Re: Multiple notes over same lyric
Greetings
You wrote...
+++
I'm trying to put multiple notes *over* the same lyric. What I mean can
be seen in this PDF: http://www.npm.org/Chants/assets/Gloria.pdf
The word earth for example has two notes over the text itself. A few
more melismatic examples on page 2 also. When I try to accomplish this,
it seems that the second note gets pushed right till it's after the end
of the text, ending up with a long slur before the remaining notes are
close together.
(By the way I'm mimicking the style in the PDF to some extent: no stems,
no barlines, cadenzaOff, a few old markings via gregorian.ly).
I have tried many of the examples from the lilypond manuals (different
lyric entry modes, associated voices, using slurs, manual lyric
durations, etc.) with no luck. Am I missing something simple here? Any
ideas?
+++
This might help - once you include stem removers and things.
%%
Music = \relative c'
{
c4 c c c c c c c c c c( b) c c c c c d( e) e
}
Words = \lyricmode {
Glor -- y to God in the high -- est and on earth peace to peo -- ple of
good will.
}
%%
note the positioning of the ( and ) corresponding with the relevant
melismas in the text
Hope this helps,
Regards
Bill
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Re: Difference Between \lyricsto and associatedVoice With Melody Rhythm
Hi Matthew,
You wrote:-
+++
But this seems to work as expected:
\new Staff {
\new Voice = unsung \relative {
a'1
\new Voice = sung {
b4. b8 b4. b8
}
e1 f1
}
}
\new Lyrics \lyricsto sung { A B C D }
+++
In this file (below) I have tried to follow your example using
predefined expressions - not having the music etc explicitly in the
score statement.
Everything works as expected until I started adding more unsung/sung
sections when the subsequent words became shifted downwards at each
appearance. Apparently LP is seeing them as new Verses(?). Is there a
simple solution to allow each occurrence of words to be aligned, or must
one use extra-offsets and trial and error to align them?
Note also that placing bar-checks in the music expressions gives strange
values.
Regards,
Bill.
++
\version 2.14.2
wordsA = \lyricmode
{ Aa B C A }
wordsB = \lyricmode
{ C D E C }
wordsC = \lyricmode
{ E F G E }
unsungmelodyA = \relative c'' %Bar checks in this section give strange,
varying values
{ a1 }
sungmelodyOne = \relative c''
{ a4 b c a }
unsungmelodyB = \relative c'
{ f1 }
sungmelodyTwo = \relative c'
{ c4 d e c }
unsungmelodyC = \relative c''
{ g1 }
sungmelodyThree = \relative c''
{ e,4 f g e }
\score {
\new Staff {
\new Voice = unsung { \unsungmelodyA }
\new Voice = sungA { \sungmelodyOne }
\new Voice = unsung { \unsungmelodyB }
\new Voice = sungB { \sungmelodyTwo }
\new Voice = unsung { \unsungmelodyC }
\new Voice = sungC { \sungmelodyThree }
}
\new Lyrics \lyricsto sungA \wordsA
\new Lyrics \lyricsto sungB \wordsB
\new Lyrics \lyricsto sungC \wordsC
}
\layout { }
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Re: Difference Between \lyricsto and associatedVoice With Melody Rhythm
On 07/11/11 10:32, eluze wrote:
see
http://old.nabble.com/wrong-alignment-when-repeating-music-with-different-text-on-one-line-ts32622828.html#a32622828
for a related problem. this has not been treated as a bug report.
at least there seems to be a solution to this: use explicitly named
contexts before actually filling voices and lyrics:
does this do what you expect!?
Eluze
On 07/11/11 10:32, eluze wrote:
\score {
\new Staff = A
\new Lyrics = A
\context Staff
{
\new Voice = unsung { \unsungmelodyA }
\new Voice = sungA { \sungmelodyOne }
\new Voice = unsung { \unsungmelodyB }
\new Voice = sungB { \sungmelodyTwo }
\new Voice = unsung { \unsungmelodyC }
\new Voice = sungC { \sungmelodyThree }
}
\context Lyrics = A \lyricsto sungA \wordsA
\context Lyrics = A \lyricsto sungB \wordsB
\context Lyrics = A \lyricsto sungC \wordsC
}
Many thanks!
I will have to do more to get the idea of 'contexts' firmly placed in my
head! :)
Still no obvious reason why barcheck numbers are so unusual...
Regards
Bill
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Re: Difference Between \lyricsto and associatedVoice With Melody Rhythm
On 07/11/11 17:14, eluze wrote: hi Bill I will have to do more to get the idea of 'contexts' firmly placed in my head! :) don't try to hard with this 'buggy' context! Still no obvious reason why barcheck numbers are so unusual... can't see what you mean - example!? Eluze Hello again, For some reason which eludes me completely the barchecks now show exactly what one would expect (1/1 in each piece of music). I'll just put it into the 'go figure' basket! :) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Difference Between \lyricsto and associatedVoice With Melody Rhythm
On 07/11/11 16:57, Matthew Collett wrote:
On 7/11/2011, at 9:50 am, Bill Mooney wrote:
In this file (below) I have tried to follow your example using predefined
expressions - not having the music etc explicitly in the score statement.
Everything works as expected until I started adding more unsung/sung sections
when the subsequent words became shifted downwards at each appearance.
Apparently LP is seeing them as new Verses(?). Is there a simple solution to
allow each occurrence of words to be aligned, or must one use extra-offsets and
trial and error to align them?
My immediate reaction was to keep it simple by minimising the number of
voices:
\score {
\new Staff {
\new Voice = unsung { \unsungmelodyA }
\new Voice = sung { \sungmelodyOne }
\context Voice = unsung { \unsungmelodyB }
\context Voice = sung { \sungmelodyTwo }
\context Voice = unsung { \unsungmelodyC }
\context Voice = sung { \sungmelodyThree }
}
\new Lyrics \lyricsto sung {\wordsA \wordsB \wordsB }
}
Unfortunately, this completely omits all except the first set of words, for
reasons that are not apparent to me.
Best wishes,
Matthew
Hi Matthew,
The revised syntax provided by Eluze fixes the way the words are
aligned. (See one of the other posts in this thread.)
All I have to do now is figure out some real-world uses for this
construct - any ideas?
:)
Would it be possible for me to contact you directly by phone - since we
both seem to be here in NZ? Reply off-list if you think so.
Regards
Bill
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Creating Musical Examples without Meter
Greetings Ivan,
I hope the attached file is of some use...
By using two 'Score' statements I think your requirement is met, EXCEPT
that it works only if the example is only one system. By choosing a
wider page eg 'landscape' mode one might be able to obtain a fairly
large example (more measures) while staying in the 'one-line' limitation.
I hope this is of some use - obviously you will be able to adapt the
simple music to your specifics using Changeup changedown etc.
Regards
Bill
\version 2.14.2
\header { }
\paper { }
exampleA = \lyricmode
{
Aa Bb C D E F G A B C D E
}
exampleB = \lyricmode
{
Bb C D E F G A B C D E Ff
}
RHA = \relative c'
{
\clef treble
\key c \major
a^Example A b c d e f g a b c d e
}
LHA = \relative c
{
\clef bass
\key c \major
a b c d e f g a b c d e
}
RHB = \relative c'
{
\clef treble
\key c \major
b^Example B c d e f g a b c d e f
}
LHB = \relative c
{
\clef bass
\key c \major
b c d e f g a b c d e f
}
staffPianoA = \new PianoStaff
{
\new Staff = RH { \RHA }
\new Voice = singer { \LHA }
\new Lyrics \lyricsto singer { \exampleA }
}
staffPianoB = \new PianoStaff
{
\new Staff = RH { \RHB }
\new Voice = singer { \LHB }
\new Lyrics \lyricsto singer { \exampleB }
}
\score %exampleA
{
\staffPianoA
}
\score %exampleB
{
\staffPianoB
}
\layout
{
\context
{
\Staff
\remove Time_signature_engraver
\remove Clef_engraver
}
}
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Difference Between \lyricsto and associatedVoice With Melody Rhythm
Greetings Christian,
After reading your post and the replies from Matthew Collett, David
Kastrup, and Peekay Ex, I thought I would try to simplify what I think
you're trying to do.
The following gives two lines of music, one showing a trivial example,
and the other showing my attempt to do the same thing using defined
terms for words and music. In the second part, using bar checks shows
strange values compared to those obtained in the first part. Whether
this is a symptom of the underlying problem I don't know. I don't have
any skills in programming to let me delve into that!
Note the empty bar after the lyrics in the second part.
I hope this is of some help.
Regards
Bill
+++
\version 2.14.2
%%{
%words and music for First score
firstwords = \lyricmode
{ q w e r }
melodya = \relative c'' %All the barchesks give 1/1, as expected
{
a1 |
b4 b4 a4 b4 |
e,1 |
f1 |
g2 a |
}
\score { %first score
\new Staff
{
\new Voice = singer { \melodya }
\new Lyrics \lyricsto singer \firstwords
}
}
%}
%words and music for Second score
secondwords = \lyricmode
{ z x c v }
secondmelodya = \relative c'' %Bar checks in this section give strange,
varying values
{ a1 }
secondmelody = \relative c''
{ a4 b c a }
secondmelodyb = \relative c''
{
e,1
f1 |
g1 |
}
\score { %second score
\new Staff
{
\new Voice = unsunga { \secondmelodya }
\new Voice = singer { \secondmelody }
\new Lyrics \lyricsto singer \secondwords
\new Voice = unsungb { \secondmelodyb }
}
}
\layout { }
+++
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font ligature problem
Hi Marc,
You wrote:-
+++
Hello list,
how can I switch off the font ligature mechanism for
\markups?
I have \markup { \wordwrap { ... Aufführung ... } }
and lilypond replaces the consecutive f's with a ff ligature,
which I want to avoid, because ligatures are not used in this case
(in German texts, it is).
I tried
\concat { Auf führung }
and even
\concat { Auf führung }
but to no avail.
I use the font Goudy bookletter 1911 Italic here, but I think
this is not a font-specific problem.
Any ideas?
Thanks in advance,
Marc
+++
I'm using LP 2.14.2 on a Ubuntu 64bit system.
