Re: horizontal spacing inside \magnifyMusic

[Eby Mani]

 Hello Valentin, 

This is brilliant !!!. Thank you.

>@1: (spacing between aes and d not much improved.)

I assumed \tweak extra-spacing-width, tweaked the next note column. But 
according to your explanation, it tweaks only the space after previous note 
head, not as note column.

>@2: (unable to get small spacing before c.)

I tried \tweak extra-spacing-width #'(-1 . 0) inside the \newSpacingSection, 
based on my earlier understanding, it did not work, now i know why :).

It is always good to learn.

Thanks and regards,
eby  

Vertical gap between two simultaneous pedals

[Paolo Prete]

Hello,

Is there a way to set a *minimum* vertical gap between two simultaneous
pedals (Sostenuto and Sustain)? It has to work regardless of the vertical
order of the pedals (sustain above sostenuto or viceversa) and we can
assume that:

1) no other grob is placed between them.

2) no other grob is below the inferior pedal

(I would like to avoid to tweak the outside-staff-padding  property on the
inferior pedal each time it appears...)

%%%
{

\set Staff.pedalSustainStyle = #'mixed
c'4\sustainOn\sostenutoOn c' c' c'\sustainOff\sostenutoOff

r1 \break

c'4\sustainOn c' c'\sostenutoOn c'\sostenutoOff\sustainOff

r1 \break

}
%%%


Thanks very much for your help!
P

Harmonics within chord (tab)

[Stacy Fatemi]

Hey list,

I'm notating a song on bass that requires playing two strings at once, the
bottom being a root note and the top being a 5th fret harmonic, but it
seems like neither \harmonicByFret nor \harmonicByRatio work within a
chord. Is there a way around this?

\score {
\new TabStaff \relative c {
  1
  }
}

Re: Filtering chunks of the score so to speed up the compiling time

[Paolo Prete]

On Sat, Jun 13, 2020 at 8:39 PM Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Paolo,
>
> > In order to speed up the compiling time, I wonder if Lilypond has a
> preprocessor that can filter all the parts of the score which aren't marked
> by a specific tag.
>
> Have you looked into:
>
> 1. \skipTypesetting <
> http://lilypond.org/doc/v2.21/Documentation/notation/skipping-corrected-music
> >
>
>
Hi Kieren,
this is what I was searching for.
However, the doc says that  "it skips all events, including tempo and
instrument changes", but in the proposed example the \tempo instruction is
not skipped.
How can I make it skip *all* events?

Thanks!

Best,
P


>

Re: Filtering chunks of the score so to speed up the compiling time

[Kieren MacMillan]

Hi Paolo,

> In order to speed up the compiling time, I wonder if Lilypond has a 
> preprocessor that can filter all the parts of the score which aren't marked 
> by a specific tag.

Have you looked into:

1. \skipTypesetting 


2. gridly 

??

Hope that helps,
Kieren.


Kieren MacMillan, composer (he/him/his)
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info

Re: Making Lilypond faster

[Valentin Villenave]

On 6/13/20, Paolo Prete  wrote:
> At this point, I'm meditating about a "selective" way of compiling a score
> with a preprocessor, so to save time.

Also remember that if you have fixed page breaks, you can easily
recompile only some pages using skipTypesetting or
show[First|Last]Length. (You can even use that with command-line hacks
without modifying your main .ly source code.) This makes things
*considerably* faster.

Cheers,
-- V.

Filtering chunks of the score so to speed up the compiling time

[Paolo Prete]

Hello,

In order to speed up the compiling time, I wonder if Lilypond has a
preprocessor that can filter all the parts of the score which aren't marked
by a specific tag.

So, for example, the following code could be compiled only for the chunks
included between \START and \END tags:



\START { \END

% This will be filtered
d' d' d' d'

\START c' c' c' c' \END

% This will be filtered
d' d' d' d'

\START } \END



Is there anything already built-in in Lilypond for this?
Of course it is trivial to make a script for doing the job, but it would be
desirable if Lilypond already had this feature...

