Re: remove first empty staff line
Op donderdag 10 juni 2010 schreef Helge:
> Original-Nachricht
>
> > Datum: Thu, 10 Jun 2010 07:08:52 +0200
> > Von: James Bailey
> >
> > > The staff in the second line has a left "open" end. I would expect
> > > a bar before the clef.
> >
> > In the Notation Reference, section 1.6.2 discusses removing empty
> > staves. That's what you want.
>
> Thanks, witht the remove-fist override the main question got an answer --
> the firt staff line vanished. Is there also a way to "close" the open
> staff lines at the left border?
Put:
\context {
\Score
\override SystemStartBar #'collapse-height = #1
}
in your \layout {} block.
See e.g.
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Staff-notation#Display-bracket-with-only-one-staff-in-a-system
best regards,
Wilbert Berendsen
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Re: A later note's stem can be to the left of an earlier note's stem
On Wed 09 Jun 2010, 13:11 Richard Sabey wrote: > Occasionally Lilypond decides to fit so many bars into a system that notes > are squeezed so tightly together that, in a beamed group, a later note's > downward stem can fall to the left of an earlier note's upward stem. The > noteheads are in the correct left-to-right order but the stems are in the > wrong order. > > How can I stop Lilypond doing this? I can't predict which bars, if any, > Lilypond will decide to squeeze so tightly. > > %%begin example > \version "2.13.17" Thank you, added as Issue 1114 to the tracker: http://code.google.com/p/lilypond/issues/detail?id=1114 -- Dmytro O. Redchuk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: remove first empty staff line
Original-Nachricht > Datum: Thu, 10 Jun 2010 07:08:52 +0200 > Von: James Bailey > > The staff in the second line has a left "open" end. I would expect > > a bar before the clef. > > > > In the Notation Reference, section 1.6.2 discusses removing empty > staves. That's what you want. Thanks, witht the remove-fist override the main question got an answer -- the firt staff line vanished. Is there also a way to "close" the open staff lines at the left border? Regards, Helge -- GMX DSL: Internet-, Telefon- und Handy-Flat ab 19,99 EUR/mtl. Bis zu 150 EUR Startguthaben inklusive! http://portal.gmx.net/de/go/dsl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: remove first empty staff line
On 10.06.2010, at 06:48, Helge Kruse wrote: Hello, I have a variation in a piece where most is placed in the bass hand except the last measure. I tried to use the \RemoveEmptyStaffContext. As documented this does not remove the staff in the first line. Unfortunately this one additional empty staff line causes an additional page. How can I achieve that the treble staff appears only in the last line? The staff in the second line has a left "open" end. I would expect a bar before the clef. Regards, Helge In the Notation Reference, section 1.6.2 discusses removing empty staves. That's what you want. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
remove first empty staff line
Hello,
I have a variation in a piece where most is placed in the bass hand
except the last measure. I tried to use the \RemoveEmptyStaffContext. As
documented this does not remove the staff in the first line.
Unfortunately this one additional empty staff line causes an additional
page. How can I achieve that the treble staff appears only in the last line?
The staff in the second line has a left "open" end. I would expect a bar
before the clef.
Regards, Helge
#(ly:set-option 'delete-intermediate-files #t)
\version "2.13.11"
trebleStaff = \relative c' {
s1.*8 |
R1. R1. R1.
r2. r4 c8 d4 8~ \bar "||"
}
bassStaff = \relative c {
\key bes \major
\time 12/8
\clef bass
% is ignored as long as ued outside of a chord (LSR/Item?id=214)
\set fingeringOrientations = #'(down)
4 8 ees4-+ r8 c4-+ r8 a4 r8 | % 1
bes4 bes8 d4 r8 f4 r8 gis4 r8 | % 2
4 f'8 es4 r8 c4 r8 es4 r8 | % 3
f4 es8 gis 4 r8 a4 r8 c4 r8 | % 4
4 bes'8 gis4 r8 f4 r8 gis4 r8 | % 5
4 bes'8 gis4 r8 f4 r8 d4 r8 | % 6
4 f'8 es4 r8 c4 r8 bes4 r8 | % 7
a4 r8 es'4 r8 d4 r8 gis4 r8 | % 8
g,?4 g8 a4 r8 bes4 r8 g4 r8 | % 9
c4 c8 bes4 r8 as4 r8 g?4 r8 | % 10
4 f'8 es4 r8 d4 r8 gis4 r8 | % 11
g,?4 a8 bes4 c8~c2.
