Vertical Spacing between scores

[Matthew Beckler]

Hello,

I'm trying to print two scores (with the same piece for both), on the 
same page. I'd like to be able to insert vertical spacing between the 
first and second scores so as to push the second score down the page, 
leaving blank space between the end of the first score and the second 
score. Here is my sample test code:


\version "2.8.0"
\include "english.ly"

\paper {
  scoreTitleMarkup = \bookTitleMarkup
}

soloTrumpet = \new Voice { \relative c'' {
\set Staff.instrument = "Solo Trumpet"
bf4 d f4. d8 | ef g r4 r2 | f4 bf bf4. c8 | a f r4 r2 | \bar "|."
}}

\book
{
  \score
  {
\new Staff \soloTrumpet
\header{title = "Title"}
  }

  %Insert extra space here?
  % Either:
  %  1. Insert some specified amount of vertical space?
  %  2. Specify where (vertically) the next score should start?

  \score
  {
\new Staff \soloTrumpet
\header{title = "Title"}
  }
}

Thanks for any help in advance,
Matthew


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Re: Any possibility to define a new accidental-style ?

[Rune Zedeler]

Valentin Villenave wrote:

[Was: An extra accidental-style might be needed]


If I understand you request correctly, the only new feature needed is 
the ability to distinguish between a note that has just ended, and a 
note that ended somewhat earlier in the same measure.


I will take a look at that.

-Rune


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Any possibility to define a new accidental-style ?

[Valentin Villenave]

[Was: An extra accidental-style might be needed]

Greetings,

A few days ago, I tried to send a question on this list about the way
accidentals are often written in recent scores :


--the first accidental in a bar is printed (like in 'default style)
--if a note with an accidental is immediately repeated in the same bar
(same pitch, same octave), the accidental is not printed (like
in 'default style)
--if the same note occurs later in the bar, the accidental is printed
again (like in 'forget style)
--if the same note gets natural, even at a different octave, a natural
sign is printed (like in 'modern style)
--sometimes, cautionnary naturals signs can even be printed in the
immediately following bar, without parentheses or whatever (which can
be obtained in Lily by setting the "laziness" property) --just in case
the musician would forget there isn't any accidental anymore...


Of course, there's no obligation here for anyone to answer (or even to
care about) my question; that said, I thought maybe I'd better post it
once again, just in case...

(and also because I need it, of course -at least, I need to know if I
have to start taking back all my files and add exclamation marks
everywhere...)

Maybe I could (with a little help) write this function by myself
(though I don't really how to do it right now). But I also wanted to
know if anyone had ever seen such a notation practice before (I know
at least a dozen composers who use it, but maybe it's only in
France...), and if it would be worth considering adding it to the
standard LilyPond distribution, as a new accidental-style -- and if
this should happen, I would be pleased to sponsorize it myself of
course.

Now, if this definitely a silly idea, I hope this time someone will at
least take a few seconds to tell me it is :-)

Regards,
Valentin


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Re: \markup

[Ole Schmidt]

In the meantime I find a solution myself (see below) but your  
horizontal alignment fix of the \score element is surely better. I  
will implant it tomorrow.


thank you

ole



\markup{ \column {\line { {  Il flatterzunge legato per il  
clarinetto: }\left-align \vcenter {\score {\new Staff \with {

\remove "Time_signature_engraver"
\remove "Clef_engraver" \remove "Staff_symbol_engraver"
} {
g'4:32
} \layout { } } } \transparent {a }{ e un rapido ribattere della nota  
senza tremolo dentale. }}


\line
{\vcenter
{\musicglyph #"scripts.prallprall" }
\vcenter { "= vibrato ampio, possiblemente attenuto trillando con la  
nota inferiore di un quarto di tono."}}


\line
{ \left-align
{ \vcenter {\semiflat "= quarto di tono calante" \transparent {a }   
\semisharp "= quarto di tono crescente"}

}
}


}

}

\version "2.10.15"

%%



First step is to fix the horizontal alignment, using
indent = 0 and ragged-right = ##t (if you keep the Staff symbol
engraver, you will realize why).

For the vertical alignment, there's a markup command
\vcenter to set the alignment point on a specific markup
to be centered. There are no similar markup commands for
top and bottom aligned, but there you can use \general-align.
The following modified version of your example is hopefully
fairly close to what you want:
\markup { \general-align #Y #DOWN "per il clarinetto" \general- 
align #Y #DOWN \score {\new Staff \with {

\remove "Time_signature_engraver"
\remove "Clef_engraver" \remove "Staff_symbol_engraver"
} {
d'4:32
} \layout { ragged-right = ##t indent = 0} } }

Note that I changed the pitch of the note. Apparently, the
stave still allocates some space even though it's not printed.



