installed Ghostview and Foxit pdf reader, Lilypond gently output
the 2 formats, The .ps and the .pdf at the same time, taking a long time
to work.
Is there a command to say lilypond to output only pdf's or only ps', and
where I put the command?
Maybe the --ps and --pdf options in section 13.1 Invoking lilypond
in the 2.10 users' manual will help.
2. As I tell before, I'm working in an orchestral score. I put this
command in a Score.ly
# (set-global-staff-size 15)at the top of the Director score.
But I wan to preserve the size of individual instruments at 22, that
actually take the 15 size. How can I resolve this?. I have had take a look
on the guide, but is not clear to me where I must put the commands to
preserve the proper sizes in each score ( the instruments at 22 and the
full-score at 15)
You can create two different input files. Or you can create one input
file with two different \book blocks and with two different toplevel
global staff size settings.
%%% BEGIN %%%
\version 2.10.0
#(set-global-staff-size 15)
\book {
\score {
c'4
}
}
#(set-global-staff-size 22)
\book {
\score {
c''4
}
}
%%% END %%%
Note that lilypond will write two different output files: foo.pdf and
also foo-1.pdf.
Is this what you're looking for?
thank you in advance.
Enjoy lilypond and good luck getting started!
--
Trevor Bača
[EMAIL PROTECTED]
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Substitution function for setting stemLeftBeamCount and stemRightBeamCount at the same time
Hi,
I beam lots of stuff manually. This leads to frequently setting
stemLeftBeamCount and stemRightBeamCount.
%%% BEGIN EX 1 %%%
\version 2.10.0
\new Score {
c'64[
\set stemLeftBeamCount = #4
\set stemRightBeamCount = #2
c'64
\set stemLeftBeamCount = #2
\set stemRightBeamCount = #4
c'64
c'64]
}
%%% END EX 1 %%%
I've often wondered why there isn't some setting like
\set stemBeamCount = #'(4 . 2)
to set both stemLeftCount and stemRightBeamCount together.
However, following the third example in section 12.1.2 Simple
substitution functions produces the helper function below, with
cleaner code.
%%% BEGIN EX 2 %%%
\version 2.10.0
beam = #(define-music-function (parser location left right) (number? number?)
#{
\set stemLeftBeamCount = #$left
\set stemRightBeamCount = #$right
#})
\new Score {
c'64[
\beam #4 #2
c'64
\beam #2 #4
c'64
c'64]
}
%%% END EX 2 %%%
Might help clean up someone else's code somewhere, too.
--
Trevor Bača
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Re: Music for the Martians?
On Thursday 23 November 2006 20:29, Arjan Bos wrote: On 23 nov 2006, at 3:10, Graham Percival wrote: I think this is referring to people with 6-fingers. Typing e8_1 means first finger; typing e8_1 prints 1 as a TextScript. But what are martians and why are they playing my music? Shouldn't this message simply state that a 6 is a strange number to indicate a finger with? Yes, but somebody was feeling creative when they wrote that code. :) What message do you propose to change it with? I thought about that and I know that it is non-sensical to have 6 in there as a finger indication. But I decided to put it in and it is right to put it in for my purpose, otherwise it wouldn't be in. So I feel that this message can be safely removed from lilypond. Oh, and 2.8 didn't have that message and I did not confuse myself with six fingers either there ;-) So please remove it, or if it is felt that it is a just message, please state that it something like: Warning: fingering notation for finger number n. Maybe also add a constructive hint, something like: Warning: fingering notation for finger number n. Did you intend to use \markup? where n is greater than 5, or 4 depending on the instrument being described. In guitar music, we normally only deal with four fingers as the thumb is at the other side of the neck. So here it would be appropriate to give the message at finger number 5. Since it's clearly instrument dependent, and lilypond doesn't know about the instrument that the music is intended for, it is a strong indication that you cannot tell when to display this warning. So this is in favour of removing it. BTW, I think I have heard of a professional pianist who had six fingers on one of his hands; he would have a valid excuse for writing 6. Luckily for him, it is fairly easy to manually \override Fingering.text to a similar function that doesn't give a warning. -- Erik ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
# or not before a value
Hello some variables are set with just the value after the equal sign, and some require tu put a hash # before, e.g. indent = 2.0\cm but \set fontSize = #-2 I'd like to know what is the general rule. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple sections in ChoirStaff
When I need to make a score like that, I use the undocumented but still working \alignAboveContext command; it seems a little less confusing to me. Is this command slated to disappear, or does it need to be in the manual (I just checked and it still isn't there)? Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tempo Heading Alignment
Consider the example:
%%%
\version 2.10.0
tempo = {
\mark \markup { \bigger\bold {Andante.}}
}
\score {
\override Score.RehearsalMark #'break-align-symbol = #'time-signature
\new StaffGroup
\new Staff
\override Score.RehearsalMark #'break-align-symbol = #'time-
signature
\tempo
\new Voice { \VoiceA }
%%% more instruments here...