}
\score {
\new PianoStaff <<
\new Staff \trebleStaff
\new Staff \bassStaff
>>
\layout {
\context {
\RemoveEmptyStaffContext
}
}
}
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Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
Em 09/06/10 22:04, Graham Percival escreveu: On Wed, Jun 09, 2010 at 09:41:34PM -0300, josé henrique padovani wrote: Em 09/06/10 21:23, Carl Sorensen escreveu: Unfortunately, it doesn't include the complete files, so it would be fairly difficult for a user who is not familiar with git or patch to make it work. Could you please give some advices about which git / patch flags should I use to apply the patch to my current directories? If you seriously want to learn, then do a google search for "patch" to learn how to use it. If not, wait a few weeks until it's part of lilypond. This topic is too long to teach in a few emails. Cheers, - Graham Hi Graham, I did already used patch and diff in some codes... but I have no experience about how to use it with git (I have seen that the patch was created with a flag "--git" for diff, which I didn't found in diff man) and don't know which commands should I use to download from the lilypond's git repository... (just some tips would help me) I mean: I am not sure about which git flags/address/etc should I use to download the code.. (I suppose I should use git to download them and not simply download the diffs with from http://codereview.appspot.com/download/issue1425041_1.diff) Regarding patch, I would like to know if I should simply call it like this: cd /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/ (I'm on a Mac) patch < path-of-diffile/difffile.diff or if I should use some flags and/or call it from another place... Althought I am new to this process I think I can do it and would really appreciate some help. Thank you, josé -- http://zepadovani.info ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
On Wed, Jun 09, 2010 at 09:41:34PM -0300, josé henrique padovani wrote: > Em 09/06/10 21:23, Carl Sorensen escreveu: >> Unfortunately, it doesn't include the complete files, so it would be fairly >> difficult for a user who is not familiar with git or patch to make it work. >> > Could you please give some advices about which git / patch flags should > I use to apply the patch to my current directories? If you seriously want to learn, then do a google search for "patch" to learn how to use it. If not, wait a few weeks until it's part of lilypond. This topic is too long to teach in a few emails. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
Em 09/06/10 21:23, Carl Sorensen escreveu: On 6/9/10 5:12 PM, "josé henrique padovani" wrote: I would also like to know: is the code of your woodwind diagrams available somewhere? The code is available as a patch at http://codereview.appspot.com/1425041/show Unfortunately, it doesn't include the complete files, so it would be fairly difficult for a user who is not familiar with git or patch to make it work. Hi Carl, I hace used diff and patch only few times, but would really like to try... Could you please give some advices about which git / patch flags should I use to apply the patch to my current directories? (I'm on a Mac, so I would probably need to apply the patch to /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/ ... ) or am I wrong? Thank you, josé -- http://zepadovani.info ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
On 6/9/10 5:12 PM, "josé henrique padovani" wrote: > > I would also like to know: is the code of your woodwind diagrams > available somewhere? The code is available as a patch at http://codereview.appspot.com/1425041/show Unfortunately, it doesn't include the complete files, so it would be fairly difficult for a user who is not familiar with git or patch to make it work. I hope that it will be part of LilyPond shortly. > (Does it require to recompile lilypond or can it be used with "includes"?) > No recompiling is necessary. The files just need to be added to your current LilyPond installation. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
forgot to ask: are the diagrams working with the svg backend? thanks josé Em 09/06/10 20:12, josé henrique padovani escreveu: Hi Mike, I would suggest to add the possibility of marked keys (to make sing trills or smorzati, for example)... by now I am drawing my diagrams with postscript, but there is what I am talking about (attached)... I would also like to know: is the code of your woodwind diagrams available somewhere? (Does it require to recompile lilypond or can it be used with "includes"?) Thanks José Em 09/06/10 06:26, Mike Solomon escreveu: Hey liylpond users, Please see: http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.pdf and http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.ly to see the changes proposed by M Watts and Ian Hulin incorporated into the woodwind diagrams. To summarize: There is now a new flute, flute-b-extension, for flutes with the b extension. There is now a new bass clarinet, low-bass-clarinet, for bass clarinets with low keys (c, cis, d). There are separate commands for saxophone-saxohpone, alto-saxophone, tenor-saxophone, and baritone-saxophone. There is a low-a key for bari sax that is only drawn wehn you call it. All graphical comments have been integrated save the low oboe keys - in most examples I've consulted, the keys are not drawn w/ equal sizes. And I think it's prettier w/ the different sizes :-) Bagpipes, tin whistles, simple clarinets, bagpipes and the like will be looked into in the not-too-distant future. For now, I'm going to try and get what already exists into Lilypond ASAP. If any of you want to contribute diagrams, please consult me for the source (which is all in scheme). Cheers, ~Mike On 5/31/10 1:13 PM, "Ian Hulin" wrote: Hi Mike, This is really useful, but there's one nit regarding the flute fingerings, Not all flutes have a bottom b, and therefore the right-hand low-end key cluster will only have the bottom C# (cis) key, and one c roller. What is the right-hand x key about on the piccolo chart? If you can add something to use the relevant key-cluster appropriately that would be good. On 31/05/10 02:03, M Watts wrote: On 05/31/2010 02:10 AM, Mike Solomon wrote: Dear lilypond users, I am currently working on adding woodwind diagrams to lilypond, and I would love to hear lilypond users' opinions on this project. An excellent idea -- contrats on the work so far. Specifically, I would like to know from woodwind players and/or enthusiasts: 1) Are the diagrams correct in their nomenclature and positioning? One vital thing:-- The 'one', 'two' thru 'six' for the main keys/holes on all instruments are round the wrong way -- 'one' means first finger, left hand. So 'one' should be at the top, and 'six' at the bottom. 1+ Some w/w tutors also use a L1, L2, L3, R1 R2 R3 numbering system, but the low numbers are *always* at the headjoint end of the instrument and increase down to the footjoint end. Several minor things:-- Could the separator line between lh& rh key be a bit longer? I like the way you only include relevant key clusters -- no need to show every key every time. Oboe: rh c cis& ees keys are usually of equal size Saxophone: front f could be a bit bigger and closer to lh one; palm keys could be a bit bigger (lh d ees& f); rh side keys could be a bit bigger (side bes, side c, high e). Maybe add baritone sax low A thumb key? Similar point to the low-b on the flute. Not all makes have this. Clarinet: maybe T& R could be a bit smaller. Bass clarinet: some horns have an additional ees/aes lever in the lh little finger cluster; low c horns might have a 6th key for rh little finger (for low d), as well as 3 keys for rh thumb (low d, des, c) 2) Do the diagrams meet the standard of visual elegance to which you hold lilypond? I reckon so -- they're looking really nice; I like the ability to indicate depressedRing-to-open trills etc. If you are interested in extending this project to other instruments, please let me know. Maybe recorder, tin whistle, bagpipes Baroque flute, Simple-system flute (pre-Boehm keyed - used by 'Irish traditional music flute players). Simple-system clarinet. French-system bassoon. The code is written as such so that someone who knows how to use Scheme should be able to, by observing the way that the instruments are constructed, make their own instrument in the same manner. Very handy. 1+ Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- http://zepadovani.info ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