%%

\markup {{\musicglyph #"scripts.prallprall" }"= vibrato ampio"}


Here, you can use
\markup {{\musicglyph #"scripts.prallprall" } \vcenter "= vibrato  
ampio"}



  /Mats




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Re: Switching between two- and three-staves piano score

[Thomas Ruedas]

On Wednesday 28 February 2007 03:53, Mats Bengtsson wrote:
> > So, how do I get rid of that empty staff at the beginning?
> Just read the whole section on "Hiding staves" carefully, and you will
> find the answer.
I guess you refer to this sentence:
The first system shows all staves in full. If empty staves should be 
removed from the first system too, set remove-first to true in  
VerticalAxisGroup. 
\override Score.VerticalAxisGroup #'remove-first = ##t

Well, I had tried that, but whereever I insert this line, I get some error 
message when compiling, e.g. when I do it like this:
  \layout {
\context { 
\override Score.VerticalAxisGroup #'remove-first = ##t
\RemoveEmptyStaffContext }
\context{
  \Staff
...
I get the following errmsg:
PianoSonataB_1.ly:432:15: error: syntax error, unexpected '.', expecting 
SCM_T or SCM_IDENTIFIER
\override Score
   .VerticalAxisGroup #'remove-first = ##t

Is there a bug in the doc or where do I have to insert the line? (My 
Lilypond version is 2.8.1.)
Thomas
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Re: Spacing issues

[David Feuer]

On 2/28/07, David Feuer <[EMAIL PROTECTED]> wrote:


2.  The lyrics aren't positioned so wonderfully.  In measures 34-38
and 42-46, where the baritone splits from the bass, I wanted to put
the baritone lyrics above the staff, so both sets of lyrics would be
close to the notes, but the dynamics push them up away from the staff.


I should mention that I wouldn't mind shifting the dynamics down and
left to get them out of the way and let the lyrics move down, but I
couldn't figure out how to make that happen.

David Feuer


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Re: Help with "To Coda"

[David Feuer]

On 2/28/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:


Try adding
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
just before the \mark command. You can even use something like
\once \override Score.RehearsalMark #'self-alignment-X = #0.8
(1.0 corresponds to RIGHT, i.e. complete alignment to the right
edge).


Setting it to RIGHT aligns the right edge of the coda symbol with the
bar line, whereas I want the center lined up.  I might use the second
suggestion (a number) if necessary, but it strikes me as an ugly and
fragile hack.  Of course, the code I borrowed from the snippet
repository to format the coda is really ugly too, so maybe I shouldn't
complain.

David


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Spacing issues

[David Feuer]

I'm having a lot of trouble, mostly with spacing, in a vocal piece,
using LilyPond 2.11.19.  I could really use some help.  I've tried
various tweaks without much luck.  I've gone back to the defaults so
anyone willing to help will have a good starting point.  The .ly files
are available at
http://techhouse.org/~dfeuer/misc/Everything.ly
and
http://techhouse.org/~dfeuer/misc/codacode.ly

The problems, roughly in priority order:

1.  The spacing is oddly tight in a great many places, even where
there seem to be other places on the same line that are fairly loose.
See, for example,
The first line, in which the full-measure rest in measure 1 is pretty
big, and everything else is totally smushed, especially between notes
and following bar lines
The eighth rest in measure 34
The quarter rest in measure 46
If this is a bug in Lilypond's spacing algorithm, what version might I
use that doesn't have this bug?

2.  The lyrics aren't positioned so wonderfully.  In measures 34-38
and 42-46, where the baritone splits from the bass, I wanted to put
the baritone lyrics above the staff, so both sets of lyrics would be
close to the notes, but the dynamics push them up away from the staff.
The low notes in the alto part in measure 20 force the whole line of
lyrics too far down.  I guess I could push the stems up in the lower
part of measure 20. Would that be reasonable?

3.  I would prefer to have three systems per page.  Using only
set-global-staff-size doesn't accomplish that until the music gets
really tiny.

4.  In measure 44, there's a mysterious small dot between and a bit
above the eighth note and the half note in the baritone part (at
least, I see it in GSView).

Many thanks in advance,
David Feuer


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Re: divisi tremolo

[Graham Percival]

Thanks, added as
http://code.google.com/p/lilypond/issues/detail?id=324

I don't think it's related to 318, since this problem persists if we use 
half notes instead of whole notes.


Cheers,
- Graham

Mats Bengtsson wrote:

This seems to be related to
http://code.google.com/p/lilypond/issues/detail?id=318

I forward it to bug-lilypond.

