Re: String Bass Notation

[Vaughan McAlley]

On 19 April 2012 03:08, Tim Roberts  wrote:
> Playing in the pit for Pirates of Penzance last night, the bass player
> pointed out an articulation mark in the string bass part that neither of us
> had seen before.  It was basically the Greek character "phi" -- a circle
> with a vertical line all the way through it.  It occurred several times.
>
> This is a hand-drawn score.  I'm thinking that they probably meant snap
> pizzicato, and it was easier to draw the line all the way through than to
> stop part way through.  Snap pizzicato would fit in the context, and I have
> found no source that shows the exact "phi" symbol.  Have any of you string
> players seen that notation?
>
> --
> Tim Roberts, t...@probo.com
> Providenza & Boekelheide, Inc.
>
>
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Snap pizzicato and the very Victorian Arthur Sullivan don’t really gel
together in my mind. I wish I could offer an alternative theory.

Vaughan

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Re: Bug concerning acciaccatura and \time?

[Thomas Ruedas]

On 25/4/12 9:39 PM, Urs Liska wrote:

This is a known issue and explained in the Notation Reference (see
"Known issues and warnings" under "grace notes" on
http://www.lilypond.org/doc/v2.15/Documentation/notation/special-rhythmic-concerns.html)
Basically you have to add invisible acciaccaturas of the same length in
all staves (and also in possible Dynamics contexts).

Yes, that solved it. Thanks a lot!
Thomas
--
---
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Re: Bug concerning acciaccatura and \time?

[Urs Liska]

This is a known issue and explained in the Notation Reference (see 
"Known issues and warnings" under "grace notes" on 
http://www.lilypond.org/doc/v2.15/Documentation/notation/special-rhythmic-concerns.html)
Basically you have to add invisible acciaccaturas of the same length in 
all staves (and also in possible Dynamics contexts).
This is not necessary with all acciaccaturas but only if you experience 
problems around special barlines (like \time changes or repeats).


HTH
Urs

Am 25.04.2012 19:48, schrieb Thomas Ruedas:

Hi,
please consider the code snippet below, which is part of a larger 
piece. It compiles without errors on my machine, but the output is 
incorrect in that it produces the time signature 1/4 twice in the 
second bar, namely first correctly at the beginning of the bar but 
also after the acciaccatura.
I have similar passages which are typeset correctly, so I think it may 
be a bug.

Thomas

\version "2.14.2"

\paper {
  #(set-paper-size "a4")
}

u = { \change Staff = "right" \stemDown }
U = { \change Staff = "right" \stemUp }
l = { \change Staff = "left" \stemUp }

%%% 3rd movement
scoreCGlobal = {
  \key c \major
  \numericTimeSignature
  \time 2/4
}

scoreCFlute = \relative c'' {
e4\mf ~ e16 fis,\( b c
% bar 17
\time 1/4 cis8. d16\)
}

scoreCRight = {
  \scoreCGlobal
<< { \relative { c''16\! e,\(\< a ais b8. cis16\) } } \\
{ 2 } >>
% bar 17
\time 1/4 << { f'''8 fis''\! } \\
{ 4 } >>
}

scoreCLeft = {
  \scoreCGlobal
2
% bar 17
\time 1/4 \clef treble \acciaccatura fis8 < fis fis' b' d''>4
}

scoreCFlutePart = \new Staff \with {
  instrumentName = "Flöte"
  midiInstrument = "flute"
} \scoreCFlute

scoreCPianoPart = \new PianoStaff \with {
  instrumentName = "Klavier"
} <<
  \new Staff = "right" \with {
midiInstrument = "acoustic grand"
  } \scoreCRight
  \new Staff = "left" \with {
midiInstrument = "acoustic grand"
  } { \clef bass \scoreCLeft }
>>

\score {
<<
\scoreCFlutePart
\scoreCPianoPart
>>
  \layout { }
  \midi {
\context {
  \Score
  tempoWholesPerMinute = #(ly:make-moment 48 4)
}
  }
}



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Re: measure counter engraver

[David Nalesnik]