Best,
P

Re: Making Lilypond faster

[Paolo Prete]

> Hi Paolo,
>
> today I tried to compile LilyPond with guile-3.
>
> 
>
> Guile-3 was compiled from their repo with:
>
> sh autogen.sh
> ./configure
> make
> sudo make install
>
> giving me "3.0.2.124-e7398")
>
> 
>
> For compiling LilyPond I used:
>
> sh autogen.sh --noconfigure
> mkdir -p build/
> cd build/
> ../configure GUILE_FLAVOR=guile-3.0
> make
>
> ###
>
> `make' succeeded, though there is a problem reported:
> imported module (lily) overrides core binding `_'
> Which is caused by guile now using `_' as a reserved keyword. Formerly
> it was short for gettext, now `G_' should be used.
> Though, for now I didn't fix it.
>
> I then compiled some scores with this LilyPond and compared timing
> with released lilypond-2.21.1.:
> LilyPond with guile-3 needs in average ~40% more time.
> No clue whether the timing is influenced by the not fixed gettext-shortcut.
>
> Note that I didn't try to build the docs nor did I try to compile the
> regtests.
> More problems could pop up then...
>
>
>
Hi Harm,

thanks for sharing this test.
At this point, I'm meditating about a "selective" way of compiling a score
with a preprocessor, so to save time.
I'll open a thread in the ML about this, ASAP.

Best,
P

Re: How to modify the gap between the clef or time signature and the first note/chord/pause/skip in the bar

[Paolo Prete]

Got it, thanks!

On Sat, Jun 13, 2020 at 8:51 AM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Paolo,
> Ses Clef and TimeSiganture space-allist:
> --- http://lilypond.org/doc/v2.19/Documentation/internals/clef
> --- http://lilypond.org/doc/v2.19/Documentation/internals/timesignature
> Cheers,
> Pierre
>
> Le sam. 13 juin 2020 à 01:01, Paolo Prete  a écrit :
>
>> Hello,
>>
>> How can I modify the horizontal gap between the clef or time signature
>> and the first note/chord/pause/skip in the bar?
>>
>> Thanks!
>>
>

RE: Free rhythm in part of a bar

[Mark Stephen Mrotek]

Peter,

 

Below is a modification of my original suggestion that allows for the bass
to be aligned with notes after the cadenze.

 

Mark

 

\version "2.19.83"

\score {

<< 

   \new Staff {

   \time 4/4

   {

c'4 4 4 4 |

\cadenzaOn 4 4 8 8 8 8 8 8 8 8 8 8 \cadenzaOff c'4 c' \bar "|" 

}

}

 

\new Staff {

  \time 4/4

  \clef "bass"

  {

c1

4 4 s4*2 r2\fermata s4 c'4 c' |

  }

}

>> 

}

 

From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Peter Toye
Sent: Saturday, June 13, 2020 2:55 AM
To: David Kastrup 
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar

 

David,

In this example the first two notes of the bass should synchronise with the
first two notes of the treble. And they do. My question was what to do in a
more complicated situation.

But as Christian has solved the problem I think we can stop here, unless
you're thinking of adding more functionality to the \cadenza construction,
in which case I'm happy to oblige. I have other problems to see to (a new
post will arrive shortly when I've written it)!

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Saturday, June 13, 2020, 9:45:08 AM, David Kastrup wrote:

> Peter Toye <  lilyp...@ptoye.com> writes:

>> David,

>> What I mean is that in some music the end of the 'free rhythm' section
>> may need to be synchronised with the other staves. For instance, at
>> the end of a florid passage for a soloist in free rhythm, the last few
>> notes may need to coincide with an accompaniment. The \cadenza
>> keywords don't seem to handle this. Would you like an example or have
>> I explained it well enough now?

> You posted an example.  What in the bass of the example should
> synchronise where?

Re: Free rhythm in part of a bar

[Peter Toye]

David,

No, because i was trying to produce (1) a minimal example for the case that the 
free rhythm passage ends at the bar end, and (2) in words only, a hypothetical 
example where it doesn't. I obviously wasn't clear enough about the two cases.

So here's a rather longer one. the top score is a development of the original 
example, the bottom one shows what happens in my second case, where the final 
crochets of each staff should align. In both cases the bass line counting goes 
wrong.

I've tried putting the free rhythm section in parallel with a silent note, with 
the intention of making sure that there was a proper duration for the section. 
This gives interesting results: the accompaniment gives a barcheck error even 
though the durations of the notes in that staff are correct. If you comment out 
the melody line there's no error. So there's obviously some interaction between 
the free rhythm section and other staves. Also, if you replace the final 'e' in 
the melody by 'R1' the rest goes in the wrong place.