The "line feed" goes away if you use
\new Staff {
\clm \clma << \clm \\ \clma >>
}
But I don't understand why it happens. It somehow
seems related to the fact that you have separate
\relative directives for the two macros.

  /Mats

Paul Scott wrote:

I would think this should be automatic but is there a way to get the 
lower "stem" down instead of up conflicting with the upper stem?  I 
would think this is a bug.


Are the error messages necessary?

Why the "line feed" after the first measure?

\version "2.11.20"
clm= \relative c'' { \repeat tremolo 8 { e16( cis) } }
clma   = \relative c' { \repeat tremolo 8 { e16( g) } }
{
 \clm \clma << \clm \\ \clma >>
}

TIA,

Paul Scott



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Re: Fw: extra-offset instead of X/Y offset? (was Lowering a mark)

[Graham Percival]

Maximilian Albert wrote:

How about the end of section 6.6.3 "Dynamics"? There is already a
subsection called "Commonly tweaked properties" where it is implicitly
mentioned that DynamicTextSpanner is responsible for the movement of
dynamic text (by ways of an example). I could imagine that this kind of
information fits well in there. Maybe there are other places, too (I
haven't checked thoroughly).


Ok, I added a sentence.  Other suggestions, as always, are welcome.

Cheers,
- Graham


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Re: Help with "To Coda"

[Mats Bengtsson]

David Feuer wrote:


On 2/28/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:


Maybe something like
\mark \markup { \vcenter "To Coda"  \musicglyph #"scripts.coda"}
is close to what you want.



This is close, yes.  But the problem is that the final result is
centered above the bar line, when I actually want the coda sign
centered above, with the "To Coda" hanging off to the left.


Try adding
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
just before the \mark command. You can even use something like
\once \override Score.RehearsalMark #'self-alignment-X = #0.8
(1.0 corresponds to RIGHT, i.e. complete alignment to the right
edge).

  /Mats


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Re: How to mix spanned and non-spanned bars ?

[Mats Bengtsson]

Dmytro O. Redchuk wrote:


On Wed, Feb 28, 2007 at 06:07:20PM +0200, Dmytro O. Redchuk wrote:
 


On Wed, Feb 28, 2007 at 04:19:14PM +0200, Dmytro O. Redchuk wrote:
   


Hi,

  i'm just starting to learn LilyPond, so i have questions:

  1. Is it possible to mix separate bar rules (like \sepbarrules in
 MusixTeX) for different instruments and "common" bar rules for them
 (like \stdbarrules in MusixTeX)?
 


About this question:
How to bind "Span_bar_engraver" to *-line-breaking-callback to make
spanned bar lines at the end of every line?
(To "before-" or "after-line-breaking-callback"?)

Or is there any other solution?

Or is there any other way to mix spanned bar lines with separated
ones?
   



  Okay, i've found something so far, looks working:

   \layout {
   \context {
   \ChoirStaff \consists "Span_bar_engraver"
   \override SpanBar #'break-visibility = #center-invisible
   }
   }


  But, really, CAN I mix spanned with non-spanned? Is it ever possible?

 

Certainly! First of all, instead of adding the span bar engraver to the 
ChoirStaff,
you could just as well use a StaffGroup. To turn these spanned bar lines 
off and

on between different bars, it should work to do
\override ChoirStaff.SpanBar #'transparent = ##f
and
\override ChoirStaff.SpanBar #'transparent = ##f
respectively.

  /Mats


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Re: Help with "To Coda"

[David Feuer]

On 2/28/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:

Maybe something like
\mark \markup { \vcenter "To Coda"  \musicglyph #"scripts.coda"}
is close to what you want.


This is close, yes.  But the problem is that the final result is
centered above the bar line, when I actually want the coda sign
centered above, with the "To Coda" hanging off to the left.

David


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Re: \markup

[Mats Bengtsson]

Ole Schmidt wrote:

ok, now I get staff lines, time and key removed... But I don't know  
how to align the note-symbol with the text (so that the symbol  
behaves like a letter and I can type text before and after).

Same problem in the second example where I use the Feta-Font
How can I align two elements of a \markup?

ole

%%

\markup { per il clarinetto { \score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver" \remove "Staff_symbol_engraver"
} {
f'4:32
} \layout { } } } }


First step is to fix the horizontal alignment, using
indent = 0 and ragged-right = ##t (if you keep the Staff symbol
engraver, you will realize why).