Hi,

Unrelated issue: I notice that the original post with attached files hasn't
> shown up on archive 2 on either -user or -devel, even though I sent that
> post 13 hours ago.  It appears on archive 1, but there the .ly file appears
> as a binary data file, which I cannot open.  Am I guilty of top-posting
> here, or have I exceeded some attachment size limit (48K and 9K)?  I wonder
> if I should repost the .ly file so it isn't lost to the archives.
>
>
Well, the original post along with the attachments still hasn't shown up in
lilypond-user, so I'm attaching the .ly file to this email.  Hopefully, it
will show up in the archives,

-David


measureCounterEngraver.ly
Description: Binary data
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Bug concerning acciaccatura and \time?

[Thomas Ruedas]

Hi,
please consider the code snippet below, which is part of a larger piece. 
It compiles without errors on my machine, but the output is incorrect in 
that it produces the time signature 1/4 twice in the second bar, namely 
first correctly at the beginning of the bar but also after the acciaccatura.
I have similar passages which are typeset correctly, so I think it may 
be a bug.

Thomas

\version "2.14.2"

\paper {
  #(set-paper-size "a4")
}

u = { \change Staff = "right" \stemDown }
U = { \change Staff = "right" \stemUp }
l = { \change Staff = "left" \stemUp }

%%% 3rd movement
scoreCGlobal = {
  \key c \major
  \numericTimeSignature
  \time 2/4
}

scoreCFlute = \relative c'' {
e4\mf ~ e16 fis,\( b c
% bar 17
\time 1/4 cis8. d16\)
}

scoreCRight = {
  \scoreCGlobal
<< { \relative { c''16\! e,\(\< a ais b8. cis16\) } } \\
{ 2 } >>
% bar 17
\time 1/4 << { f'''8 fis''\! } \\
{ 4 } >>
}

scoreCLeft = {
  \scoreCGlobal
2
% bar 17
\time 1/4 \clef treble \acciaccatura fis8 < fis fis' b' d''>4
}

scoreCFlutePart = \new Staff \with {
  instrumentName = "Flöte"
  midiInstrument = "flute"
} \scoreCFlute

scoreCPianoPart = \new PianoStaff \with {
  instrumentName = "Klavier"
} <<
  \new Staff = "right" \with {
midiInstrument = "acoustic grand"
  } \scoreCRight
  \new Staff = "left" \with {
midiInstrument = "acoustic grand"
  } { \clef bass \scoreCLeft }
>>

\score {
  <<
\scoreCFlutePart
\scoreCPianoPart
  >>
  \layout { }
  \midi {
\context {
  \Score
  tempoWholesPerMinute = #(ly:make-moment 48 4)
}
  }
}
--

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Re: print tie without note it ties to?

[David Nalesnik]

Hi,


> Thank you. \laissezVibrer produces very short ties; is there a way to
> modify
> them so that they resemble normal ties?


You might find this thread helpful:

 http://www.mail-archive.com/lilypond-user@gnu.org/msg70030.html

-David
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Re: print tie without note it ties to?

[diekunstderfuge]

Thank you. \laissezVibrer produces very short ties; is there a way to modify
them so that they resemble normal ties?


Federico Bruni-5 wrote:
> 
> Il 24/04/2012 16:15, diekunstderfuge ha scritto:
>> I'm transcribing/typesetting the music seen in the attached image. At the
>> end of the second system there are two notes (one in the RH staff, one in
>> the LH staff) which tie to notes not included in this excerpt. Is there a
>> way I can manually force LilyPond to display a tie without having to
>> enter
>> the note to which it ties?
> 
> you may use \laissezVibrer, as explained in Notation Reference 1.2.1, Ties
> 
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> 

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Re: printing empty staff

[Choan Gálvez]

On 4/25/12 15:10 , rathcof...@comcast.net wrote:


The attached .LY file is a 32-bar song with the melody printed in the
top staff.

What I'm trying to do is print an empty staff beneath the first one (to
permit pencilled in notations, etc.)