Default font, etc., ...
and the following code makes the attached output.
b b c b^\markup { \wordwrap { ... Aufführung ... } }
g g a b_\markup { \wordwrap { ... Aufführung ... } }
g a g2
This probably doesn't help you much, but is it the result you're looking
for?
Regards
Bill
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Re: key signatures in ossias
GReetings,
You wrote:-
+
I'm currently working on a bit of music with a key signature in the
ossia that is not in the main voice. The typesetting is meh due to the
large gap to accommodate the key signature. Is there any way to make it
such that:
a) the key signature is typeset before the arrival of the notes in the
ossia?
b) there is no gap to accommodate said key signature?
\version 2.14.0
{ \repeat unfold 24 d'32
{ \repeat unfold 40 d'32 }
\new Staff \with {
\remove Time_signature_engraver
alignAboveContext = #main
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'thickness = #(magstep -3)
firstClef = ##f
}
{ \key cis \major ais4 ais ais ais ais }
}
+
THe following code is from the NM... with a few minor adjustments
\score {
{
\new Staff = main \relative c'' {
\key a \major
c4 b d c
{ c4 b d c }
\new Staff \with {
\remove Time_signature_engraver
alignAboveContext = #main
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -2)
\override StaffSymbol #'thickness = #(magstep -2)
firstClef = ##f
}
{ \key b \major
e4 d f e }
c4 b c2
}
}
}
+
I used the Gimp to make the attached png file. Is that what you would
like to produce?
Unfortunately I don't know how this could be done solely in LP.
Regards
Bill
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Re: gregorian.ly omissions
Greetings Trevor, Thank you for the clarification regarding episema usage in LP. There was a bit of confusion here with some things working at cross-purposes, as well as a bit of confusion within my personal CPU! :) It's nicely sorted now, and is working well. If you feel able, could you point me in the right direction to enable making the Gregorian markings 'ictus' 'circulus' etc larger than their defaults? Thanks again, Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing
You wrote...
++
I just built a hymn under 2.14.2 using the Hymn structure from Learning
Lilypond 2.12.3 secn 3.2.3 Voices Vocals. The structure is
unaltered, except that I have added a \version and a \header (and there
are only 2 vv iso 4!).
I find that the first system is kind of jammed up against the header
line giving the poet and composer, and I'd like some more vertical white
space in there.
Secondly, the whole thing is in 3 systems, with room for a fourth, so I
also have some spare real estate on the page.
What directives, commands, instructions etc should I be looking at to
put a little more air into its appearance?
Rgds, GFStC.
++
There was a query about spacing sometime recently with a response by
Reinhold Kainhofer who has a clever site which allows one to generate
empty music score sheets in a variety of layouts.
From one of these I made use of the following:-
+++
\paper {
left-margin = 20\mm
right-margin = 10\mm
% top-margin = 10\mm
bottom-margin = 10\mm
% oddHeaderMarkup = ##f
% evenHeaderMarkup = ##f
pages=4 %fiddle this to suit
systems-per-page=3 %fiddle this to suit
ragged-bottom=##f
ragged-last-bottom=##f
ragged-last=##f
ragged-right=##f
top-system-spacing #'basic-distance = #7
top-markup-spacing #'basic-distance = #5
last-bottom-spacing #'basic-distance = #10
markup-system-spacing #'basic-distance = #7
top-system-spacing #'stretchability = #60
top-markup-spacing #'stretchability = #40
last-bottom-spacing #'stretchability = #60
markup-system-spacing #'stretchability = #60
system-system-spacing #'stretchability = #40
}
+++
By fiddling with the number of systems per page and the number of pages,
and some of the other values it is possible to make a very pleasing
layout from your existing file...
It would pay to read this paper block in conjunction with the LP manuals
to fully understand what is being done!
Hope this helps
Regards
Bill
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Re: Using flat symbol in text
Hi Nick,
After a bit of tinkering, and using the Character Map application
(Ubuntu10.04)(but I would think it would also work in Windows) to '
Copy' the character 'music flat sign' (which has the same code as you
used - funnily enough! :) ) I think the following provide what I think
is a visually ok result:-
meter = \markup { { Original key: \concat { E\bold\large { \lower #.7
\char ##x266D } }minor } }
opus = \markup { { Original key: \concat { E \lower #.7 {
\italic\bold\huge ♭ } } minor } }
...obviously one could alter several of the parameters to suit...
note the positioning of the concat command!
Hope this helps
Bill
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gregorian.ly omissions
Greetings, It would appear that the gregorian.ly file included in version 2.15.14 /Windows/ of LP has some elements omitted - namely episema : I haven't checked any others, I found this more or less by accident when seeking to include the episema in a bit of gregorian I was trying to reproduce. from the NM:- ... \episemInitium ... \episemFinis Is this a simple oversight or has something changed in the fundamental coding? These are featured in gregorian.ly in 2.12.2, and using that file instead of the 2.15.14 one seems to work with no obvious problems. Hope this helps ! :) Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Show Ledger Lines for Hidden Notes
Greetings,
I think this works! :)
The ledger lines appear to be thicker than the lines in the Staff :(
Regards
Bill
\version 2.14.2
\score
{ \new Staff \with {
\remove Bar_engraver
firstClef = ##f
}
{
%% I'm looking for a way to hide the noteheads, but still show the
ledger lines.
%%uncommenting the command below will erase both notes and ledger lines
%\override NoteHead #'stencil = #point-stencil
\override Stem #'transparent = ##t
%+
\override NoteHead #'transparent = ##t
%+
a''4 c''' c' a
}
\layout {
indent = 0\in
ragged-right = ##t
}
}
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Re: Request for Engraving Suggestions
Greetings!
Having read the posts about this, and assuming you have upgraded to
v14., I can offer the paper-block below, which can be pasted into your
.ly file.
I think the values chosen give a reasonable on-page appearance...
Thanks to Reinhold Kainhofer for allowing us use of his code from his
website - it is an invaluable resource!
Hope this helps
Regards
Bill
+++
\paper {
%#(set-paper-size a4)
%this commented out because it occurs in RK's section below
%left-margin = 20\mm %it's interesting to see how large this can be set!
%right-margin = 15\mm
%tinkering with thse two values is useful if binding margins are needed.
%NB these are superfluous if 'two-sided' is ON - see below
%top-margin = 10\mm
markup-system-spacing = #'((basic-distance . 10) (minimum-distance . 10)
(padding . 2) (stretchability . 50))
system-system-spacing = #'((basic-distance . 20) (minimum-distance . 20)
(padding . 2) (stretchability . 50))
%tinkering with these values allows any fine tuning - 'ad lib' :)
%\ragged-bottom ##f
%this commented out because it occurs in RK's section below
two-sided=##t
inner-margin = 30\mm
outer-margin = 20\mm
%binding-offset = 40\mm
%these are added here in case you want to have double-sided printout
% The lines below are courtesy R Kainhofer with minor
alterations
pages=3
systems-per-page=3
ragged-bottom=##f
ragged-last-bottom=##f
ragged-last=##f
ragged-right=##f
#(set-paper-size a4)
top-system-spacing #'basic-distance = #7
top-markup-spacing #'basic-distance = #5
last-bottom-spacing #'basic-distance = #10
% markup-system-spacing #'basic-distance = #15
%this commented out because it is set in the 'complete' form earlier
top-system-spacing #'stretchability = #60
top-markup-spacing #'stretchability = #40
last-bottom-spacing #'stretchability = #60
markup-system-spacing #'stretchability = #60
% system-system-spacing #'stretchability = #40
%this commented out because it is set in the 'complete' form earlier
}
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Re: Help with breaks?
You wrote:-
Thanks! Here's the basic code in the score section. (Of course, it
continues afterwards, but this seems to be the section where the problems
are.) THANKS for your insights!
\score
{
\new Staff
\new Voice = sopranos
{
\voiceOne
\repeat volta 2 {
a a a a \bar | b b b b \bar | c c c c \bar |
d d d d \bar | e e e e \bar | f f f f \bar |
g g g g }
\alternative {{a a a a }
{b b b b } }
}
--
This works as I think you want it... (I think!)
\score
{
% %this is unterminated
\new Staff
\new Voice = sopranos
{
\voiceOne
\repeat volta 2 {
a a a ab b b bc c c c \break
d d d de e e ef f f f\break
g g g g }
\alternative { { a a a a }
{ b b b b } }
}
\layout { } %added this so that I can see the page! :)
}
Hope this helps
Cheers
Bill
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Re: Lilypond errors in log file
Hi Sarah, Glad you found it of use... ! :) Further to other respondents' comments... I use jedit. which is a multi-platform editor with plugin support for lilypond (and a whole lot of other stuff as well), and which has syntax highlighting and a pdf viewer which updates whenever you run the lp command. Hope this helps Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond errors in log file
Hi Sarah,
There appears to be a mismatched immediately after the \score { at
line 136.
Commenting it out lets your file compile - whether the result is what
you want, I don't know! :)
Regards
Bill
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Re: Understanding multi-score books
You wrote
++
I’m trying to put together a book of Irish tunes. I don’t need a lot of
text, so lilypond-book is overkill. I’m trying instead to use the \book
markup as described in the File Structure section of the manual.
However, when I assign titles to a book, a book part, and a score, as
per the manual, I only get the book part title displayed. What am I
missing?
=-=-=-= cutting here would be bad for your screen =-=-=-=
\version 2.12.3
\book {
\header {
title = Book Title % this doesn’t show
}
\bookpart {
\header {
title = Book Part Title % this shows
}
\score {
\relative c' {
c4 c c c
}
\header {
title = Score Title % this doesn’t show
}
\layout {}
}
}
}
=-=-=-= don’t actually cut here either =-=-=-=
Thanks,
Chris
--
++
Hi Chris,
Does the attached file help?
I haven't tested it with lp-v12...
Regards
Bill
\version 2.14.1
\header %This is the 'Title page' for the whole multi-score compilation
{
title = Title
subtitle = Sub
subsubtitle = subSub
% and all or any of the other bits and pieces which can be put in the Header
}
\paper {
print-all-headers = ##t %This allows the Titles etc for each Score to print...
