Re: Vertical alignment of RehearsalMarks

[Dominic]

Hi Peter,

I would suggest the following series of overrides to the
/Score.RehearsalMark/ object:

/\override RehearsalMark.outside-staff-priority = ##f
\override RehearsalMark.Y-offset = #0
\override RehearsalMark.extra-offset = #'(-2 . -0.5)/

This will effectively disable collision avoidance, set the marks on the
middle staff line, and then perform a final aesthetic adjustment as you
desire.

Hope this helps!

Dom





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Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi all,

It is a quite good solution for now, and as you said, inter-lyric gaps are 
still there.
For my current situation I could live with it, but it's far from perfect.

I can reduce the spacing between the system to a very small amount via (padding 
. 0.0) in
system-system-spacing. But then the distance between chords and the 
corresponding lyrics
is relatively big (like setting the above padding to 2.0). Which spacing 
setting can be
used to reduce this spacing?

Kind regards
Dominic


On 11.12.19 15:21, Kieren MacMillan wrote:
> Hi Aaron,
> 
>> I would probably use a \paper section like this to evenly spread lines 
>> across the page:
> 
> Hmmm… As a typesetter, I would much prefer in this case to have ragged-bottom 
> = ##t, and then deal with the “line leading” properly/correctly. I’ll poke 
> around to see if that can be done well.
> 
> And of course the inter-lyric gaps still need handling/fixing…
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer (he/him/his)
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 
> 

Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi Kieren,

we're coming closer! But running your snippet as-is through lilypond I still 
have some
gaps (see attached screenshot).

Now they are (probably) no more between chords and lyrics but between the whole 
lines.

Using annotate-spacing I see that there is a greater "extra dist 
(system-system-spacing)"
between some lines. In most lines it is less than 2, but the two gaps have 5.21 
or 27.86.
How can I reduce those? I can't find a reason for those gaps being that big ...

Kind regards
Dominic



On 10.12.19 18:11, Kieren MacMillan wrote:
> Hi Dominic,
> 
>> Hi Jaap,
>> this is really great!
> 
> I agree!
> 
>> Now I have the problem that in *some* lines the chords are very far away 
>> from the lyrics
>> whereas in most lines, they are positioned very well.
>>
>> Do you have any idea what's the reason for this and how I could solve it?
> 
> There were two issues: the basic- and minimum-distances as set, and the page 
> height. The following modified snippet fixes both (I think?).
> 
> %%%  SNIPPET BEGINS
> \version "2.18.2"
> 
> \paper {
> indent = 0
> paper-height = 120\in
> ragged-right = ##t
> system-system-spacing = #'((basic-distance . 6) (minimum-distance . 6) 
>   (padding . 2.5) (stretchability . 0))
> score-system-spacing.padding = #12
> }
> 
> lyricsbreak = \tag #'lyricsheet { \bar "" \break }
> 
> verseOne = \lyricmode {
> \set stanza = "1. "
> Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy 
> eirmod \lyricsbreak
> tempor invidunt ut labore et dolore magna aliquyam erat, sed diam 
> voluptua. \lyricsbreak
> At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd 
> \lyricsbreak
> gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. 
> \lyricsbreak
> }
> 
> verseTwo = \lyricmode {
> \set stanza = "2. "
> Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy 
> eirmod \lyricsbreak
> tempor invidunt ut labore et dolore magna aliquyam erat, sed diam 
> voluptua. \lyricsbreak
> At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd 
> \lyricsbreak
> gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. 
> \lyricsbreak
> }
> 
> 
> harmonies = {
> \chordmode { \set majorSevenSymbol = \markup { "maj7" }
>  s4 f2 c bes2 g:m7 f d:m g:m c f c bes g:m7 f d:m % p.1 
>  g:m c f c bes g:m7 f d:m g:m c f c bes g:m7 f d:m c4 f 
> }
> }
> 
> melody = \relative c'' {
> \key f \major
> \time 4/4
> \partial 4
> \autoBeamOff
> 
> a8 bes | c8. bes16 a bes c8~ c4 a8 bes | c4 c16 c d8~ d f, f g |
> a4 f8 g a4 bes8 a | a g16 g~ g f g8~ g4 a8 bes16 c~ |
> c4 a16 bes8 c16~ c4 r8 a16 bes | c4 c8 c16 d~ d8 f, f g | a4 r8 f16 g a4 
> bes16 a8.
> 
> % p.2:
> f8 g~ g4 r a8 bes | c bes a16 bes8. c4 r8 a16 bes | c8 c c c d f, r f16 g 
> |
> a4 r8 f16 g a4 bes16 a f f | g2 r8. f16 a8 bes | c4 r8 a16 bes c8. a16 a8 
> bes16 c~ |
> c16 c c8~ c16 c d8 r8. f,16 f8 g | \time 6/4 
> a8. g16 f8 g a16 a8. a16 bes8. a8 g f4 | R1. | \time 4/4
> r2 r4 a8 bes | c c a16 bes8 c16~ c4 r8 a16 bes |
> \bar "|."
> }
> 
> \layout {
> \context {
> \ChordNames
> \override ChordName.font-name = #"Alegreya Medium"
> \override VerticalAxisGroup.staff-affinity = #DOWN
> \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
> #'((basic-distance . 1) (minimum-distance . 1) (padding . 1) 
> (stretchability . 0))
> }
> \context {
> \Lyrics
> \override LyricText.font-name = #"Alegreya"
> \override VerticalAxisGroup.staff-affinity = #UP
> \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
> #'((basic-distance . 1) (minimum-distance . 1) (padding . 1) 
> (stretchability . 0))
> }
> }
> 
> 
> \score {
> <<
> \new ChordNames \harmonies
> \new RhythmicStaff {
> \new NullVoice \melody
> \addlyrics { \verseOne \verseTwo }
> }
> >>
> 
> \layout {
> \set RhythmicStaff.explicitKeySignatureVisibility = #all-invisible
> \set Staff.printKeyCancellation = ##f
> \context { 
> \RhythmicStaff
> \remove "Time_signature_engraver"
> \remove "Bar_number_engraver"
> \remove "Bar_engraver"
> \ov

Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi Jaap,

this is really great! It is now very close to what I need (but better without 
the use of
LyricText.Y-offset).

Now I have the problem that in *some* lines the chords are very far away from 
the lyrics
whereas in most lines, they are positioned very well.

Do you have any idea what's the reason for this and how I could solve it?

Kind regards
Dominic



On 10.12.19 15:14, lilyp...@de-wolff.org wrote:
> 
> 
>> -Original Message-----
>> From: Dominic Sonntag 
>> Sent: Tuesday, December 10, 2019 8:44 AM
>> To: lilyp...@de-wolff.org
>> Cc: lilypond-user@gnu.org
>> Subject: Re: How to remove all notes and only show Chords and Lyrics?
>>
>> This is really quite close, but can I remove that horizontal line and bring 
>> the
>> chords and lyrics closer together?
>>
>>
>> On 07.12.19 15:50, lilyp...@de-wolff.org wrote:
>>>
>>>
>>>> -Original Message-
>>>> From: lilypond-user
>>>> 
>>>> On Behalf Of Dominic Sonntag
>>>> Sent: Friday, December 6, 2019 11:08 AM
>>>> To: lilypond-user@gnu.org
>>>> Subject: How to remove all notes and only show Chords and Lyrics?
>>>>
>>>> Hi,
>>>>
>>>> in a special case I need a "score" with notes, only chords and
>>>> lyrics. A basic example is
>>>> this:
>>>>
>>>> \version "2.19.82"
>>>> \score { <<
>>>> \new ChordNames { s4 f2 c }
>>>> \new Staff {
>>>> \relative c' {
>>>> \partial 4
>>>> \time 4/4
>>>> \key f \major
>>>> f8 g | f4. e16 d e c8~ c4
>>>> }
>>>> }
>>>> \addlyrics { It's not time to make a change, }
>>>>>> }
>>>>
>>>>
>>>> I want the notes and clefs and barlines etc. (the whole staff) not to
>>>> be shown, but the lyrics should still take the time the notes have.
>>>> In this little example, the result should look something like this:
>>>>
>>>>  F  C
>>>> It's not time to make a change,
>>>>
>>>> or see my attached image.
>>>>
>>>> How can I achieve this? (Maybe with the least effort on changing the
>>>> input as it is a long
>>>> song.)
>>>>
>>>> Kind regards
>>>> Dominic
>>> [>]
>>> This is not exactly what you want, but it is close:
>>> \version "2.19.82"
>>>
>>> \layout {
>>>   \set RhythmicStaff.explicitKeySignatureVisibility = #all-invisible
>>>   \set Staff.printKeyCancellation = ##f
>>> \context {
>>> \RhythmicStaff
>>>   \remove "Time_signature_engraver"
>>>   \override Clef.break-visibility = #all-invisible
>>> }
>>> }
>>>
>>>
>>> \score { <<
>>> \new ChordNames { s4 f2 c }
>>> \new RhythmicStaff {
>>>   \new NullVoice
>>> \relative c' {
>>> \override Score.BarLine.stencil = ##f
>>> \partial 4
>>> \time 4/4
>>> \key f \major
>>> f8 g | f4. e16 d e c8~ c4
>>> }
>>> }
>>> \addlyrics { It's not time to make a change, }
>>>>> }
>>>
>>>
> [>] 
> 
> Try:
> \layout {
>  \context { 
>  \RhythmicStaff
>\remove "Time_signature_engraver"
> \override StaffSymbol.line-count = #'0
>  }
>  \context {
>\Lyrics
>\override LyricText.Y-offset = #10.0
>  }
>  }
> 
> You can play with the Y-offset, if it is to close for you
> Jaap
> 
\version "2.18.2"

\paper {
indent = 0
ragged-right = ##t
system-system-spacing = #'((basic-distance . 6) (minimum-distance . 6) 
  (padding . 2.5) (stretchability . 0))
score-system-spacing.padding = #12
}

lyricsbreak = \tag #'lyricsheet { \bar "" \break }

verseOne = \lyricmode {
\set stanza = "1. "
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod \lyricsbreak
tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. \lyricsbreak
At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd \lyricsbreak
gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. \lyrics

Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi Kieren,

thanks for this hint. I checked it and it looks *quite* good, but there is a 
problem that
chords are out of alignment.

I created a "minimal" example (which doesn't fit into ten lines because of the 
layout
setup part) you can find attached and the result.

As you can see, the chords in the second version (without notes) are always a 
bit late,
they should appear more to the left.

Do you have an idea how to solve this?

Best regards
Dominic



On 06.12.19 22:59, Kieren MacMillan wrote:
> Hi Dominic,
> 
>> in a special case I need a "score" with notes, only chords and lyrics.
> 
> Have you looked through the archives for related threads (e.g., 
> https://lists.gnu.org/archive/html/lilypond-user/2018-12/msg00111.html)?
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer (he/him/his)
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 
> 
\version "2.19.82"

verseOne = \lyricmode {
\set stanza = "1. "
it's a test to make a score that just works
but it does not fit
}

harmonies = {
\chordmode { s4 f2 c bes2 g:m7 }
}

melody = \relative c'' {
\time 4/4
\partial 4
a8 a | a8. a16 a a a8~ a4 a8 a | a4 a16 a a8~ a a a
}

\layout {
\context {
\ChordNames
\override ChordName.font-name = #"Alegreya Medium"
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 2.5) (minimum-distance . 2.5) (padding . 1.25) (stretchability . 0))
}
\context {
\Lyrics
\override LyricText.font-name = #"Alegreya"
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 5.5) (minimum-distance . 5.5) (padding . 1.25) (stretchability . 0))
}
\context {
\ChordNames
\name LyricSheetChords
\alias ChordNames
\inherit-acceptability LyricSheetChords ChordNames
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 1) (minimum-distance . 1) (padding . 1) (stretchability . 0))
}
\context {
\Lyrics
\name LyricSheetLyrics
\alias Lyrics
\inherit-acceptability LyricSheetLyrics Lyrics
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 3) (minimum-distance . 3) (padding . 2) (stretchability . 0))
\override LyricText.self-alignment-X = #-0.9
\override LyricSpace.minimum-distance = #0.625
\override LyricSpace.minimum-length = #0.5
} 
}

\score {
<<
\new ChordNames \harmonies
\new Staff \new Voice = "melody" \melody
\new LyricSheetLyrics \lyricsto "melody" { \verseOne }
>>
}

\score {
<<
\new ChordNames \harmonies
\new Devnull = "melody" \melody
\new LyricSheetLyrics \lyricsto "melody" { \verseOne }
>>
}

Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

This is really quite close, but can I remove that horizontal line and bring the 
chords and
lyrics closer together?


