Re: Double key signature

[Pierre Perol-Schneider]

Hi Keith,

2014-06-25 5:14 GMT+02:00 Keith OHara :


> LilyPond supports custom key signatures, and will print this for d\minor
> if you ask for an extended range of printed flats:
>

Never even try that !!
That's great, thanks very much Keith.
Pierre
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Re: Double key signature

[Mats Bengtsson]

Pierre Perol-Schneider  gmail.com> writes:

> 
> 
> 
> 
> Hi All,
> On the french list we are working on a Merulo score with an 8 lines staff,
2 clefs and 2 key signature : *
http://lilypond-french-users.1298960.n2.nabble.com/Portee-a-huit-lignes-deux-clefs-et-deux-bemols-tt7581415.html*
http://lilypond-french-users.1298960.n2.nabble.com/file/n7581418/merulo.png

Interesting! I have started typesetting some of Westhoff's solo violin
suites, which originally were typeset using a similar 8 line staff, see
http://imslp.org/wiki/Suites_for_Solo_Violin_%28Westhoff,_Johann_Paul_von%29
As an additional feature, Westhoff used unequal spacing between the staff
lines, with additional spacing below the 3rd and 5th staff line. 
I have contemplated on the possibilities to achieve this with LilyPond, but
concluded that it seems very challenging, since not only the staff lines but
also all pitch positions have to be adjusted. On the other hand, the primary
reason I'm typesetting the pieces with LilyPond is that I have such a hard
time to read the 8 line notation that I wanted to have them in standard
notation to be able to play them. 

 /Mats


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multiple time sigs

[bobr...@centrum.is]

I'm setting a piece in which the staves do not always have the same time 
signature.  In the manual I found the \layout block below which almost solves 
my problem.  In my example here, when the outer staves have synchronous bar 
lines they cut through the middle staff.  This occurs when outer staves are in 
sync but not inner ones.  How can I prevent that while still getting the common 
bar line when all staves are in sync as in the last measure in my example?

-David

%
\version "2.18.0"

one = \relative c' {
  \time 3/4
  c2. c c c 
  \time 6/4
  c1.
}

two = \relative c' {
  \time 4/4
  c1 c c
  \time 6/4
  c1.
}

three = \relative c' {
  \time 3/4
  c2. c c c 
  \time 6/4
  c1.
}

\score {
  \relative c {
\context StaffGroup <<
  \one
  \two
  \three
>>
  }
  \layout {
\context {
  \Score
  \remove "Timing_translator"
  \remove "Default_bar_line_engraver"
}
\context {
  \Staff
  \consists "Timing_translator"
  \consists "Default_bar_line_engraver"
}
  }
}
%

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Re: Double key signature

[Jacques Menu]

Hello Mats end Pierre,

For the rest of us: what where the good points at the time in using 8 line 
staves?

JM

Le 25 juin 2014 à 09:36:47, Mats Bengtsson  a écrit :

> Pierre Perol-Schneider  gmail.com> writes:
> 
>> 
>> 
>> 
>> 
>> Hi All,
>> On the french list we are working on a Merulo score with an 8 lines staff,
> 2 clefs and 2 key signature : *
> http://lilypond-french-users.1298960.n2.nabble.com/Portee-a-huit-lignes-deux-clefs-et-deux-bemols-tt7581415.html*
> http://lilypond-french-users.1298960.n2.nabble.com/file/n7581418/merulo.png
> 
> Interesting! I have started typesetting some of Westhoff's solo violin
> suites, which originally were typeset using a similar 8 line staff, see
> http://imslp.org/wiki/Suites_for_Solo_Violin_%28Westhoff,_Johann_Paul_von%29
> As an additional feature, Westhoff used unequal spacing between the staff
> lines, with additional spacing below the 3rd and 5th staff line. 
> I have contemplated on the possibilities to achieve this with LilyPond, but
> concluded that it seems very challenging, since not only the staff lines but
> also all pitch positions have to be adjusted. On the other hand, the primary
> reason I'm typesetting the pieces with LilyPond is that I have such a hard
> time to read the 8 line notation that I wanted to have them in standard
> notation to be able to play them. 
> 
> /Mats
> 
> 
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Re: multiple time sigs

[David Kastrup]

"bobr...@centrum.is"  writes:

> I'm setting a piece in which the staves do not always have the same
> time signature.  In the manual I found the \layout block below which
> almost solves my problem.  In my example here, when the outer staves
> have synchronous bar lines they cut through the middle staff.  This
> occurs when outer staves are in sync but not inner ones.  How can I
> prevent that while still getting the common bar line when all staves
> are in sync as in the last measure in my example?

The logic of the Span_bar_engraver does not appear catered to
independently running meters.  Basically, I would rather forego span
bars completely like ChoirStaff does.