For the vertical alignment, there's a markup command
\vcenter to set the alignment point on a specific markup
to be centered. There are no similar markup commands for
top and bottom aligned, but there you can use \general-align.
The following modified version of your example is hopefully
fairly close to what you want:
\markup { \general-align #Y #DOWN "per il clarinetto" \general-align #Y 
#DOWN \score {\new Staff \with {

\remove "Time_signature_engraver"
\remove "Clef_engraver" \remove "Staff_symbol_engraver"
} {
d'4:32
} \layout { ragged-right = ##t indent = 0} } }

Note that I changed the pitch of the note. Apparently, the
stave still allocates some space even though it's not printed.



%%

\markup {{\musicglyph #"scripts.prallprall" }"= vibrato ampio"}


Here, you can use
\markup {{\musicglyph #"scripts.prallprall" } \vcenter "= vibrato ampio"}


  /Mats



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augmentation dot too far away

[Daniel Fortune]

Greetings,

I'm working on a hymn where the soprano has a dotted quarter note on 
treble F, and the alto has a half note a step below on E-flat. The 
augmentation dot of the F is showing up following the E-flat instead of  
the F--making the E-flat look like a dotted half note. (I'm not sure, 
but it may be that the E-flat should really appear before the F in this 
instance--I don't have any of my music notation bibles on hand ...)


Perhaps I'm missing something, but I've searched the manual and archives 
and didn't see an analogous situation that might help me. Could someone 
offer a suggestion or workaround?


I'm using version 2.10.0 on Win XP.

Thanks,

Dan Fortune



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Re: \markup

[Ole Schmidt]

ok, now I get staff lines, time and key removed... But I don't know  
how to align the note-symbol with the text (so that the symbol  
behaves like a letter and I can type text before and after).

Same problem in the second example where I use the Feta-Font
How can I align two elements of a \markup?

ole

%%

\markup { per il clarinetto { \score {\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver" \remove "Staff_symbol_engraver"
} {
f'4:32
} \layout { } } } }



\version "2.10.15"

%%

\markup {{\musicglyph #"scripts.prallprall" }"= vibrato ampio"}



\version "2.10.15"



Am 28.02.2007 um 13:51 schrieb Mats Bengtsson:


Certainly! You can include a full \score{...} block in a \markup.
The main work is then to get rid of all the staff lines, time and key
signatures and so on, if you only want the note. I seem to remember
that there have been some such examples on the mailing list, though.
Maybe also in LSR.

  /Mats

Ole Schmidt wrote:

Dear list,

is it possible to have something like a trillspan and a (quarter-) 
Note with tremolo-subdivisions in a markup text?


thank you for help

ole



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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
=




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Re: divisi tremolo

[Mats Bengtsson]

This seems to be related to
http://code.google.com/p/lilypond/issues/detail?id=318

I forward it to bug-lilypond.

The "line feed" goes away if you use
\new Staff {
\clm \clma << \clm \\ \clma >>
}
But I don't understand why it happens. It somehow
seems related to the fact that you have separate
\relative directives for the two macros.

  /Mats

Paul Scott wrote:

I would think this should be automatic but is there a way to get the 
lower "stem" down instead of up conflicting with the upper stem?  I 
would think this is a bug.


Are the error messages necessary?

Why the "line feed" after the first measure?

\version "2.11.20"
clm= \relative c'' { \repeat tremolo 8 { e16( cis) } }
clma   = \relative c' { \repeat tremolo 8 { e16( g) } }
{
 \clm \clma << \clm \\ \clma >>
}

TIA,

Paul Scott



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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
=



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Re: Spanish-speaking users

[Diosnel Herrnsdorf]

Hi, Francisco. This is Diosnel Herrnsdorf, from Paraguay. I don't know if 
there are other people using Lily here, but you can at least count one :)


Regards,

- Original Message - 
From: "Francisco Vila" <[EMAIL PROTECTED]>

To: 
Sent: Wednesday, February 28, 2007 15:33
Subject: Spanish-speaking users



I would like to contact all spanish-speaking users in this list, just
to have an estimation of how many of us are there, and possibly
foundate a lilypond-user-spanish list.

Here at the Conservatorio Superior de Musica de Badajoz we are
teaching LilyPond to many students as an optative subject, both in
mid-level studies (pre-college) and higher education.

Thank you,
--
Francisco Vila Doncel. Badajoz (Spain)
http://www.paconet.org


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Re: How to mix spanned and non-spanned bars ?

[Dmytro O. Redchuk]

On Wed, Feb 28, 2007 at 06:07:20PM +0200, Dmytro O. Redchuk wrote:
> On Wed, Feb 28, 2007 at 04:19:14PM +0200, Dmytro O. Redchuk wrote:
> > Hi,
> > 
> >i'm just starting to learn LilyPond, so i have questions:
> > 
> >1. Is it possible to mix separate bar rules (like \sepbarrules in
> >   MusixTeX) for different instruments and "common" bar rules for them
> >   (like \stdbarrules in MusixTeX)?
> 
> About this question:
>  How to bind "Span_bar_engraver" to *-line-breaking-callback to make
>  spanned bar lines at the end of every line?
>  (To "before-" or "after-line-breaking-callback"?)
> 
>  Or is there any other solution?
> 
>  Or is there any other way to mix spanned bar lines with separated
>  ones?

