RE: How to insert a simple "rit."?
Kenneth,
Exactly where do you want to insert the "rit."?
After the "cresc."?
If so, does this work?
\version "2.20.0"
\relative c'' {
c1_\markup {\italic "cresc. rit."} | d | b | c
}
Mark
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Kenneth Wolcott
Sent: Sunday, July 5, 2020 7:19 PM
To: lilypond-user@gnu.org
Subject: How to insert a simple "rit."?
Hi;
Looks like I must be missing something obvious in the lilypond docs
(2.20.2)...
How to insert a "rit."?
I saw the following in the "Hiding the extender line for text dynamics" snippet.
\relative c'' {
\override DynamicTextSpanner.style = #'none
\crescTextCresc
c1\< | d | b | c\!
}
Obviously snippet pertains to dynamics; is there something similar for tempo
adjustments?
Thanks,
Ken Wolcott
Re: How to insert a simple "rit."?
Thank you! It worked! I added "\bold".
Ken
On Sun, Jul 5, 2020 at 8:00 PM Hwaen Ch'uqi wrote:
>
> Greetings Ken,
>
> Not exactly sure what you mean by "simple." I just insert a markup
> where I wish the rit. to begin, as in
>
> _\markup \italic "rit."
>
> HTH,
>
> Hwaen Ch'uqi
>
>
> On 7/5/20, Kenneth Wolcott wrote:
> > Hi;
> >
> > Looks like I must be missing something obvious in the lilypond docs
> > (2.20.2)...
> >
> > How to insert a "rit."?
> >
> > I saw the following in the "Hiding the extender line for text dynamics"
> > snippet.
> >
> > \relative c'' {
> > \override DynamicTextSpanner.style = #'none
> > \crescTextCresc
> > c1\< | d | b | c\!
> > }
> >
> > Obviously snippet pertains to dynamics; is there something similar for
> > tempo adjustments?
> >
> > Thanks,
> > Ken Wolcott
> >
> >
Re: How to insert a simple "rit."?
Greetings Ken,
Not exactly sure what you mean by "simple." I just insert a markup
where I wish the rit. to begin, as in
_\markup \italic "rit."
HTH,
Hwaen Ch'uqi
On 7/5/20, Kenneth Wolcott wrote:
> Hi;
>
> Looks like I must be missing something obvious in the lilypond docs
> (2.20.2)...
>
> How to insert a "rit."?
>
> I saw the following in the "Hiding the extender line for text dynamics"
> snippet.
>
> \relative c'' {
> \override DynamicTextSpanner.style = #'none
> \crescTextCresc
> c1\< | d | b | c\!
> }
>
> Obviously snippet pertains to dynamics; is there something similar for
> tempo adjustments?
>
> Thanks,
> Ken Wolcott
>
>
How to insert a simple "rit."?
Hi;
Looks like I must be missing something obvious in the lilypond docs
(2.20.2)...
How to insert a "rit."?
I saw the following in the "Hiding the extender line for text dynamics" snippet.
\relative c'' {
\override DynamicTextSpanner.style = #'none
\crescTextCresc
c1\< | d | b | c\!
}
Obviously snippet pertains to dynamics; is there something similar for
tempo adjustments?
Thanks,
Ken Wolcott
Re: After directory rename, Frescobaldi doesn't show PDF
On Jul 5, 2020, at 6:23 PM, Davide Liessi wrote: > Il giorno ven 3 lug 2020 alle ore 23:48 David F. ha scritto: >> Frescobaldi is having problems with file paths that have question marks and >> accented characters. > > It should be solved in current master and v3.1.x branches. > The fix will appear in future Frescobaldi 3.1.3. > > Best wishes. > Davide That’s great! Thanks!! David F.