Hi Mike, I would suggest to add the possibility of marked keys (to make sing trills or smorzati, for example)... by now I am drawing my diagrams with postscript, but there is what I am talking about (attached)... I would also like to know: is the code of your woodwind diagrams available somewhere? (Does it require to recompile lilypond or can it be used with "includes"?) Thanks José Em 09/06/10 06:26, Mike Solomon escreveu: Hey liylpond users, Please see: http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.pdf and http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.ly to see the changes proposed by M Watts and Ian Hulin incorporated into the woodwind diagrams. To summarize: There is now a new flute, flute-b-extension, for flutes with the b extension. There is now a new bass clarinet, low-bass-clarinet, for bass clarinets with low keys (c, cis, d). There are separate commands for saxophone-saxohpone, alto-saxophone, tenor-saxophone, and baritone-saxophone. There is a low-a key for bari sax that is only drawn wehn you call it. All graphical comments have been integrated save the low oboe keys - in most examples I've consulted, the keys are not drawn w/ equal sizes. And I think it's prettier w/ the different sizes :-) Bagpipes, tin whistles, simple clarinets, bagpipes and the like will be looked into in the not-too-distant future. For now, I'm going to try and get what already exists into Lilypond ASAP. If any of you want to contribute diagrams, please consult me for the source (which is all in scheme). Cheers, ~Mike On 5/31/10 1:13 PM, "Ian Hulin" wrote: Hi Mike, This is really useful, but there's one nit regarding the flute fingerings, Not all flutes have a bottom b, and therefore the right-hand low-end key cluster will only have the bottom C# (cis) key, and one c roller. What is the right-hand x key about on the piccolo chart? If you can add something to use the relevant key-cluster appropriately that would be good. On 31/05/10 02:03, M Watts wrote: On 05/31/2010 02:10 AM, Mike Solomon wrote: Dear lilypond users, I am currently working on adding woodwind diagrams to lilypond, and I would love to hear lilypond users' opinions on this project. An excellent idea -- contrats on the work so far. Specifically, I would like to know from woodwind players and/or enthusiasts: 1) Are the diagrams correct in their nomenclature and positioning? One vital thing:-- The 'one', 'two' thru 'six' for the main keys/holes on all instruments are round the wrong way -- 'one' means first finger, left hand. So 'one' should be at the top, and 'six' at the bottom. 1+ Some w/w tutors also use a L1, L2, L3, R1 R2 R3 numbering system, but the low numbers are *always* at the headjoint end of the instrument and increase down to the footjoint end. Several minor things:-- Could the separator line between lh& rh key be a bit longer? I like the way you only include relevant key clusters -- no need to show every key every time. Oboe: rh c cis& ees keys are usually of equal size Saxophone: front f could be a bit bigger and closer to lh one; palm keys could be a bit bigger (lh d ees& f); rh side keys could be a bit bigger (side bes, side c, high e). Maybe add baritone sax low A thumb key? Similar point to the low-b on the flute. Not all makes have this. Clarinet: maybe T& R could be a bit smaller. Bass clarinet: some horns have an additional ees/aes lever in the lh little finger cluster; low c horns might have a 6th key for rh little finger (for low d), as well as 3 keys for rh thumb (low d, des, c) 2) Do the diagrams meet the standard of visual elegance to which you hold lilypond? I reckon so -- they're looking really nice; I like the ability to indicate depressedRing-to-open trills etc. If you are interested in extending this project to other instruments, please let me know. Maybe recorder, tin whistle, bagpipes Baroque flute, Simple-system flute (pre-Boehm keyed - used by 'Irish traditional music flute players). Simple-system clarinet. French-system bassoon. The code is written as such so that someone who knows how to use Scheme should be able to, by observing the way that the instruments are constructed, make their own instrument in the same manner. Very handy. 1+ Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- http://zepadovani.info <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
On 06/09/2010 07:26 PM, Mike Solomon wrote: Hey liylpond users, Please see: http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.pdf and http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.ly to see the changes These are excellent and valuable addition to Lilypond -- thanks very much Mike! The markup looks well set out & easy to use -- any w/wind player should have no trouble with it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating chord names like C7/F#7
On 06/09/2010 06:07 PM, snozpacker wrote: For a certain polytonal piece, I need to display chord names of the form "C7/F#7". That is, I need to be able to have an entire chord after the slash, not just the root. This isn't an answer, but a dominant 7th chord with its flat 9th & sharp 11th, contains two 7th chords whose roots are a tritone apart, so for now you could write C7b9#11. C7b9#11 contains all the notes of C7 and F#7, as does F#7b9#11 -- same chord. (C E G Bb Db F# or F# A# C# E G B#). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-mode in emacs on WinXP
Hi Ralph,
Browse to the folder "C:\Documents and Settings\User\Application
Data\.emacs.d" or, if ".emacs.d" isn't already present, then create a
new directory with that name in "Application Data" Make sure you change
"User" in the path to whatever your actual user account's name is.
In the ".emacs.d" directory, open (or create) a file called "init.el"
In that file, paste the following lines:
(setq load-path (append (list (expand-file-name "C:/Program
Files/LilyPond/usr/share/emacs/site-lisp")) load-path))
(autoload 'LilyPond-mode "lilypond-mode" "LilyPond Editing Mode" t)
(add-to-list 'auto-mode-alist '("\\.ly$" . LilyPond-mode))
(add-to-list 'auto-mode-alist '("\\.ily$" . LilyPond-mode))
(add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
Make sure that in the section starting "(expand-file-name "C:/..."
points to the "site-lisp" folder in you LilyPond installation. Save the
file and try opening a *.ly file in Emacs.