On 07.12.19 15:50, lilyp...@de-wolff.org wrote:
> 
> 
>> -Original Message-
>> From: lilypond-user 
>> On Behalf Of Dominic Sonntag
>> Sent: Friday, December 6, 2019 11:08 AM
>> To: lilypond-user@gnu.org
>> Subject: How to remove all notes and only show Chords and Lyrics?
>>
>> Hi,
>>
>> in a special case I need a "score" with notes, only chords and lyrics. A 
>> basic
>> example is
>> this:
>>
>> \version "2.19.82"
>> \score { <<
>> \new ChordNames { s4 f2 c }
>> \new Staff {
>> \relative c' {
>> \partial 4
>> \time 4/4
>> \key f \major
>> f8 g | f4. e16 d e c8~ c4
>> }
>> }
>> \addlyrics { It's not time to make a change, }
>>>> }
>>
>>
>> I want the notes and clefs and barlines etc. (the whole staff) not to be 
>> shown,
>> but the lyrics should still take the time the notes have. In this little 
>> example, the
>> result should look something like this:
>>
>>  F  C
>> It's not time to make a change,
>>
>> or see my attached image.
>>
>> How can I achieve this? (Maybe with the least effort on changing the input 
>> as it
>> is a long
>> song.)
>>
>> Kind regards
>> Dominic
> [>] 
> This is not exactly what you want, but it is close:
> \version "2.19.82"
> 
> \layout {
>   \set RhythmicStaff.explicitKeySignatureVisibility = #all-invisible
>   \set Staff.printKeyCancellation = ##f
> \context { 
> \RhythmicStaff
>   \remove "Time_signature_engraver"
>   \override Clef.break-visibility = #all-invisible
> }
> }
> 
> 
> \score { <<
> \new ChordNames { s4 f2 c }
> \new RhythmicStaff {
>   \new NullVoice
> \relative c' {  
> \override Score.BarLine.stencil = ##f
> \partial 4
> \time 4/4
> \key f \major
> f8 g | f4. e16 d e c8~ c4
> }
> }
> \addlyrics { It's not time to make a change, }
>>> }
> 
> 

How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi,

in a special case I need a "score" with notes, only chords and lyrics. A basic 
example is
this:

\version "2.19.82"
\score { <<
\new ChordNames { s4 f2 c }
\new Staff {
\relative c' {
\partial 4
\time 4/4
\key f \major
f8 g | f4. e16 d e c8~ c4
}
}
\addlyrics { It's not time to make a change, }
>> }


I want the notes and clefs and barlines etc. (the whole staff) not to be shown, 
but the
lyrics should still take the time the notes have. In this little example, the 
result
should look something like this:

 F  C
It's not time to make a change,

or see my attached image.

How can I achieve this? (Maybe with the least effort on changing the input as 
it is a long
song.)

Kind regards
Dominic

\magnifyStaff breaks chords with 2nds

[Dominic]

I am using the latest unstable version (2.19.83), but have also tested with
LilyBin (2.19.48).

Here is a tiny example:

/\version "2.19"
\new Staff \with
{ \magnifyStaff #(magstep -0.5) }
\relative { \stemDown 4 }/

The chord contains the interval of a 2nd, so it should have one of its notes
offset to the other side of the stem. When the magstep value is exactly
-0.5, this does not happen. With all other values (that I have quickly
tried), the chord is drawn correctly.

 




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Re: Hairpin 'to-barline' ignored in Dynamics context when grace notes are present?

[Dominic]

Thanks, Torsten! Terminating the hairpin on a spacer grace note is the
solution.



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Hairpin 'to-barline' ignored in Dynamics context when grace notes are present?

[Dominic]

Illustration below:
 

In the upper example, the hairpin stretches all the way to the terminating
dynamic, despite explicitly telling it not to with the 'to-barline'
property.

If I take away the acciaccatura (in the lower example), the problem goes
away, so it must be something to do with that. Inserting a grace skip of
equal size in the dynamics context does not fix the problem.

In an 'emergency' I could explicitly terminate the hairpin on the final note
of the first bar, but that isn't exactly the same (the hairpin should stop
after the last note of the bar but before the barline, not /on/ the last
note.

The following code illustrates the problem:

/\version "2.19"
<<
\relative {
c'2 e4 g | \acciaccatura { a16 b } c4 r r2 |
}
\new Dynamics {
s1 \p \< | s \f
}
>>

<<
\relative {
c'2 e4 g | c4 r r2 |
}
\new Dynamics {
s1 \p \< | s \f
}
>>

\layout {
\context {
\Score
\override Hairpin.to-barline = ##t
}
}/

Any suggestions?



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Re: Subtitle is written in bold, how to make it not bold?

[Dominic]

/subtitle = \markup { \medium "This will not be in bold" }/

is a quick way to get around it. Long term, you could redefine
scoreTitleMarkup and bookTitleMarkup (someone else will tell you where to
find those!)

Dominic



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Re: Why doesn't \once \override NoteColumn.force-hshift work on more than one note in a measure

[Dominic]

I believe it's because the second note does not naturally collide with any
other, and has no cause to be 'forced' out of the way. Instead use /\once
\override NoteColumn.X-offset/ for those notes. I'm sure another user will
explain the technical reasons!



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Re: Line breaks on a "where allowed" basis

[Dominic]

I would use /\autoLineBreaksOff/ just before a passage that must not be
broken, followed by /\autoLineBreaksOn/ where you don't mind it being broken
again.



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BBC SO playing from a Lilypond score

[Dominic]

Hi everyone,

Tonight (7.30pm on BBC Radio 3), the BBC Symphony Orchestra will be giving
the premiere performance of Diana Burrell's 'Concerto for Brass and
Orchestra'. I typeset the score and parts entirely using Lilypond 2.19 a few
months ago. Lilypond helped me achieve lots of things that would have been
very awkward in other software, such as cross-staff stems, tuplets over
barlines, augmented unisons, reliably cued parts, and automatically
calculated page-turns (with rests on the bottom right pages)... all handled
in a completely robust and reliable manner.

I've got absolutely no idea how the piece will sound; I entered it from the
composer's manuscript and never exported a MIDI file.

Image of the first page attached:

<http://lilypond.1069038.n5.nabble.com/file/n197758/page_1_%28small%29.png> 

Dominic



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Re: Slur not accepting \shape corrections

[Dominic]

The \shape command, if I remember correctly, functions like a "\once
\override", so it needs to immediately precede the note to which the slur is
attached, thus:

/\stemUp r8
\shape #'((0 . 0)(0 . 0)(0 . 0)(0 . 0)) Slur
c( g' c e g /



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Re: space the width of key signature

[Dominic]

Why not use StanzaNumbers instead of instrumentName to label verse numbers?
http://lilypond.org/doc/v2.19/Documentation/notation/stanzas



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Re: partially frenched score

[Dominic]

I define the following macros, which I adapted from the LSR some time ago:

/showEmptyStaff = {
  \set Staff.keepAliveInterfaces = #'(
  rhythmic-grob-interface
  multi-measure-rest-interface
  lyric-interface
  stanza-number-interface
  percent-repeat-interface) 
}

unShowEmptyStaff = { \unset Staff.keepAliveInterfaces }/

I hide all empty staves as 'normal', but for the occasional instances where
I want to keep a stave alive for a while, I insert /\showEmptyStaff/. Then
/\unShowEmptyStaff/ at the end of the passage in question to revert to
normal behaviour.



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Workaround for issue 1515?

[Dominic]

I have independently stumbled across what I now now is Issue 1515 "Subdivided
beams are disregarded with \cueDuring".

Here is a (tiny-ish) example based on some code from 2011:

/\version "2.19.39"
music = \relative c'' {
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1 8)
  c16->( \mp d) c c
}
\addQuote music \music
<<
  \new Staff {
*% \set Score.quotedCueEventTypes = #'()*
\cueDuring #"music" #UP s4
  }
  \new Staff {
\new CueVoice
  \quoteDuring #"music" s4
  }
>>/

Uncommenting the bold line above somehow causes *everything* to be
'correctly' quoted, but I want to be able to selectively quote parts - e.g.
not dynamics or slurs or articulations.

Is this an insurmountable bug, or is there a workaround that exists by
inserting some special event type into quotedCueEventTypes?

Thanks,

Dominic



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Re: AutoBeam Behaving Properly?

[Dominic]

Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/



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\breakDynamicSpan in a Dynamics context?

[Dominic]

Hi all!

I was reading the latest Steinberg 'Making Notes' blog, particularly  this
image
<http://blog.steinberg.net/wp-content/uploads/2015/12/piano-dynamics-comparison.png>
 
, and it got me thinking about Lilypond dynamic alignment for piano scores.

I would like some way of having Lilypond automatically produce results as
illustrated in 'Score 2' (my own image below). This would require breaking
up the DynamicLineSpanner into segments (one per bar, in this example). The
command \breakDynamicSpan appears to have no effect, at least not within a
Dynamics context. If I add the dynamics directly to a Staff context (e.g. by
writing /\new Staff << \mel \dyn >>/), then I get a much nicer result, but
the dynamics tend to 'cling' to the top staff, rather than floating neatly
between the two staves.

Can anyone point me in the right direction for how to achieve better results
in a more automatic way?

Many thanks!

Dominic

<http://lilypond.1069038.n5.nabble.com/file/n184789/dynamic-line.png> 

/\version "2.19"

mel = \relative c' {
c,8 8 8 8 8 8 4
c'8 8 8 8 8 8 4
c'8 8 8 8 8 8 4
}

dyn = { \repeat unfold 3 { s2. \pp \< s4 \ff } }

overrides = {
s1
\override DynamicText.Y-offset = #2
\override Hairpin.Y-offset = #2
s1
\override DynamicText.Y-offset = #4
\override Hairpin.Y-offset = #4
s1
}

\markup { "Score 1 (automatic)" }

\score {
<<
\new Staff \mel
\new Dynamics \dyn
\new Staff << \clef bass \mel >>
>>
}

\markup { "Score 2 (manual overrides)" }

\score {
<<
\new Staff \mel
\new Dynamics << \overrides \dyn >>
\new Staff << \clef bass \mel >>
>>
}
/



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Re: How to adjust the padding between a StemTremolo and a NoteHead?

[Dominic]

Thanks everyone!

tisimst, I slightly modified your solution and it seems to work great -
thanks!
For reasons I don't understand, it only changed the first StemTremolo in my
score, but when I changed 'after-line-breaking' to 'before-line-breaking' it
changed all of them.



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How to adjust the padding between a StemTremolo and a NoteHead?

[Dominic]

Hi all,

Consider the following tiny example:

/\version 2.19.23
\relative c' { \time 6/4 c' e,4 q:8 q:16 q:32 q:64 q:128 }/

and its output:
http://lilypond.1069038.n5.nabble.com/file/n179448/StemTremolo.png 

With one slash or two slashes, everything looks fine, but with three or more
slashes, the gap between the top of the NoteHead and the bottom of the
StemTremolo (illustrated with red lines in my image) is too narrow for my
liking. There is clearly some kind of minimum distance that Lilypond is
obeying, but I can't figure out what it is or how to adjust it. I have
looked through the Internals reference and played around with several
properties but without finding a universal solution. Is it a property of the
NoteHead, the Stem, or the StemTremolo?

At the moment I have to laboriously override the Stem.length-fraction on an
individual basis, depending on how many slashes there are, which is not
ideal.

Any ideas?

Thanks,

Dominic



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Re: missing glissando

[Dominic]

This will work:


/\version 2.18.2
\language english
{
  \clef bass c2._ \override Glissando.style = #'trill c4 \glissando | %m81
  \clef treble c c'''8 r2 \bar|. %m82
  }/

You forgot to put the actual \glissando command. Also, I swapped the order
of the notes in the final chord so that the glissando would attach to the
upper note.



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Re: TextSpanner + \mark?

[Dominic]

Lack of easy tempo spanners is one of Lilypond's most prominent weaknesses. A
rall... spanner as a tempo mark for all players is absolutely standard
notation.

Attached is a template I arrived at a while ago with the help of some other
forum users, that solves the problem in most cases, and doesn't require
sacrificing the use of spanners elsewhere.

http://lilypond.1069038.n5.nabble.com/file/n178836/tempo-spanners.png 

tempo-spanners.ly
http://lilypond.1069038.n5.nabble.com/file/n178836/tempo-spanners.ly  



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Tempo spanners

[Dominic]

(Lilypond 2.19.15)

Dear all,

As you can see from the image and the attached file, I have achieved an
independent text/tempo spanner by creating a special context containing only
the spanner and letting the Score context 'accept' it. I only understand
this technique about 70%, as I hacked it together from snippets I found
online.

Unfortunately, the rall... line is 'sitting' on top of an invisible line
created by the existence of the metronome mark. (Removing the metronome mark
allows the spanner to 'fall down' nearer to the staff.)

How can I get both the metronome mark and the tempo spanner to be
interpreted on a single line in the Score context AND still have full
independence of text spanners within individual staffs?

A crude and forced temporary solution would be to do
Score.TextSpanner.Y-offset = #(negative number) on a case-by-case basis, but
in a real-life situation this would not be practical (I am working on an
orchestral score with thousands of bars which needs to be robust)

Any help or insight would be greatly appreciated!

Thanks,

Dominic

http://lilypond.1069038.n5.nabble.com/file/n172220/tempo-spanners.png 
tempo-spanners.ly
http://lilypond.1069038.n5.nabble.com/file/n172220/tempo-spanners.ly  



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Re: Tempo spanners

[Dominic]

Thanks, Kevin - that appears to work perfectly! 



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Re: arpeggio on single note

[Dominic]

I also ran into this problem recently. Here is what I came up with as a
visually acceptable solution:

/\version 2.19
\relative c' {
\once \override Arpeggio.positions = #'(-2 . 1)
\once \override Stem.extra-offset = #'(0 . 1)
\once \override Stem.length-fraction = #0.75
\once \override Flag.extra-offset = #'(0 . 1)
a' \tweak transparent ##t f8\arpeggio
}/

(change the numerical values to your liking)

Basically, I have made a chord (so that the arpeggio has something to attach
to), then I've hidden the lower note, and moved the stem and flag around to
cover up any messiness.



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Re: Adjusting the position of tempo indications

[Dominic]

You probably need to adjust MetronomeMark.padding in the score context rather
than TextScript.padding in the Staff context, thus:
/\override Score.MetronomeMark.padding = #4/



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Tied \afterGrace notes don't work?

[Dominic]

/\version 2.19.15
\new Voice {
\afterGrace R1 { g''8~ } | 1
}/

results in 'warning: unterminated tie' and no tie printed. (Slurring the two
notes, on the other hand, works fine)
Is this a limitation, and if so, what would be a workaround to produce a
visually and functionally identical result?

Thanks,

Dominic



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Re: Tied \afterGrace notes don't work?