Re: After directory rename, Frescobaldi doesn't show PDF
Il giorno ven 3 lug 2020 alle ore 23:48 David F. ha scritto: > Frescobaldi is having problems with file paths that have question marks and > accented characters. It should be solved in current master and v3.1.x branches. The fix will appear in future Frescobaldi 3.1.3. Best wishes. Davide
Re: best practice for score structure
Hello,
In general I don't suggest you use the dynamics centered between the staves
for new scores. In my knowledge it is an obsolete engraving practice that
has side effects.
this is * not the truth * but it's * my * knowledge. Of course
I can explain why this practice can be counterproductive, but in any case
feel free to hear different opinions or to ignore my observation.
This said, if you want to use it (for example because you are copying an
old score) the approach in my opinion is the following
1) group the bars of the piano into blocks, so that you can read fragments
of code that are not too long from left to right and then move on to the
next line.
As it is convenient for all programming languages.
2) avoid explicitly writing a redundancy layer (---> many skips), so that
the code is less verbose.
To do these things, AFAIK Lilypond does not provide native tools.
So I'll show you a possible idea of mine. It consists in extracting the
dynamics automatically from the lower staff, and automatically creating a
Dynamics layer with them.
However, my Scheme code is ugly, *strongly* incomplete and I don't want to
expand it because otherwise it gets even worse. I don't even know if my
idea works in general or has side effects, because I don't use the Dynamics
layer, so I haven't examined the problem in detail.
Consequently, the opinion of the Scheme Gurus in this ML is needed for
these things (there are several. For example Aaron and Harm)
In any case, here is the template. As you can see I removed the redundancy
layer. The code must be written only in the part with the tag "WRITE MUSIC
HERE"
HTH
P
LILYBIN:
http://lilybin.com/mnx9hm/2
%%%
%%%
staffUp = \change Staff = "Staff_pfUpper"
staffDown = \change Staff = "Staff_pfLower"
removeDynamics = #(define-scheme-function (parser location mus) (ly:music?)
(map-some-music (lambda (y)
(let ((name (ly:music-property y 'name)))
(cond
((or (eq? name 'NoteEvent)(eq? name 'EventChord)(eq? name
'RestEvent)(eq? name 'SkipEvent))
(map-some-music (lambda (z)
(let ((name (ly:music-property z 'name)))
(cond
((eq? name 'AbsoluteDynamicEvent)
(set! z '())
z)
(else #f
y)
y)
(else #f
mus)
#{ $mus #})
createDynamicsLayerFromMus = #(define-scheme-function (parser location mus)
(ly:music?)
(let ((newSkip '())
(newMus #{ #}))
(map-some-music (lambda (q)
(cond
((not (eq? (ly:music-property q 'context-id) '()))
(map-some-music (lambda (y)
(let ((name (ly:music-property y 'name))
(newSkip '())
(assocDyn '()))
(cond
((or (eq? name 'NoteEvent)(eq? name
'EventChord)(eq? name 'RestEvent)(eq? name 'SkipEvent))
(map-some-music (lambda (z)
(let ((name2 (ly:music-property z 'name)))
(cond
((eq? name2 'AbsoluteDynamicEvent)
(set! assocDyn z)
z)
(else #f
y)
(set! newSkip (make-music 'SkipEvent 'length
(ly:music-length y) ))
(if (not (eq? assocDyn '()))
(ly:music-set-property! newSkip
'articulations (list (make-music
'AbsoluteDynamicEvent
'text (ly:music-property assocDyn 'text)
(set! newMus #{ #newMus #newSkip #})
y)
((eq? name 'ContextChange)
(set! y '())
y)
(else #f))
)) q)
q)
(else #f)
)
) mus)
#{ $newMus #}))
pianoBlock = #(define-scheme-function (parser location mus1 mus2)
(ly:music? ly:music?)