\language "english"

\version "2.19.83"

\score {
 <<

\new Staff {
   \time 4/4
   {
%%{
c'4 4 4 4 |
4 4 << {\cadenzaOn d'8 8 8 8 8 8 8 8 8 8 \cadenzaOff} s2 >> \bar "|"
e'1
%}
   }
 }

 \new Staff {
  \time 4/4
  \clef "bass"
  {
c1
c4 4 r2\fermata |
c1
  }
 }
 >>
}

\score {
 <<
   \new Staff {
   \time 4/4
   {
%%{   
c'4 4 4 4 |
4 4 << {\cadenzaOn d'8 8 8 8 8 8 8 8 8 8 \cadenzaOff} s4 >> g'4  \bar "|" 
e'1
%}
   }
 }
 \new Staff {
  \time 4/4
  \clef "bass"
  {
c1
c4 4 r4\fermata g,4 |
c1
  }
 }
 >>
}

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Saturday, June 13, 2020, 1:13:07 PM, David Kastrup wrote:

> Peter Toye  writes:

>> David,

>> The half note rest is because it's basically a 4/4 bar, so it needs to
>> align with the start of the free rhythm. Here's a screenshot.

> The screenshot has nothing whatsoever to do
> with your example.  In your
> example, the melody voice has three bars and the bass voice has two
> bars.  You don't explain how the two bars
> should fit the three bars.

Re: How to align text in a whole-bar rest?

[Martin Neubauer]

For cases like this the edition engraver might be of use to keep the
entered music cleaner.

On 13/06/2020 13:48, Peter Toye wrote:
> Xavier,
> 
> D'oh!!! Silly me. My brain isn't working today. Thanks.
> 
> Best regards,
> 
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com
> 
> -
> Saturday, June 13, 2020, 12:39:31 PM, Xavier Scheuer wrote:
> 
> 
> On Sat, 13 Jun 2020 at 12:37, Peter Toye  wrote:
>>
>> I'm trying to add text which needs to be aligned with certain notes in the 
>> accompaniment above a vocal staff which has a whole-bar rest, and can't work 
>> out a suitable easy way to do it. The attachment shows what's needed. I want 
>> to align the text with the second half of the bar.
>>
>> The only way I've found is to add another \dynamic staff for these 
>> expression marks. Is there a better way?
> 
> Hello Peter,
> 
> << R2. { s4. s4.^\markup \italic "poco rall." } >>
> 
> Cheers,
> Xavier
> 

-- 
I am my own reality check.



signature.asc
Description: OpenPGP digital signature

Re: Free rhythm in part of a bar

[David Kastrup]

Peter Toye  writes:

> David,
>
> The half note rest is because it's basically a 4/4 bar, so it needs to
> align with the start of the free rhythm. Here's a screenshot.

The screenshot has nothing whatsoever to do with your example.  In your
example, the melody voice has three bars and the bass voice has two
bars.  You don't explain how the two bars should fit the three bars.

-- 
David Kastrup

Re: How to align text in a whole-bar rest?

[Peter Toye]

Xavier,

D'oh!!! Silly me. My brain isn't working today. Thanks.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Saturday, June 13, 2020, 12:39:31 PM, Xavier Scheuer wrote:


On Sat, 13 Jun 2020 at 12:37, Peter Toye  wrote:
>
> I'm trying to add text which needs to be aligned with certain notes in the 
> accompaniment above a vocal staff which has a whole-bar rest, and can't work 
> out a suitable easy way to do it. The attachment shows what's needed. I want 
> to align the text with the second half of the bar.
>
> The only way I've found is to add another \dynamic staff for these expression 
> marks. Is there a better way?

Hello Peter,

<< R2. { s4. s4.^\markup \italic "poco rall." } >>

Cheers,
Xavier

-- 
Xavier Scheuer 

Re: How to align text in a whole-bar rest?

[Xavier Scheuer]

On Sat, 13 Jun 2020 at 12:37, Peter Toye  wrote:
>
> I'm trying to add text which needs to be aligned with certain notes in
the accompaniment above a vocal staff which has a whole-bar rest, and can't
work out a suitable easy way to do it. The attachment shows what's needed.
I want to align the text with the second half of the bar.
>
> The only way I've found is to add another \dynamic staff for these
expression marks. Is there a better way?

Hello Peter,

<< R2. { s4. s4.^\markup \italic "poco rall." } >>

Cheers,
Xavier

-- 
Xavier Scheuer 

Re: Making Lilypond faster

[Thomas Morley]

Am Mi., 3. Juni 2020 um 14:45 Uhr schrieb Paolo Prete :
>
>
>>
>>
>> Hi Paolo,
>>
>> The suggestion to focus on guile-3 makes no sense at the moment,
>> because it is not broadly in the distros, afaict.
>>
>>
>
>
> Hello Harm,
>
> what about this?
>
> http://lilypond.1069038.n5.nabble.com/guile-3-0-and-LilyPond-here-input-regression-context-defaultchild-cycle-ly-fails-td227492.html#a227495
>
> Did you succeed (or someone else) in compiling with guile-3, meanwhile ?
> If so, did you see some improvement in speed?
>
> Thanks!
> Best,
> P
>
>
>

Hi Paolo,

today I tried to compile LilyPond with guile-3.