   Okay, i've found something so far, looks working:

\layout {
\context {
\ChoirStaff \consists "Span_bar_engraver"
\override SpanBar #'break-visibility = #center-invisible
}
}


   But, really, CAN I mix spanned with non-spanned? Is it ever possible?


-- 
  _,-=._  /|_/|
  `-.}   `=._,.-=-._.,  @ @._,
 `._ _,-.   )  _,.-'
`G.m-"^m`m'Dmytro O. Redchuk



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divisi tremolo

[Paul Scott]

I would think this should be automatic but is there a way to get the 
lower "stem" down instead of up conflicting with the upper stem?  I 
would think this is a bug.


Are the error messages necessary?

Why the "line feed" after the first measure?

\version "2.11.20"
clm= \relative c'' { \repeat tremolo 8 { e16( cis) } }
clma   = \relative c' { \repeat tremolo 8 { e16( g) } }
{
 \clm \clma << \clm \\ \clma >>
}

TIA,

Paul Scott




tremdiv.pdf
Description: Adobe PDF document
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Re: How to mix \stdbarrules and \sepbarrules ?

[Dmytro O. Redchuk]

On Wed, Feb 28, 2007 at 04:19:14PM +0200, Dmytro O. Redchuk wrote:
> Hi,
> 
>i'm just starting to learn LilyPond, so i have questions:
> 
>1. Is it possible to mix separate bar rules (like \sepbarrules in
>   MusixTeX) for different instruments and "common" bar rules for them
>   (like \stdbarrules in MusixTeX)?

About this question:
 How to bind "Span_bar_engraver" to *-line-breaking-callback to make
 spanned bar lines at the end of every line?
 (To "before-" or "after-line-breaking-callback"?)

 Or is there any other solution?

 Or is there any other way to mix spanned bar lines with separated
 ones?

-- 
  _,-=._  /|_/|
  `-.}   `=._,.-=-._.,  @ @._,
 `._ _,-.   )  _,.-'
`G.m-"^m`m'Dmytro O. Redchuk



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General grob documentation in the program reference. Was: extra-offset instead of X/Y offset? (was Lowering a mark)

[Mats Bengtsson]

It's a pity that we cannot enter any general documentation for a layout 
object

in the program reference. We do have this possibility for each interface and
for the engravers. The request below is just one example of why this 
would be

useful. It shouldn't be difficult to add a property "documentation" to each
object that's used to generate the program reference, but I don't know 
enough
about the LilyPond internals to realize how this would affect the 
running performance
of LilyPond in terms of memory consumption (if the information would 
have to
be copied into every single instantiation of the object, then it's 
clearly the wrong

approach, otherwise it might be feasible).

  /Mats

Graham Percival wrote:

Vivian Barty-Taylor wrote:

I would suggest putting a note on the backend pages of the Program
Reference. It seemed such a logical thing to just do \once \override
DynamicText #'padding = #4 that I didn't even check if that was
possible. (I then remembered that the last time I had tried this and
it hadn't worked I had just used #'extra-offset.) Then I noticed it
hadn't worked  and started trying to work out why. When I looked at:


Unfortunately I can't do this; the backend pages are generated 
automatically, and I can't see how to add such information.  Could you 
think of anywhere in the main docs that I could add it?


Cheers,
- Graham


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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]
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Spanish-speaking users

[Francisco Vila]

I would like to contact all spanish-speaking users in this list, just
to have an estimation of how many of us are there, and possibly
foundate a lilypond-user-spanish list.

Here at the Conservatorio Superior de Musica de Badajoz we are
teaching LilyPond to many students as an optative subject, both in
mid-level studies (pre-college) and higher education.

Thank you,
-- 
Francisco Vila Doncel. Badajoz (Spain)
http://www.paconet.org


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Re: Lyrics and the dipthong?

[Bertalan Fodor]

Look at the example at this page:
http://lilypond.org/doc/v2.10/Documentation/topdocs/NEWS

Bert


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Fwd: Lyrics and the dipthong?