}
\score { %This is the first music piece in the compilation
{ a b c' d' } %This MUST be placed ahead of the /header block
\header { %This is the title etc for the first music piece
breakbefore = ##t %This makes the first music piece begin on a new page
title = First Title
composer = Composer the First
subtitle =
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
\score { %This is the second music piece in the compilation
{ a b c' d' }
\header { %This is the title etc for the second music piece
%breakbefore = ##t %This makes the second music piece begin on a new page
title = 2nd Title
composer = Composer the Second
subtitle = 2nd Sub
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
\score { %This is the third music piece in the compilation
{ a b c' d' }
\header { %This is the title etc for the second music piece
breakbefore = ##t %This makes the second music piece begin on a new page
title = 3rd Title
composer = Composer the Third
subtitle = 3rd Sub
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
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Re: Horizontal scaling of scores
You wrote... +++ Dear Lilyponders, I'm working on a score and having trouble with the following (probably not very difficult) issue, which I cannot solve despite having RTFM: The problem is the height of the full score which contains all instruments, and which I'd like to print in landscape mode. What I'm looking for is a layout which basically follows along those lines: 1) How much vertical space is there? (E.g. 15cm.) 2) How much does the score in full (and nicely spaced) size have to be scaled, s.t. it vertically fits on the page? (E.g. 57%) 3) Now produce the layout for a page, that is stretched by 1/.57 horizontally, then scale the whole thing with 57% and put that on the page. What's happening right now is that, if space becomes too small, the space between the staffs is reduced while the notes themselves stay in their size, s.t. the staffs are just being pushed into each other. I'm sure there is a simple answer to that, but what is it? I've provided an (almost) minimal example below. Thanks in advance, Robert +++ Hi, I'd cheat! :) #(set-paper-size a3 'landscape) Print the pdf on A4-landscape with 'reduce to page margins' On. Or print on A3 then run the output through a photocopier set to reduce to A4. Probably not the most elegant LP solution...! but it would keep all the musical elements in proportion. Cheers Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd-looking tie on a chord
Hi!
You wrote:-
+++
\version 2.14.1
\include english.ly
\score {
\new Staff {
\key d \major
\numericTimeSignature
\time 4/4
r4
\times 4/5 { cs' d'' b''16\ cs' d'' b''cs' d'' b''cs' d''
b''cs'
d'' b''~ }
cs' d'' b''16 cs' d'' b''8.
%% Here: the tie on the D's looks funny
%% Too tall? Left-hand endpoint is not aligned with the B tie?
~
cs' d'' b''8 [ b d'' a''-\mf ]
}
}
It looks even funnier at lower resolution, somewhat better when viewed
up close.
I'm aware of \override TieColumn #'tie-configuration but would just as
soon avoid it if possible.
+++
See embedded comments:-
\version 2.14.1
\include english.ly
\score {
\new Staff {
\key d \major
\numericTimeSignature
\time 4/4
r4
\times 4/5 { cs' d'' b''16\ cs' d'' b''cs' d'' b''cs' d''
b''cs'
d'' b''~ }
cs' d'' b'' cs' d'' b''8~ %moving the dot from here.
cs' d'' b''8. % ... to here makes the tie pretty...
[ b d'' a''8-\mf ]
}
}
% ... but is it musically correct?
I hope this helps
Regards
Bill
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Fwd: hairpin problem?
Hi, You wrote... ++ Hello- I am forcing accidentals in a modal piece. Time signature is 21/8 so the measures are long. I wanted to do a multi-measure hairpin (decrescendo) but the hairpin stopped at the end of the first measure at the forced accidental (!). 1] is there a way around this? 2] is this a bug or really the way it's supposed to work or 3] is the reason it stopped there different from my assumption. Thanks Jay ++ ...from the NM p106 A crescendo mark is started with \ and terminated with \!, an absolute dynamic, or an additional crescendo or decrescendo mark. A decrescendo mark is started with \ and is also terminated with \!, an absolute dynamic, or another crescendo or decrescendo mark. \cr and \decr may be used instead of \ and \. Hairpins are engraved by default using this notation. c2\ c\! d2\ d\f e2\ e\ f2\ f\! e2\ e\mp d2\ d\ c1\! I guess you might have to place the mp, pp, etc as markups - (but these might not then be seen by midi...?) - if you want the hairpin to extend across the complete snippet ... from \ to \! Hope this helps Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Set accidental style in the layout block
Hi Kieren, You wrote... ++ Hello all, Since \with blocks can now contain variables, maybe someone should put together all of the options and submit a patch? Then it wouldn't involve more typing. ;) Cheers, Kieren. ++ Unfortunately such an exercise is beyond my abilities. :( I am impressed by LP's capabilities in general, and it's ability to do something in several different ways... -but that must make compiling a user-friendly 'Manual' something of a head-ache -added to which is LP's 'extensibility' if one is prepared, and able, to get into the programming side of things. I must admit that, in the few projects I've undertaken (notating hand-written polyphony for choir use), I've made considerable use of the templates in the Manuals, and applied such tweaks as have been necessary, with recourse, from time to time, to help from the List community. Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Set accidental style in the layout block
Original Message
Subject: Re: Set accidental style in the layout block
Date: Sat, 02 Jul 2011 18:16:44 +1200
From: Bill Mooney mooney...@aim.com
To: horndud...@gmail.com
You wrote...
It should do about the same thing. The main advantage is that it
avoids littering files with #(set-accidental-style ...). You put it in
only one spot.
As in the example below - based on the NM example... Where the
accidentals definition is in the \layout block, as in yours.
What I'm not clear about is why a different method has been used which
seems to involve more typing and doesn't seem to offer the variety that
the NM example does. - modern, modern-cautionary, modern-voice, etc.,
etc. ...
If you chose to change it there's only one place to
modify. I like to put it in a separate file (e.g. defs.ily) and
include it into all of the different lilypond files that generate
scores (e.g. violin.ly, piano.ly, etc.). If you're entering something
with only one line of music I think there's still an advantage in
being able to reuse previous definition files.
Here's an instrument+piano example for how I generally like to lay
projects out. I think it keeps each individual file tidy and avoid
duplicating settings in each staff.
* Put as many changes/tweaks from defaults as possible in the file
where you keep your main layout block file.
* Keep a separate outline to put bars, tempos, marks, etc.
* Keep music definitions in separate files from layout.
...and I agree with these principles - of keeping things well-ordered
and as simple and as flexible as possible.
:)
Regards
Bill
\version 2.14.1
\header
{
title = Accidentals
}
musicA =
\relative c'
{
{
cis'8 fis, bes4 a cis8 f bis4
cis2. c, g'4 |
}
\\
{
ais'2 cis,
fis8 b a4 cis2
}
}
musicB = \relative c' {
\clef bass
fis, a cis8 f a cis
cis' cis
fis, a fis a
dis'4
fis, a cis4 gis f a d2
}
\score {
\new PianoStaff {
\context Staff = up {
#(set-accidental-style 'modern)
\musicA
}
\context Staff = down {
#(set-accidental-style 'modern)
\musicB
}
}
}
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Re: Set accidental style in the layout block
You wote...
On 1 July 2011 07:47, Jay Anderson address@hidden wrote:
\layout
{
\context
{
\Score
...
autoAccidentals = #`(Staff ,(make-accidental-rule 'same-octave 0)
,(make-accidental-rule 'any-octave 0)
,(make-accidental-rule 'same-octave 1))
...
}
}
See music-function.scm for how they are defined and engraver-init.ly
for some examples. Ideally this would be cleaner, but at least it's
possible.
Yeah! That works great.
Thanks a lot Jay.
Cheers,
Xavier
Greetings Xavier Jay,
Does this achieve something different from what the NM example I quoted
does? and, if so, what?
:)
Regards
Bill
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Set accidental style in the layout block
You wrote...
++
Hi,
Is there a way to set accidental style in the \layout block?
\layout {
\context {
\Voice
#(set-accidental-style 'piano)
}
}
gives me an error: syntax error, unexpected MUSIC_IDENTIFIER.
IIUC #(set-accidental-style 'piano) only works within a music
expression. I'd like to be able to define this layout setting within
the \layout block, as I do for Score.skipBars or
MultiMeasureRest #'expand-limit for example.
Is there a way to define accidental style outside the music expression?
Cheers,
Xavier
++
My reading of the NM leads me to infer that #(set-accidental-style
'whatever) can go only in a Staff context... :-
see p22 - p28 of the NM.
...but I haven't tested it! :)
Hope this helps
Regards
Bill
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Re: lyrics vertical movement - help requested.
As you can see in the attached example I have expanded the 'override' completely - but, to achieve a satisfactory result both the (basic-distance . ..) and (minimum-distance . ..) values have to be made equal otherwise one overrides the other in the staff-lyrics spacing (see the second score) giving somewhat unusual, sometimes, results. It would be nice to see it explicitly stated somewhere in the Manual which has priority. 'basic-distance' is what you would like to have, 'minimum-distance' is the least you are willing to accept. I thought the explanation at http://lilypond.org/doc/v2.14/Documentation/notation/flexible-vertical-spacing-_005cpaper-variables was very clear. Best wishes, Matthew Hi Matthew, Yeh, well If I search the NM pdf file for 'lyrics spacing' I find p238 which is not overwhelmingly helpful, and finding the relevant bits as defined for the \paper entry required more lateral thinking than I was then capable of. :) Never mind, I've got it more or less in my head now, and the song sheet is sorted. Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics vertical movement - help requested.
On 17/06/11 18:53, Matthew Collett wrote:
On 17/06/2011, at 1:52 pm, Bill Mooney wrote:
I want to move the lyrics down about half their height.
I'd start from
\context {
\Lyrics
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing
#'basic-distance = 6.5
}
and tweak the exact value to get the desired effect (the default value is 5.5,
so 6.5 increases that by one staff-line spacing).
Best wishes,
Matthew
This should help you:
http://lilypond.org/doc/v2.14/Documentation/snippets/spacing
HTH
--
Marek Klein
Dear Matthew and Marek,
Many thanks for your help with this.
As you can see in the attached example I have expanded the 'override'
completely - but, to achieve a satisfactory result both the
(basic-distance . ..) and (minimum-distance . ..) values have to be made
equal otherwise one overrides the other in the staff-lyrics spacing (see
the second score) giving somewhat unusual, sometimes, results. It would
be nice to see it explicitly stated somewhere in the Manual which has
priority.
My perusal of the Manuals makes me wonder whether in cases like this it
might be appropriate to have heavily annotated examples with
explanations of what happens when particular values are altered.