The program will only print the measures in the second staff if the
measure contains content. I can't get it to print the empty staff (or
even an empty measure). There's probably some way to do this, I just
haven't found it.


You can fill the empty staff by using

s1 * 32

Best.
--
Choan Gálvez

Ukecosas. Los ukeleles que nos gustan, también para ti
Visítanos: 
Degústanos en Facebook: 


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Re: print tie without note it ties to?

[Federico Bruni]

Il 24/04/2012 16:15, diekunstderfuge ha scritto:

I'm transcribing/typesetting the music seen in the attached image. At the
end of the second system there are two notes (one in the RH staff, one in
the LH staff) which tie to notes not included in this excerpt. Is there a
way I can manually force LilyPond to display a tie without having to enter
the note to which it ties?


you may use \laissezVibrer, as explained in Notation Reference 1.2.1, Ties

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printing empty staff

[rathcoffey]

The attached .LY file is a 32-bar song with the melody printed in the top 
staff. 



What I'm trying to do is print an empty staff beneath the first one (to permit 
pencilled in notations, etc.) 



The program will only print the measures in the second staff if the measure 
contains content.  I can't get it to print the empty staff (or even an empty 
measure).  There's probably some way to do this, I just haven't found it. 



Thanks.  



Mike Wogan

If I Had You-Transpose-for-Bb-TwoStaff.ly~
Description: application/trash
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Confused about contexts and scope of macro

[Thomas Ruedas]

Hi,
I guess this is an easy one for more experienced users than me.
I am trying to port an older Lilypond file (v.2.8) to 2.14.2 and am 
having trouble with the scope of a macro whose purpose is to switch 
staffs in a PianoStaff that is part of a score for flute and piano. My 
original setup used to work and was taken more or less literally from 
example A.2.2 in 
http://lilypond.org/doc/v2.14/Documentation/learning/piano-templates (or 
rather its incarnation in the 2.8 docs).

The macros I have defined are:

u = { \change Staff = "right" \stemDown }
U = { \change Staff = "right" \stemUp }
l = { \change Staff = "left" \stemUp }

and the basic structure of my Lilypond file is given by the layout 
generated by Frescobaldi as reproduced at the bottom of this message 
(abridged but hopefully without loss of generality).

The error I get when compiling is the following:
Parsing...
Interpreting music...
[...]
l = {
 \change Staff = "left" \stemUp }
warning: cannot find context to switch to
u = {
 \change Staff = "right" \stemDown }
warning: cannot find context to switch to

etc. The resulting score is displayed, but the sections affected by the 
macro are pasted outside the actual score as loose snippets.
Where do I have to put the macros, and how do I have to define them to 
make things work again?

Thanks,
Thomas

% input file skeleton
\version "2.14.2"
\header {
  title = "Sonatine für Querflöte und Klavier"
}
\paper {
  #(set-paper-size "a4")
}
% <--- here come those macros
scoreAGlobal = {
  \key c \major
  \numericTimeSignature
  \time 3/8
  \tempo "Moderato"
}

scoreAFlute = \relative c'' {
  \scoreAGlobal
  % Music follows here.
}

scoreARight = \relative c'' {
  \scoreAGlobal
  % Music follows here.
}

scoreALeft = \relative c' {
  \scoreAGlobal
  % Music follows here.
}

scoreAFlutePart = \new Staff \with {
  instrumentName = "Flöte"
  midiInstrument = "flute"
} \scoreAFlute

scoreAPianoPart = \new PianoStaff \with {
  instrumentName = "Klavier"
} <<
  \new Staff = "right" \with {
midiInstrument = "acoustic grand"
  } \scoreARight
  \new Staff = "left" \with {
midiInstrument = "acoustic grand"
  } { \clef bass \scoreALeft }
>>

\score {
  <<
\scoreAFlutePart
\scoreAPianoPart
  >>
  \header {
piece = "II."
  }
  \layout { }
  \midi {
\context {
  \Score
  tempoWholesPerMinute = #(ly:make-moment 150 8)
}
  }
}
% and so on with B,C,D for three other movements
--

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Notation of french horn

[Timothy Reeves]