[Joseph Haig]

Just noticed that I didn't reply to the group, so here it is again:

-- Forwarded message --
From: Joseph Haig <[EMAIL PROTECTED]>
Date: 28-Feb-2007 15:14
Subject: Re: Lyrics and the dipthong?
To: Jared <[EMAIL PROTECTED]>


I think this is what you want:

Io che d'al -- ti so -- spir va -- "ga, e" di pian -- ti,}

Regards,

Joe

On 28/02/07, Jared <[EMAIL PROTECTED]> wrote:

I'm trying to enter some Italian text. "va-ga, e" I would like the "ga, e" to be
associated with the same dotted quarter note and have a tie marking on the
lyrics. Is this possible yet?

\version "2.6.0"
 melody = \relative c'' {
\clef treble
\key c \major
\time 4/4

a4. a8 a4 a8 a | a4 c bes4. a8 | c2 c2 |}

text = \lyricmode {
Io che d'al -- ti so -- spir va -- ((ga, e)) di pian -- ti,}
  ?


Please, help.

-jared



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Lyrics and the dipthong?

[Jared]

I'm trying to enter some Italian text. "va-ga, e" I would like the "ga, e" to be
associated with the same dotted quarter note and have a tie marking on the
lyrics. Is this possible yet? 

\version "2.6.0"
 melody = \relative c'' {
\clef treble
\key c \major
\time 4/4
 
a4. a8 a4 a8 a | a4 c bes4. a8 | c2 c2 |}

text = \lyricmode {
Io che d'al -- ti so -- spir va -- ((ga, e)) di pian -- ti,}
  ?


Please, help.

-jared



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How to mix \stdbarrules and \sepbarrules ?

[Dmytro O. Redchuk]

Hi,

   i'm just starting to learn LilyPond, so i have questions:

   1. Is it possible to mix separate bar rules (like \sepbarrules in
  MusixTeX) for different instruments and "common" bar rules for them
  (like \stdbarrules in MusixTeX)?
   2. How to hide time signature at all? Sorry, i couldn't find out.
   3. If i want to type scores with time signature changing often (every
  couple of measures) -- which technique is better?
  Change time signature (while hiding it) or use \partial or something
  else?

I used to type with MusixTeX actually. LilyPond looks a bit different :-)

Thanks,
-- 
  _,-=._  /|_/|
  `-.}   `=._,.-=-._.,  @ @._,
 `._ _,-.   )  _,.-'
`G.m-"^m`m'Dmytro O. Redchuk



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Re: Fw: extra-offset instead of X/Y offset? (was Lowering a mark)

[Maximilian Albert]

Graham Percival schrieb:
> Vivian Barty-Taylor wrote:
>> I would suggest putting a note on the backend pages of the Program
>> Reference. It seemed such a logical thing to just do \once \override
>> DynamicText #'padding = #4 that I didn't even check if that was
>> possible. (I then remembered that the last time I had tried this and
>> it hadn't worked I had just used #'extra-offset.) Then I noticed it
>> hadn't worked  and started trying to work out why. When I looked at:
> 
> Unfortunately I can't do this; the backend pages are generated
> automatically, and I can't see how to add such information.  Could you
> think of anywhere in the main docs that I could add it?
> 

How about the end of section 6.6.3 "Dynamics"? There is already a
subsection called "Commonly tweaked properties" where it is implicitly
mentioned that DynamicTextSpanner is responsible for the movement of
dynamic text (by ways of an example). I could imagine that this kind of
information fits well in there. Maybe there are other places, too (I
haven't checked thoroughly).

Cheers
Max


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Re: \markup

[Mats Bengtsson]

Certainly! You can include a full \score{...} block in a \markup.
The main work is then to get rid of all the staff lines, time and key
signatures and so on, if you only want the note. I seem to remember
that there have been some such examples on the mailing list, though.
Maybe also in LSR.

  /Mats

Ole Schmidt wrote:

Dear list,

is it possible to have something like a trillspan and a (quarter-)Note 
with tremolo-subdivisions in a markup text?


thank you for help

ole



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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
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Fw: CrescMolto in Scheme

[Vivian Barty-Taylor]

Now with the code...

% BEGIN CODE

hairpinMolto = {
\override Voice.Hairpin #'stencil = #(lambda (grob) (ly:stencil-combine-at-edge 
(ly:hairpin::print grob) 1 -1 (ly:text-interface::print grob) ))
\override Voice.Hairpin #'text = \markup { \smaller \italic "molto" }
}

\new Staff {
\hairpinMolto c'2\< c'2\f
}

% END CODE

- Forwarded Message 
From: Vivian Barty-Taylor <[EMAIL PROTECTED]>
To: lilypond-user@gnu.org
Sent: Wednesday, 28 February, 2007 1:48:09 PM
Subject: CrescMolto in Scheme

I'm trying to make a Scheme construction (my first!) which will automatically 
center align a piece of text under a Hairpin object. The code I've got so far 
is below.  This would save laboriously individually adjusting the 
#'extra-offset values of each TextScript.