But you can get by, in this particular case, with some manual
interaction:

\version "2.18.0"

one = \relative c' {
  \temporary\override StaffGroup.SpanBar.break-visibility = #all-invisible
  \time 3/4
  c2. c c c
  \revert StaffGroup.SpanBar.break-visibility
  \time 6/4
  c1.
}

two = \relative c' {
  \time 4/4
  c1 c c
  \time 6/4
  c1.
}

three = \relative c' {
  \time 3/4
  c2. c c c 
  \time 6/4
  c1.
}

\score {
  \relative c {
\new StaffGroup <<
  \one
  \two
  \three
>>
  }
  \layout {
\context {
  \Score
  \remove "Timing_translator"
  \remove "Default_bar_line_engraver"
}
\context {
  \Staff
  \consists "Timing_translator"
  \consists "Default_bar_line_engraver"
}
  }
}
%


-- 
David Kastrup
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Re: Double key signature

[Mats Bengtsson]

On 2014-06-25 10:19, Jacques Menu wrote:

Hello Mats end Pierre,

For the rest of us: what where the good points at the time in using 8 line 
staves?

I guess the idea was to avoid ledger lines.

/Mats


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long tacets

[bobr...@centrum.is]

I've wondered off and on for some time now if there is, or perhaps, should be, 
a way to create long tacets without resorting to ugly hacks which don't 
represent the actual information.

One common example is an ensemble piece in which a particular instrument is 
finished long enough before the end of the piece that it's silly to write out 
explicitly all the remaining rests.  In traditionally engraved or handwritten 
parts one often sees:

| Tacet bis Ende ===|

...or something similar.

Another example I've often encountered in French orchestral pieces has 
something like this at the beginning:

| TACET jusqu'à ==|


In both of the above examples there may be key and time changes which are not 
indicated.

Still another example, also from a French piece, is a bit different.  In a 
piece without time signatures but with bar lines and frequently changing 
measure lengths there are multimeasure rests with specified numbers of measures 
printed above the rest.  For practical reasons, there are cue notes after the 
rest.

It occurs to me that since LilyPond is designed to input linear musical data 
and output a beautifully engraved graphical representation of it, that it 
should be possible/desirable to have some widget that can be called to collect 
a tacet section into a block rest |==| with a user definable label.

-David

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Re: Double key signature

[James]

On 24/06/14 10:26, Pierre Perol-Schneider wrote:

Hi All,

On the french list we are working on a Merulo score with an 8 lines 
staff, 2 clefs and 2 key signature :


* 
http://lilypond-french-users.1298960.n2.nabble.com/Portee-a-huit-lignes-deux-clefs-et-deux-bemols-tt7581415.html


* 
http://lilypond-french-users.1298960.n2.nabble.com/file/n7581418/merulo.png


Herewith is my last piece of code. As you can notice, I still have to 
manually set the distance between the key signatures.


Has anyone any brilliant idea/other way how to come to this 8 lines 
staff ?


Thanks in advance,
Pierre


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Can someone explain how one would 'play' or even need a staff with two 
clefs like this? :)


As opposed to say two staff-lines each with its own clef?

I'm just curious.

James
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Re: Double key signature

[Pierre Perol-Schneider]

2014-06-25 13:04 GMT+02:00 James :


>  Can someone explain how one would 'play' or even need a staff with two
> clefs like this? :)
>
> As opposed to say two staff-lines each with its own clef?
>

Why not ?
In fact, this staff is for the left hand of an organ piece. As Mats
suggested it's probably to avoid a bunch of ledger lines (but I'm no
organist).
But it could ceratinly be re-written in a more modern style (1 clef and
some 8va).
Cheers,
Pierre
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Re: Positioning spanner at different height after line break

[David Nalesnik]

Javier,


On Wed, Jun 25, 2014 at 1:12 AM, Javier Ruiz-Alma 
wrote:

> I have a TextSpanner going from one system to the next one below.
>
> The segment in the top-system needs to go under a slur, so I applied:
>
>   \override TextSpanner.avoid-slur = #'inside
>
>   \override TextSpanner.outside-staff-priority = ##f
>
>   \override TextSpanner.staff-padding = 3.0
>
> …to get the desired vertical offset under the slur.  On the next line, I
> need less padding from staff.
>
>
>
> Is it possible to set distinct distances before and after the line break?
>
>
>

It should be.  Try using \alterBroken:

http://www.lilypond.org/doc/v2.18/Documentation/notation/modifying-broken-spanners

HTH,
David
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Re: long tacets

[Pierre Perol-Schneider]

Hi,

2014-06-25 12:35 GMT+02:00 bobr...@centrum.is :