[Dominic]

Ah, I figured it out by setting /\set Staff.tieWaitForNote = ##t/ 



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Re: Selectively override padding of glissando lines in chords?

[Dominic]

I'm afraid not. It worked for the original situation when I asked, but I'm
having trouble modifying it to fit this slightly different context, and
don't know how to proceed after much searching. Hopefully there is a
solution.



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Re: Selectively override padding of glissando lines in chords?

[Dominic]

I am a little closer to my goal. I have come up with the following music
function:

/glissIndexPadHack =
#(define-music-function
(parser location index additionalpad normalpad)
(number? number? number?)
#{
\once \override Glissando.bound-details = 
#(lambda (grob) (if (eq? (ly:grob-property grob
'glissando-index) #'index)
'(
(right  (attach-dir . -1)

(end-on-accidental . #t)
(padding . 0.5))
(left   (attach-dir . 1)
(padding . 
*#'additionalpad*))
)
'(
(right  (attach-dir . -1)

(end-on-accidental . #t)
(padding . 0.5))
(left   (attach-dir . 1)
(padding . 
*#'normalpad*))
)
))
#})/

Just one snag! If I replace the variables in bold (above) with literal
values, e.g. 3 and 2, the code compiles and functions perfectly. But if I
compile it as shown above, it seems like my variables are not being
interpreted correctly. So I guess I must have made a syntactical error -
wrong combination of # ' $ characters, perhaps? I tried various combinations
of these characters, and some of them cause the compile to fail, some allow
it to compile, but none allows it to function.

What is the proper way to achieve this? Basically, I want to have individual
control over the bound-details.left.padding values of glissando lines within
a single chord.

Thanks for any help!

(I am using Lilypond 2.19.15)



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Re: Selectively override padding of glissando lines in chords?

[Dominic]

Brilliant - Thanks, David!



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Selectively override padding of glissando lines in chords?

[Dominic]

Minimal example:

/\version 2.19.15
\relative c' {

% === (The following two lines only for cosmetic purposes) ===
\override Glissando.minimum-length = #12
\override Glissando.springs-and-rods = 
#ly:spanner::set-spacing-rods

\override Glissando.color =
#(lambda (grob) (if (eq? (ly:grob-property grob 
'glissando-index) 1) #'red
#'green ))

\override Glissando.bound-details.left.padding =
#(lambda (grob) (if (eq? (ly:grob-property grob 
'glissando-index) 1) 3 0))

aes'' ges f d2. \glissando f d cis b4
}
/
The first (color) override works as expected, but the second (left padding)
has no effect at all. Why is this? All I have changed is the 'color' to
'bound-details.left.padding' and the color values to numerical values.

I only superficially understand the Scheme code (I copied it from
elsewhere), but I cannot guess what the problem might be. If I set
/\override Glissando.bound-details.left.padding/ to an explicit value, it
works, but for all glissando lines rather than just one. Therefore, I would
deduce that the problem lies in my blind modification of the Scheme code.
Can anyone point out the error I am making?

The actual notational problem I'm trying to solve is this: I want glissando
lines to all start from the same horizontal position in a chord, after any
augmentation dots.

As you can see from the image below, the glissando lines' starting points
are based on each notehead, and they go through the augmentation dots. I
thought I would be able to manually fiddle with the left and right padding
of the individual glissando lines, hence my question above, but I have hit a
brick wall.
glissando-dots-chords.png
http://lilypond.1069038.n5.nabble.com/file/n167966/glissando-dots-chords.png  

Thanks for any answers!

Dominic



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Re: slur problem

[Dominic]

The slur should be attached to the end of the 'fis', not the beginning of the
'd', like this:

/fis,1(
\time 3/4
d'2.)/



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Re: Tremolos not working in cued voice

[Dominic]

I just tried it and can't figure it out either! Does anyone else know?



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Re: Tremolos not working in cued voice

[Dominic]

Search the notation reference for quotedCueEventTypes. I'm pretty sure if
you add 'tremolo-event' to the list, it will work as you want it.



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How to have separate \paper variables for different scores in the same book?

[Dominic]

Here is what I want to achieve:

Two small scores (an SATB hymn, followed by an optional descant line) one
after the other on a single page.

My Lilypond file is laid out like this:

/\score {
  % music for the first score here (SATB hymn)
}

\score {
  % music for the second score here (optional descant line)
}

paper {
  system-system-spacing #basic-distance = #20
}/

I want the system-system-spacing variable to apply to the first score only.

I have tried putting the paper block in the first \score block, like this

/\score {
  % music for first score here
  \paper {
% paper variables here
  }
}

\score {
  % music for second score
}/

but it is apparently not allowed.
Neither is putting the system-system-spacing setting inside an individual
score's \layout block.
Neither is putting two \paper blocks, one after each score (the second one
overwrites the value of the first).
If I wrap the first and second scores in their own \bookpart, each with
their own \paper block, then the second score appears on its own page, which
isn't what I want.

What's the best and simplest way to achieve this? Thanks for any
suggestions!

Dominic





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Re: How to have separate \paper variables for different scores in the same book?

[Dominic]

Yes, it compiles but has no effect. I just had a more thorough search online
and it looks like there's no official way to do it - annoying!



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Re: How to have separate \paper variables for different scores in the same book?

[Dominic]

An example of what? I am not reporting a bug, I am asking what the correct
method is to achieve a certain outcome. I listed my attempts in order to
illustrate things I had already tried.

I am using the very latest development version (2.17.26), but I also use the
stable version via lilybin.com (2.16.2) when I am away from my home
computer.

The manual indicates that 'system-system-spacing' should go in a paper
block, and so the following example, as I now know, will not have the
intended effect:

/\score {
\new Staff  \repeat unfold 2 { \repeat unfold 16 { c'4 } \break } 
\layout {
system-system-spacing #'basic-distance = #99
}
}

\score {
\new Staff  \repeat unfold 2 { \repeat unfold 16 { g'4 } \break } 
}

\paper { system-system-spacing #'basic-distance = #16 }/

I was curious to know whether there was a proper way to go about adjusting
system spacing on a score-by-score basis.



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TextSpanner in Score context?

[Dominic]

Hi everyone,

Is there any way that I can make a ralla tempo that is firmly in
the Score context, using MetronomeMarks and TextSpanners? I want the
ralla tempo to appear on the top of the score, not on every single
staff. But I also want to retain the ability to use TextSpanners as normal,
within individual staffs. Is this a possibility? Or, if not, what is the
most elegant alternative way of doing it? I realise that the question of
Tempo spanners has been raised before, but no solution was suggested, to
my knowledge.

I even tried the ludicrous idea of making a fake spanner by having something
like this:
/\repeat unfold 16 { \tempo . s16 }/
but that wasn't great because the dots didn't act as a single line (some of
them were pushed out of the way by high notes)

Any suggestions?

Thanks!

Dominic



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Re: Glissando collides with accidentals

[Dominic]

I believe this bug was finally fixed in the very latest version (2.17.15).
Prior to that I made a macro that adjusted the
Glissando.bound-details.right.padding value temporarily each time, but it
has no use now.



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Re: How to force a superfluous CombineTextScript to be printed?

[Dominic]

Thanks Ian, I'll try that.



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How to tweak/override the individual Glissando objects in a chord?

[Dominic]

Hello all, sorry for the frequent posting but I'm learning a lot!

Here is a small example:
/\relative c' { a'' b c1 \glissando c, d e1 }/

If I wanted to modify those glissando lines (e.g. move one of them slightly
lower), how would I go about doing that without affecting the other two?

/\relative c''' {
\once \override Glissando.extra-offset = #'(0 . -1)
a'' bes c1 \glissando c, d e1
}
/ affects all of them (of course), as does:

/a'' bes c1 -\tweak extra-offset #'(0 . -1) \glissando c, d e1/

/a'' \tweak extra-offset #'(0 . -1) bes c1 \glissando c, d e1/
moves the note itself, but

/a'' \tweak Glissando.extra-offset #'(0 . -1) bes c1 \glissando c, d e1/
has no effect.

What is the correct syntax for accessing the individual Glissando lines
separately?

Cheers everyone!

Dominic



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How to force a superfluous CombineTextScript to be printed?

[Dominic]

Consider the following minimal example:

/\version 2.17.20

fluteOne = \relative c' { \repeat unfold 2 { c'8 d e f g2 | R1*8 } }
fluteTwo = \fluteOne

\score {
\new Staff \with { instrumentName = Flutes }
{ \compressFullBarRests \partcombine \fluteOne \fluteTwo }
}/

If two instruments are playing in unison for a long while, and continue to
do so even following a multi-measure rest, I want a reminder 'a2' to be
printed where they resume (i.e. in the 3rd bar of the example). In a large
orchestral score, it is useful to have reminders even if they are
technically superfluous, especially when the second one is on a different
page. I need a function that effectively says Take whatever the previous
CombineTextScript said, and reprint it at the given location

I have tried explicitly inserting /partcombineUnisono/ or turning
/printPartCombineTexts/ off then immediately on again, in an attempt to jolt
Lilypond into forgetting any prevailing a2 status, but with no luck. A
'messy' last-resort would be for me to go through the entire score (hundreds
of pages) and insert manual pieces of a2 text markup tagged so that they
only showed up in the score, not the parts. Surely there is a more automatic
way than this?

Thanks, everyone!

Dominic



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Dynamics, spacers, and partcombine used at once.

[Dominic]

dynamic-positioning.ly
http://lilypond.1069038.n5.nabble.com/file/n149192/dynamic-positioning.ly 
The following problem occurs with both 2.16.2 (stable) and 2.17.23
(unstable).

My goal is to produce an orchestral score which both
- uses *\partcombine* (e.g. to combine wind and brass instruments on shared
staves)
- has dynamics separately defined and attached to spacers, so that they can
be duplicated in several staves

Here are my observations:
- If the dynamic is attached directly to the note, it is positioned
correctly.
- If it is attached to a spacer, it is positioned too far to the left,
/unless/ the whole construction is explicitly wrapped in *\new Voice*. This
'solves' the problem in simple cases.
- However, when the music consists of *\partcombine*d material, (which mine
does) the dynamics are positioned wrongly, /even/ if I wrap the whole
construction in a *\new Voice*.

The incorrect positioning may seem small, but it causes great problems in a
real-life score, cutting into barlines and looking very odd especially at
the beginnings of bars.

So my question is, how can I get the dynamics to align themselves
'correctly', i.e. as they would be if they were directly attached to the
notes. Putting the dynamics in a Dynamics context is not really an option,
since that will make them align themselves on one line, and I want the
dynamics and hairpins to be snugly under the notes each time. Any ideas? I
am aware that existing 'issues' exist to do with dynamic positioning, but
many of them claim to be 'fixed' - yet they apparently are not.

I have attached a .ly file containing a series of minimal examples to
illustrate the observations I have made above.

Thanks everyone,

Dominic



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Re: Dynamics, spacers, and partcombine used at once.

[Dominic]

Thanks Keith - this works brilliantly. Occasionally the part combiner will 
duplicate dynamics even though they are identical, so once in a while I have to 
force a 'partcombineChords' or 'partcombineUnisono' as necessary, but this is a 
small price to pay. Thanks again.

On 15 Aug 2013, at 06:11, Keith OHara [via Lilypond] 
ml-node+s1069038n149196...@n5.nabble.com wrote:

 Dominic dominicirving at gmail.com writes: 
 
  My goal is to produce an orchestral score which both 
  - uses *\partcombine* 
  - has dynamics separately defined 
 
 To make this go smoothly, you will probably need to keep in mind how 
 \partcombine works. \partcombine takes two music expressions and routes 
 each note into one of four Voices (depending on whether the players are 
 in unison, making chords, or soloI or soloII) and the system is a bit 
 fragile.  If you manage the voices in the expressions that go into 
 \partcombine, that can confuse the system. 
 
 If you include the dynamics in the music for each player as it goes into 
 \partcombine, it will merge the dynamics and keep them attached to the 
 voice that is printing the notes so they are aligned to the notes. 
 
 dd = {s4\p\ s s s\f s1 \bar |.} 
 aa =  
   \dd 
   {e4 f g a b\mf c' d' e'}  
 bb =  
   \dd 
   {c4 d e f }  
 \new Staff { \transpose c c' \partcombine \aa \bb } 
 
 
 
 
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Re: Dynamics, spacers, and partcombine used at once.

[Dominic]

Hi Carl,
I tried that and it does indeed work (at least in my small test example),
but it does seem like it destroys the semantic integrity of the code to have
notes and rests that are not really functioning as notes or rests.
Nevertheless, I'll keep it in mind as a solution to consider in the future
for one-off examples.



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How to repair volta bracket ending?

[Dominic Neumann]

Hello,

I have a song with three different repeat endings and special volta bracket 
text. Everything works fine except the middle volta bracket has no vertical 
line at the right end. Can you please help me with this?

Thanks
Dominic




\version 2.14.2 

voltaI = \markup { 1. 3. 5. }
voltaII = \markup { 2. 4. }
voltaIII = \markup { 6. \text \italic { Fine } }

\score {
\new Staff 
\relative c'' {
g1 |
\repeat volta 3 {
a1 | b1 |
}
\set Score.repeatCommands = #(list (list 'volta voltaI))
c1 |
\set Score.repeatCommands = #(list (list 'volta voltaII) 
'end-repeat)
d1 |
\set Score.repeatCommands = #(list (list 'volta voltaIII) 'volta 
#f) 
\bar ||
e1 |
\set Score.repeatCommands = #'((volta #f))
\bar |.
}

}

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LaTeX font as Lyric font in LilyPond?