What I can't find is how to do the center-aligning! Any suggestions?

Many thanks,

Vivian.




 
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CrescMolto in Scheme

[Vivian Barty-Taylor]

I'm trying to make a Scheme construction (my first!) which will automatically 
center align a piece of text under a Hairpin object. The code I've got so far 
is below.  This would save laboriously individually adjusting the 
#'extra-offset values of each TextScript.

What I can't find is how to do the center-aligning! Any suggestions?

Many thanks,

Vivian.







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Re: composition title on every page?

[Mats Bengtsson]

I hope you have found the original definitions of these variables in
the ly/titling-init.ly file, as described in the manual. If you, for 
example,

want to typeset the title instead of the instrument name in the page header
and want it to appear also on the first page, you can add the following 
lines

in your file:

\paper{
oddHeaderMarkup = \markup
\fill-line {
 \fromproperty #'header:title
 " " % This will make sure that the header is never completely empty, to
   % avoid some layout problems. Also, moving it in between the 
title and
   % the page number, makes these be typeset left and right 
aligned, respectively.
 \on-the-fly #print-page-number-check-first \fromproperty 
#'page:page-number-string

}

evenHeaderMarkup = \markup
\fill-line {
 \on-the-fly #print-page-number-check-first \fromproperty 
#'page:page-number-string

 " "
 \fromproperty #'header:title
}
}


   /Mats

Jay Hamilton wrote:

Looking through the manual
version 2.8.4
I have some single songs that I would like the title to be on each page
It looks like either oddHeaderMarkup and evenHeaderMarkup might be what I 
should use
however since I never use paper blocks I'm uncertain where to put this even if 
it is what I need.
Thanks
Jay


Jay Hamilton
www.soundand.com
206-328-7694


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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
=



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Re: Calculating Tempi for midi output

[Mats Bengtsson]

The feature is already available! Example:

\version "2.10.0"
#(define base-tempo 100)
\score{
\relative c'{
\set Score.tempoWholesPerMinute = #(ly:make-moment base-tempo 4)
 c d e f
\set Score.tempoWholesPerMinute = #(ly:make-moment (/ (* base-tempo 3) 4) 4)
 c d e f
}
\midi{}
}

An extra advantage of this solution in this specific application is that it
doesn't result in new printed metronome marks.

  /Mats

Graham Percival wrote:

Thanks, feature request added as
http://code.google.com/p/lilypond/issues/detail?id=319

Cheers,
- Graham

live action wrote:
I was wondering if the metronome number in a \tempo command could be 
a scheme number.  This would make it easier to do effects for fermata 
and ritards and relative tempo changes, in midi files.


For example, it would be nice to be able to do something like this:


#(define base-tempo 100)

\tempo 4 = #base-tempo

% some music
% insert markup for "half note = dotted quarter" metronome mark
% and override so the following is invisible in the score

\tempo 4 = #( / ( * base-tempo 3) 4)
---

This way, one could change the base tempo in one place, and all the 
tempi would adjust automatically.


I'm guessing from the error messages I get when I try this, that  
this is a feature request, but it would be awesome to be able to do 
this.


  -
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at Yahoo! Autos' Green Center. 




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Signal Processing
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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: \flageolet too big

[Werner LEMBERG]

> % Here is some Scheme code to define a music expression which
> % behaves like an articulation, and which modifies the grob
> % associated with it.
> %
> % The example below defines \F which is the same as \flageolet
> % but with a smaller flageolet glyph.
> 
> F = #(let ((m (make-music 'ArticulationEvent
>   'articulation-type "flageolet")))
>(set! (ly:music-property m 'tweaks)
>  (acons 'font-size -3
> (ly:music-property m 'tweaks)))
>m)
> 
> \relative c'' {
>   c4^\F c4_\F
> }

There's one problem which is still unsolved.  The `font-size' property
is always relative to the style-sheet's normal size; it doesn't take
into account the case where an object's size has already been reduced.

What I need is a Scheme function to find the parent grob for the
object just created with `make-music' so that I can extract the
parent's `font-size' value.  However, I've failed to find something
appropriate.  Perhaps it's just my limited Scheme abilities...

Can someone help?


Werner


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Re: Help with "To Coda"

[Mats Bengtsson]

Maybe something like
\mark \markup { \vcenter "To Coda"  \musicglyph #"scripts.coda"}
is close to what you want. An alternative is
\markup { To Coda \general-align Y DOWN \musicglyph #"scripts.coda"}
You may also want to insert some \hspace.