BTW, I'm not a programmer and I have no experience with lisp. I adapted
this from some instructions I found online (possibly the "Usage" section
of the LilyPond docs) and extrapolated from what I knew about the
.emacs.d file in my UbuntuStudio installation, which came with LilyPond
pre-installed and had Emacs working with lilypond-mode out of the box.
I hope this works for you.
David
On 06/09/2010 03:49 PM, Ralph Palmer wrote:
Greetings -
I've been forced (temporarily, I hope) onto a WinXP Pro laptop. I've
successfully downloaded LilyPond 2.12.3.1 and Emacs 22.3. I cannot
figure out how to get Emacs to recognize (much less accept as default
for .ly files) lilypond-mode. If anyone out there has successfully
gotten Emacs to work with lilypond-mode on WinXP and can explain the
process to me, I would be grateful.
I appreciate your time and attention,
Ralph
--
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Montague City, MA
USA
palmer.r.vio...@gmail.com
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Lilypond-mode in emacs on WinXP
Greetings - I've been forced (temporarily, I hope) onto a WinXP Pro laptop. I've successfully downloaded LilyPond 2.12.3.1 and Emacs 22.3. I cannot figure out how to get Emacs to recognize (much less accept as default for .ly files) lilypond-mode. If anyone out there has successfully gotten Emacs to work with lilypond-mode on WinXP and can explain the process to me, I would be grateful. I appreciate your time and attention, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
FW: A later note's stem can be to the left of an earlier note's stem
>Well it seems that this is two much of sharp signs for lily to make
it fit the linewidth.
The example I gave isn't the actual music I'm trying to lay out! It is just a
small test example crafted in order to show the effect of the bug.
.
>Try to add a \bar"" at the end of your \repeat unfold thing : \repeat
unfold 12 { \stemUp e16 fis! \change Staff = "rh" \stemDown g' fis'!
\change Staff = "lh" \bar""}
I could add \bar "" to get LilyPond to split the music up in this test example,
but then the result wouldn't achieve my purpose of showing the effect of the
bug.
In the actual music, wherever this effect occurs, there is just one beamed
group like this in a system. The system contains two or more bars laid out very
tightly. It looks as if, in order to lay the notes out so that not only are the
noteheads in the correct order, the stems are in the correct order as well,
there is just not enough room for all these bars in one system, so the last bar
should be put into the next system. I still think LilyPond has a bug in that it
thinks that there is room for all the bars in one system when there isn't.
>so that lily can output a clean score. Remind that it is a very common
use in virtuoso piano scores (Litz, Chopin, ...) for exactly the same pb.
Richard
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Re: A later note's stem can be to the left of an earlier note's stem
Hi.
Well it seems that this is two much of sharp signs for lily to make it
fit the linewidth.
Try to add a \bar"" at the end of your \repeat unfold thing : \repeat
unfold 12 { \stemUp e16 fis! \change Staff = "rh" \stemDown g' fis'!
\change Staff = "lh" \bar""}
so that lily can output a clean score. Remind that it is a very common
use in virtuoso piano scores (Litz, Chopin, ...) for exactly the same pb.
JMarc
Richard Sabey a écrit :
Occasionally Lilypond decides to fit so many bars into a system that
notes are squeezed so tightly together that, in a beamed group, a
later note's downward stem can fall to the left of an earlier note's
upward stem. The noteheads are in the correct left-to-right order but
the stems are in the wrong order.
How can I stop Lilypond doing this? I can't predict which bars, if
any, Lilypond will decide to squeeze so tightly.
%%begin example
\version "2.13.17"
lhMusic =
{
\clef bass
\time 12/4
\repeat unfold 12 { \stemUp e16 fis! \change Staff = "rh"
\stemDown g' fis'! \change Staff = "lh" }
}
\score
{
\new PianoStaff
<<
\new Staff = "rh" << { s1 s s } >>
\new Staff = "lh" << \lhMusic >>
>>
\layout { }
}
%%end example
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A later note's stem can be to the left of an earlier note's stem
Occasionally Lilypond decides to fit so many bars into a system that notes are
squeezed so tightly together that, in a beamed group, a later note's downward
stem can fall to the left of an earlier note's upward stem. The noteheads are
in the correct left-to-right order but the stems are in the wrong order.
How can I stop Lilypond doing this? I can't predict which bars, if any,
Lilypond will decide to squeeze so tightly.
%%begin example
\version "2.13.17"
lhMusic =
{
\clef bass
\time 12/4
\repeat unfold 12 { \stemUp e16 fis! \change Staff = "rh" \stemDown g'
fis'! \change Staff = "lh" }
}
\score
{
\new PianoStaff
<<
\new Staff = "rh" << { s1 s s } >>
\new Staff = "lh" << \lhMusic >>
>>
\layout { }
}
%%end example
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http://clk.atdmt.com/UKM/go/195013117/direct/01/
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Re: How do I make all measures have the same width?
I think this maybe what you are looking for
http://lilypond.org/doc/v2.13///Documentation/notation/line-breaking
The second example.
James
snozpacker wrote:
I am working on a Lilypond template to format jazz lead sheets so that they
resemble the formatting of the (hand written) lead sheets in the Chuck Sher
New Real Books.
I know that Lilypond is programmed to carefully place bar lines to make
classical scores look beautiful. But for the many jazz tunes that are
organized into 4-bar phrases, lead sheets are usually written so that each
line has four bars, and each bar is the same width. This way, all phrases
start at the beginning of the line, and when you scan down the page, all of
the bar lines are right on top of each other.
In the example below, you can see that the first bar of the first line is
much bigger than the first bar of the second line. If one were writing this
snippet out by hand, one would probably first draw equally spaced bar lines
on the first two lines of staff paper and then write in the notes, to ensure
that the bar lines line up
I haven't been able to find a way to do this in Lilypond. How do I do it?