Guile-3 was compiled from their repo with:

sh autogen.sh
./configure
make
sudo make install

giving me "3.0.2.124-e7398")



For compiling LilyPond I used:

sh autogen.sh --noconfigure
mkdir -p build/
cd build/
../configure GUILE_FLAVOR=guile-3.0
make

###

`make' succeeded, though there is a problem reported:
imported module (lily) overrides core binding `_'
Which is caused by guile now using `_' as a reserved keyword. Formerly
it was short for gettext, now `G_' should be used.
Though, for now I didn't fix it.

I then compiled some scores with this LilyPond and compared timing
with released lilypond-2.21.1.:
LilyPond with guile-3 needs in average ~40% more time.
No clue whether the timing is influenced by the not fixed gettext-shortcut.

Note that I didn't try to build the docs nor did I try to compile the regtests.
More problems could pop up then...


Cheers,
  Harm

How to align text in a whole-bar rest?

[Peter Toye]

I'm trying to add text which needs to be aligned with certain notes in the 
accompaniment above a vocal staff which has a whole-bar rest, and can't work 
out a suitable easy way to do it. The attachment shows what's needed. I want to 
align the text with the second half of the bar.

The only way I've found is to add another \dynamic staff for these expression 
marks. Is there a better way?
 
Regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

Re: Free rhythm in part of a bar

[Peter Toye]

David,

The half note rest is because it's basically a 4/4 bar, so it needs to align 
with the start of the free rhythm. Here's a screenshot.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Saturday, June 13, 2020, 11:18:13 AM, David Kastrup wrote:

> Peter Toye  writes:

>> David,

>> In this example the first two notes of the bass should synchronise
>> with the first two notes of the treble. And they do. My question was
>> what to do in a more complicated situation.

> What with the rest of the bass?  It ends in a half note.  The melody
> ends in a full bar rest.  Where should that half note align to?

 What I mean is that in some music the end of the 'free rhythm' section
 may need to be synchronised with the other staves. For instance, at
 the end of a florid passage for a soloist in free rhythm, the last few
 notes may need to coincide with an accompaniment. The \cadenza
 keywords don't seem to handle this. Would you like an example or have
 I explained it well enough now?

>>> You posted an example.  What in the bass of the example should
>>> synchronise where?

Re: horizontal spacing inside \magnifyMusic

[Valentin Petzel]

Hello Eby,

I noticed, you can use extra-spacing-height to increase the size of the „lanes” 
I talked about.

I’ve appended the example.

Regards,
Valentin

Am Samstag, 13. Juni 2020, 07:16:42 CEST schrieb Eby Mani:


Many thanks Kieren & Valentin,

Have used a mix of \newSpacingSection and \tweak extra-spacing-width to achieve 
something close to what is possible with use of "skip". Still it's not 
perfect(output attached).

Using \tweak extra-spacing-width alone only works for the first 2 sections on 
n32 notes.

And the other problem is \tweak have not much effect when used with 
\newSpacingSection. 
I'm not sure if this is due to the use of \magnifyMusic or the sheer number of 
notes in the 
section, not much difference even with \break after the manual \bar (please see 
comments).

thanks,eby

**\version "2.20.0"

global = {\key des \major\time 4/4}

violin = \relative c' {\global\cadenzaOn

\newSpacingSection\override Score.SpacingSpanner.spacing-increment = #2

aes2\fermata %%spacerequired

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment


\magnifyMusic 0.61 {g32 \([aes b c d ees b c d ees ges] %%spacerequired\tweak 
extra-
spacing-width #'(-2 . 3) %%spacing between aes and d not much improved.aes32\) 
[d,!32 \
(ees ges aes bes c des ees f ges aes bes]}%%spacerequire\tweak 
extra-spacing-width #'(-1 . 0) 
%%unable to get small spacing before c.\newSpacingSection\override 
Score.SpacingSpanner.spacing-increment = #2

c8-.\)

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment%%spacerequired

\magnifyMusic 0.61 {\newSpacingSection\override 
Score.SpacingSpanner.spacing-increment 
= #2

aes,,8-^ [c-^ ees-^ aes-^ c-^ ees-^ c-^ ees-^ aes-^ c-^ ees-^]

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment%
%spacerequired\ottava #1\revert Score.SpacingSpanner.common-shortest-
duration\override Script.staff-padding = #2.5 {\stemDown aes2\trill \pp 
a2\trill bes2\trill 
c2\trill \fermata } \bar "|"\override Script.staff-padding = #0}

\cadenzaOff

des1~des2\fermata\ottava #0r \fermata \bar "|."