#{ << { #mus1 } \\ \new Voice = "sotto" { \staffDown #mus2 } >> #})
%%%
WRITE MUSIC HERE
%%%
upper = {
\pianoBlock
{ c''4 c'' c'' c'' }
{ a\mf_"foobar" a\mp b b }
\pianoBlock
{ r1 r }
{ a\pp a }
}
%%%
%%%
%%%
lower = { }
\score {
\new PianoStaff = "PianoStaff_pf" <<
\new Staff = "Staff_pfUpper" << \removeDynamics \upper >>
\new Dynamics = "Dynamics_pf" << \createDynamicsLayerFromMus \upper >>
\new Staff = "Staff_pfLower" << \lower >>
>>
\layou
Re: best practice for score structure
Greetings claire,
And welcome to LilyPond!
This may not be the kind of answer that you are looking for, but I
thought to throw in my "two cents." In principle, I like the idea of
variables, and I do use them on occasion. But apart from certain
pitchless content, such as dynamics or or unusual notehead or
accidental modifications, I try to stay away from employing them for
large swaths of pitch content. This is because I find them to be less
flexible when I need to return to a score to make changes, especially
if those changes happen to be structural in nature - i.e. voltas and
alternatives, da cappo and d.c. al fine, etc. So, a piano score for me
might look something like:
\version "2.20.0"
dynamics = { DYNAMICS }
pedals = { PEDALS }
\score {
\new PianoStaff <<
\new Staff \relative c' {
<<
{
VOICEONE MUSIC
}
\\
{
VOICETWO MUSIC
}
\\
{
VOICETHREE MUSIC (if necessary)
}
>>
}
\new Dynamics \dynamics
\new Staff \relative c' {
LEFTHAND MUSIC (similarly structured)
}
\new Dynamics \pedals
>>
}
But even this structure only works in optimal cases. There are many
instances in my scores where dynamics simply cannot go between the
staves, or when each staff requires its own dynamics. The same holds
true for pedaling. This is why I prefer to have most of the content
within the \PianoStaff block itself, even if it may look less tidy. I
allot one line of text per measure of music. At the end of each line
of music, I comment measure numbers, such as %1 or %2 - or, in the
case of many voices, %1A or %1B. These make locating the necessary
text extremely easy.
HTH,
Hwaen Ch'uqi
On 7/5/20, Claire Meyer wrote:
> Hi everybody,
>
> I'm a new user (~1 month old) wondering about best practice for score
> structure. Let's say I've got a piano score, with two voices per hand, and
> the occasional third voice here and there, and all my dynamics between the
> two staves of the piano. Then I'll probably write it with :
> - four variables for my four voices (and add the occasional additional
> voices in those when needed)
> - one variable for the dynamics
>
> And round everything nicely in my score (with some intermediate variables,
> like one for each hand etc...).
>
> But I have yet to find a place that seems like good practice (let alone
> best practice) for the structural aspects of my score, like bars and
> voltas, especially when they stop being trivial. I don't mind much when
> I've got one "||" bar at the end of my score to put it wherever. But when I
> have several voltas, dal segnos, alternative ends, special bars, etc... I
> wonder where is the best place to write that. Maybe in a null voice, like
> for lyrics that aren't aligned with any written rhythm ? Should I write it
> in each voice ?
>
> Thanks,
> Claire
>
best practice for score structure
Hi everybody, I'm a new user (~1 month old) wondering about best practice for score structure. Let's say I've got a piano score, with two voices per hand, and the occasional third voice here and there, and all my dynamics between the two staves of the piano. Then I'll probably write it with : - four variables for my four voices (and add the occasional additional voices in those when needed) - one variable for the dynamics And round everything nicely in my score (with some intermediate variables, like one for each hand etc...). But I have yet to find a place that seems like good practice (let alone best practice) for the structural aspects of my score, like bars and voltas, especially when they stop being trivial. I don't mind much when I've got one "||" bar at the end of my score to put it wherever. But when I have several voltas, dal segnos, alternative ends, special bars, etc... I wonder where is the best place to write that. Maybe in a null voice, like for lyrics that aren't aligned with any written rhythm ? Should I write it in each voice ? Thanks, Claire