Thanks.
Example code:
\paper {
indent = 0\mm
}
\header {
title = "Angst"
composer = "Brad Mehldau"
}
\score{
<<
\new ChordNames
\chords {
bes2.:m7 bes:maj7 e:maj7/bes b:m7/bes
e:m7 a:m7 c:maj7 fis:m7
}
\new Staff {
\time 3/4
\set Staff.minimumVerticalExtent = #'(-5.5 . 5.5)
\clef treble
\relative c'' {
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 40)
r8 f, r f'~ \times 2/3 {f ees des}
c2.
r8 e, r dis'~ \times 2/3 {dis cis b}
\times 3/4 {a8 cis r4 a fis} \break
g2.~ g
r8 d r b'~ \times 2/3{b a g}
\times 3/4 {fis4 a cis e} \break
}
}
}
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Re: lilypond-book linewidth: unwanted space at the left of the Staff
Am 09.06.2010 14:27, schrieb Marek Klein: 2010/6/9 Robert Memering mailto:memer...@uni-muenster.de>> Am 09.06.2010 13:53, schrieb Marek Klein: Have you tried to set indent to 0? See: http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#horizontal-dimensions Yes, I have. But that's the default anyway. According to the docs, the default is 15\mm. Yes, but I tried indent=0. And the unwanted space I get isn't 15mm anyway, but rather 1.5mm or so. Have you tried the example? Robert -- Robert Memering Arbeitsbereich Linguistik, Universität Münster Hüfferstraße 27, D-48149 Münster, Germany Raum 01.85, Tel. +49-251-83-31958 http://santana.uni-muenster.de ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ragged-bottom doesn't work in \layout?
On Jun 9, 2010, at 3:06 AM, snozpacker wrote: Can I set ragged-bottom and ragged-last-bottom in the \layout block? Right now they're in the \paper block, but if I move it to the \layout block, they don't seem to have an effect. Why? I think it just belongs to the \paper block for the sake of clarity. Just how the syntax is designed to function. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating chord names like C7/F#7
On Jun 9, 2010, at 3:07 AM, snozpacker wrote: For a certain polytonal piece, I need to display chord names of the form "C7/F#7". That is, I need to be able to have an entire chord after the slash, not just the root. I already know how to modify the main part of the chord using chExceptionMusic, like in the example code below. But I can't figure out how to use this to modify the part after the slash. If I only had to do this once, I suppose I could just take one type of chord that I didn't need, hard code it as C7/F#7 in chExceptionMusic, and call it in \chords whenever I needed it. But I have to do it for many different chords. What is the correct way to do this? I don't know that there is a way to enter polychords into Lilypond, but by some conventions at least you don't want to display them as a slash chord (e.g., triad/triad) but above each other separated by a horizontal line. C C7 - or - A F#7 Polychords are usually triads over triads rather than tetrads over tetrads, although your needs might be different. It might be easier to write the exception using triads using a horizontal line rather than a slash to specify them as polychords. Hopefully someone else will know how to code these; you may have to write a Scheme function to do this (and if you succeed, submit it to be included!). There was discussion on this about a year ago with no resolution, IIRC. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book linewidth: unwanted space at the left of the Staff
2010/6/9 Robert Memering > Am 09.06.2010 13:53, schrieb Marek Klein: > >> Have you tried to set indent to 0? >> See: >> >> http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#horizontal-dimensions >> >> Yes, I have. But that's the default anyway. > According to the docs, the default is 15\mm. Marek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond
On 05/31/2010 03:03 AM, M Watts wrote: > Bass clarinet: some horns have an additional ees/aes lever in the lh > little finger cluster; low c horns might have a 6th key for rh little > finger (for low d), as well as 3 keys for rh thumb (low d, des, c) Low D _or_ D flat (it's not standard; and some manufacturers put the Eb on the top row of rh little finger keys and the Db on the bottom). The thumb keys also vary between manufacturers ... :-( The same concerns also apply to basset horns and basset clarinets. For bass clarinet, the lh first finger plateau key has a small hole in it that is left uncovered for altissimo register fingerings, so you need to be able to indicate the difference between first first finger covering or uncovering the hole. You can see a (not very well executed) example of the typical way of showing this here: http://www.wfg.woodwind.org/clarinet/basscl_alt_2.html ... where they show a second, smaller circle filled-in below the empty first hole to indicate this fingering. There's also the issue (for clarinet) of French vs. German-system instruments. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book linewidth: unwanted space at the left of the Staff
Am 09.06.2010 13:53, schrieb Marek Klein: Hi robert, 2010/6/9 Robert Memering mailto:memer...@uni-muenster.de>> Dear all, I have the following problem with the line-width parameter used by lilypond-book: When I specify the line-width to be exactly the same as my LaTeX \textwidth, the resulting small generated PDFs which are embedded have the right size, but there is some unwanted empty space at the left of the Staff, making the actual line of music a little smaller. I would rather have the Staff be of exactly the specified width. By the way, the result is the same when lilypond-book guesses the line-width automatically. Have you tried to set indent to 0? See: http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#horizontal-dimensions Marek Klein http://gregoriana.sk Yes, I have. But that's the default anyway. Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book linewidth: unwanted space at the left of the Staff
Hi robert, 2010/6/9 Robert Memering > Dear all, > > I have the following problem with the line-width parameter used by > lilypond-book: > When I specify the line-width to be exactly the same as my LaTeX > \textwidth, the resulting small generated PDFs which are embedded have the > right size, but there is some unwanted empty space at the left of the Staff, > making the actual line of music a little smaller. I would rather have the > Staff be of exactly the specified width. By the way, the result is the same > when lilypond-book guesses the line-width automatically. > > Have you tried to set indent to 0? See: http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#horizontal-dimensions Marek Klein http://gregoriana.sk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond-book linewidth: unwanted space at the left of the Staff
Dear all,
I have the following problem with the line-width parameter used by
lilypond-book:
When I specify the line-width to be exactly the same as my LaTeX
\textwidth, the resulting small generated PDFs which are embedded have
the right size, but there is some unwanted empty space at the left of
the Staff, making the actual line of music a little smaller. I would
rather have the Staff be of exactly the specified width. By the way, the
result is the same when lilypond-book guesses the line-width automatically.