[Dominic Neumann]

Hi folks,

is it possible to use the LaTeX font Computer Modern SansSerif (selected by 
\sffamily in LaTeX) as Lyrics font in LilyPond? Probably it is possible, but 
how (under Debian Linux).

I already know the commands to set the font because I already use it under 
Windows sometimes. I use:

#(define fonts
  (make-pango-font-tree Adobe Caslon Pro
Adobe Caslon Pro
Adobe Caslon Pro
(/ myStaffSize 20)))

I does not seem to be installed in the system because with lilypond 
-dshow-available-fonts any I cannot find a font name like Computer Modern.

But how to address the LaTeX font under Linux? 


Thanks
Dominic

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Re: How to create a coda with a gap?

[Dominic Neumann]

Hi Gilles, hi Vincente and all,

thank you both for your answers. They helped me very much.
The only problem that I still have is that the first volta bracket has no end.

I played around with this as you, Gilles, said that using a |. bar the 
bracket has an end line.
So I wrote this:

\override Staff.BarLine #'transparent = ##t
\bar |.
s4
\override Staff.BarLine #'transparent = ##f
\bar ||

This helps! But now there is too much space between the volta end line and the 
|| bar line. I tried changing the duration of the s4 but it didn´t change 
anything.
Then I moved the bar line, the key signature and the segno sign to the left. 
But there are still the staff lines going far too right.

Any ideas how to solve this?

Yours
Dominic

- Ursprüngliche Mail -
Von: Gilles Sadowski gil...@harfang.homelinux.org
An: lilypond-user@gnu.org
Gesendet: Donnerstag, 25. November 2010 00:59:26
Betreff: Re: How to create a coda with a gap?

Hi.

 3. The segno sign is for too high.

Maybe the attached file helps somewhat for this item.

 4. The first volta bracket doesn´t have an end line.

I noticed that using
  \bar |.
prints the vertical end line, while
  \bar ||
does not.


Best,
Gilles

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attachment: codagap.jpg\version 2.12.3

voltaI = \markup { \text \fontsize #2 \sans 1.+2. }
voltaII = \markup { \text \fontsize #2 \sans letzt }

\score {

\new ChordNames \chordmode { es1. c2:sus4 r1 es f g }
\new Staff
\relative c'' {
\key g \major
\time 4/4

\set Score.repeatCommands = #(list(list 'volta voltaI) 'end-repeat)
g8 a g g~ g2~ | g r |
\set Score.repeatCommands = #'((volta #f))
\once \override Staff.BarLine #'transparent = ##t
\bar |.
s4
\once \override Staff.BarLine #'extra-offset = #'(-8 . 0)
\bar ||
\once \override Staff.KeyCancellation #'extra-offset = #'(-8 . 0)
\once \override Staff.KeySignature #'extra-offset = #'(-8 . 0)
\key f \major
\stopStaff
\once \override TextScript #'extra-offset = #'(-10 . 3)
s2.^\markup { \musicglyph #scripts.segno }
\set Score.repeatCommands = #(list(list 'volta voltaII))

\startStaff
\set Staff.printKeyCancellation = ##f
\key g \major
\override Staff.Clef #'full-size-change = ##t
\clef treble
\bar 
g8 a g g~ g2~ | g1~ | g^\fermata |
\set Score.repeatCommands = #'((volta #f))
\bar |.
}

}
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Re: How to create a coda with a gap?

[Dominic Neumann]

this works great!

Thanks
Dominic

- Ursprüngliche Mail -
Von: Robin Bannister r...@dataway.ch
An: Dominic Neumann m...@dominicneumann.de, lilypond-user@gnu.org
Gesendet: Donnerstag, 25. November 2010 10:32:52
Betreff: Re: How to create a coda with a gap?

Dominic Neumann wrote: 
 [...] Gilles, said that using a |. bar the bracket has an end line.

You can make the |. merely look like || by saying  
  \once \override Score.BarLine #'thick-thickness = #1.9


That way you don't need the s4 and the extra-(X-)offsets: 
  \set Score.repeatCommands = #'((volta #f))
  \bar |.
  \once \override Score.BarLine #'thick-thickness = #1.9
  \key f \major
  \stopStaff
  \once \override TextScript #'extra-offset = #'(-2 . 3)
  s1^\markup { \musicglyph #scripts.segno }


Cheers,
Robin

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How to create a coda with a gap?

[Dominic Neumann]

Hi,

I want to produce a special Coda which does not reside on a new line but is 
separated by a gap. You can find the original in the attached file 
examplecoda.jpg.

I already tried for a long time but the result isn´t exactly what I want.
Below you can find a minimal example code which I used to create the attached 
file codalilypond.jpg.

Maybe there is an easy command for creating such a coda gap, but I couldn´t 
find it.

There are still some problems:

1. The second clef is smaller than the first one.
2. The second time signature has a natural symbol in it which should not be 
there.
3. The segno sign is for too high.
4. The first volta bracket doesn´t have an end line.

Can you please help me with that?



Thanks

Dominic



LILYPOND CODE:

\version 2.12.3

voltaI = \markup { \text \fontsize #2 \sans 1.+2. }
voltaII = \markup { \text \fontsize #2 \sans letzt }

\score {

\new ChordNames \chordmode { es1. c2:sus4 r1 es f g }
\new Staff
\relative c'' {
\key g \major
\time 4/4

\set Score.repeatCommands = #(list(list 'volta voltaI) 'end-repeat)
g8 a g g~ g2~ | g r |
\set Score.repeatCommands = #'((volta #f))
\bar || 
\once \override Score.RehearsalMark #'font-size = #-2
\mark \markup { \musicglyph #scripts.segno }
\key f \major
\stopStaff 
s1
\set Score.repeatCommands = #(list(list 'volta voltaII))

\startStaff
\key g \major
\clef treble
\bar 
g8 a g g~ g2~ | g1~ | g^\fermata |
\set Score.repeatCommands = #'((volta #f))
\bar |.
}

}
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simple page break command in lilypond-book?

[Dominic Neumann]

Hi,

is there a simple way to create a page break in a song that is build with 
lilypond-book? \pageBreak doesn´t work there.

Dominic


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Re: Centering chorus between even verses

[Dominic Neumann]

There is only the definition of leftbrace and rightbrace but these are
not used in any place. So they don´t show up. I´ve tried to add
\rightbrace after \dropLyrics which works quite good, but has one
fundamental problem: The brace uses one note as a syllable would.
Maybe someon else has a helping idea ...

2008/11/18, james bailey [EMAIL PROTECTED]:
 Is it just me, or does the brace not show up?

 2008/11/18 Marek Klein [EMAIL PROTECTED]

 Maybe this snippet is what you are looking for:
 http://lsr.dsi.unimi.it/LSR/Item?id=503

 --
 Marek Klein
 http://gregoriana.sk



 2008/11/18 Cordilow [EMAIL PROTECTED]:
 
  Sometimes it's desirable to have the chorus begin on the same system as
 the
  end of the rest of the song. I have a situation where I need to do this.
  Unfortunately, there are an even number of stacked lyric verses (or
 whatever
  you call them). I'd rather have the chorus centered between the two
 verses
  in height, rather than having looking like a continuation of one of the
  verses. Is this possible? I'm trying to mimic what I see printed.
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Re: pdf file

[Dominic Neumann]

Hi Naomy,

please explain what you did to produce a pdf file. If you don´t know
what to do, the Learning Manual is a good starting point:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/index

Dominic

2008/11/12 Naomy Gaudet [EMAIL PROTECTED]:
 i just installed lilypond and i cant get the pdf file

 naomy
 
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Re: Vertical spacing between different verses

[Dominic Neumann]

Hi Simon,

welcome to LilyPond!

 1. Increase vertical spaces between the verses, i.e. the spaces between verse
 one and two and between verse two and three. I want to do that for both the
 soprano lyrics and the lyrics of the accompanying men's choir.

You should you the following layout block. Play around with a and b
(this should be numbers) to achieve what you want:

\layout { \context { \Lyrics \override VerticalAxisGroup
#'minimum-Y-extent = #'(a . b) } }



Dominic


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Re: Three newbie questions

[Dominic Neumann]

Welcome to LilyPond, André!

1) I don´t know, but I´m interested, too!

2) You should set \germanChords or \semiGermanChords to meet your needs.

3) I don´t think, it´s possible to let LilyPond decide how to print
stanzas at the end.

Dominic

2008/11/6 Atte André Jensen [EMAIL PROTECTED]:
 Hi

 I have a couple of questions, that I couldn't figure out in the
 documentation.

 1) If I have a set of chords that I'd like to be printed like this:
 Fm  -/Eb  Bb/D
 how do I then get the dash (-) symbol (meaning repeat the previous chord,
 now with Eb in the bass?

 2) I'm danish, and we write H instead of B. How do I get lilypond to
 write H in a chord instead of B.

 3) When writing a song with lyrics, for instance a Christmas carol, there a
 alot of additional verses. I read 7.3.9.4 Printing stanzas at the end on
 http://lilypond.org/doc/v2.10/Documentation/user/lilypond-big-page#Vocal-music,
 but that a) seems cumbersome b) doesn't seem to allow spacing between verses
 and c) is in one column. Ideally I'd like to simply enter the additional
 verses in raw text, and have lilypond figure out how to place them, for
 instance by looking at blank lines (separating verses) which in case of 5
 additional verses should be like this (centered):

 2. this is  4. this is
   verse two   verse four

 3. this is  5. this is
   verse three verse five

   6. this is
  verse six

 If the lines are too long it should be printed like this (centered):

 2. this is verse two
   with a looong line

 3. this is verse three
   with a looong line

 4. this is verse four
   with a looong line

 5. this is verse five
   with a looong line

 6. this is verse six
   with a looong line

 I hope my questions are clear, and sorry if I overlooked it in the manual.

 --
 Atte

 http://atte.dkhttp://modlys.dk


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Re: Formatting of lyric syllables

[Dominic Neumann]

Hi Till,

to let the stanza number appear bold, just write

\set stanza = 4. 

before syllable.

 The issue is, that when having 4 repeats with 2 voltas, the fourth stanza

Do you mean 4 verses in a repeat with two voltas?
Please provide us a little example.


Dominic


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Re: Formatting of lyric syllables

[Dominic Neumann]

I updated your file a bit and hope that it is what you wanted.

I added  at the end of the lyrics of stanza 3. This shifts the
fourth verse to the place you wanted.
Additionally I replaced the first underline in the fourth verse by 
for layout reasons. If you keep the underline, the syllable before is
placed too much to the right (here in 2.11.51).

Then I replaced (4.) by the \set stanza command I already mentioned.

Dominic


2008/11/6 Till Rettig [EMAIL PROTECTED]:
 Bailey James E. schrieb:

 Aha! this one I know.
 music = \new Voice = stimme \relative {
   c4 d e f
   g a h c
 }

 lyrik = \new Lyrics \lyricsto stimme {
   do \override Score . LyricText #'font-shape = #'italic re \revert Score
 . LyricText #'font-shape mi fa
   sol la \override Score . LyricText #'font-series = #'bold ti \revert
 Score . LyricText #'font-series do
 }

 \score {
   
  \music
  \lyrik
   
 }

 In end effect, I always have to consult the font-interface to know where
 the bold or italic is, but it's not so difficult.


 Thanks, this is about what I figured out also, but what I need would be
 \override Score . LyricText #'font-shape = #'italic re \revert Score .
 LyricText #'font-shape mi
 that is: both syllables to one note! And as you can try, it just prints
 everything verbatim.
 I add a longer example as an indication.

 Till


\version 2.11.51





sopran = \relative c'' {  
b8 a c b a g fis4\fermata |
e2. r4\fermata
\new Voice = versesopran { \voiceOne
\repeat volta 4 {
e4 e8 fis g4 g8 a a4. b8 b2 |
d2 b | a8 b c a b2 |
b8 c d e b2
a8 g a b g2 \break }
\alternative{
{a8 g a b c4 a8 g |
fis4. e8 e2 
} {
a8 g a b c4 a8 g |
fis4. e8 e2 
}
}
}
e2\( e\)\fermata 
\bar |.
}

haupt = \lyricmode {
Uu __ _ _ _ _ _ _ _ 
Oo -- aa
}

obertexteins = \lyricmode {
\set stanza = 1.
Hei -- nil -- lä här -- ki -- en kau -- ka -- lon
nuk -- kuu
lap -- si vi -- a -- ton.
%Refrain
En -- kel -- par -- ven tie
koh -- ta  luok -- se vie
rak -- ka -- ut -- ta suu -- rin -- ta kat -- so -- maan.

}

obertextzwei = \lyricmode { \set stanza = 2.
%\skip 1*2 En -- tre les deux bras \skip 8 de Ma -- rie
%dort, dort, 
%dort le fruit de vie.
Hel -- mas -- sa äi -- tin -- sä ar -- ma -- han
nuk -- kuu poi -- ka Ju -- ma -- lan.
%Refrain
En -- kel -- par -- ven tie
koh -- ta  luok -- se vie
rak -- ka -- ut -- ta suu -- rin -- ta kat -- so -- maan.

}

obertextdrei = \lyricmode {
\set stanza = 3.
Kes -- kel -- lä lil -- jain ja ruu -- su -- jen
nuk -- kuu Her -- ra ih -- mis -- ten.
En -- kel -- par -- ven tie
koh -- ta  luok -- se vie
rak -- ka -- ut -- ta suu -- rin -- ta kat -- so -- maan. 
}

obertextvier = \lyricmode { \set stanza = 4.
Ris -- til -- lä rin -- nal -- la ryö -- vä -- rin
nuk -- kuu uh -- ri puh -- ta -- hin.
En -- kel -- par -- ven tie
koh -- ta  luok -- se vie 
%Skip zu Klammer vier
 _ _ _ _ _ _ _ _ _
\set stanza = 4. 
rak -- ka -- ut -- ta suu -- rin -- ta kat -- so -- maan.
}



\score {

  
   \new Staff = women 
  { \new Voice = sopranos
\voiceOne \sopran 
  }
  
  
  
   \new Lyrics = Haupt \lyricsto sopranos \haupt
   \context Lyrics = Haupt \lyricsto versesopran 
 \obertexteins
   \new Lyrics = verse2 \lyricsto versesopran
  \obertextzwei
   \new Lyrics = verse3 \lyricsto versesopran 
  \obertextdrei
   \new Lyrics = verse4 \lyricsto versesopran
  \obertextvier


   } 
  
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Re: Why do so many newcomers post to bug-lilypond?