> I've wondered off and on for some time now if there is, or perhaps, should
> be, a way to create long tacets without resorting to ugly hacks which don't
> represent the actual information.
>
> One common example is an ensemble piece in which a particular instrument
> is finished long enough before the end of the piece that it's silly to
> write out explicitly all the remaining rests.  In traditionally engraved or
> handwritten parts one often sees:
>
> | Tacet bis Ende ===|
>
> ...or something similar.
>
> Another example I've often encountered in French orchestral pieces has
> something like this at the beginning:
>
> | TACET jusqu'à ==|
>
>
> In both of the above examples there may be key and time changes which are
> not indicated.
>

I've started a snippet (unfinished, no time yet) here :
http://lsr.di.unimi.it/LSR/Item?id=923
HTH,
Pierre
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Re: long tacets

[Kieren MacMillan]

Hi,

> I've wondered off and on for some time now if there is, or perhaps, should 
> be, a way to create long tacets without resorting to ugly hacks which don't 
> represent the actual information.
> 
> One common example is an ensemble piece in which a particular instrument is 
> finished long enough before the end of the piece that it's silly to write out 
> explicitly all the remaining rests.  In traditionally engraved or handwritten 
> parts one often sees

Another option is to stop the staff and put a markup — that’s certainly what I 
do in the case of complete TACET movements, though I’ve never tried it for 
“TACET BIS ENDE” situations.

Hope this helps!
Kieren.
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Re: Double key signature

[Phil Holmes]

There's a couple of examples of medieval music with 2 clefs at

http://code.google.com/p/lilypond/issues/detail?id=2823

I assume it was to save paper and the need to draw extra staves in this case.

--
Phil Holmes


  - Original Message - 
  From: James 
  To: Pierre Perol-Schneider ; lilypond-user 
  Sent: Wednesday, June 25, 2014 12:04 PM
  Subject: Re: Double key signature


  On 24/06/14 10:26, Pierre Perol-Schneider wrote:

Hi All,


On the french list we are working on a Merulo score with an 8 lines staff, 
2 clefs and 2 key signature : 

* 
http://lilypond-french-users.1298960.n2.nabble.com/Portee-a-huit-lignes-deux-clefs-et-deux-bemols-tt7581415.html

* 
http://lilypond-french-users.1298960.n2.nabble.com/file/n7581418/merulo.png


Herewith is my last piece of code. As you can notice, I still have to 
manually set the distance between the key signatures.


Has anyone any brilliant idea/other way how to come to this 8 lines staff ?


Thanks in advance,

Pierre


 

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Can someone explain how one would 'play' or even need a staff with two clefs 
like this? :) 

  As opposed to say two staff-lines each with its own clef?

  I'm just curious.

  James



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Re: Double key signature

[Paul Morris]

Mats Bengtsson-4 wrote
> Interesting! I have started typesetting some of Westhoff's solo violin
> suites, which originally were typeset using a similar 8 line staff, see
> http://imslp.org/wiki/Suites_for_Solo_Violin_%28Westhoff,_Johann_Paul_von%29
> As an additional feature, Westhoff used unequal spacing between the staff
> lines, with additional spacing below the 3rd and 5th staff line. 
> I have contemplated on the possibilities to achieve this with LilyPond,
> but
> concluded that it seems very challenging, since not only the staff lines
> but
> also all pitch positions have to be adjusted. 

Hi Mats,  Adjusting the pitch positions in LilyPond is actually not as
difficult as it may seem.  Here's a snippet that shows re-mapping the staff
to a chromatic scale:
http://lsr.di.unimi.it/LSR/Item?id=694

But you can set the staffLineLayoutFunction to any scheme procedure, which
makes it possible to get any positioning you might want.

How are the notes positioned on Westhoff's staff with unequally spaced staff
lines?  I couldn't tell from a quick glance.  

-Paul



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Sent from the User mailing list archive at Nabble.com.

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Re: temporarily disable Dot_column_engraver?

[Mark Polesky]

Keith OHara wrote:
> Put the small notes in a temporary Voice and give that
> Voice a Dot_column_engraver.
>
> Having this engraver in both a Voice and Staff is not
> problem here.  You get two DotColumns, but that is what
> you want, and the Dots that are caught by the DotColumn in
> the Voice are not caught again by that in the Staff.

Keith,

Doing as you suggested puts the first dot directly *below*
the note head.  Am I doing something wrong with my code
here?