I'm using Lilypond 2.12.2, with the following commands:
lilypond-book --pdf --format=latex --latex-program=pdflatex minimal.lytex
pdflatex minimal.tex
Here is a small example lytex:
%%%
\documentclass{article}
\setlength{\textwidth}{100mm}
\begin{document}
\begin[line-width=100\mm]{lilypond}
\relative c' { c c c c c c c c c c c c c c c c }
\end{lilypond}
\rule{\textwidth}{1pt}
\end{document}
Thanks in advance for any help,
best regards,
Robert Memering
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Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
Hey liylpond users, Please see: http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.pdf and http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.ly to see the changes proposed by M Watts and Ian Hulin incorporated into the woodwind diagrams. To summarize: There is now a new flute, flute-b-extension, for flutes with the b extension. There is now a new bass clarinet, low-bass-clarinet, for bass clarinets with low keys (c, cis, d). There are separate commands for saxophone-saxohpone, alto-saxophone, tenor-saxophone, and baritone-saxophone. There is a low-a key for bari sax that is only drawn wehn you call it. All graphical comments have been integrated save the low oboe keys - in most examples I've consulted, the keys are not drawn w/ equal sizes. And I think it's prettier w/ the different sizes :-) Bagpipes, tin whistles, simple clarinets, bagpipes and the like will be looked into in the not-too-distant future. For now, I'm going to try and get what already exists into Lilypond ASAP. If any of you want to contribute diagrams, please consult me for the source (which is all in scheme). Cheers, ~Mike On 5/31/10 1:13 PM, "Ian Hulin" wrote: > Hi Mike, > This is really useful, but there's one nit regarding the flute fingerings, > > Not all flutes have a bottom b, and therefore the right-hand low-end key > cluster will only have the bottom C# (cis) key, and one c roller. > > What is the right-hand x key about on the piccolo chart? > > If you can add something to use the relevant key-cluster appropriately > that would be good. > > On 31/05/10 02:03, M Watts wrote: >> On 05/31/2010 02:10 AM, Mike Solomon wrote: >>> Dear lilypond users, >>> I am currently working on adding woodwind diagrams to lilypond, and I >>> would love to hear lilypond users' opinions on this project. >> >> An excellent idea -- contrats on the work so far. >> >>> >>> Specifically, I would like to know from woodwind players and/or >>> enthusiasts: >>> >>> 1) Are the diagrams correct in their nomenclature and positioning? >> >> One vital thing:-- >> >> The 'one', 'two' thru 'six' for the main keys/holes on all instruments >> are round the wrong way -- 'one' means first finger, left hand. So 'one' >> should be at the top, and 'six' at the bottom. >> > > 1+ > Some w/w tutors also use a L1, L2, L3, R1 R2 R3 numbering system, but > the low numbers are *always* at the headjoint end of the instrument and > increase down to the footjoint end. > >> Several minor things:-- >> >> Could the separator line between lh & rh key be a bit longer? >> >> I like the way you only include relevant key clusters -- no need to show >> every key every time. >> >> Oboe: rh c cis & ees keys are usually of equal size >> >> Saxophone: front f could be a bit bigger and closer to lh one; palm keys >> could be a bit bigger (lh d ees & f); rh side keys could be a bit bigger >> (side bes, side c, high e). Maybe add baritone sax low A thumb key? > > Similar point to the low-b on the flute. Not all makes have this. > >> >> Clarinet: maybe T & R could be a bit smaller. >> >> Bass clarinet: some horns have an additional ees/aes lever in the lh >> little finger cluster; low c horns might have a 6th key for rh little >> finger (for low d), as well as 3 keys for rh thumb (low d, des, c) >> >>> 2) Do the diagrams meet the standard of visual elegance to which you hold >>> lilypond? >> >> I reckon so -- they're looking really nice; I like the ability to >> indicate depressedRing-to-open trills etc. >>> >>> If you are interested in extending this project to other instruments, >>> please >>> let me know. >> >> Maybe recorder, tin whistle, bagpipes > Baroque flute, Simple-system flute (pre-Boehm keyed - used by 'Irish > traditional music flute players). > Simple-system clarinet. French-system bassoon. >> >>> The code is written as such so that someone who knows how to >>> use Scheme should be able to, by observing the way that the >>> instruments are >>> constructed, make their own instrument in the same manner. >> >> Very handy. > 1+ > > Cheers, > > Ian > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Warnings-polyphonic
Am Mittwoch, 9. Juni 2010, 10:55:45 schrieb Mario Moles:
> Hi!
> How can i avoid these warnings?:
>
> SonataIII-III-tempo.ly:211:2: warning: adding note head to incompatible
> stem (type = 2)
>
> b,!4 r s|
> SonataIII-III-tempo.ly:211:2: warning: maybe input should specify
> polyphonic voices
>
> b,!4 r s|
In the second to last measure you effectively use a nested << ... \\ ... >>
construct: The whole score consists of <<\upper\\ \lower>>, while \upper
contains <<{r [ ] r r4} \\ {a2 b!4}>>
In the << ...\\ ... >> construct, LilyPond always calls the second part
"lower", so both \lower and the {a2 b!4} of \upper will be in a voice called
"lower". Thus, LilyPond will try to join stems (which fails since the upper
voice has a half note, while the lower has a quarter note).