In the snippet example referred to one might think that the value of 1
would move the lyrics up one space from its 0 position so that to move
it down one would use a negative value - but LP doesn't seem to like
these here - a possible source of confusion. (It got me! :) )
Eventually I have arrived at the result I wanted - once again the List
has proved it worth!
Regards
Bill
\version 2.14.1
\header
{
title = Lyrics Spacing Test-2
}
\paper
{
#(set-paper-size a4 )
line-width = 165\mm
%{ Commenting out the system-system spacing definition here affects the overall appearance
% of the page - particularly the spacing of the Lyrics from the staves - but, leaving it 'in',
% with the values set to 1 allows the Lyrics in the second score to move down a little, as desired.
system-system-spacing =
#'((basic-distance . 1)
(minimum-distance . 1)
(padding . 1)
(stretchability . 0))
%}
}
global =
{
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
}
Music = \relative c'
{
\tempo 4 = 120
\autoBeamOff
\partial 8 d8^\ppp
e4 e4 c4. d8 \break
e4 e4 c2
}
Words = \lyricmode {
...aaand One Two Three
...aaand One Two Three
}
\score {
\transpose c g
\new Staff = voices
\new Voice = voices { \global \Music }
\context Lyrics = voices \lyricsto voices \Words
\layout { indent = 0
}
}
\score {
\transpose c g
\new Staff = voices
\new Voice = voices { \global \Music }
\context Lyrics = voices \lyricsto voices \Words
\layout { indent = 0
\context {
\Lyrics
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing =
#'(
(basic-distance . 7)
(minimum-distance . 7)
(padding . 0) %Altering this affects the Lyrics vertical position
(stretchability . 100)
)
}
}
}
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lyrics vertical movement - help requested.
Greetings All,
I have been trying to adjust the vertical position of lyrics in a simple
song.
The default position places the lyrics just a little too close to
descending stems, in my opnion.
I want to move the lyrics down about half their height.
Hopefully, the attached .ly file with its embedded comments, will show
what I have done.
Is there a better, more concise, and obvious way of moving lyrics up or
down while retaining the ability of LP to adjust the positions of staves
etc., to compensate for those adjustments? (Using lyrictextoffset
doesn't seem to allow this)
...and Yes! I have read the Manuals! :)
Any help, and comments, would be much appreciated.
Regards
Bill
\version 2.14.1
\header
{
title = Lyrics Spacing Test
}
\paper
{
#(set-paper-size a4 )
line-width = 165\mm
% %{ Commenting out the system-system spacing definition here affects the overall appearance
% of the page - particularly the spacing of the Lyrics from the staves - but, leaving it 'in',
% with the values set to 1 allows the Lyrics in the second score to move down a little, as desired.
system-system-spacing =
#'((basic-distance . 1)
(minimum-distance . 1)
(padding . 1)
(stretchability . 0))
%}
}
global =
{
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
}
Music = \relative c'
{
\tempo 4 = 120
\autoBeamOff
\partial 8 d8^\ppp
e4 e4 c4. d8 \break
e4 e4 c2
}
Words = \lyricmode {
...aaand One Two Three
...aaand One Two Three
}
\score {
\transpose c g
\new Staff = voices
\new Voice = voices { \global \Music }
\context Lyrics = voices \lyricsto voices \Words
\layout { indent = 0 }
}
\score {
\transpose c g
\new Staff = voices
\new Voice = voices { \global \Music }
\context Lyrics = voices \lyricsto voices \Words
\layout { indent = 0
% %{
% The following is from p238 of the Notation Manual pdf
\context {
\Lyrics
\override VerticalAxisGroup #'staff-affinity = ##f
% Setting staff-affinity to #f causes a non-staff line to be treated as a staff.
% (from NM p665) Query; should it be ##f?
\override VerticalAxisGroup #'staff-staff-spacing =
#'( %Altering these values appears to have no effect on Lyrics position in this construct
(basic-distance . 0)
(minimum-distance . 0)
(padding . 0)
(stretchability . 0)
)
}
\context {
\Staff
\override VerticalAxisGroup #'staff-staff-spacing =
#'(
(basic-distance . 0)
(minimum-distance . 0)
(padding . 1) %Altering this affects the Lyrics vertical position
(stretchability . 0)
)
}
}
%}
}
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More ossia help, please
Hi Phil,
The following, from the notation manual, might help...
+
Using the \Staff \RemoveEmptyStaves command to create ossia staves may
be used as an alternative. This method is most convenient when ossia
staves occur immediately following a line break. For more information
about \Staff \RemoveEmptyStaves, see [Hiding staves], page 171.
\new Staff = ossia \with {
\remove Time_signature_engraver
\override Clef #'transparent = ##t
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'thickness = #(magstep -3)
} \relative c'' {
R1*3
c4 e8 d c2
}
\new Staff \relative c' {
c4 b c2
e4 f e2
g4 a g2 \break
c4 b c2
g4 a g2
e4 d c2
}
\layout {
\context {
\Staff \RemoveEmptyStaves
\override VerticalAxisGroup #'remove-first = ##t
}
}
+
Regards
Bill
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RE: nobody has ready Learning 3.1 ??? (was: how does beforebreak work?)
Greetings James, et al...
I have been trying to sort out just what can be achieved using
'breakbefore' in a file with several Score blocks, and what each line in
the headers actually produces in the final printout.
The attached .ly file is the result. It has some embedded comments. It
also raises a few questions about fine tuning layouts, especially with
the 'instrument' and 'copyright' fields. I haven't delved into the use
of even and odd headers and footers!
I hope this is of some use? :)
REgards
Bill
\version 2.13.61
\header {
dedication = \markup \center-column { { }{ }{ }{ }{ }{ }{ }{ }{ }{ }{ Dedicated to ... } { } }
title = \markup \center-column {
{ The Composition's Full Title} {} }
subtitle =\markup \center-column {
{ A Sub-title - perhaps the Composition's short title } {} }
subsubtitle = \markup \center-column { { }
{ This is the Title page } { } }
poet = \markup \left-column { { from a poem by } { a well-known Poet } { } }
instrument = This is printed on every following page
composer = \markup \right-column { { Composed by } { a well-known Composer } { in 1102 } { } }
meter = \markup \left-column { { Originally performed by } { a well-known Performer } { in Casa Nostra } { in 1492 } }
arranger = \markup \right-column { { Arranged by } { a well-known Arranger } { in 2011 } { } }
piece = Piece %This doesn't show on the 'Title Page'
opus = Opus %This doesn't show on the 'Title Page'
copyright = \markup { { }{ \char ##x00A9 A well known organization 2011 }{ } }
% tagline = Tagline %omit to obtain the LP default
breakbefore = ##t% or ##f
% forces the title title of each Score to start on a new page
% If there are several \score blocks in the file.
% The 'Header' goes in each \score block 'after' the music expression { 'music' }
% The breakbefore command does not have to be included in each Score's Header
}
\paper {
print-all-headers = ##t %This allows 'All' the header lines etc for each Score to print...
}
\score { \relative c' {
{ \repeat unfold 100 { a' c d e } }
{ \repeat unfold 100 { a, c d e } }
}
\header {
dedication = \markup \center-column { { Dedicated to ...1 } { } }
title = \markup \center-column {
{ The First Piece's Full Title} {} }
subtitle =\markup \center-column {
{ A Sub-title - perhaps the First Piece's short title } {} }
subsubtitle = \markup \center-column { { }
{ A further comment-1 } { } }
poet = \markup \left-column { { from a poem by } { a well-known Poet-1 } { } }
instrument = This is not printed on every following page! %Precedence is taken by the corresponding line in the top Header block
composer = \markup \right-column { { Composed by } { a well-known Composer-1 } { in 1102 } { } }
meter = Meter
arranger = \markup \right-column { { Arranged by } { a well-known Arranger-1 } { in 2011 } { } }
piece = Piece-1
opus = Opus-1
copyright = \markup { \char ##x00A9 }%Precedence is taken by the corresponding line in the top Header block
% tagline = Tagline %omit to obtain the LP default
% breakbefore = ##t
% forces the title title of each Score to start on a new page
% if there are several \score blocks in the file (set it to ##t or ##f).
%It goes in each \score block 'after' the music exxpression { 'music' }
}
}
\score { { \relative c' {
{ \repeat unfold 100 { a' c d e } }
{ \repeat unfold 100 { a, c d e } }
} }
\header {
dedication = \markup \center-column { { { }Dedicated to ...2 } { } }
title = \markup \center-column {
{ The Second Pieces's Full Title-2} {} }
subtitle =\markup \center-column {
{ A Sub-title - the Second Pieces's short title-2 } {} }
subsubtitle = \markup \center-column { { }
{ A further comment-2 } { } }
poet = \markup \left-column { { from a poem by } { a well-known Poet-2 } { } }
instrument = This is not printed on every following page%Precedence is taken by the corresponding line in the top Header block
composer = \markup \right-column { { Composed by } { a well-known Composer-2 } { in 1102 } { } }
meter = Meter
arranger = \markup \right-column { { Arranged by } { a well-known Arranger-2 } { in 2011 } { } }
piece = Piece-2
opus = Opus-2
copyright = \markup { \char ##x00A9 }%Precedence is taken by the corresponding line in the top Header block
% tagline = Tagline %omit to obtain the LP default
% breakbefore = ##t
% forces the title of each Score to start on a new page
% if there are several \score blocks in the file (set it to ##t or ##f).
%It goes in each \score block 'after' the music exxpression { 'music' }
}
}
Re: header anomalies LP2.13.60
- Original Message - From: Bill Mooney address@hidden Aaaah - the subtleties of LP and its grammar/syntax! :) Should the spacing thing be submitted as a bug? I have enough trouble getting to grips with the simple things that submitting a bug report is quite beyond me! :) - if it is a bug could I ask one of you to forward it? Regards Bill + I'd say it might count as an enhancement, (Make headers deal better with multiple lines) but it's so easy to work around I wouldn't bother unless someone is very keen to get it on the issues list. -- Phil Holmes + Dear Phil, I accept your comment about the easy work-around! :) Thanks for your help. Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: header anomalies LP2.13.60
Greetings again...