[Dominic Neumann]

2008/11/4 fiëé visuëlle [EMAIL PROTECTED]:

 Am 2008-11-04 um 21:10 schrieb Mats Bengtsson:

 fiëé visuëlle wrote:

 Regarding those newbies who are looking for a GUI:

 Why don't we publish a screenshot or two?

 Users are looking for screenshots if they evaluate a new application (at
 least I do), and if we show a shot of a terminal window of a LilyPond
 session and another of some text editor with a piece of score, and add a
 comment like yes, that's how LilyPond looks, perhaps we could reduce those
 noob questions a bit.

 The only problem is that the screenshot will look very
 different depending on what your favorite text editor
 looks like. For Windows, we could certainly show a
 screenshot using the Lilypad editor, but it's far from the
 best editor. If you want selling screenshots, see
 http://lilypondtool.organum.hu/demo.html

 The editor doesn't matter. It's important to show a command line.

I don´t agree. If I have jEdit and LilyPondTool I DON´T NEED the command line.
So why should we shock newcomers with a command line?
I know two people using LilyPond to typeset beautiful music who are
not familiar with the command line, maybe they even don´t know what
exactly the command line is used for.


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Re: urgent: people for a fair-copy needed

[Dominic Neumann]

I could help, too. But I also wouldn´t do it for such a low price if
it wasn´t published under such a license Valentin mentioned. If it was
to be published as a book where they earn money with, there should be
more money to get ...

Dominic

2008/10/25 Valentin Villenave [EMAIL PROTECTED]:
 2008/10/25 Stefan Thomas [EMAIL PROTECTED]:

 He and his team have already done this work but the datas got lost. So, he
 is really in a very bad situation and searches for people that could help
 him.

 I can help a bit, but I need to know what the license of the published
 score would be. I am willing to help if the finished score can be
 published as a Free work, as defined by freedomdefined.org (and
 therefore shared on mutopiaproject.org and everywhere else).

 Regards,
 Valentin


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Re: How to stop melisma line?

[Dominic Neumann]

Hi Dmytro,

replace uplyr by the following:

uplyr = \lyricmode {
 la -- la -- la -- la __  _ _
 la -- la -- la
}


You should know, that _ does the same as \skip 1, but is easier to write.

Hope this helps!

Dominic



2008/9/29 Dmytro O. Redchuk [EMAIL PROTECTED]:
 Hi, all.

 In vocal scores i often put soprano and alto in one staff
 and use soprano lyrics with a lot of skips, so soprano has lyrics only
 if it differs from alto's lyrics.

 Please, masters, take a look at this fragment -- melisma line in soprano voice
 extends too far, over skips, rests and skips again:

 \version 2.11.42  % is this the problem?

 upper = \relative c'' {
  c4 c c c ~
  c1 ~
  c4 c -skip! r c -skip!
  c4 -skip! c c c
 }

 lower = \relative a' {
  a4 a a a
  a a a a
  a a a a
  a a a a
 }

 uplyr = \lyricmode {
  la -- la -- la -- la __
  \repeat unfold 3 { \skip 1 }
  la -- la -- la
 }

 lolyr = \lyricmode {
  la -- la -- la -- la,
  la -- la -- la -- la,
  la -- la -- la -- la,
  la, la -- la -- la!
 }

 \score {
  \new Staff = staff 
\new Voice = upper { \voiceOne \upper }
\new Lyrics \with { alignAboveContext = staff } \lyricsto upper \uplyr
\new Voice = lower { \voiceTwo \lower }
\new Lyrics \lyricsto lower \lolyr
  
 }

 Thank you.

 --
 Dmytro O. Redchuk


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Re: Hidden rests without visible space

[Dominic Neumann]

I´m not sure what you exactly want, but maybe you can give us a short
.ly example?

You could try to use s followed by the value of the invisible rest.

Dominic

2008/9/4 Aaron Dalton [EMAIL PROTECTED]:
 Is it possible to create hidden rests that do not create visible space?  I
 have used skips to layout a series of variations but there is far too much
 white space around the barlines separating variations.  I am hoping to find
 a way to still use skip but greatly compress the space it generates.

 Thanks for your help!
 --
 Aaron Dalton
 http://perlkonig.com



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Re: lyrics and repeat

[Dominic Neumann]

There was a similar question some days ago. Do the answers help you?
http://www.mail-archive.com/lilypond-user@gnu.org/msg39370.html

Dominic

2008/9/1 Grammostola Rosea [EMAIL PROTECTED]:
 Grammostola Rosea wrote:

 Joseph Haig wrote:

 You want to add:

 versetwo = \lyricmode {
  % Second line of words here
 }

 and then later, where you have:

 \new Staff { \melody } \addlyrics { \verse }

 you want:

 \new Staff { \melody }
 \addlyrics { \verse }
 \addlyrics { \versetwo }

 Note that the lyrics are not part of the staff, but are a separate
 line in themselves so you can have as many of them as you want.

 Hope this helps,

 Joe


 Yes, that helps! Thanks!

 And I want to repeat on another part (chorus) in the song, but it should not
 go back to the first beginning (verses) but to the beginning of the chorus.
 So I want to use D.S.
 http://lilypond.org/doc/v2.11/Documentation/user/music-glossary/dal-segno#dal-segno
 repeat the chorus and after that start with another part (skip one bar of
 the chorus)..

 |b |  |go to c|   go back to b
 (D.S.)|  ...  |c   | |


 How will I do this in Lilypond?





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Re: lyrics and repeat

[Dominic Neumann]

To add more lines of lyrics easily add another \addlyrics { ... }
after the first.
It doesn´t matter if there´s a repeat in the notes - LilyPond typesets
the lyrics as you see them on the paper.

Hope this helps

Dominic


2008/8/31 Grammostola Rosea [EMAIL PROTECTED]:
 Hi,

 I want to add lyrics to a song with a repeat in it. So part one of the song
 is repeated ones and I want to add lyrics on both parts.


 Here's my score, with lyrics only for the first part yet...

 global = {
  \key f \major
  \tempo 4=76
  \time 4/4
 }

 chordNames = \chordmode {
  \global
  f2 a:m d1:m bes2 f c1:7
  bes2 c:7 d:m g:m f c:7 f1
  a2:m e:7 a:m e:7
  a:m e:7 a:m d:7 g:m c:7 f a:m
  d1:m bes2 f c1:7 bes2 c:7
  d:m g:m f c:7 f1

 }

 melody = \relative c' {
  \global
  % Music follows here.
 \repeat volta 2 {f2 c'| f,2. \times 2/3 {r8 g a} | bes2 a | g r4 \times 2/3
 {r4 c,8} |
 d2 e | f \times 2/3 {g4 a bes} | a2 g | f r |}
  e8. a16 c8. e16 d2 |  e,8. a16 c8. e16 d2 |  e,8. a16 c8. e16 d2 |
  c8 c4.~c8. a16 c8. a16| bes2 r | f c' |
  f,2. g8. a16| bes2 a | g r4 \times 2/3 { r4 c,8} | d2 e |
  f \times 2/3 { g4 a bes} | a2 g | f2 r2
 }

 verse = \lyricmode {
  % Lyrics follow here.
  Wise men say on -- ly fools rush in, But I can't help fall -- ing
  in love with you. Like a riv -- er flows sure -- ly to the sea, Dar -- ling
  so it goes Some -- things__ are meant to be. Take my hand. take my whole
  life too. For I can't help fall -- ing in love with you.



 }

 drum = \drummode {
  \global
  % Drums follow here.
  \repeat unfold 84 { \times 2/3 {hhc hhp8 hhp hhc hhp}
 }
 }

 \score {
  
   \new ChordNames \chordNames
   \new Staff { \melody } \addlyrics { \verse }
   \new DrumStaff \drum
  
  \layout { }
  \midi { }
 }



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Re: lilypond as an web-based application?

[Dominic Neumann]

Hi Stefan,

Valentin has already started such a project. I don´t know how good it
works. Probably it´s only a starting point:
http://valentin.villenave.info/lilypond/

Dominic

2008/8/30 Stefan Thomas [EMAIL PROTECTED]:
 Dear lilypond-users,
 I have had an (maybee studpid) idea in the last days. You know that there
 are some programs available, that run in the internet, like e.g. the google
 office. Do You think
 it could be possible to make an internet-based version of lilypond?

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Re: Converting lilypond to music xml

[Dominic Neumann]

I´m not a MIDI expert, but why use the MIDI way if you could import MIDI
also directly into Finale? [This is probably possible.]
As MIDI does not contain any layout information it is not well suited for
producing MusicXML output. Additionally, I don´t know the current features
of MIDI files, but is it at all possible to add lyrics?

Dominic


2008/8/25 Johan Vromans [EMAIL PROTECTED]

 Alastair Irving [EMAIL PROTECTED] writes:

  I'd be very surprised if this hasn't been asked before, but searches
  of the archives haven't turned up anything useful.  Is there any way
  of converting lilypond files into music xml?  If not, are there any
  plans for such a tool?
 
  I use software to convert music into Braille, and it only accepts
  input in xml.  Currently, my only method is to do OCR on the pdf
  output and then correct any errors, which seems rather ludicrous.

 Would the following be an acceptable workaround (for the time being):

  - produce MIDI with LilyPond
  - use Rosegarden to import the MIDI, and export MusicXML

 It's probably not perfect, but may be easier and give better reults
 than OCRing the PDF...

 -- Johan
   Chord is alive! http://chordii.sourceforge.net


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Re: Time signatures (Common, Cut Common)

[Dominic Neumann]

As you can see at
http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/TimeSignature#TimeSignatureyou
can say
\override Staff.TimeSignature #'style = #'C
to reset the TimeSignature behaviour to the default.

Here (
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Ancient-time-signatures#Ancient-time-signatures)
you can see that
\override Staff.TimeSignature #'style = #'default
works, too. There are also some other styles you can define.

Dominic


2008/8/25 Anthony W. Youngman [EMAIL PROTECTED]

 It's not in the manual, and I can't search the LSR because it's down ...

 I want time signatures of Common and Cut Common in my music. I know
 they're the default settings, but I've already put

 \override Staff.TimeSignature #'style = #'()

 at the start of my piece to give me an opening time sig of 4/4

 What do I need to reset it to to give me common time later in the piece?

 Cheers,
 Wol
 --
 Anthony W. Youngman - [EMAIL PROTECTED]



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Re: lyrics

[Dominic Neumann]

Hi Lara,

PLEASE give us some source code. Then we can probably help you! It´s much
easier for us if we do not have to create a sample for ourselves.

Thanks,

Dominic

2008/8/23 Lara Diamand [EMAIL PROTECTED]

 Thanks everyone for the help with the skipping of text! It worked well with
 the _ sign.
 Remains my other question if one can get rid of the extra repeat bar just
 before the end. Lilypond is very firm: If you start with \partial 4 at the
 beginning of a song you should end with 3 notes instead of 4... and Ireally
 want 4 in the bar there.


 On Wed, Aug 20, 2008 at 11:07 PM, Mats Bengtsson [EMAIL PROTECTED]
  wrote:

 Quoting Paul Scott [EMAIL PROTECTED]:

  Lara Diamand wrote:

 Hi Dominic,

 Thanks, this realy helps, one thing is not yet solves though: The text
 in the verses do not tek notice of the volta, so the text in verse
 two runs through under volta 1. It should skip volta1 and go straight
 to volta 2.

 That's the way Lily works.  It may not be completely intuitive.  The
 lyrics just go along straight following the notes ignoring any other
 structural commands like \volta and \alternative.  You have to put skips
 in your music to skip endings, etc. where you don't want lyrics.  I
 usually do this with _ (underscore).


 An alternative is to use the method described in section Divisi lyrics
 in the manual (don't stop at the first example, read the full subsection).

  /Mats



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Re: Beginner problem with PianoStaff

[Dominic Neumann]

Welcome to LilyPond, Don!

Here on version 2.11.51 your source code compiles without any problem. Maybe
you should try the current development version?

And a little hint: If you replace r1 by R1 you get a rest that is centered
in the bar. That´s what´s looking better for fullbar-rests most time.

Dominic


2008/8/24 Don Ravey [EMAIL PROTECTED]

  I've just begun to learn LilyPond and already have this problem:  when I
 try to use PianoStaff, LilyPond crashes without even writing a log entry.  I
 uninstalled and reinstalled LP with no effect.  If I remove the PianoStaff
 reference, it behaves as expected (although I can't get the results I want,
 due to my inexperience).  I am running LP 2.10.13 under Windows XP.  Thanks
 for any help you can provide me.