As a solution, it's better to not use << ... \\ ... >> and let LilyPond
implicitly create two voices, but generate the voices yourself.
E.g. in the \score block, instead of
{ \clef "treble_8" << \upper \\ \lower >> }
better use:
{ \clef "treble_8" <<
\new Voice="UpperVoice" { \voiceOne \upper }
\new Voice="LowerVoice" { \voiceTwo \lower }
}
And in upper better use
<< { r [ ] r r4}
\new Voice="UpperDown"{\voiceFour a2 b!4}
>>|
<< { r8 r r4}
\new Voice="UpperDown" {\voiceFour c4~c8 gis a cis}
>>|
for the last two bars (notice that I'm also using explicit voices here, and
manually set \voiceFour, so LilyPond takes care of shifting notes a little bit
to prevent collisions).
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial & Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Warnings-polyphonic
Hi!
How can i avoid these warnings?:
SonataIII-III-tempo.ly:211:2: warning: adding note head to incompatible stem
(type = 2)
b,!4 r s|
SonataIII-III-tempo.ly:211:2: warning: maybe input should specify polyphonic
voices
b,!4 r s|
--
oiram/bin/selom
\version "2.13.22"
\paper {
print-page-number = ##t
myStaffSize = #18
#(define fonts
(make-pango-font-tree "URW Palladio L"
"URW Palladio L"
"URW Palladio L"
(/ myStaffSize 18)))
between-system-spacing = #'((space . 12) (minimum-distance . 8) (padding . 1))
ragged-bottom=##f
ragged-last-bottom=##f
bottom-margin = 1.2\cm
left-margin = 1.75\cm
right-margin = 1.25\cm
}
tempoMark = {
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature)
\once \override Staff.TimeSignature #'break-align-anchor-alignment = #LEFT
\mark \markup \bold "Allegro non troppo"
}
global = {
\tempoMark
\key d \major
\time 3/4
}
upper = \relative c' {
\global
% Qui segue la musica.
\set Score.connectArpeggios = ##t
\arpeggioArrowUp8.\arpeggio a'16 4~ e8 d16( e)|
8 fis'16-. a-. 8 cis~ cis16 a_( b) cis|
( e') fis g a_\> d,-. d-. d-. d-. a-. a-. a-.\!|
a-. d,-. d-. d-. e_\<_( fis) g-. a-. b-. cis-. d-. e-.\!|
f8. bes16 4~ ees'8 d16_( e)|
fis!8 fis16 b fis8_( e) r16 d( e) fis|
g d d d d_\>( g,) g g g( d) d d\!|
a'-.\< a-. a-. a-. a-. a-. a-. a-.\!\f d,8 b|
e'~ e f16_( e) bes8 d|
e'~ e d16 e f_( g f) d|
e_( f) d8~ d16 e g,_( a) bes\< c d_( e\!)|
\stemNeutral g( f) e f e( d) e d c( bes) c bes|
\stemUp a8 e'~ e f16 e bes8 d|
\acciaccatura{e'} g~ g f16_( e) 8 f'|
e16 f g a c\<_( bes) a bes a_( g) fis g\!|
\stemNeutral f( e) d e d( cis) b!( a) b( cis) d( e)|
\stemUp 8. a'16 4~ e8 d16_( e)|
8 fis'16 a fis8 cis~ cis16 a_( b) cis|
d_( e) fis g a d, d d d a a a|
\stemNeutral a d, d d e_( fis) g a b cis d e|
\stemUp f8. bes16 4~ ees'8 d16_( e)|
fis8 fis16 b fis8_( e) r16 d_( e) fis|
g d-. d-. d-. d_( g,) g-. g-. g_( d) d-. d-.|
a' a a a a a a a d,8 c|
\stemNeutral 16( g fis8) -.[ -.] -. -.|
\stemUp [ ] fis''16( g) fis8 e16( fis) e8|
\stemNeutral 16( g fis8) -. -. -. -.|
\stemUp [ ] e'16( fis e8) d16( e d8)|
fis a_([ e]) fis cis|
\stemNeutral ais cis e[ fis] a( g)|
\stemUp d16( e d8) -. -. -. -.|
d''16( e d8) c16( d c8)|
d16( e d8) -.[ -.] -. -.|
d''16( e d8) e16( fis e8)|
fis16( g fis8) a16( b a8) b16(cis b8)|
16( b' a8) 16( g fis8) e16( fis e8)|
fis16( g fis8) cis16( d cis8) fis16( g fis8)|
\stemNeutral fis16( g fis8) fis16( g fis8) fis16( g fis8)|
\stemUp 8.^\markup{"a tempo"} a'16 4~ e8 d16_( e)|
8 fis'16_( a) fis8 cis~ cis16 a_( b) cis|
d_( e) fis g a d, d d d a a a|
\stemNeutral a d, d d e_( fis) g-. a-. b-. cis-. d-. e-.|
\stemUp f8. bes16 4~ ees'8 d16_( e)|
fis8 fis16 b fis8_( e) r16 d_( e) fis|
g d d d d_( g,) g g g_( d) d d|
a' a a a a a a a d,8 c \bar "||"|
\key bes \major
d'4 g d|
|
|
f'8 ees 4 \fermata|
d |
|
8 ges'|
4 2\fermata|
4 |
2|
4 |
|
d g d|
|
|
f'8 ees 4 \fermata|
d' |
|
|
f'8 ees 4 \fermata|
\key d \major
8. a'16 4~ e8 d16_( e)|
8 fis'16 a 8 cis~-> cis16 a_( b) cis|
( e') fis g a d, d d d a a a|
a d, d_\< d e_( fis) g a b cis d e\!|
f8. bes16 4~ ees'8 d16_( e)|
fis!8 fis16 b fis8_( e) r16 d( e) fis|
g d d d d( g,) g g g( d) d d|
a' a a a a a a a d,4|
d,16^\markup{"Vivo"} a'' a a ees a a a g a a a|
d,,16^\markup{"simile"} a'' a a ees a a a g a a a|
r\< a bes c d ees f g\! f_( ees) d c|
r a bes c d_( ees) d c bes_( a) g fis|
d,16 a'' a a ees a a a g a a a|
d,,16 a'' a a ees a a a g a a a|
r\< a bes c d ees f g\! f_( ees) d c|
bes_( a) g f ees_( d) c bes a_( g) f ees|
r4^\markup{"Lento"} r8 [ ] r|
<<{\once \override NoteColumn #'force-hshift = #1 r [ ] r r4}\\{a2 b!4}>>|
<<{r8 r r4}\\{c4~c8 gis a cis}>>|
}
lower = \relative c {
\global
% Qui segue la musica.