On 08/05/11 22:15, Phil Holmes wrote:
- Original Message - From: Bill Mooney mooney...@aim.com
To: Lilypond-User List lilypond-user@gnu.org
Sent: Saturday, May 07, 2011 4:43 AM
Subject: header anomalies LP2.13.60
Greetings!
Can someone please explain what is happening with the header block in
this code?
+++
\version 2.13.60
\header {
title = \markup \center-column { \huge XXX X -X- }
subtitle =\markup \center-column { -N- }
subsubtitle = \markup \center-column { }
}
\score { { a' b' c'' d'' } \layout { } }
+++
The first line of Xs is rendered smaller than the second line, and the
-X- and the -N- are too close to the lines below them.
Is this behaviour due to something I've misunderstood, or is it
evidence of a bug?
Many thanks,
Bill
I reckon the \huge is only applying to the text block following, so the
second line of XXs adopt the default header size, which is larger.
I also reckon Lily doesn't space header text very well with multiple
lines from a center-column. The following works around this for me:
\version 2.13.60
\header {
title = \markup \center-column { XXX X -X- }
subtitle =\markup \center-column { -N- }
subsubtitle = \markup \center-column { }
}
\score { { a' b' c'' d'' } \layout { } }
Result is the same on 2.12
--
Phil Holmes
Many thanks for that, Phil and James
...from James
Yes, if you change
title = \markup \center-column { \huge XXX X -X- }
to
title = \markup \center-column { \huge { XXX X -X- } }
Then all the 'X's are the same size.
Aaaah - the subtleties of LP and its grammar/syntax! :)
Should the spacing thing be submitted as a bug?
I have enough trouble getting to grips with the simple things that
submitting a bug report is quite beyond me! :) - if it is a bug could I
ask one of you to forward it?
Regards
Bill
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Can't get \arpeggio to work
Greetings,
...from the Notation Manual
An arpeggio on a chord (also known as a broken chord) is denoted by
appending \arpeggio to the chord construct:
c e g c1\arpeggio
I guess you 'do' need to define a chord for it to work - which you don't
seem to have done in your example
{ \clef treble_8
\time 2/4
bf,4 gs4 b4a,4 bf4 d'4 \arpeggio
}
perhaps this is what is meant??
{
\clef treble_8
\time 2/4
bf,4 gs4 b4a,4 bf4 d'4 \arpeggio
}
Hope this helps
Regards
Bill
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nobody has ready Learning 3.1 ??? (was: how does beforebreak work?)
Dear Graham et al,
After searching the inter-web thingie with Google I found a piece on the
CPDL site which, although old, showed the use of 'breakbefore', in a
setting authored by Anders Stenberg of some pieces by Purcell.
Here is my take on the use of breakbefore using info from his .ly file
and what I found in the LP manuals.
I hope it might be of some use.
Regards
Bill
++
\version 2.13.60
\header %This is the 'Title page' for the whole multi-score compilation
{
title = Title
subtitle = Sub
subsubtitle = subSub
% and all or any of the other bits and pieces which can be put in
%the Header
}
\paper {
print-all-headers = ##t %This allows the Titles etc for each %Score to
print...
}
\score { %This is the first music piece in the compilation
{ a b c' d' } %This MUST be placed ahead of the \header block
\header { %This is the title etc for the first music piece
breakbefore = ##t %This makes the first music piece %begin on a
new page
title = First Title
composer = Composer the First
subtitle =
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
\score { %This is the second music piece in the compilation
{ a b c' d' }
\header { %This is the title etc for the second music piece
breakbefore = ##t %This makes the second music piece %begin on
a new page
title = 2nd Title
composer = Composer the Second
subtitle = 2nd Sub
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
\score { %This is the third music piece in the compilation
{ a b c' d' }
\header { %This is the title etc for the second music piece
breakbefore = ##t %This makes the second music piece %begin on
a new page
title = 3rd Title
composer = Composer the Third
subtitle = 3rd Sub
subsubtitle = ##f
poet = ##f
arranger = ##f
piece =
}
\layout { }
}
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header anomalies LP2.13.60
Greetings!
Can someone please explain what is happening with the header block in
this code?
+++
\version 2.13.60
\header {
title = \markup \center-column { \huge XXX X
-X- }
subtitle =\markup \center-column { -N- }
subsubtitle = \markup \center-column { }
}
\score { { a' b' c'' d'' } \layout { } }
+++
The first line of Xs is rendered smaller than the second line, and the
-X- and the -N- are too close to the lines below them.
Is this behaviour due to something I've misunderstood, or is it evidence
of a bug?
Many thanks,
Bill
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mark-ups
Greetings Michael,
I find this worked in one of my transcriptions - v2.13.?? - adjust
bracketted values as necessary...
\once\override TextScript #'extra-offset = #'(-5 . 2) g'2^\markup {
\bold All }
hope this helps
Bill
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Re: paper block for little snippets for webpublishing
Dear Marc, Sorry, I can't help with LP-Book. I've never used it. :) Regards Bill On 02/12/10 06:04, Marc Mouries wrote: On 11/19/2010 4:54 AM, Bill Mooney wrote: Hi, you might try :- lilypond -f png -dresolution=600 filename where the 600 is an example - whatever you find is appropriate Hope this helps Regards Bill Thanks Bill. The option -d is not accepted by lilypond-book only by lilypond. Is there any way to set the resolution with lilypond-book? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: paper block for little snippets for webpublishing
Hi Francois,
You should really reply to the list so that you get info from all the
people there... I'm a complete novice at this.
However, if you are making stuff for Powerpoint presentations or similar
then you would probably have to get the images with transparent
backgrounds - which lilypond doesn't do, I think - which means editing
them in some sort of image software where you can clip out the bit you
want at the same time... so using the command I sent you is probably ?
the easiest way to go...
also, see the quote from the Notation Reference... which might give you
what you want but again I think the results are with non-transparent
backrounds, although I haven't checked that...
lilypond -f png -dresolution=600 -dclip-systems 'filename'
is the command line I used after reading the following... from the NR
Hope all this helps
Regards
Bill
**
3.4.1 Extracting fragments of music
It is possible to quote small fragments of a large score directly from
the output. This can be compared to clipping a piece of a paper score
with scissors.
This is done by defining the measures that need to be cut out
separately. For example, including the following definition
\layout {
clip-regions
= #(list
(cons
(make-rhythmic-location 5 1 2)
(make-rhythmic-location 7 3 4)))
}
will extract a fragment starting halfway the fifth measure, ending in
the seventh measure. The meaning of 5 1 2 is: after a 1/2 note in
measure 5, and 7 3 4 after 3 quarter notes in measure 7.
More clip regions can be defined by adding more pairs of
rhythmic-locations to the list.
In order to use this feature, LilyPond must be invoked with
-dclip-systems. The clips are output as EPS files, and are converted to
PDF and PNG if these formats are switched on as well.
For more information on output formats, see Invoking lilypond.
**
On 21/11/10 13:35, Music Teacher wrote:
I have now the same question, for a paper input file (in html,
paperblock is not accepted).
This is for making snippets for worships programs. Output is
meaningless (gif, jpg or png) but resolution should be at least 300
dpi. With Bill's answer ok, but the question is to get directly the
pict without having to cut it with gimp.
Thanks in advance
Francois
2010/11/19, Bill Mooneymooney...@aim.com:
Hi,
you might try :-
lilypond -f png -dresolution=600 filename
where the 600 is an example - whatever you find is appropriate
Hope this helps
Regards
Bill
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Re: paper block for little snippets for webpublishing
Hi, you might try :- lilypond -f png -dresolution=600 filename where the 600 is an example - whatever you find is appropriate Hope this helps Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
page fit error
Greetings All,
The attached .ly file compiles and gives an error
Drawing systems...
warning: couldn't fit music on page: overflow is -0.00
but the resulting pdf file has everything as it should be.
Is there an error in the code, or is LP's layout process at fault?
This file actually produces a more compact layout (vertically) than its
parent due to the absence of elements outside some of the staves... note
stems, hairpins etc ...
All helpful suggestions etc gratefully accepted! :)
Regards
Bill
\version 2.13.39
\header {
%tagline =
}
stemOn = { \revert Staff.Stem #'transparent }
stemOff = { \override Staff.Stem #'transparent = ##t }
\paper {
#(set-paper-size a4)
ragged-bottom = ##t
ragged-last-bottom = ##t
}
#(set-global-staff-size 16)
global =
{
\key g \major
\override Staff.TimeSignature #'style = #'()
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
\once \override TextScript #'outside-staff-padding = #1.5
g'4^\markup { \hspace #-8 \bold \large Text }
\override Staff.BarLine #'transparent = ##f
\bar ||
\once \override TextScript #'outside-staff-padding = #1.5
s \override Staff.BarLine #'transparent = ##t
g4^\markup { \hspace #-2 \bold \large Text }
\override Staff.BarLine #'transparent = ##f
\bar ||
}
\addlyrics
{
A B
}
\layout {
ragged-right = ##t
indent = 0
}
\header { piece = \markup { \hspace #45 \bold \fontsize #6 Main } }
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
\once \override TextScript #'outside-staff-padding = #1.5
g'4^\markup { \hspace #-8 \bold \large Text }
\override Staff.BarLine #'transparent = ##f
\bar ||
}
\addlyrics
{
A
}
\layout {
ragged-right = ##f
indent = 0
}
\header { piece = \markup { \hspace #45 \bold \fontsize #5 2nd } }
}
soprano =
\relative c'
{
\partial 4 \once \override TextScript #'outside-staff-padding = #1
d4^\markup { \vspace #1.5 \hspace #-10 \bold \large Text }
d1
\bar |.
}
alto =
\relative c'
{
\partial 4 d4
c1
}
tenor =
\relative c'
{
\clef bass
\partial 1 d,4
d1
}
bass =
\relative c
{
\clef bass
\partial 4 d4
d1 _\fermata
}
Words = \lyricmode
{
A B
}
\score
{
\transpose c' c'
\new PianoStaff
\new Staff
\new Voice = sopranos { \voiceOne \global \soprano }
\new Lyrics = sopranos { s1 }
\new Voice = altos { \voiceTwo \global \alto }
\new Staff
\clef bass
\new Voice = tenors { \voiceOne \global \tenor }
\new Voice = basses { \voiceTwo \global \bass }
\context Lyrics = sopranos \lyricsto sopranos \Words
\layout {
ragged-right = ##f
indent = 0
\context {
\PianoStaff \accepts Lyrics
}
}
\header { piece = \markup { \hspace #45 \fontsize #3 3rd }
opus = \markup { \fontsize #2 opus }
}
}
soprano =
\relative c'
{
\time 2/4
\once \override TextScript #'outside-staff-padding = #1
g'4(^\markup { \vspace #1.5 \hspace #-10 \bold \large Text }
g) a a
\bar |.