 Don

 \version 2.10.13
 \header {
 title = Keeping Up Appearances Theme
 composer = Nick Ingman
 arranger = \markup { \fontsize #0.1 Arr. by Donald Ravey }
 meter = Brightly
 }

 \relative c' {
  \new PianoStaff
  
   { \clef bass
 g, g'8 a a' b b' c c' d d' e e' f f' r }
   { \time 4/4 r1
 e'' c8 r e c r f d4 e c8. e16 }
  
 }




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Re: lyrics

[Dominic Neumann]

It can be, but this only works in \lyricmode:

OKAY: \repeat unfold 4 \skip 1
NOT OKAY: \repeat unfold 4 _
OKAY: \lyricmode { \repeat unfold 4 _ }
ALSO OKAY: \repeat unfold 4 \lyricmode { _ }

Instead of what Kieren said
\repeat unfold 42 \skip
doesn´t work, because \skip needs to be followed by a number. The
value of the number doesn´t have any effect, if I remember right.


Dominic


2008/8/20 Paul Scott [EMAIL PROTECTED]:
 Kieren MacMillan wrote:
 Hi all,

 You have to put skips in your music to skip endings, etc.
 where you don't want lyrics.  I usually do this with _ (underscore).

 I tend to use

 \repeat unfold 42 \skip

 where 42 is replaced with the appropriate number of skips required.
 Sure.

 I haven't needed \skip for a long time since s works so well.

 Could not the above also be

 \repeat unfold _

 Paul



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Re: lyrics

[Dominic Neumann]

Good point!

But if I have a score with three ore more verses and one refrain at
the beginning, I define a command refrSkip which I add at the
beginning of verses 2, 3, ...

refrSkip = \repeat unfold 42 { _ }

doesn´t work then.

I use it that way:

\addlyrics { \refrain \verseOne }
\addlyrics { \refrSkip \verseTwo }
\addlyrics { \refrSkip \verseThree }

Dominic

2008/8/20 Paul Scott [EMAIL PROTECTED]:
 Dominic Neumann wrote:
 It can be, but this only works in \lyricmode:

 Which is the only way I do lyrics.  :)

 Paul

 OKAY: \repeat unfold 4 \skip 1
 NOT OKAY: \repeat unfold 4 _
 OKAY: \lyricmode { \repeat unfold 4 _ }
 ALSO OKAY: \repeat unfold 4 \lyricmode { _ }

 Instead of what Kieren said
 \repeat unfold 42 \skip
 doesn´t work, because \skip needs to be followed by a number. The
 value of the number doesn´t have any effect, if I remember right.






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Re: lyrics

[Dominic Neumann]

Hi Lara,

I don´t exactly understand what you mean. Please send me an example of
your LilyPond code or an image of what you want to have. Then I could
help even better.

Dominic

2008/8/19 Lara Diamand [EMAIL PROTECTED]:
 Hi Dominic,

 Thanks, this realy helps, one thing is not yet solves though: The text in
 the verses do not tek notice of the volta, so the text in verse two runs
 through under volta 1. It should skip volta1 and go straight to volta 2.

 Thanks! Lara

 On Mon, Aug 18, 2008 at 3:18 PM, Dominic Neumann [EMAIL PROTECTED]
 wrote:

 Hi Lara,

 the quick'n'dirty solution (I still use) is the following:

 \version 2.11.55

 refrain = \lyricmode {
\set stanza = Refr. 
bla blu blubb blubb
 }

 verseOne = \lyricmode {
\set stanza = 1. 
one two three four five
 }

 verseTwo = \lyricmode {
\set stanza = 2. 
six se -- ven eight nine
 }

 refrainTwo = \lyricmode {
blubb bla dub.
 }

 refrSkip = \repeat unfold 4 { \skip 1 }

 \score {

\relative c' {
c4 d e f g a c d e f g a
}

\addlyrics { \refrain \verseOne \refrainTwo }
\addlyrics { \refrSkip \verseTwo }
 }

 The better solution would be to use different context names for the
 different parts and address them with \lyricsto.

 Dominic


 2008/8/18 Lara [EMAIL PROTECTED]:
  Hi,
  I have a song that has three parts, first with one line of text, then
  with two
  lines (and a repeat)and then again with one line.
  I tried to use \set stanza but that didn't work. I also found an old
  conversation in the documentaion where master Mats talks about:
  input/star-spangled-banner.ly, but can't find it anywhere.
  Anyone knows a solution?
 
  Thanks!
  Lara
 
 
 
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Re: ChordNames prints small characters for added bassnotes, I'd prefer capital like C/E or Cm/Es ...

[Dominic Neumann]

Hi Werner,

the bass  notes being printed as capital letters is the standard
option, if I´m right. You should take a look at the Manual, section
2.7.2 Displaying chords. There are some predefined commands for
selected a special style. But I don´t know if it´s possible to print
minor chords with small letters.

Dominic


2008/8/19 Werner [EMAIL PROTECTED]:
 For the following music in \chordmode ChordNames prints Fm7/as,
 (how) is it possible to obtain Fm7/As?

 f1:m7/as




 (btw.:
 Interistig would be too small characters for minor chords like
 g instead of Gm or gm instead of Gm ...)



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Re: Newbie chord alignment question

[Dominic Neumann]

I think, your problem is that you use \partial 4 but don´t remember
that when setting the harmonies. Please add s4 to the beginning of
your harmonies:

   harmonies ={
   \key e \major
   \chordmode {
   s4
   e1
   e1
   e1
}
   }

Additionally, you don´t have to tell the \key in harmonies, because
that doesn´t matter.

Dominic

2008/8/19 Naveen Santhanam [EMAIL PROTECTED]:
 Hello,

 I am new user to this wonderful program. I have quick question about chord 
 alignment. I would like to align the chord names to the left (i.e, near the 
 bar). The .ly file I wrote (see below) prints the chord names at the center 
 of each measure along the X.

 Thanks in advance


 \version 2.10.33

\header {
  title = Work
  composer = Me
  opus = Op. 1
}

\paper {
  #(define dump-extents #t)

  indent = 0\mm
  line-width = 160\mm
  force-assignment = #
  line-width = #(- line-width (* mm  3.00))
}
 %
melody = {
\override Score.MetronomeMark #'padding = #10
\tempo 4=120
\clef treble
\key e \major
\time 4/4
\relative c' {
\partial 8*2 e8  e8 |
e4. e4 e4 eis8 |
eis2  r8 r16 e,8. e8 |
}
}


 %
harmonies ={
\key e \major
\chordmode {

e1
e1
e1
 }
}
text = \lyricmode {
 Eee8  ee8 ee4. -- ee4 ee4 ee4 -- ee4
 }

 % 
 % Score - layout
 \score {


\new ChordNames {
\harmonies
}

\new Voice = flute {
\melody
}

\new Lyrics \lyricsto flute \text


\layout {
}
 }










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Re: Registration Problem and Encoding Problem

[Dominic Neumann]

Hi Joseph,

welcome to LilyPond!

You have to set the encoding in jEdit. Menu Entry: Utilities - Global
Options - jEdit - Encodings. As Default character encoding you set
UTF-8. To change the encoding of existing files opened with jEdit,
you double-click onto the encoding on the right side of the status
bar. Then you can change it, too. Then the statusbar shows
(lilypond,lilypond,UTF-8).

Dominic


2008/8/19 Joseph M. Krush, Ph. D. (MusicTheory)
[EMAIL PROTECTED]:
 2)  As far as I can see, I have followed all instructions received so
 far.  LilyPond is downloaded and installed, Java is installed, jEdit is
 installed, and under Plugin Manager, LilyPond Tool plugin is done.  I have
 also gone through the first score process, which showed d-e-f#-g-a--a-- 
 a-g-f#-
 e-d--d--.  However, I have a problem with encodings.  No matter what I do, my
 encoding is wrong.  I have Windows XP with Service Pack 2.  The whole page is
 a mess and a message keeps telling me to try a differend encoding.  I have
 tried all encodings that say Windows __.  Nothing works.  Also, there is a
 line at the top (before the mess starts) that says that this program cannot be
 run in MSDOS mode.  Stuck again, and don't know why.

 Can you help, please?  Thank you very much.  Joseph M. Krush in Canada.




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Re: lyrics

[Dominic Neumann]

Hi Lara,

the quick'n'dirty solution (I still use) is the following:

\version 2.11.55

refrain = \lyricmode {
\set stanza = Refr. 
bla blu blubb blubb
}

verseOne = \lyricmode {
\set stanza = 1. 
one two three four five
}

verseTwo = \lyricmode {
\set stanza = 2. 
six se -- ven eight nine
}

refrainTwo = \lyricmode {
blubb bla dub.
}

refrSkip = \repeat unfold 4 { \skip 1 }

\score {

\relative c' {
c4 d e f g a c d e f g a
}

\addlyrics { \refrain \verseOne \refrainTwo }
\addlyrics { \refrSkip \verseTwo }
}

The better solution would be to use different context names for the
different parts and address them with \lyricsto.

Dominic


2008/8/18 Lara [EMAIL PROTECTED]:
 Hi,
 I have a song that has three parts, first with one line of text, then with two
 lines (and a repeat)and then again with one line.
 I tried to use \set stanza but that didn't work. I also found an old
 conversation in the documentaion where master Mats talks about:
 input/star-spangled-banner.ly, but can't find it anywhere.
 Anyone knows a solution?

 Thanks!
 Lara



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Re: Score with large empty section at the top

[Dominic Neumann]

Hi Maarten,

I think it is standard behaviour.
I remember there was a command to let LilyPond display all the spaces
it uses and its names. But I don´t remember the command and couldn´t
find it by searching ...

Dominic

2008/8/13 SPAM [EMAIL PROTECTED]:
 I'm transcribing a piece for six brass players in Lilypond and making a
 complete conductor's score with it. It fits 18 lines on one page (3x6
 instruments). Because of the title on the first page, it only fits 2x6 on
 the first page, but the score is aligned at the bottom on the first page
 leaving a wide gap between the title of the piece and the notes.
 Is that standard behaviour or is it a bug? And can it be tweaked that the
 notes start immediately below the title?
 Output is on http://www.maasluip.nl/lilypond/Tantum Ergo.pdf, source files
 are attached and or all separate on http://www.maasluip.nl/lilypond/

 Comments on style are also appreciated.

 Maarten



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Re: Score with large empty section at the top

[Dominic Neumann]

If you don´t want the wide gap, add
   ragged-bottom = ##t
to your paper section.

Dominic

2008/8/14 Dominic Neumann [EMAIL PROTECTED]:
 Hi Maarten,

 I think it is standard behaviour.
 I remember there was a command to let LilyPond display all the spaces
 it uses and its names. But I don´t remember the command and couldn´t
 find it by searching ...

 Dominic

 2008/8/13 SPAM [EMAIL PROTECTED]:
 I'm transcribing a piece for six brass players in Lilypond and making a
 complete conductor's score with it. It fits 18 lines on one page (3x6
 instruments). Because of the title on the first page, it only fits 2x6 on
 the first page, but the score is aligned at the bottom on the first page
 leaving a wide gap between the title of the piece and the notes.
 Is that standard behaviour or is it a bug? And can it be tweaked that the
 notes start immediately below the title?
 Output is on http://www.maasluip.nl/lilypond/Tantum Ergo.pdf, source files
 are attached and or all separate on http://www.maasluip.nl/lilypond/

 Comments on style are also appreciated.

 Maarten



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Re: How to add double barlines to a gregorian chant?

[Dominic Neumann]

Okay, I´ll try to play around with different versions. In the current
case that´s not such a problem for me, because there are some chants I
have to produce NOW and they have to look good. After that I probably
won´t use gregorian chant that soon.

Dominic

2008/8/12 Kurt Kroon [EMAIL PROTECTED]:
 On 2008/08/11 11:13 AM, Dominic Neumann [EMAIL PROTECTED] wrote:

 Thanks Kurt! I already solved some problems, for example by using
 \finalis, \divisioMinima and so on.
 The main remaining problem is the bad positioning of notes and lyrics
 when two or more noteheads are nearly in one place. After these places
 is too much space until the next notehead is printed.

 Now I updated from 2.11.44 to 2.11.55 hoping that it helps. But the output of
 http://kainhofer.com/~lilypond/Documentation/user/lilypond/Ancient-notation.ht
 ml
 looks other than online. Online there are not those ugly spaces, but
 on my system there are. [It´s Windows XP Pro, LilyPond version
 2.11.55]
 (see attachment for this).

 Any ideas?

 It appears to have happened sometime between versions 2.11.51 (when the
 online output was generated) and 2.11.55 (the most current development
 version).  I'm getting similar results on Mac OS X (10.4), using the same
 dev version.

 This cycle of progress-regress is tiresome but to be expected since we're
 working with a development version of the program.  Ancient notation -- and
 Gregorian-type chant in particular -- has been neglected for quite some
 time, so even the modest advances that I've seen since version 2.8 (or so)
 are refreshing.

 You may also consider downgrading to the current stable version, 2.10.33.  I
 have attached an example of that version's output.  (Assuming that you *can*
 downgrade: it works fine on my Macintosh, but I can't test on WinXP.  The
 only computer available to me that runs Windows XP is my work computer, and
 my employer (the State of California) penalizes inappropriate personal use
 of State property.)

 I'm sorry that I can't offer better help -- but I'm kind of stuck in the
 same situation as you, hoping that LilyPond's output doesn't regress too
 much.  Maybe some of the gurus on this list (who have more experience with
 spacing issues) can help us out ...?

 Kurtis

 PS: There's always Grégoire (http://gregoire.tele.free.fr/) -- but it's even
 older than LilyPond (even though it was purpose-built for producing
 Gregorian chant).  It doesn't have a layout engine; you integrate the
 results into your favorite word processor / DTP program.




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Re: Please forget LM MG NR IR SL AU

[Dominic Neumann]

2008/8/12 Ralph Palmer [EMAIL PROTECTED]:
 Anyone else remember Booker T. and the . . . ?

 In any case, it might make sense to use at least some of the acronyms
 judiciously. There is a wide variety of users on this list, and many of the
 discussions are, while not exclusive, at least aimed at a particular
 audience. I don't see why it wouldn't be a good idea to change the
 vocabulary based on the discussion and/or audience; actually, we already do.