}

pianoVoice = \relative c'' {\global

\cadenzaOn 1\fermata r1 r1 s2 r1 s4 \bar"|" \cadenzaOfff2 (f4-. 
f-.)f2\fermata 
r\fermata \bar "|."}


violinPart = \new Staff \with {instrumentName = "Violin"shortInstrumentName = 
"Vl."midiInstrument = "violin"} \violin


\score {<<\violinPart\pianoVoice>>\layout { }}

**


On Friday, 12 June, 2020, 12:32:53 am IST, Valentin Petzel  
wrote: 




Hi Kieren,

Note that doing it this way has the same problem I explained before if two 
stems a 
considerably vertically apart (as we just regulate the horizontal space to the 
neighboring 
Note, which is not nescessarily the next note.

Regards,Valentin



Am Donnerstag, 11. Juni 2020, 20:51:48 CEST schrieb Kieren MacMillan:> Hi Eby,> 
> > I'm 
looking for to achieve something like the output without using> > "skips". I 
plan to run the 
midi output thru VST instrument, thus adding> > skips is a big no. The example 
is achieved 
using "skip".> > \version "2.19.83"> { c'4 4 \tweak extra-spacing-width #'(-10 
. 0) 4 4 }> > Hope 
that helps!> Kieren.> > p.s. This kind of thing is EXACTLY why I use the 
edition-engraver so> 
heavily!  =) > > Kieren MacMillan, composer 
(he/him/his)> ‣ 
website: www.kierenmacmillan.info> ‣ email: i...@kierenmacmillan.info[1] 




[1] mailto:i...@kierenmacmillan.info
\version "2.20.0"

global = {
  \key des \major
  \time 4/4
}


violin = \relative c' {
  \global

  \cadenzaOn 

  \tweak extra-spacing-width #'(0 . 2)
  \tweak extra-spacing-height #'(-inf.0 . +inf.0)	%% not required since notes are vertically close together
  aes2\fermata
   
   %%spacerequired

\magnifyMusic 0.61 {
g32 \([aes b c d ees b c d ees ges] %%spacerequired

\tweak extra-spacing-width #'(-1 . 1)
\tweak extra-spacing-height #'(-inf.0 . +inf.0)	%% required since aes and d are not vertically close
aes32\)[ %%spacerequired

d,!32 \(ees ges aes bes c des ees f ges aes bes]
}
%%spacerequired
\tweak extra-spacing-width #'(-1.4 . 4)
\tweak extra-spacing-height #'(-inf.0 . +inf.0)	%% required since c and aes are not vertically close
c8-.\)

%%spacerequired

\magnifyMusic 0.61 {
aes,,8-^ [c-^ ees-^ aes-^ c-^ ees-^ c-^ ees-^ aes-^ c-^ ees-^]

%%spacerequired
\ottava #1
\override Script.staff-padding = #2.5 {
   \stemDown
   \tweak extra-spacing-width #'(-4 . 0)
   \tweak extra-spacing-height #'(-inf.0 . +inf.0)	%% not actually required since ees as ledger lines
   aes2\trill \pp a2\trill bes2\trill c2\trill \fermata } \bar "|"
\override Script.staff-padding = #0
}

\cadenzaOff

des1~
des2\fermata
\ottava #0
r \fermata \bar "|."

}

pianoVoice = \relative c'' {
  \global

  \cadenzaOn 1\fermata  r1 r s2 r1 s4 \bar"|" \cadenzaOff
f2 (f4-. f-.)
f2\fermata r\fermata \bar "|."
}


violinPart = \new Staff \with {
  instrumentName = "Violin"
  sh

Re: Free rhythm in part of a bar

[David Kastrup]

Peter Toye  writes:

> David,
>
> In this example the first two notes of the bass should synchronise
> with the first two notes of the treble. And they do. My question was
> what to do in a more complicated situation.

What with the rest of the bass?  It ends in a half note.  The melody
ends in a full bar rest.  Where should that half note align to?