}
alto =
\relative c'
{
d2 d4( d)
}
tenor =
\relative c'
{
g2 g2
}
bass =
\relative c
{
b2 b2_\fermata
}
Words = \lyricmode
{
A B
}
\score
{
\transpose c' c'
\new PianoStaff
\new Staff
\new Voice = sopranos { \voiceOne \global \soprano }
\new Lyrics = sopranos { s1 }
\new Voice = altos { \voiceTwo \global \alto }
\new Staff
\clef bass
\new Voice = tenors { \voiceOne \global \tenor }
\new Voice = basses { \voiceTwo \global \bass }
\context Lyrics = sopranos \lyricsto sopranos \Words
\layout {
ragged-right = ##f
indent = 0
\context {
\PianoStaff \accepts Lyrics
}
}
\header { piece = \markup { \hspace #45 \fontsize #3 4th }
opus = \markup { \fontsize #2 opus }
}
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\override
Re: extra staves - help required
Hi Keith, Thanks for the 'override'. I achieved a satisfactory result by using 'hspace' to move a markup - the 'Or' didn't actually have to be in line with the staff. I am a rank amateur with regard to dealing with LP, and with music setting generally, and am very grateful for the help available from all the other users. Your comment about LP's 'job-description' is interesting... I have read the original 'Essay', and have pored over the various manuals, but I haven't found any definitions of what LP regards as 'Engraving Best Practice'. A case in point being where LP places simultaneous rests in a staff with two voices. In the small number of scores I have in such a situation the rests are vertically closer together if not actually replaced with only one rest. This is a bit off the original topic, but it would be interesting to know the original rationale if you know of it! :) Thanks again Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur from non-existent note
Hi Garrett , You could try this :- c4^( s) \once \override Slur #'control-points = #'( ( -10 . -2) ( -7 . 0) ( -2 . 0) ( 1 . -2) ) s^( d) the ^s force the slur up'ards ( use _ if you want it down) the numbers in the 'control pints part are found by trial and error :) they're x,y pairs for places through which the curve of the slur must pass. beginning from the note 'position' (in this case the 'd', rather than the second 's') the first pair are where you think the 's' is, followed by a point a bit closer to the 'd' but a bit higher, then another closer to the 'd', then the end closest to the 'd' which again is a bit lower I'd draw a picture but I hope you follow all this! :) There might be a 'better' way but this seems to work. Hope this helps regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Showing 4/4 instead of C
Hi Javier, ... also \override Staff.TimeSignature #'style = #'() Cheers Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re : [Lyrics] Ignoring tie
Greetings Carlo,
While seeking enlightenment on another matter I found this in the
Notation manual
Does it solve the tie/slur lyric problem you were having?
Hope this helps
Regards
Bill
Ignoring melismata
One possibility is that the text has a melisma in one stanza, but
multiple syllables in another. One solution is to make the faster voice
ignore the melisma. This is done by setting |ignoreMelismata| in the
Lyrics context.
\relative c' \new Voice = lahlah {
\set Staff.autoBeaming = ##f
c4
\slurDotted
f8.[( g16])
a4
}
\new Lyrics \lyricsto lahlah {
more slow -- ly
}
\new Lyrics \lyricsto lahlah {
go
\set ignoreMelismata = ##t
fas -- ter
\unset ignoreMelismata
still
}
[image of music]
http://lilypond.org/doc/v2.13/Documentation/7d/lily-deb27269.ly
Known issues and warnings
Unlike most |\set| commands, |\set ignoreMelismata| does not work if
prefixed with |\once|. It is necessary to use |\set| and |\unset| to
bracket the lyrics where melismata are to be ignored.
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Re: extra staves - help required
Dear Keith,
Many thanks for the solution you provided...
Never in a month of Sundays would I have found that!
However, there's no such thing as a free lunch - further difficulties
have manifested themselves.
I have made some comments in the attached file which should show where
there are problems - mainly dealing with staff-names and whether they
appear or not.
Could I ask you to consider these for me?
Regards
Bill
\version 2.13.36
\header {
title = Extra Staves #2
%opus = opus
%piece = piece
% subtitle =
tagline =
}
stemOn = { \revert Staff.Stem #'transparent }
stemOff = { \override Staff.Stem #'transparent = ##t }
global =
{
\key g \major
\override Staff.TimeSignature #'style = #'()
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
g'4 g2 s g4 s a s b s a s a2 s
\override Staff.BarLine #'transparent = ##f
\bar ||
}
\addlyrics
{
A B C D E F G
}
\layout {
ragged-right = ##t
indent = 10
}
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\set Staff.instrumentName = #Or
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
g'4 g s g g s s g s g s g s a s b s a2 s
\override Staff.BarLine #'transparent = ##f
\bar ||
}
\addlyrics
{
H I J K L M N O P Q
}
\layout {
ragged-right = ##t
indent = 10
}
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\set Staff.instrumentName = #Or
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
g'4 g s g2 s g4 s g s g s g s g s g2 s a4 s b s a2 s
\override Staff.BarLine #'transparent = ##f
\bar ||
}
\addlyrics
{
R S T U V W X Y Z A B C
}
\layout {
ragged-right = ##t
indent = 10
}
}
AllT =
\relative c'
{
\time 2/4
g'2 g4 g g2
\bar ||
}
Twords = \lyricmode
{ F G H J }
sopranoT =
\relative c'
{
d'2 d4 d4 d2
}
altoT =
\relative c'
{
b2 b4 b4 b2
}
tenorT =
\relative c
{
\clef bass
d'2 d4 d4 d2
}
bassT =
\relative c
{
g'2 g4 g4 g2
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines %*
\override StaffGroup.SystemStartBracket #'collapse-height = #4 %**
\override Score.SystemStartBar #'collapse-height = #4 %**
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\set Staff.instrumentName = #Or
'This' Or disappears!! with the use of the code below to achieve the 'extra-staves'
but if the *-ed lines above are deleted the Or' reappears! but the brackets go...
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
g'2 g4( g) g2
\override Staff.BarLine #'transparent = ##f
\bar ||
\once\override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '( staff-bar span-bar clef key-signature time-signature instrument-name) )
\new Voice = sopranos {\stemOn \AllT }
\new Lyrics \lyricsto sopranos \Twords
\new PianoStaff
%\new StaffGroup
\once\override GrandStaff.SystemStartBrace #'X-offset = #0
\new Staff
\new Voice = sopranos { \voiceOne \global \sopranoT }
\new Lyrics = sopranos { s1 }
\new Voice = alto { \voiceTwo \global \altoT }
\new Staff
\new Voice = tenor { \voiceOne \global \tenorT }
\new Voice =bass { \voiceTwo \global \bassT }
\context Lyrics = sopranos \lyricsto sopranos \Twords
}
\addlyrics
{ A S D }
\layout {
\context { \PianoStaff \accepts Lyrics }
ragged-right = ##f
indent = 10
}
}
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Re : [Lyrics] Ignoring tie
Greetings Carlo, I think you have to remove the tie ~ from line ?95 between the b-flat b-flat. This brings the word 'est' back into the bar with 'La terre' Is this what you required? Hope this helps Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
extra staves - help required
Greetings,
The accompanying .ly file produces the result in image 'extra-staves-1.png'.
Can someone explain how I can modify the .ly file to obtain the result
in image 'extra-staves-2.png', please?
The .ly file was made using aspects of the 'Adding an extra staff (2)'
snippet in the Snippet Repository, as well as other bits from the
learning and notation manuals.
My 'client' asked for the reduced size bracket at the beginning of the
single staff. (The client is always right) but wants the curly braces at
the beginning of the 'choir' part.
Many thanks
Bill
attachment: extra-staves-1.pngattachment: extra-staves-2.png\version 2.13.10
\header {
title = Extra-Staves
tagline =
}
stemOn = { \revert Staff.Stem #'transparent }
stemOff = { \override Staff.Stem #'transparent = ##t }
\paper {
#(set-paper-size a4)
left-margin = 30\mm
right-margin = 20\mm
top-margin = 10\mm
ragged-bottom = ##t
ragged-last-bottom = ##t
}
#(set-global-staff-size 16)
global =
{
\key g \major
\override Staff.TimeSignature #'style = #'()
}
AllT =
\relative c'
{
\time 2/4
\once \override TextScript #'outside-staff-padding = #1.5
d'2^\markup { \hspace #-8 \bold \large All }
d4 d d2^\fermata
\bar ||
}
Twords = \lyricmode
{ A B C D }
sopranoT =
\relative c'
{
\once \override TextScript #'outside-staff-padding = #1.5
d'2^\markup { \vspace #1 \hspace #-7 \bold \large Choir } d4 d4 d2^\fermata
}
altoT =
\relative c'
{
g'2 g4 g4 g2
}
tenorT =
\relative c
{
\clef bass
d'2 d4 d4 d2
}
bassT =
\relative c
{
g'2 g4 g4 g2_\fermata
}
\score {
\new StaffGroup
% Must be lower than the actual number of staff lines
\override StaffGroup.SystemStartBracket #'collapse-height = #4
\override Score.SystemStartBar #'collapse-height = #4
\new Staff
\with { \remove Time_signature_engraver }
\relative c'
{
\override Staff.BarLine #'transparent = ##t
\stemOff
\key g \major
\time 4/4
\once \override TextScript #'outside-staff-padding = #1.5
g'2 s g4( s g) s g2 s
\override Staff.BarLine #'transparent = ##f
\bar ||
\new Voice = sopranos {\stemOn \AllT }
\new Lyrics \lyricsto sopranos \Twords
\new PianoStaff
%\new StaffGroup
\new Staff
\new Voice = sopranos { \voiceOne \global \sopranoT }
\new Lyrics = sopranos { s1 }
\new Voice = alto { \voiceTwo \global \altoT }
\new Staff
\new Voice = tenor { \voiceOne \global \tenorT }
\new Voice =bass { \voiceTwo \global \bassT }
\context Lyrics = sopranos \lyricsto sopranos \Twords
}
\addlyrics
{ A B C }
\layout {
\context { \PianoStaff \accepts Lyrics }
ragged-right = ##f
indent = 0
}
}
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Re: extra spacing between staves and verses
Greetings Keith, Thanks for the comment. Do you have a special crystal ball there? Do you know if there is any particular reason why inter-system spacings are done in the \paper block but spacing between staves is dealt with using commands in the \Staff context (Have I got the terminology correct!?) In my innocence I thought that setting the latter in a 'global' definition would be the way to go. Or is it because some users prefer to control individual staff spacing on a case by case basis... ? If you have anything to do with the docs for this aspect of LP could you add to the 'selected snippets' section - the two snippets there don't, to my mind, make the spacing issue particularly clear... Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: extra spacing between staves and verses
Greetings Keith, and others...