Helge said:

Hello,
>


> I am typesetting a concerto in G major. There are two brass instruments
> (french horns). I am was told that these staves should be written
> without key an without accidentals at the notes. I don't have neither
> experience with playing praxis of horns nor with notation for this kind
> of instruments.
> What is the best way to do this? Should I write it without all the F#
> notes? Or is there anything like transposing from normal notation to
> horn (or brass) notation? AFAIK is transposing the change of all pitches
> by a value, not the change of a selection of pitches, isn't it?
> As an example here are the firs five measures of three instruments
>


> Helge



\version "2.14.2"

CornoOneAllegro = \relative c'' {
   \clef treble
   c4 c c r | % 1
   r2 r8 c c4 | % 2
   r2 r8 c c4 | % 3
   g4 g g r8 d' | % 4
   e4 fis8 e e d r4 | % 5
}


Helge,

I've played horn for a while (albeit for only a third of a century not a
full half century ;) and I would say that while you *may* write it with no
key signature and accidentals where needed, it is not expected by modern
players, who are all quite used to key signatures. The former way was the
norm over a hundred years ago, but not now.
Just let Lilypond do the transposition for you, so if your snippet horn
part is written with concert pitches, write instead

 \transpose f c' {\relative c'' {
 \key g \major
   \clef treble
   c4 c c r | % 1
   r2 r8 c c4 | % 2
   r2 r8 c c4 | % 3
   g4 g g r8 d' | % 4
   e4 fis8 e e d r4 | % 5
}
}

If those were concert pitches, then, since that horn part will go up to
high c, you need a good high horn player.

Good luck, and thanks for writing more horn music!




-- 
Tim Reeves
timothyrree...@gmail.com
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print tie without note it ties to?

[diekunstderfuge]

Hi,

I'm transcribing/typesetting the music seen in the attached image. At the
end of the second system there are two notes (one in the RH staff, one in
the LH staff) which tie to notes not included in this excerpt. Is there a
way I can manually force LilyPond to display a tie without having to enter
the note to which it ties?

Incidentally, I also have a question about the time signatures/bar length.
Since the bar length obviously doesn't correspond to the time signature, and
the bar length is not the same between the RH and LH/Pedal staves, the
solution I have settled on is to use Polymetric Notation with Scale
Durations, set in Mensurstriche Layout for the barlines between the staves.
Does this sound like the right way to do this? How do I handle the two cases
where the barline extends down to the Pedal staff?

(BTW, the time signatures are, from the top, 39/8, 13/4, 13/4.)

http://old.nabble.com/file/p33739646/pk_kyrie.png 
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Re: Access font-name in markup functions

[Jan-Peter Voigt]

Hello Urs,

if you are using the current devel version, you can wrap any markup with 
#{ #}

--snip--
\version "2.15.37"

#(define-markup-command (nfont layout props arg)(markup?)
  (interpret-markup layout props #{
  \markup { \override #'(font-name . "DejaVu Sans") $arg }
#}))

\markup {
  \nfont "Hallo"
}
--snip--

If you are using pre-2.15 or want to do more fancy things with 
properties/overrides, you might try this: An override in a markup, 
modifies the properties for the markup to interpret. So a (cons alist 
props) can do the same:

--snip--
#(define-markup-command (xfont layout props arg)(markup?)
  (interpret-markup layout (cons '((font-name . "DejaVu Sans")) props) arg)
)

\markup {
  \xfont "Hallo"
}
--snip--

HTH
Cheers, Jan-Peter

On 25.04.2012 10:15, Urs Liska wrote:

Hello community,

I didn't find this in the manual: How can I translate \markup { 
\override #'(font-name . "XY") Test } in a markup function?

I only found how to translate e.g. \markup \italic Test etc. to #:italic.

Best
Urs


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Access font-name in markup functions

[Urs Liska]

Hello community,

I didn't find this in the manual: How can I translate \markup { 
\override #'(font-name . "XY") Test } in a markup function?

I only found how to translate e.g. \markup \italic Test etc. to #:italic.

Best
Urs
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