>>> What I mean is that in some music the end of the 'free rhythm' section
>>> may need to be synchronised with the other staves. For instance, at
>>> the end of a florid passage for a soloist in free rhythm, the last few
>>> notes may need to coincide with an accompaniment. The \cadenza
>>> keywords don't seem to handle this. Would you like an example or have
>>> I explained it well enough now?
>
>> You posted an example.  What in the bass of the example should
>> synchronise where?

-- 
David Kastrup

Re: horizontal spacing inside \magnifyMusic

[Valentin Petzel]

Hello Eby,

Your note about extra-spacing-width is the thing I talked about before. It 
won’t do the right 
thing if the note would not vertically collide with the neighboring notes. It 
doesn’t work with 
\newSpacingSection because spacing is only taken into account between objects 
in the same 
Spacing Section.

The former issue might be addressable be overriding some stuff, but please 
think about the 
workaround of using skips as grace notes for now.

About you comments:
@1: (spacing between aes and d not much improved.)
Exactly the issue described above. \tweak extra-spacing-width tweaks the 
Spacing of the 
note heads, and the next note head colliding with the „lane” of the aes in 
mention is the ges 
three notes lates. So you are overriding the distance to this ges instead of 
the next note.
Using \tweak Stem.extra-spacing-width will solve this problem, because the 
Stems have 
larger „lanes”.

@2: (unable to get small spacing before c.)
As the c is in a new spacing section, it will not take spacing to the previous 
section into 
consideration.

Regards,
Valentin



Many thanks Kieren & Valentin,

Have used a mix of \newSpacingSection and \tweak extra-spacing-width to achieve 
something close to what is possible with use of "skip". Still it's not 
perfect(output attached).

Using \tweak extra-spacing-width alone only works for the first 2 sections on 
n32 notes.

And the other problem is \tweak have not much effect when used with 
\newSpacingSection. 
I'm not sure if this is due to the use of \magnifyMusic or the sheer number of 
notes in the 
section, not much difference even with \break after the manual \bar (please see 
comments).

thanks,eby

**\version "2.20.0"

global = {\key des \major\time 4/4}

violin = \relative c' {\global\cadenzaOn

\newSpacingSection\override Score.SpacingSpanner.spacing-increment = #2

aes2\fermata %%spacerequired

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment


\magnifyMusic 0.61 {g32 \([aes b c d ees b c d ees ges] %%spacerequired\tweak 
extra-
spacing-width #'(-2 . 3) %%spacing between aes and d not much improved.aes32\) 
[d,!32 \
(ees ges aes bes c des ees f ges aes bes]}%%spacerequire\tweak 
extra-spacing-width #'(-1 . 0) 
%%unable to get small spacing before c.\newSpacingSection\override 
Score.SpacingSpanner.spacing-increment = #2

c8-.\)

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment%%spacerequired

\magnifyMusic 0.61 {\newSpacingSection\override 
Score.SpacingSpanner.spacing-increment 
= #2

aes,,8-^ [c-^ ees-^ aes-^ c-^ ees-^ c-^ ees-^ aes-^ c-^ ees-^]

\newSpacingSection\revert Score.SpacingSpanner.spacing-increment%
%spacerequired\ottava #1\revert Score.SpacingSpanner.common-shortest-
duration\override Script.staff-padding = #2.5 {\stemDown aes2\trill \pp 
a2\trill bes2\trill 
c2\trill \fermata } \bar "|"\override Script.staff-padding = #0}

\cadenzaOff

des1~des2\fermata\ottava #0r \fermata \bar "|."

}

pianoVoice = \relative c'' {\global

\cadenzaOn 1\fermata r1 r1 s2 r1 s4 \bar"|" \cadenzaOfff2 (f4-. 
f-.)f2\fermata 
r\fermata \bar "|."}


violinPart = \new Staff \with {instrumentName = "Violin"shortInstrumentName = 
"Vl."midiInstrument = "violin"} \violin


\score {<<\violinPart\pianoVoice>>\layout { }}

**


On Friday, 12 June, 2020, 12:32:53 am IST, Valentin Petzel  
wrote: 




Hi Kieren,

Note that doing it this way has the same problem I explained before if two 
stems a 
considerably vertically apart (as we just regulate the horizontal space to the 
neighboring 
Note, which is not nescessarily the next note.

Regards,Valentin



Am Donnerstag, 11. Juni 2020, 20:51:48 CEST schrieb Kieren MacMillan:> Hi Eby,> 
> > I'm 
looking for to achieve something like the output without using> > "skips". I 
plan to run the 
midi output thru VST instrument, thus adding> > skips is a big no. The example 
is achieved 
using "skip".> > \version "2.19.83"> { c'4 4 \tweak extra-spacing-width #'(-10 
. 0) 4 4 }> > Hope 
that helps!> Kieren.> > p.s. This kind of thing is EXACTLY why I use the 
edition-engraver so> 
heavily!  =) > > Kieren MacMillan, composer 
(he/him/his)> ‣ 
website: www.kierenmacmillan.info> ‣ email: i...@kierenmacmillan.info[1] 

signature.asc
Description: This is a digitally signed message part.