Keith wrote...
Actually, I'm trying to help clean up bugs in the spacing system, so I
investigated this:
I've tried your sample file and still there is no
change whatsoever with the score-system-spacing values. I don't know
why ---
The score-system-spacing settings handle the case when there is no
markup text between scores. (If there is markup text, the LilyPond uses
markup-system-spacing instead.)
Bill's helpful comment (with my minor correction)
piece=score-system-spacing affects spacing between 'scores' - but not
between [markup like title, piece, etc.] and the score
was itself markup text, so adding it caused LilyPond to refer to
markup-system-spacing instead.
We have to appreciate the irony in that.
*
Yes, commenting out the 'piece = { }' enables both score- and
system- spacing commands to work... and thanks for the info on the fact
that LP uses markup-system-spacing. But, isn't that somewhat
non-intuitive? And it will require a fairly complex explanation in the
docs to make it really clear, particularly to those users such as myself
who need a good bit of hand-0holding! :)
... and how does one then achieve score- spacing if there are items like
'piece' in the composition?
Ah well, back to the vellum...
Regards,
Bill
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Re: extra spacing between staves and verses
Greetings Fr. Michael Gilmary
The attached file untitled.ly might be of help.
Regards
Bill
\header {
title = Title
piece = score-system-spacing affects spacing between 'scores' - but not between Title and 1st score
}
\paper {
%Uncomment either or both of the next two lines and adjust values to suit
% system-system-spacing = #'((space . 20) (minimum-distance . 10) (padding . 1))
% score-system-spacing = #'((space . 34) (minimum-distance . 28) (padding . 1))
}
#(set-global-staff-size 16) %default is 20 (I think!)
\layout {
\context {
\Score
\remove Bar_number_engraver
}
\context {
\Staff
\remove Time_signature_engraver
}
}
TimeKey= {\key f \major}
MusicOne = \relative c' {
\set autoBeaming = ##f
\partial 8 f8 \bar| a4 f8 g \bar| a([ bes a]) g \bar| f2 \bar| a4 f8 g
a([ bes a]) g \bar| f2 \bar| \break
c'4^\markup { system-system-spacing affects this space } c \bar| bes8([ a bes]) d \bar| c([ bes a g] \bar| f2) \bar| f8 f g
a \bar| g([ f16 e d8]) e \bar| f2. r4 \bar||\break
}
MusicTwo = \relative c'' {
\set autoBeaming = ##f
a8 a16([ g]) f8 g \bar| a([ bes a]) g \bar| f2 \bar| a8 a16([ g]) f8 g
\bar| a([ bes a]) g \bar| f2 \break
c'4 c \bar| bes8([ a bes]) d \bar| c([ bes a g] \bar| f2) \bar| f8 f g
a \bar| g([ f16 e d8]) e \bar| f2. r4 \bar||\break
}
VerseOne = \lyricmode {
O Ma -- ry, we pray to you, bles -- sed and pur -- est One,
help us in __ our need; __ You are al -- ways there __ for us.
}
VerseTwo = \lyricmode {
We, poor sin -- ners, turn __ to you, now and at the hour __ of death.
You are free from sin; __ Ho -- ly Ma -- ry, full __ of grace.
}
VerseThree = \lyricmode {
In -- ter -- cede and pray __ for us; Vir -- gin Mo -- ther show __ us love.
May your Son, our Lord, __ grant us mer -- cy, through your prayers.
}
\score {
\new Staff
\new Voice = MonksOne { \TimeKey \MusicOne }
\new Lyrics \lyricsto MonksOne { \VerseOne }
}
%% I'd like to have extra vertical space here
\score {
\new Staff
\new Voice = MonksTwo { \TimeKey \MusicTwo }
\new Lyrics \lyricsto MonksTwo { \VerseTwo }
}
\score {
\new Staff
\new Voice = MonksTwo { \TimeKey \MusicTwo }
\new Lyrics \lyricsto MonksTwo { \VerseThree }
}
\version 2.13.36
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Re: extra spacing between staves and verses
fr. michael gilmary wrote...
I'm working with Lilypond v. 2.11.62 and I just can't figure out how
to get extra vertical space between staves.
Xavier Scheuer replied
%%%
My advise is to upgrade your version (you are running an old
development version).
Latest development version (2.13) has greatly improved the vertical
spacing and has a special setting parameter for this particular case.
Then you can change this spacing via
\paper {
score-system-spacing = #'((space . 14) (minimum-distance . 8)
(padding . 1))
}
Detailed explanations are there:
NR 4.1.2 Page formatting (! version 2.13.37 !)
http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting.html
%%%
I think that this is what fr. michael gilmary was wanting...
\paper {
system-system-spacing = #'((space . 14) (minimum-distance . 8)
(padding . 1))
}
Would it be possible for the v2.13 docs to be expanded so that the full
syntax of both intra-system-spacing and extra-system-spacing options
is made explicit.
:)
Regards
Bill
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Funny partcombine behaviour
Hi Peter, I cut and pasted your code into jEdit and ran it with lptool and got the attached... ! :) Hope this helps - I know it isn't a solution, but... Cheers Bill inline: new-1.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Funny partcombine behaviour
... on the other hand, if I swap the order of \voice \accomp to \accomp \voice I get your result !?! Cheers Bill -- 43 Main St Weston Oamaru 9401 New Zealand (064)(03) 4349478 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cannot end slur
Hi, I don't know why and wherefore - but removing the acciaccatura seems to allow the slur to fulfill itself - whether it is a matter of the acciaccatura making the staff too high, or a bug, or something more subtle I don't know enough about Lilypond to say, but I hope this helps. Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
new website: draft 2.1, panic over community
Greetings Graham, I've come to this thread probably too late in the general scheme of things..., but I offer the following links which might provide solutions to some of the new website problems. :- http://meyerweb.com/eric/css/edge/ http://meyerweb.com/eric/css/edge/complexspiral/demo.html as I understand it, the use of vertical rather than horizontal navigation links is to be preferred - maybe, I think! :) I hope this is of some help Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: transposing etc
Dear Peter, and Chip and Jonathan,
Your comments have provided great guidance for this occasional user! :)
My question about transposing did indeed relate to the usage of
transposing an entire piece, after it had been encoded earlier - perhaps
obtained from another source altogether. The process seems to me to be
not entirely straightforward - the more complex the piece is the
seemingly more difficult it might be to affect the transposition.
Probably I have to do a fair bit of testing with more and more complex
scores to see what works in each case.
Workflow is idiosyncratic! :) What works for one might be quite
unintuitive for another - at least it's good to know that this is the
best way doesn't hold good!
I have attached a simple example based on the SATB template to show what
I've done with transposing, and how I tend to manage my workflow.
Regards
Bill
\version 2.12.0
\header
{
dedication = Dedication
title = Incy Wincy Spider
subtitle = subtitle
subsubtitle = sub-sub title
composer = anon
copyright = 2008
poet = poet et al
meter = meter
opus = opus number
arranger = arranger
instrument = instrument
piece = piece
tagline = tagline
}
\paper
{
#(set-paper-size a4 )
%#(set-paper-size a3 )
line-width = 165\mm % paper-width = 297\mm
%line-width = 290\mm % paper-height = 410\mm
left-margin = 25\mm
page-top-space = 5\mm
between-system-space = 20\mm
between-system-padding = #8
ragged-bottom = ##t
ragged-last-bottom = ##f
}
#(set-global-staff-size 18) % the default is 20. 18 allows more music per page
global =
{
%\key c \major %{ uncommenting this line and removing the \key from the ' sopMusic ' seems to give 'different' results }%
\override Staff.TimeSignature #'style = #'()
\time 3/8
}
sopMusic = \relative c' {
\key c \major
c4 b8
c4 d8
e4.
e4 e8
d4 c8
d4 e8
c4.
%r4.
b'4.\rest
e,4.
e4 f8
g4.
g4.
f4 e8
f4 g8
e4.
%r4.
b'4.\rest
g4.
g4 g8
f4.
f4.
e4 d8
d4 f8
g4.
g4.
c,4 b8
c4 d8
e4.
e4 e8
d4 c8
d4 e8
c4.
}
sopWords = \lyricmode {
In -- cy win -- cy spi -- der climbed up the wat -- er spout.
Down came the rain and washed poor In -- cy out.
Out came the sun and dried up all the rain, so
In -- cy win -- cy spi -- der climbed up the spout a -- gain
}
%altoMusic = \relative c'' { }
%altoWords =\lyricmode { }
%tenorMusic = \relative c' { }
%tenorWords = \lyricmode { }
%bassMusic = \relative c' { }
%bassWords = \lyricmode { }
\score {
\new ChoirStaff
\new Lyrics = sopranos { s1 }
\new Staff = women
\new Voice = sopranos { \voiceOne \global \transpose c' c' { \sopMusic } }
% \new Voice = altos { \voiceTwo \global \altoMusic }
%\new Lyrics = altos { s1 }
%\new Lyrics = tenors { s1 }
%\new Staff = men
% \clef bass
% \new Voice = tenors { \voiceOne \global \tenorMusic }
% \new Voice = basses { \voiceTwo \global \bassMusic }
%\new Lyrics = basses { s1 }
\context Lyrics = sopranos \lyricsto sopranos \sopWords
%\context Lyrics = altos \lyricsto altos \altoWords
% \context Lyrics = tenors \lyricsto tenors \tenorWords
% \context Lyrics = basses \lyricsto basses \bassWords
% \new PianoStaff
% \new Staff
% \set Staff.printPartCombineTexts = ##f
% \partcombine
% \global \sopMusic
% \global \altoMusic
%
% \new Staff
% \clef bass
%\set Staff.printPartCombineTexts = ##f
%\partcombine
% \global \tenorMusic
% \global \bassMusic
%
%
%
\layout {
\context {
% a little smaller so lyrics
% can be closer to the staff
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
}
}
}
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transposing etc
Greetings,
Having spent some considerable time reading the various manuals, and
applying the information gleaned therefrom to the choir ensemble
template in order to enable transposing to suit the wants of a 'client',
I would like feedback on the way I have achieved the required result.