  /Mats

David Feuer wrote:

I want the place where the music jumps to the coda to be marked with
the words "To Coda" and the coda sign.  If I use
\mark \markup { To Coda \musicglyph #"scripts.coda"}
then the coda mark won't be on the right spot.  Looking through the
documentation, it seems as though \put-adjacent should be able to help
me with this, but I can't for the life of me figure out how to use it.

Thanks in advance,
David Feuer


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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: Switching between two- and three-staves piano score

[Mats Bengtsson]

Just read the whole section on "Hiding staves" carefully, and you will 
find the

answer.

  /Mats

Thomas Ruedas wrote:

On Monday 26 February 2007 21:48, Rune Zedeler wrote:
  

I'm trying to typeset a piece for solo piano where temporarily a third
staff is needed.
  

http://mutopiaproject.org/cgibin/piece-info.cgi?id=314

Thanks Rune, I see that basically you defined a third staff throughout and 
made it disappear somewhere in between where it was empty, although with 
the rather limited knowledge I have of Lilypond I don't quite get how you 
did it.
Anyway, I come closer to the goal now after I discovered the 
\RemoveEmptyStaffContext thing (see manual 
http://lilypond.org/doc/v2.6/Documentation/user/lilypond.html#Hiding-staves).
However, one thing is still odd, namely the appearance of the empty third 
staff at the beginning of the piece, where it is not supposed to be there 
(it should appear first only several bars into the piece). Now I have

iii = \context Staff {
\context Voice = "iii"
\voiceThree
\override Staff.TimeSignature #'style = #'()
\clef bass \key bes \major \time 6/8
s8 s2.*79
r4. r4 #(set-octavation -1) 8 }
\score {
  \context PianoStaff <<
\context Staff=upper <<
  \i
>>
\context Staff=lower <<
  \ii
>>
\context Staff=bass <<
  \iii
>>
  >>
  \layout {
\context { \RemoveEmptyStaffContext }
}

So, how do I get rid of that empty staff at the beginning?
Thomas
  


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Sweden
Phone: (+46) 8 790 8463 
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Re: Printing two copies of same music (including title and composer) on same piece of paper?

[Mats Bengtsson]

The solution, which is mentioned at the end of the section on "Creating 
titles"

in the manual, is to add

\paper{
 printallheaders=##t
}

in your input file (for example at the very top or very end of the file).

  /Mats

Matthew Beckler wrote:

Hello,

I'm in the process of digitizing some old, handwritten music for the University
of Minnesota Marching Band. We use 'pep-band' sized music, which is 7 inches
wide by 5.5 inches tall. We normally print and copy using standard letter (8.5"
x 11") paper, and then trim the music down.

I have a short piece that can easily fit on one pep-band sized piece of music
(7" x 5.5"). I would like to be able to print two complete copies of the same
music (including the title and composer) on the same page. I can play with the
offsets to get things to align in the right places, but I'm having trouble
getting the header to print for the second copy. Here is a very simplified
version of my source, again, I'm trying to get the title and composer to show up
for the second copy as well as the first.

\version "2.8.0"
\include "english.ly"

\header
{
title = "Title"
composer = "Composer"
maintainer = "[EMAIL PROTECTED]"
lastupdated = "2007/Feburary/27"
}

soloTrumpet = \new Voice { \relative c'' {
\set Staff.instrument = "Solo Trumpet"
\set Staff.midiInstrument = "trumpet"

% phrase 1
bf4 d f4. d8 | ef g r4 r2 | f4 bf bf4. c8 | a f r4 r2 | \bar "|."
}}



#(set-global-staff-size 14)


\book
{
  \score
  {
\new Staff \soloTrumpet
  }

  \score
  {
\new Staff \soloTrumpet
  }
}

Any help would be very much appreciated.

Thanks,
Matthew

[EMAIL PROTECTED]



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Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
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Re: Gracenote beaming

[Sven Axelsson]

On 27/02/07, Trevor Bača <[EMAIL PROTECTED]> wrote:


On 2/27/07, Sven Axelsson <[EMAIL PROTECTED]> wrote:
>
> At some point between 2.11.7 and 2.11 20 gracenote beaming started to
> take the note value into account. I want to revert to the old behaviour, how
> do I do that? See the attached images for an example of what I mean.
>
> 



Hi Sven,

I think the relevant setting is

\override Score.SpacingSpanner  #'strict-grace-spacing = ##t


I thought that this was set to false by default, but perhaps this changed
somewhere along the way.

Does setting to false manually get what you want?

<[EMAIL PROTECTED]>



No, that's not it. That tweaks the starting point for grace notes - see the
attached examples.

--
Sven Axelsson


lament_for_mary_macleod.preview.true.png
Description: PNG image


lament_for_mary_macleod.preview.false.png
Description: PNG image
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