 If Graham or Valentin uses NR or LSR in a response to a question or
 statement of mine, I'll understand. If I'm responding to an apparent newbie,
 using LM could possibly either confuse them more or turn them off to the
 LilyPond community in general.

But isn´t that a bit insular? I think the answers on the list are not
only provided for the one who asked but for everybody, even the people
searching the mailing list archive later. So differentiating is okay,
but you should also have others in your mind.

Dominic


 I don't understand a lot of the code
 discussions on the list (especially ones with long strings of Scheme
 coding), but that doesn't keep me from using the list.

 Peace,

 Ralph

 On Tue, Aug 12, 2008 at 3:29 PM, Han-Wen Nienhuys [EMAIL PROTECTED] wrote:

 Actually, MG is a state of brazil, to me.

 On Tue, Aug 12, 2008 at 3:08 PM, James E. Bailey [EMAIL PROTECTED]
 wrote:
  no, AU is audio unit. It's a type of plugin for core audio on macintosh
  computers.
 
  And am I the only one who thinks of cars seeing MG?
 
 


 --
 Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen


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 --
 Ralph Palmer
 Greenfield, MA
 USA
 [EMAIL PROTECTED]

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Re: Please forget LM MG NR IR SL AU

[Dominic Neumann]

Sure, that´s right!

2008/8/12 Ralph Palmer [EMAIL PROTECTED]:
 I agree, Dominic. It wasn't intended to be insular. On the other hand, when
 someone is responding to a question about Scheme or about deep (I don't
 even know the correct term) code, I don't see how one can, or if one should
 try to, make the discussion intelligible to a newbie.

 Ralph

 On Tue, Aug 12, 2008 at 4:14 PM, Dominic Neumann [EMAIL PROTECTED]
 wrote:

 2008/8/12 Ralph Palmer [EMAIL PROTECTED]:
  Anyone else remember Booker T. and the . . . ?
 
  In any case, it might make sense to use at least some of the acronyms
  judiciously. There is a wide variety of users on this list, and many of
  the
  discussions are, while not exclusive, at least aimed at a particular
  audience. I don't see why it wouldn't be a good idea to change the
  vocabulary based on the discussion and/or audience; actually, we already
  do.


  If Graham or Valentin uses NR or LSR in a response to a question or
  statement of mine, I'll understand. If I'm responding to an apparent
  newbie,
  using LM could possibly either confuse them more or turn them off to the
  LilyPond community in general.

 But isn´t that a bit insular? I think the answers on the list are not
 only provided for the one who asked but for everybody, even the people
 searching the mailing list archive later. So differentiating is okay,
 but you should also have others in your mind.

 Dominic


  I don't understand a lot of the code
  discussions on the list (especially ones with long strings of Scheme
  coding), but that doesn't keep me from using the list.
 
  Peace,
 
  Ralph
 
  On Tue, Aug 12, 2008 at 3:29 PM, Han-Wen Nienhuys [EMAIL PROTECTED]
  wrote:
 
  Actually, MG is a state of brazil, to me.
 
  On Tue, Aug 12, 2008 at 3:08 PM, James E. Bailey [EMAIL PROTECTED]
  wrote:
   no, AU is audio unit. It's a type of plugin for core audio on
   macintosh
   computers.
  
   And am I the only one who thinks of cars seeing MG?
  
  
 
 
  --
  Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
 
 
  ___
  lilypond-user mailing list
  lilypond-user@gnu.org
  http://lists.gnu.org/mailman/listinfo/lilypond-user
 
 
 
  --
  Ralph Palmer
  Greenfield, MA
  USA
  [EMAIL PROTECTED]
 
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 --
 Ralph Palmer
 Greenfield, MA
 USA
 [EMAIL PROTECTED]



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Re: Please forget LM MG NR IR SL AU

[Dominic Neumann]

I understand your position very well, Graham. But we should also try
to improve the way of helping via the mailing list to convince
newcomers of the power of LilyPond.

What about providing a signature to the mailing list explaining these
abbreviations? I don´t know if this is possible, but it could help all
of us - the newcomers and the people answering rtfm questions.


2008/8/11 Mats Bengtsson [EMAIL PROTECTED]:


 Graham Percival wrote:

 In a few months, these will be second nature.  There's no point
 typing out please see the Notation Reference 1.2.3 every time.
 NR 1.2.3 is unambiguous, and saves time for people who spend time
 answering rtfm questions.


 But it may still cause lots of confusion to the newcomers who asked the
 question and
 don't even realize that NR has anything to do with the documentation.

 (OK, I know your reply: If you haven't read the LM, we have no mercy, but
 even if you have
 read it, I'm not convinced that you will directly associate all the
 abbreviations LM, MG, NR, IR,
 SL and AU with documentation).

   /Mats


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Re: How to add double barlines to a gregorian chant?

[Dominic Neumann]

I wonder why it doesn´t work whereas there is an online version where
it works. I´ve got the most recent version of LilyPond. Which version
is used at http://kainhofer.com/~lilypond/Documentation? Or are there
special command-line options improving the output?

Dominic

2008/8/11 Joseph Haig [EMAIL PROTECTED]:
 Thanks!  I've been looking for a copy of this chant without success,
 although you appear to have missed the second line.  Possibly, this is
 deliberate as the music is the same as the first line.  I hope someone
 can solve the problem of the spacing.

 2008/8/11 Dominic Neumann [EMAIL PROTECTED]:
 Thanks Kurt! I already solved some problems, for example by using
 \finalis, \divisioMinima and so on.
 The main remaining problem is the bad positioning of notes and lyrics
 when two or more noteheads are nearly in one place. After these places
 is too much space until the next notehead is printed.

 Now I updated from 2.11.44 to 2.11.55 hoping that it helps. But the output of
 http://kainhofer.com/~lilypond/Documentation/user/lilypond/Ancient-notation.html
 looks other than online. Online there are not those ugly spaces, but
 on my system there are. [It´s Windows XP Pro, LilyPond version
 2.11.55]
 (see attachment for this).

 Any ideas?

 Dominic

 2008/8/11 Kurt Kroon [EMAIL PROTECTED]:
 On 2008/07/29 8:04 AM, Dominic Neumann [EMAIL PROTECTED] wrote:

 Hi,

 Hello!  I don't know if anyone else has answered this -- I haven't been
 getting digests for the past week or so -- so I figured I should toss my hat
 into the discussion ... especially since I have some recent experience in
 setting Gregorian chant.


 I´m new to gregorian typesetting but I´ve seen that there´s already
 support for it in LilyPond.
 Can you tell me how I can add a double bar at the end?

 Replace \bar || with \finalis.  I would also use \divisioMinima instead of
 \breathe ... but that's just me.


 And there is a wrong note at the end? How can I delete it?

 It looks to me like LilyPond is trying to interpret \bar in terms of
 gregorian-init.ly, and is failing.  (The diagnostic messages from the
 console would be helpful to determine if that's really the case.)  Replacing
 \bar || with \finalis should delete it.


 Is it at all a good idea to start typesetting gregorian chants with
 LilyPond or are there too many diffulcuties by now?

 Yes, there are some difficulties, but you can see a small example of what
 the current development version of LilyPond can do at the Ancient Notation
 section of the GDP site:

 http://kainhofer.com/~lilypond/Documentation/user/lilypond/Ancient-notation.
 html

 Like the rest of the documentation, you can click on the image to see the
 LilyPond source that created it.  Some things to note: I did not include any
 tweaks because I wanted to see how LilyPond handled unmodified input, so I
 would be better informed while working on this section; the output is not
 perfect by any means, but it looks much better than the output produced by
 the current production version (last time I checked, anyway); there are some
 odd collisions (especially the last phrase, which runs into the last finalis
 (double bar).

 I hope that will be enough to get you started.


 Thanks,

 You're welcome,

 Kurtis





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Re: How to move noteheads to the left? (was: Re: How to add double barlines to a gregorian chant?)

[Dominic Neumann]

As nobody has answered by now, I´ve been going on searching a solution
myself. The way I did it now is not what I would call a clean
solution, but it produces an output that´s at least a little bit
better. The price we have to pay is much manual work.

If I put
\once \override NoteHead #'extra-offset = #'(1 . 0)
before EVERY not of a melisma and
\once \override NoteHead #'extra-offset = #'(#-2 . 0)
before the note after the melisma, it´s a bit better.
I also added
\once \override LyricText #'X-offset = #-3
before the syllable that belongs to the note after the melisma.

This works reasonably. Now I wanted to improve the handling of it
because the many \once \override commands are not that nice to look
at. I tried to introduce a music function for it, taking the value of
the x-offset:

moveNH =
#(define-music-function (parser location offset)
(number?)
  #{
  \once \override NoteHead #'extra-offset = #'($offset . 0)
  #})

But I get a warning, that extra off-set hat to be of the type pair of
numbers. It seems that I cannot only set one part of the pair from
outside, but I don´t want to say \moveNH #'(2 . 0) instead of \moveNH
#2 !
How can I solve this?

Dominic

2008/8/1 Dominic Neumann [EMAIL PROTECTED]:
 2008/7/31 Dominic Neumann [EMAIL PROTECTED]:
 2008/7/30 Joseph Haig [EMAIL PROTECTED]:
 An even more
 unfortunate side effect of this is that if you have long melimata the
 spacing gets messed up, because lilypond allocates a certain amount of
 space for each neume even though they are clustered together.  You can
 see this in your example, where the notes above 'unheil' have too much
 space between them.

 That´s really ugly and I hope to find a way to solve it. Without that
 problem the chant results are considerable - maybe because I don´t
 have difficult constructs to typeset. Unaesthetic source code is
 annoying, but unaesthetic output is unacceptable ...


 As I have to complete some chants in the next days, I am willing to
 work with some tweaks to solve this, because I cannot wait for the
 time when LilyPond will do it itself. By now, I´m only able to move
 the lyrics to better positioned under a melismata. I only set \once
 \override LyricText #'X-offset = #-1 before the corresponding syllable
 and this works quite good. But moving the next notehead to left isn´t
 possible by now.

 I tried to set \once \override NoteHead #'X-offset = #-1 before the
 note being printed after the melisma, but it only takes effect if you
 give positive values to it. The the offset gets bigger, but giving
 negative values doesn´t change anything.
 \once \override NoteColumn #'force-hshift = #5 obviously only works in
 polyphonic contexts, not here.

 What can I do?

 Dominic



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How to move noteheads to the left? (was: Re: How to add double barlines to a gregorian chant?)

[Dominic Neumann]

2008/7/31 Dominic Neumann [EMAIL PROTECTED]:
 2008/7/30 Joseph Haig [EMAIL PROTECTED]:
 An even more
 unfortunate side effect of this is that if you have long melimata the
 spacing gets messed up, because lilypond allocates a certain amount of
 space for each neume even though they are clustered together.  You can
 see this in your example, where the notes above 'unheil' have too much
 space between them.

 That´s really ugly and I hope to find a way to solve it. Without that
 problem the chant results are considerable - maybe because I don´t
 have difficult constructs to typeset. Unaesthetic source code is
 annoying, but unaesthetic output is unacceptable ...


As I have to complete some chants in the next days, I am willing to
work with some tweaks to solve this, because I cannot wait for the
time when LilyPond will do it itself. By now, I´m only able to move
the lyrics to better positioned under a melismata. I only set \once
\override LyricText #'X-offset = #-1 before the corresponding syllable
and this works quite good. But moving the next notehead to left isn´t
possible by now.

I tried to set \once \override NoteHead #'X-offset = #-1 before the
note being printed after the melisma, but it only takes effect if you
give positive values to it. The the offset gets bigger, but giving
negative values doesn´t change anything.
\once \override NoteColumn #'force-hshift = #5 obviously only works in
polyphonic contexts, not here.

What can I do?

Dominic


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Re: How to add double barlines to a gregorian chant?

[Dominic Neumann]

2008/7/30 Joseph Haig [EMAIL PROTECTED]:
 2008/7/29 Dominic Neumann [EMAIL PROTECTED]:
 Okay, then it breaks already after the fourth note ... this doesn´t help 
 much.
 Now I added some more \noBreak commands after other notes and now it
 fits into one line.
 That´s not what I would call a clean solution ... :-/


 I haven't played with chant in lilypond for a while, but I think I
 remember that it still uses the default time signature (4/4) and note
 length (crochet or quarter-note) even though these don't mean anything
 in this notation.  What you are seeing is the line being broken at the
 (unprinted) bar lines, which occur every 4 crochet notes.  (Note that
 the podatus on 'un-' of 'unheil' is two notes.)


 An even more
 unfortunate side effect of this is that if you have long melimata the
 spacing gets messed up, because lilypond allocates a certain amount of
 space for each neume even though they are clustered together.  You can
 see this in your example, where the notes above 'unheil' have too much
 space between them.

That´s really ugly and I hope to find a way to solve it. Without that
problem the chant results are considerable - maybe because I don´t
have difficult constructs to typeset. Unaesthetic source code is
annoying, but unaesthetic output is unacceptable ...


 I found that there was no real 'clean solution'.  I tended to have a
 lot of \bar  commands after various notes more or less around the
 place where I expected line breaks to occur.  Unfortunately, I don't
 think chant is very high on the list of priorities with the developers
 and, to be fair, there probably isn't really a compelling reason why
 it should be.  I did have a look at it once but I don't know enough
 about scheme, python or chant notation to be able to get very far.

You´re right with the default time signature working inside. I tried
to fight it with the same weapons: I´ve set \time 1/4 at the beginning
and so I don´t have to type many times \bar  and this really works
well!

Dominic


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Re: How to add double barlines to a gregorian chant?