The first, probably naive, attempt was to simply 'wrap' the entire
template with \transpose 'from' 'to' { the template } which gave a
variety of error messages, possibly because I might have incorrectly
positioned a } or { , or something...!
Subsequent trial and error, following the examples provided in the
Notation Reference, eventually lead to the following 'arrangement' -
the ' \key ' entry is moved from the 'global' definition to each of the
partMusic definitions
the ' \transpose ' entry is added to each ' \new voice ' immediately
before the ' \partMusic ' in the \score section.
(I hope this is clear enough)
It seems necessary to do it this way as Lilypond seems to follow a
process method where a later instruction overrides an earlier one - I
think?!?
Firstly, is the ensemble template appropriate if one wishes to enable
subsequent transposing?
Secondly, is the method I've outline above the best way to do it?
As an aside - could readers comment on how they arrange their workflow
when transcribing scores from hand written originals (which is what I am
cureently doing) - do you enter all the notes first to check the
accuracy of note entry, then add articulations, markups etc later, or do
you enter each note with its ties, slurs, markups, etc as you proceed
through the piece? Any comments would be gratefully received.
Many thanks
Bill
--
43 Main St
Weston
Oamaru 9401
New Zealand
(064)(03) 4349478
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lilypond v12 download links
Greetings, The links on the LP site for downloading the latest version seem to be incorrect... ?!? Can anyone clarify / correct this? Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond v12 download links
Dear Francisco, Many thanks! Regards Bill Francisco Vila wrote: 2008/12/28 Bill Mooney mooney...@aim.com: Greetings, The links on the LP site for downloading the latest version seem to be incorrect... ?!? Can anyone clarify / correct this? I reported this to the -devel list yesterday. Use this link in the meantime: http://lilypond.org/download/binaries/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
garbled lyrics
Hi Kenny,
I'm not sufficiently au faix with all the aspects of Lilypond to say why
the text gets garbled... I suspect it is to do with the use of 'melisma'
in the music parts, and possibly with the way the 'score' is set up to
deal with the text entry.
I have attached a re-worked version using an adaptation of the SATB
template provided in the LP docs. note that I have %-out the lines with
'melisma' in, and have placed the simple music expression immediately
under them.
Perhaps it will provide you with some clues of how to fix your version
I hope this is of help
Regards
Bill
\version 2.10.33
\include english.ly
#(set-default-paper-size letter)
\header
{
title = He Has Made Me Glad
subtitle = (I Will Enter His Gates)
}
global =
{
\time 2/2
\key ef \major
}
% soprano
sopMusic = \relative c'
{ %\global
%\stemUp
\partial 2 ef4 g4 |
bf4 bf2 bf4 |
c2 c4 c4 |
bf4 bf4 g4 f4 |
ef2 ef4 g4 |
bf4 bf2 bf4 |
c2 c2 |
%\melisma \slurUp c4( bf2.) \melismaEnd |
c4( bf2.)
r2 ef,4 g4 |
bf4 bf4 bf4 bf4 |
c2 c4 c4 |
%bf2 \melisma g4( f4) \melismaEnd |
bf2 g4( f4)
ef2. g4 |
af4. af8 af4 g4 |
f4 f4 ef4 d4 |
%\tieUp \melisma ef1~ |
ef1~
%ef2 \melismaEnd r2 |
ef2 r2
bf'4 bf4 bf4 bf4 |
c1 |
bf4 bf4 bf4 g4 |
ef2. g4 |
af4. af8 af4 g4 |
f4 f4 ef4 f4 |
%\melisma g2( af2 |
g2( af2
%bf1) \melismaEnd |
bf1)
bf4 bf4 bf4 bf4 |
c1 |
bf4 bf4 bf4 g4 |
ef2. g4 |
af4. af8 af4 g4 |
f4 f4 ef4 d4 |
%\melisma ef1~ |
ef1~
%ef2 \melismaEnd
ef2
\bar |.
}
noFlag = \once\override Stem #'flag-style = #'no-flag
% alto
altoMusic = \relative c''
{ %\global
%\stemUp
\partial2 \skip2 |
g4 g2 g4 |
af2 af4 af4 |
g4 g4 \skip2 |
\skip1 |
g4 g2 g4 |
af2 af2 |
\skip1 |
\skip1 |
g4 g4 g4 g4 |
af2 af4 af4 |
g2 \skip2 |
\skip1 |
\skip1 |
\skip1 |
\skip1 |
\skip1 |
g4 g4 g4 g4 |
af1 |
g4 g4 g4 \skip4 |
g,4\rest bf2 ef4 |
ef4. \noFlag ef8 \skip2 |
d4 d4 c4 d4 |
ef2 ef2 |
ef1 |
g4 g4 g4 g4 |
af1 |
g4 g4 g4 g |
g,4\rest bf2 ef4 |
ef4. \noFlag ef8 \skip2 |
d4 d4 c4 bf4 |
bf1~ |
bf2 \partial 2
}
% tenor
tenorMusic = \relative c'
{ %\global
\partial2 \skip2 |
ef4 ef2 ef4 |
ef2 ef4 ef4 |
ef4 ef4 bf4 af4 |
g2 \skip2 |
ef'4 ef2 ef4 |
ef2 ef2 |
ef4 d2. |
\skip1 |
ef4 ef4 ef4 ef4 |
ef2 ef4 ef4 |
ef2 \stemDown d2 \stemNeutral |
c2. bf4 |
c4. \noFlag c8 c4 bf4 |
af4 af4 g4 f4 |
g1 ~ |
g2 \skip2 |
ef'4 ef4 ef4 ef4 |
ef1 |
ef4 ef4 ef4 \skip4 |
g,4\rest g2 bf4 |
c4. \noFlag c8 c4 bf4 |
af4 af4 af4 g4 |
\melisma bf2 bf2 |
bf1 \melismaEnd |
ef4 ef4 ef4 ef4 |
ef1 |
ef4 ef4 ef4 \skip4 |
g,4\rest g2 bf4 |
c4. \noFlag c8 c4 bf4 |
af4 af4 af4 af4 |
\melisma g1~ |
g2 \melismaEnd
}
% Bass
bassMusic = \relative c,
{ %\global
\partial 2 r2 |
ef2 g2 |
af2 c2 |
ef,2 bf'2 |
ef2 bf2 |
ef,2 g2 |
af2 af2 |
bf2 f2 |
bf4 bf4 c4 d4 |
ef2 g,2 |
af2 af2 |
ef2 b'2 |
c2 bf?2 |
af2 af2 |
bf1 |
ef,2 bf'2 |
ef4 bf4 c4 d4 |
ef,2 bf'2 |
af1 |
ef2 ef'2 |
c1 |
f,1 |
bf1 |
ef,2 f2 |
g2 ef'2 |
ef,2 bf'2 |
af1 |
ef2 ef'2 |
c1 |
f,1 |
bf1 |
ef,2 bf'2 |
ef2
}
sopWords = \lyricmode
{
I will en -- ter His gates with thanks -- giv -- ing in my heart,
I will en -- ter His courts with praise._
I will say, \This is the day that the Lord has_ made.
I will re -- joice for He has made me glad\
He has made me glad
He has made me glad
I will re -- joice for He has made me glad
He has made me glad
He has made me glad
I will re -- joice for He has made me glad
}
\score {
%
\new ChoirStaff
\new Staff = women
\set Staff.instrumentName = \markup { \column {S A } }
%\new Lyrics = sopranos { s1 }
\new Voice =
sopranos { \voiceOne \global \sopMusic }
\new Voice =
altos { \voiceTwo \global \altoMusic }
\new Lyrics = sopranos { s1 }
\new Staff = men
\set Staff.instrumentName = \markup { \column {T B } }
\clef bass
\new Voice =
tenors { \voiceOne \global \tenorMusic }
\new Voice =
basses { \voiceTwo \global \bassMusic }
\context Lyrics = sopranos \lyricsto sopranos \sopWords
%\new PianoStaff
%
%\set PianoStaff.instrumentName = Organ
%\new Staff = upper { \global \upper }
%\new Staff = lower { \clef bass { \global \lower } }
%
%
%\layout {
%\context {
% a little smaller so lyrics can be closer to the staff
%\Staff
%\override VerticalAxisGroup #minimum-Y-extent = #'(-3 . 3)
% }
% }
}
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an innocent's query :)
Greetings All, I am a newcomer to the list, and to Lilypond. Notwithstanding this I am finding LP very satisfying to use and am currently setting some hand-notation music for a friend - from which activity rises my query. Would it be worthwhile to consider changing the way LP 'reads' its input files to allow the use of UpperCase letters for the notes? It seems to me, in my innocence, that this would allow, amongst other things, a change to the way sharps/flats etc are dealt with ( eg Aa = A-sharp, aA = A-flat, and other one-key-strokes for quarter-tones, etc, etc... ), and might lead to dropping the need for the various 'language' include files. It would also make global replacements of one particular note very easy (if perhaps in notating handwritten score by someone who is not very accurate in their note placement! ). Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Placing \score within \markup (?)
Hi Frederick, Placing a separate bit of music in a \markup is possible - do a search on the doc file at the LP site --- but could I suggest that a possibly 'better' way is to have two separate \score statements in your file? chant music bits = whatever da-da-da-da response music bits = whateverelse da da da da \score - - - whatever \score - - - whateverselse there's something in the docs about this as well. From memory there are no limits to the number of \score statements in a file. I don't have any paperwork with me at the moment otherwise I'd give you chapter and verse - to coin a phrase! :) Regards Bill ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