Re: Free rhythm in part of a barpa

[Peter Toye]

Mark,

Hmmm. That gives me a bar check failure!

C:/Users/Peter/AppData/Local/Temp/frescobaldi-samod0cp/tmp94ybz3e6/document.ly:18:30:
 warning: barcheck failed at: 3/4
4 4 s4*2 r2\fermata s4*4 
|

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Friday, June 12, 2020, 7:48:11 PM, Mark Stephen Mrotek wrote:


Peter,
 
From trial and error I learned, if a cadenza is started mid-measure (say on the 
second of four beats), then Lilypond want to start the nest meterd part on the 
third beat.
The solution is to star the cadenza on the first beat of the measure.
As to the bass it can be “fudged” with a number of spacers equal to the 
duration of the cadenza.
 
Here is my code:
 
\language "english"
\version "2.19.83"
\score {
<<
   \new Staff {
   \time 4/4
   {
c'4 4 4 4 |
\cadenzaOn 4 4 8 8 8 8 8 8 8 8 8 8 \cadenzaOff \bar "|" 
R1   }
}
 
\new Staff {
  \time 4/4
  \clef "bass"
  {
c1
4 4 s4*2 r2\fermata s4*4 |
  }
}
>>
}
 
Mark
 
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Peter Toye
Sent: Friday, June 12, 2020 7:26 AM
To: lilypond-user@gnu.org
Subject: Free rhythm in part of a bar
 
I need to have part only of a bar notated with free rhythm. Also other staves 
need to be synchronised. I've tried using \cadenzaOn but then I get a barcheck 
problem and the next bar goes odd. I can't see anything about this in the 
snippets or manuals. A minimal example follows.

There seem to be two issues:

1) How do I get the desired result, which is one bar with the first 2 crotchets 
synchronised with the bass, and the rest unsynchronised?

2) This isn't in the example, but what if I want a free section within a bar, 
but synchronised accompaniment at the beginning and end of the bar (e.g. a 
chord on the final note of a cadenza).

\language "english"

\version "2.19.83"

\score {

 <<
   \new Staff {
   \time 4/4
   {
c'4 4 4 4 |
4 4 \cadenzaOn 8 8 8 8 8 8 8 8 8 8  \bar "|" \cadenzaOff
R1
   }
 }

 \new Staff {
  \time 4/4
  \clef "bass"
  {
c1
4 4 r2\fermata |
  }

 }

 >>

}
Thanks in advance,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

Re: Free rhythm in part of a bar

[Peter Toye]

David,

In this example the first two notes of the bass should synchronise with the 
first two notes of the treble. And they do. My question was what to do in a 
more complicated situation.

But as Christian has solved the problem I think we can stop here, unless you're 
thinking of adding more functionality to the \cadenza construction, in which 
case I'm happy to oblige. I have other problems to see to (a new post will 
arrive shortly when I've written it)!

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Saturday, June 13, 2020, 9:45:08 AM, David Kastrup wrote:

> Peter Toye  writes:

>> David,

>> What I mean is that in some music the end of the 'free rhythm' section
>> may need to be synchronised with the other staves. For instance, at
>> the end of a florid passage for a soloist in free rhythm, the last few
>> notes may need to coincide with an accompaniment. The \cadenza
>> keywords don't seem to handle this. Would you like an example or have
>> I explained it well enough now?

> You posted an example.  What in the bass of the example should
> synchronise where?

Adriana Altaras

[bb]