% end StaffGroup
\new StaffGroup
\new Staff \with { \consists Mark_engraver }
\override GrandStaff.RehearsalMark #'break-align-symbol =
#'time-signature
\tempo
\new Voice { \VoiceB }
%%% more instruments here...
\layout {
\context { \RemoveEmptyStaffContext }
\context { \GrandStaff \consists Instrument_name_engraver }
}
}
%%%
The result is 'Andante' posted along the time signature above VoiceA
(as expected and desired), but 'Andante' along the clef above VoiceB.
I've tried messing with \override Score.RehearsalMark in various
ways: moving Score.RehearsalMark to different spots (no change),
adding it to both voices as Staff.RehearsalMark (no change), moving
\with {} to \StaffGroup (pushes second 'Andante' to the top).
Is there another way to make staves with Mark_engraver added follow
tempi alignments?
Yours c.,
the morning lets you live
but not sleeping is too hard
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if change always comes first
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automatic invisible unmetred linebreaks
Hello.
I am setting unmetred chant, using \set Score.timing = ##f.
Previously I have always inserted
\bar \break
wherever I wanted a linebreak without a barline.
Now I have discovered that I can use barAlways and defaultBarType = to
insert invisible barlines between all the notes, which makes the linebreaks
happen more or less automatically. Using this method would make my work a lot
quicker, but the slurs look funny because they are avoiding the invisible
barlines.
Can I make the slurs ignore the invisible barlines?
Also, I thought that \bar took up no space at all, but now I'm not sure. Are
the invisible barlines taking up space; and if so is it possible to change
the padding on all invisible barlines without also changing the padding on
visible ones?
I'm running Lilypond 2.10 on Linux
Here's an example file :
\version 2.10
\score {
\relative c'' { \set Score.timing = ##f \set Score.barAlways = ##t \set
Timing.defaultBarType = \key g
\major \autoBeamOff
b4 c8([ d]) b4.( g8) a([ c]) b([ a]) g4( a) b4 c8([ d]) e4 d8([ c]) d4 c b4.(
a8) g([ a]) b4 a b8([ c]) d2
d4 c b8([ c]) d4 e d c8([ b]) d4( c) b g8([ a]) b4 c8([ d]) b4 b8([ g]) a([ c
b a]) g4 a b2
}
\layout { ragged-last = ##t \context { \Staff
\remove Time_signature_engraver \remove Bar_number_engraver }
}
}
Many thanks.
Fr. P
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Numbering exercises; overriding defaults; points for clefs.
Good morning. Numbering: I am reading through the user pdf and writing a didactical work made of ca. 300 8-bar pieces in one stave. I want to put a serial number to each one, at its beginning, left from the clef. How should I do this? Of course, I would prefer not to have to enter the serial number each time, if this is possible. Overriding defaults: I want all 4/4 and 2/2 time signatures written with the numbers, not with C; all pages to contain 10 Staves (= 5 exercises of 4 measures each); and disable the measure numbering. Looking in the pdf, I found the way to override the C for one excercise, and how to break the page once. How do I do this for the whole document? I also found a command to override the measure numbering, but don't understand where am I to put it. Also, I notice that only the F-clef has its two points; but I say that every clef should have them, like the Soprano and French Soprano clefs do in the big Bachausgabe. How do I put this necessary points to my clefs? Best, Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