\arpeggioArrowUp4\arpeggio_\markup \italic{\dynamic"f" "giocoso"} c'8 c16 c c4|
d'2|
d,4 r r|
s2.|
4_\f d'8 d16 d d4|
r |
r r|
2 d4|
\p a |
|
r a r|
s2.|
cis4 a |
\< a\!\> a\!|
a r_\markup \italic{"leger--"} r|
s2.|
4\f c'8 c16 c c4|
r|
r r|
s2.|
4 d'8 d16 d d4|
r |
r r|
2 4|
s2.|
s4 cis'' b|
s2.|
s4 b ais|
r2|
s2.|
bes'4 s2|
s4 a g|
bes s2|
s4 a ais|
|
cis d |
r r|
s2.|
4\f c'8 c16 c c4|
r|
r2|
s2.|
4 d'8 d16 d d4|
r |
r2|
2 d'4|
|
f g e|
d g f8 ees!|
4 _\fermata|
d e|
f fis g|
aes f ees|
aes8 ges f,2\fermata|
a!4 b d|
e f! f,!|
des' d fis|
gis a a,|
d e|
f g e|
d g f8 ees|
4 -\fermata|
d e|
f g e|
d g f8 ees|
4 f ees,!_\fermata|
4_\f c'8 c16 c c4|
d'4 r|
d,4 r2|
s2.|
4_\f d'8 d16 d d4|
r |
r r|
2 \once \override NoteColumn #'force-hshift = #1 4|
d\p ee
How do I make all measures have the same width?
I am working on a Lilypond template to format jazz lead sheets so that they
resemble the formatting of the (hand written) lead sheets in the Chuck Sher
New Real Books.
I know that Lilypond is programmed to carefully place bar lines to make
classical scores look beautiful. But for the many jazz tunes that are
organized into 4-bar phrases, lead sheets are usually written so that each
line has four bars, and each bar is the same width. This way, all phrases
start at the beginning of the line, and when you scan down the page, all of
the bar lines are right on top of each other.
In the example below, you can see that the first bar of the first line is
much bigger than the first bar of the second line. If one were writing this
snippet out by hand, one would probably first draw equally spaced bar lines
on the first two lines of staff paper and then write in the notes, to ensure
that the bar lines line up
I haven't been able to find a way to do this in Lilypond. How do I do it?
Thanks.
Example code:
\paper {
indent = 0\mm
}
\header {
title = "Angst"
composer = "Brad Mehldau"
}
\score{
<<
\new ChordNames
\chords {
bes2.:m7 bes:maj7 e:maj7/bes b:m7/bes
e:m7 a:m7 c:maj7 fis:m7
}
\new Staff {
\time 3/4
\set Staff.minimumVerticalExtent = #'(-5.5 . 5.5)
\clef treble
\relative c'' {
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\set Score.barNumberVisibility = #(every-nth-bar-number-visible 40)
r8 f, r f'~ \times 2/3 {f ees des}
c2.
r8 e, r dis'~ \times 2/3 {dis cis b}
\times 3/4 {a8 cis r4 a fis} \break
g2.~ g
r8 d r b'~ \times 2/3{b a g}
\times 3/4 {fis4 a cis e} \break
}
}
>>
}
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Creating chord names like C7/F#7
For a certain polytonal piece, I need to display chord names of the form
"C7/F#7". That is, I need to be able to have an entire chord after the
slash, not just the root.
I already know how to modify the main part of the chord using
chExceptionMusic, like in the example code below. But I can't figure out
how to use this to modify the part after the slash.
If I only had to do this once, I suppose I could just take one type of chord
that I didn't need, hard code it as C7/F#7 in chExceptionMusic, and call it
in \chords whenever I needed it. But I have to do it for many different
chords.
What is the correct way to do this?
Thanks!
-
Example
chExceptionMusic = {
1-\markup {m \raise #0.7 \magnify #0.95 {6}}
}
chExceptions = #( append
( sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
and then
\new ChordNames
\chords {
\set chordNameExceptions = #chExceptions
c:m6
}
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ragged-bottom doesn't work in \layout?
Can I set ragged-bottom and ragged-last-bottom in the \layout block? Right
now they're in the \paper block, but if I move it to the \layout block, they
don't seem to have an effect. Why?
#(set-default-paper-size "letter")
\version "2.12.2"
\header {
title = "title"
}
\paper {
after-title-space = 5\mm
between-system-space = 5\mm
ragged-bottom=##t
ragged-last-bottom=##t
}
\score{
\layout{
}
<<
\new Staff
{
\time 4/4
\clef treble
\relative c'' {
c4 c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break \pageBreak
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
c c c c
c c c c
c c c c
c c c c \break
}
}
>> }
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