Klassik-Pop-et cetera

Am Mikrofon: Die Schauspielerin Adriana Altaras

Adriana Altaras spielt, inszeniert und schreibt. Ihre künstlerische 
Sozialisation fand in New York und in Westberlin statt, wo sie 
Schauspiel an der Hochschule der Künste studierte. Mit ehemaligen 
Kommilitonen gründete sie 1982 das „Theater zum westlichen 
Stadthirschen“. Dort probierte sie ihre vielfältigen Talente aus. Es 
folgten Engagements als Schauspielerin am Berliner Maxim Gorki Theater, 
an der Freien Volksbühne und in Basel, Stuttgart und Konstanz. Immer 
wieder ist Adriana Altaras auch in Filmen zu sehen. Für die Rolle der 
unkonventionellen Liebessucherin Maria in Rudolf Thomes „Das Mikroskop“ 
erhielt sie 1988 den Bundesfilmpreis. Adriana Altaras wurde 1960 als 
Tochter jüdischer Partisanen in Zagreb geboren. Der Vater setzte sich 
1964 ins Ausland ab, die Familie sollte nachkommen. Die Behörden 
entzogen jedoch der Mutter den Pass. Familienmitglieder aus Mantua 
schmuggelten daraufhin die vierjährige Tochter aus dem Land. Drei Jahre 
lang lebte Adriana Altaras bei Verwandten in Italien. 1967 kam sie mit 
den Eltern in Gießen zusammen. Ihre bewegte Kindheit ist auch Grundlage 
ihrer Bücher, etwa „Titos Brille“ oder „Doitscha – Eine jüdische Mutter 
packt aus“.

Re: Free rhythm in part of a bar

[David Kastrup]

Peter Toye  writes:

> David,
>
> What I mean is that in some music the end of the 'free rhythm' section
> may need to be synchronised with the other staves. For instance, at
> the end of a florid passage for a soloist in free rhythm, the last few
> notes may need to coincide with an accompaniment. The \cadenza
> keywords don't seem to handle this. Would you like an example or have
> I explained it well enough now?

You posted an example.  What in the bass of the example should
synchronise where?

-- 
David Kastrup

Re: Free rhythm in part of a bar

[Peter Toye]

Hi Christian,

That works fine for me too. I thought I was being stupid in not working out how 
to use the \cadenza keywords, but it seems I wasn't. 

Thanks.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Friday, June 12, 2020, 3:52:49 PM, Christian Masser wrote:


Hi Peter!

I don't know if that's the correct way to do it, but if you use \scaleDurations 
on the cadenza material it seems to work out for me:

   {
c'4 4 4 4 |
4 4 \scaleDurations 2/5 { 8 8 8 8 8 8 8 8 8 8 } |
   }

The '2/5'-part depends of course on the length of the material inside.

All the best
Christian

Am Fr., 12. Juni 2020 um 16:34 Uhr schrieb Peter Toye :

I need to have part only of a bar notated with free rhythm. Also other staves 
need to be synchronised. I've tried using \cadenzaOn but then I get a barcheck 
problem and the next bar goes odd. I can't see anything about this in the 
snippets or manuals. A minimal example follows.

There seem to be two issues:

1) How do I get the desired result, which is one bar with the first 2 crotchets 
synchronised with the bass, and the rest unsynchronised?

2) This isn't in the example, but what if I want a free section within a bar, 
but synchronised accompaniment at the beginning and end of the bar (e.g. a 
chord on the final note of a cadenza).

\language "english"

\version "2.19.83"

\score {

 <<
   \new Staff {
   \time 4/4
   {
c'4 4 4 4 |
4 4 \cadenzaOn 8 8 8 8 8 8 8 8 8 8  \bar "|" \cadenzaOff
R1
   }
 }

 \new Staff {
  \time 4/4
  \clef "bass"
  {
c1
4 4 r2\fermata |
  }

 }

 >>

}
Thanks in advance,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

Re: Free rhythm in part of a bar

[Peter Toye]

David,

What I mean is that in some music the end of the 'free rhythm' section may need 
to be synchronised with the other staves. For instance, at the end of a florid 
passage for a soloist in free rhythm, the last few notes may need to coincide 
with an accompaniment. The \cadenza  keywords don't seem to handle this. Would 
you like an example or have I explained it well enough now?

Christian Masser's idea works OK. It just need a bit of counting but that's no 
great issue.

I thought I was being stupid in not being able to use \cadenza, but it seems I 
wasn't.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Friday, June 12, 2020, 5:11:58 PM, David Kastrup wrote:

> Peter Toye  writes:

>> David,

>> Thanks. That solves the vocal line, but it doesn't seem to solve the
>> synchronisation issue with the accompaniment, which is rather
>> necessary in a song!

> To quote: "1) How do I get the desired result,
> which is one bar with the
> first 2 crotchets synchronised with the bass, and the rest
> unsynchronised?"

> Can you explain what you mean by
> "unsynchronised"?  Stuff just doesn't
> add up.  Your vocal line ends with a full bar
> rest, your accompagniment
> ends with a half rest.  You want stuff to have synchronisation but be
> unsynchronised.

> You can insert \skip 8*14 (for example) in the bass but I have no idea
> whatsoever what you actually want.