Thanks
- Mark

\version "2.19.9"

\new Staff \with {
} {
  \time 6/8
  \new Voice = "main" {
\voiceOne
<<
  \context Voice = "main" { 2. }
  \new Voice = "small" \with {
\consists Dot_column_engraver
  } {
\voiceTwo
\magnifyMusic 0.63 {
  \repeat tremolo 24 { e'64 g'64 }
}
  }
>>
\context Voice = "main" {
  << 2. \\ 2. >>
}
  }
}
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Defining a command to perform a TextSpanner

[Martyn Quick]

I've been using the TextSpanner in the following way:

\version "2.18.2"

music = {
  \textSpannerDown
  \override TextSpanner.bound-details.left.text =
    \markup { \upright "P.M." }
  e,8 e,\startTextSpan e, e, e, e, e,\stopTextSpan e,
}

\score {
  <<
  \new Staff { \clef "treble_8"
    \music
  }
  \new TabStaff {
    \music
  }
  >>
}

This does what is often seen in guitar music, namely using "P.M. ... ... ..." 
to denote when palm-mute is applied to the playing.

Is there a way of defining a function (or more likely a pair of functions) to 
do this more briefly (and more simply in the code.  I guess I'm looking for 
something along the lines of:

" e, \startPM e, e, e, \stopPM e, e, "

to achieve the same effect.

... and assuming this can be done, where on earth do I read up about such 
things?


Martyn
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Re: Defining a command to perform a TextSpanner

[David Kastrup]

Martyn Quick  writes:

> I've been using the TextSpanner in the following way:
>
> \version "2.18.2"
>
> music = {
>   \textSpannerDown
>   \override TextSpanner.bound-details.left.text =
>     \markup { \upright "P.M." }
>   e,8 e,\startTextSpan e, e, e, e, e,\stopTextSpan e,
> }
>
> \score {
>   <<
>   \new Staff { \clef "treble_8"
>     \music
>   }
>   \new TabStaff {
>     \music
>   }
>   >>
> }
>
> This does what is often seen in guitar music, namely using
> "P.M. ... ... ..." to denote when palm-mute is applied to the playing.
>
> Is there a way of defining a function (or more likely a pair of
> functions) to do this more briefly (and more simply in the code.  I
> guess I'm looking for something along the lines of:
>
> " e, \startPM e, e, e, \stopPM e, e, "
>
> to achieve the same effect.

startPM = -\single\textSpannerDown
  -\tweak bound-details.left.text \markup \upright "P.M."
  -\startTextSpan

stopPM = \stopTextSpan

\new Staff { \clef "G_8" e, \startPM e, e, e, \stopPM e, e, }

-- 
David Kastrup

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RE: Positioning spanner at different height after line break

[Javier Ruiz-Alma]

 

 

From: David Nalesnik 

 

Javier,

 

On Wed, Jun 25, 2014 at 1:12 AM, Javier Ruiz-Alma mailto:jav...@ruiz-alma.com> > wrote:

I have a TextSpanner going from one system to the next one below.

The segment in the top-system needs to go under a slur, so I applied:

  \override TextSpanner.avoid-slur = #'inside

  \override TextSpanner.outside-staff-priority = ##f

  \override TextSpanner.staff-padding = 3.0

…to get the desired vertical offset under the slur.  On the next line, I need 
less padding from staff.

 

Is it possible to set distinct distances before and after the line break?

 

It should be.  Try using \alterBroken:

 
http://www.lilypond.org/doc/v2.18/Documentation/notation/modifying-broken-spanners

 

HTH,

David

 

Wow, I searched extensively for this.  Thank You!  Keyword searches against LP 
docs seem to be hit’n’miss when I don’t have an idea of what to search for or 
how the modifying command was implemented.  I was out reading the Internals 
reference for TextSpanner, user group, NR (obviously with wrong keywords), 
Google.  One would wish for a list of applicable commands against the specific 
object I’m working with.  After hundreds of pages typeset, still feels like 
there’s so much more LP to learn.

‘Nuff venting and on to the next issue!

 

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Sloped/Angled ottava spanner

[Javier Ruiz-Alma]

It's been asked before
 .

 

How does one angle an ottava (see attached)

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Re: temporarily disable Dot_column_engraver?

[Keith OHara]

On Wed, 25 Jun 2014 10:14:13 -0700, Mark Polesky  wrote:


Keith OHara wrote:

Put the small notes in a temporary Voice and give that
Voice a Dot_column_engraver.

Having this engraver in both a Voice and Staff is not
problem here.  You get two DotColumns, but that is what
you want, and the Dots that are caught by the DotColumn in
the Voice are not caught again by that in the Staff.



Doing as you suggested puts the first dot directly *below*
the note head.  Am I doing something wrong with my code
here?



Oops.  That is not a problem that I suspected and I didn't check carefully 
enough before making my suggestion.  Sorry.

Probably you will want to simply move Dot_column_engraver from Staff to Voice 
in general, so every Voice aligns its own dots.


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