[Dominic Neumann]

Thanks for your quick answer - it works good!

Now I´ve got the problem, that I cannot press this short piece into
one line. I use a special paper size because these songs will be
printed in a small songbook. Can you give me a hint why I can scale
everything down but LilyPond inserts a break everytime even if there´s
obviously enough space to print it in only one line?

Is there a simple way to place the star symbol exactly under the breathe symbol?

Thanks, Dominic


\version 2.11.44
\include gregorian-init.ly

#(set-global-staff-size 10)

\score {

\new VaticanaVoice = cantus {
\clef vaticana-do3
f f d c \[ f \pes g \] f \breathe
g g a f f \finalis
\break
}
\new Lyrics \lyricsto cantus {
Ich fürch -- te kein Un -- _ heil: *
du bist ja bei mir.
}

}

\paper {
line-width = 9\cm
paper-width = 94\mm
paper-height = 135\mm
top-margin = 2\mm
bottom-margin = 2\mm
head-separation = 0\mm
foot-separation = 0\mm
page-top-space = 0\mm
between-system-space = 0\mm
between-system-padding = 2\mm

ragged-bottom = ##t
ragged-last-bottom = ##f
print-page-number = ##f
}

2008/7/29 Joseph Haig [EMAIL PROTECTED]:
 Support for Gregorian Chant is not great in Lilypond, unfortunately,
 but you can use it for simple things.

 For bar lines, you want to use the special commands that are set up by
 gregorian-init.ly.  Specifically, the double bar line is \finalis.
 See section 7.7.9 (Divisiones) for the whole list.  I think you will
 still need to use \bar  to indicate places where the line can be
 split.

 Regards,

 Joe

 2008/7/29 Dominic Neumann [EMAIL PROTECTED]:
 Hi,

 I´m new to gregorian typesetting but I´ve seen that there´s already
 support for it in LilyPond.
 Can you tell me how I can add a double bar at the end?

 And there is a wrong note at the end? How can I delete it?

 Is it at all a good idea to start typesetting gregorian chants with
 LilyPond or are there too many diffulcuties by now?

 Thanks,

 Dominic



 \version 2.11.44
 \include gregorian-init.ly

 \score {

\new VaticanaVoice = cantus {
\clef vaticana-do3
f f d c \[ f \pes g \] f \breathe
g g a f f \bar ||
}
\new Lyrics \lyricsto cantus {
Ich fürch -- te kein Un -- _ heil: *
du bist ja bei mir.
}

 }

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Re: adding graphics with external program

[Dominic Neumann]

Hi Matth,

Isn´t scribus capable of including pdf files directly?
In my opinion this would be the better way - if it´s possible.

Dominic

2008/7/29 Matthieu Jacquot [EMAIL PROTECTED]:

 Hi, I use scribus to write an essay containing a lot of little music examples
 (made with lily of course), the solution I found is, when you've got your
 .pdf output from lilypond, to print in a file to generate a .ps usable in
 scribus.
 Hope this help
 Matth

 --
 View this message in context: 
 http://www.nabble.com/adding-graphics-with-external-program-tp18683698p18718579.html
 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.



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How to add double barlines to a gregorian chant?

[Dominic Neumann]

Okay, then it breaks already after the fourth note ... this doesn´t help much.
Now I added some more \noBreak commands after other notes and now it
fits into one line.
That´s not what I would call a clean solution ... :-/

Dominic


2008/7/29 Thomas Scharkowski [EMAIL PROTECTED]:
 I don't have an annswer, but just ad a \noBreak after the c.
 Thomas

 Thanks for your quick answer - it works good!

 Now I´ve got the problem, that I cannot press this short piece into
 one line. I use a special paper size because these songs will be
 printed in a small songbook. Can you give me a hint why I can scale
 everything down but LilyPond inserts a break everytime even if there´s
 obviously enough space to print it in only one line?

 Is there a simple way to place the star symbol exactly under the
 breathe symbol?

 Thanks, Dominic


 \version 2.11.44
 \include gregorian-init.ly

 #(set-global-staff-size 10)

 \score {
 
 \new VaticanaVoice = cantus {
 \clef vaticana-do3
 f f d c \[ f \pes g \] f \breathe
 g g a f f \finalis
 \break
 }
 \new Lyrics \lyricsto cantus {
 Ich fürch -- te kein Un -- _ heil: *
 du bist ja bei mir.
 }
 
 }

 \paper {
 line-width = 9\cm
 paper-width = 94\mm
 paper-height = 135\mm
 top-margin = 2\mm
 bottom-margin = 2\mm
 head-separation = 0\mm
 foot-separation = 0\mm
 page-top-space = 0\mm
 between-system-space = 0\mm
 between-system-padding = 2\mm

 ragged-bottom = ##t
 ragged-last-bottom = ##f
 print-page-number = ##f
 }

 2008/7/29 Joseph Haig [EMAIL PROTECTED]:
  Support for Gregorian Chant is not great in Lilypond, unfortunately,
  but you can use it for simple things.
 
  For bar lines, you want to use the special commands that are set up
  by gregorian-init.ly.  Specifically, the double bar line is
  \finalis. See section 7.7.9 (Divisiones) for the whole list.  I
  think you will still need to use \bar  to indicate places where
  the line can be split.
 
  Regards,
 
  Joe
 
  2008/7/29 Dominic Neumann [EMAIL PROTECTED]:
  Hi,
 
  I´m new to gregorian typesetting but I´ve seen that there´s already
  support for it in LilyPond. Can you tell me how I can add a double
  bar at the end?
 
  And there is a wrong note at the end? How can I delete it?
 
  Is it at all a good idea to start typesetting gregorian chants with
  LilyPond or are there too many diffulcuties by now?
 
  Thanks,
 
  Dominic
 
 
 
  \version 2.11.44
  \include gregorian-init.ly
 
  \score {
 
 \new VaticanaVoice = cantus {
 \clef vaticana-do3
 f f d c \[ f \pes g \] f \breathe
 g g a f f \bar ||
 }
 \new Lyrics \lyricsto cantus {
 Ich fürch -- te kein Un -- _ heil: *
 du bist ja bei mir.
 }
 
  }
 
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Re: Is this possible

[Dominic Neumann]

That´s great! Thank you. Do you know a way to strech the spacing
between the noteheads? Now it looks very ugly, probably because there
are no lyrics attached to it. I already tried to assign   -lyrics,
but that wasn´t very good.

Dominic


2008/7/29 Reinhold Kainhofer [EMAIL PROTECTED]:
 -BEGIN PGP SIGNED MESSAGE-
 Hash: SHA1

 Am Dienstag, 29. Juli 2008 schrieb Reinhold Kainhofer:
 Am Dienstag, 29. Juli 2008 schrieb Dominic Neumann:
  is it possible to typeset the attached gregorian piece in LilyPond? I
  could find something similar in the documentation. I need to know what
  the command is to produce the vertical lines |..| around a notehead.

 [..]
 It gives the hint that one can override the note head easily. It does not
 correctly use them (for 2.11), though:
   \override NoteHead  #'style = #'vaticana.linea-punctum

 A little playing around (and knowing the glyph name) indicates that it
 should be #'vaticana.linea.punctum. The attached file shows you how to do
 this.

 Update: Instead of forcibly overriding the notehead, there a much better way:
 The docs say that there are prefixes \linea and \cavum, but my first attempts
 didn't show any effect...

 The source code shows that these glyphs are only used in the ligature
 engraver, so the command to use linea and cavum needs to be inside a
 ligature!
 The following works just fine:

 \new VaticanaVoice {
  \[ \linea \cavum g \]
  \[ \linea g\]
 }

 Cheers,
 Reinhold


 - --
 - --
 Reinhold Kainhofer, Vienna University of Technology, Austria
 email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
  * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
  * K Desktop Environment, http://www.kde.org, KOrganizer maintainer
  * Chorvereinigung Jung-Wien, http://www.jung-wien.at/
 -BEGIN PGP SIGNATURE-
 Version: GnuPG v1.4.6 (GNU/Linux)

 iD8DBQFIj48TTqjEwhXvPN0RAuHAAJ41wOqQCr972zLdD4Ky7sHqxBZf3gCgjZyP
 Kk4HusJ2kZV2wdEoyc2FZVI=
 =VtUT
 -END PGP SIGNATURE-


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Re: broken octaves

[Dominic Neumann]

Hi Jay,

nice example! But I think it would be even better if I could write
\brokenoctaves #1 { c4 d e f g8 a b c } meaning that the function also
recognizes the durations of the notes.
Maybe you could be so kind to explain how your functions work. Then we
could also learn from it and possibly improve it. Is that possible?

Dominic

2008/7/26 Jay Anderson [EMAIL PROTECTED]:
 Stefan Thomas kontrapunktstefan at googlemail.com writes:

 Dear Lilypond-users, I have in mind an input like:\relative { \brokenoctaves
 {c d e f g }}and the desired output is:\relative { c c' d d' e e' f f' g g' 
 }Can
 this be done automatically?


 Play with this see if it does what you want.

 -Jay

 \version 2.11.52

 #(define (get-pitches mus)
  (map
(lambda (x)
  (ly:music-property (car (ly:music-property x 'elements)) 'pitch))
(ly:music-property mus 'elements)))

 #(define (make-sequential-music elements)
  (make-music
'SequentialMusic
'elements
elements))

 #(define (interleave-lists l1 l2)
  (cond ((null? l1) l2)
((null? l2) l1)
((and (null? l1) (null? l2)) '())
(else (cons (car l1) (cons (car l2) (interleave-lists (cdr l1) (cdr
 l2)))

 #(define (interleave-music m1 m2)
  (make-sequential-music
(interleave-lists (ly:music-property m1 'elements) (ly:music-property m2
 'elements

 #(define (create-music-list pitches duration)
  (make-sequential-music
(map
  (lambda (p)
(make-music
  'EventChord
  'elements
  (list (make-music
  'NoteEvent
  'duration duration
  'pitch p
  pitches)))

 #(define (transpose-all-but-first pitches amt)
  (cons (car pitches) (map
(lambda (pitch)
  (ly:make-pitch
(+ amt (ly:pitch-octave pitch))
(ly:pitch-notename pitch)
(ly:pitch-alteration pitch)))
(cdr pitches

 #(define (set-octave pitches octave)
  (map
(lambda (pitch) (ly:make-pitch octave (ly:pitch-notename pitch)
 (ly:pitch-alteration pitch)))
pitches))

 brokenoctaves = #(define-music-function (parser location dur arg mus) 
 (integer?
 integer? ly:music?)
  (let* ((pitches (get-pitches mus))
 (duration (ly:make-duration dur 0 1 1)))
(interleave-music
  (create-music-list (transpose-all-but-first pitches (- arg)) duration)
  (create-music-list (set-octave pitches (1- arg)) duration

 \score
 {
  \new Staff \relative c'
  {
%First argument is the duration (3 - eight, 4 - sixteenth, etc.).
%Second argument is 1 for up and -1 for down.
%Third argument is the music
%
%Shortcomings:
% - Next note after \brokenoctave section is in the wrong octave
%   compared with what one would expect in relative mode.
\brokenoctaves #3 #1 { c d e f g c, c' c,}
\brokenoctaves #3 #-1 { c, d e f g c, c' c,}
  }
 }




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Re: broken octaves

[Dominic Neumann]

Hi Stefan,

are you sure you want c c' d d' ... instead of c c' d, d' e, e'?
You could write a scheme function for that. I´ll try it, but I´m not
too experienced in such things.

Dominic


2008/7/25 Stefan Thomas [EMAIL PROTECTED]:
 Dear Lilypond-users,
  I have in mind an input like:
 \relative { \brokenoctaves {c d e f g }}
 and the desired output is:
 \relative { c c' d d' e e' f f' g g' }
 Can this be done automatically?


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Re: nopc -- Proposed Predefines

[Dominic Neumann]

2008/7/14 Carl Sorensen [EMAIL PROTECTED]:
 OK, I'll bite.

 I propose some new predefined functions:

 \pointAndClickOn

 pointAndClickOn = #(ly:set-option 'point-and-click #t)

 and

 \pointAndClickOff

 pointAndClickOff = #(ly:set-option 'point-and-click #f)




 If I get approval, I'll add them.

 Any votes?

 Carl



This sounds consequential to me, because it reminds me of the
\autoBeamOff and ... On function - so we have consistency (I don´t
know if it´s consistent with other constructs ...).

Dominic


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Lyric braces?

[Dominic Neumann]

Hi,

how do I create braces within lyrics to clarify that two lines of text
belong to the same verse (see textbrace1.jpg) or when there´s a part
of lyrics which belongs to all verses (see textbrace2.jpg)?

Dominic
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Re: Forcing a chord output

[Dominic Neumann]

Yes, there is. You only have to say

 \set chordChanges = ##f

 and if you want to change it back

 \set chordChanges = ##t

 have fun!

 2008/4/11, Stan Mulder [EMAIL PROTECTED]:

 If you have the same consecutive chords, only the first one prints out.
 
   Is it possible to force display of a subsequent chord in this
case? I find this
   is necessary when a new phrase or section appears:
 
   end of A section:
   ... C:7
 
   beginning of B section
   C:7 ...
 
   Normally the C7 in the B section won't display. Is there a way to
change this?
 
 
 
 
 
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DNVerlag, Inh. Dominic Neumann
 Lessingstraße 8
 D-09130 Chemnitz
 Telefon: 0371 2839374
 Fax: 0371 2839376
 E-Mail: [EMAIL PROTECTED]
 WWW: www.dnverlag.de


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Different distance line - chordnames within one score

[Dominic Neumann]

Hi,

I´ve determined a strange problem. In some of my scores the distance
between note line and chord names differs from line to line. I´ve got
a song with 3 lines. In line 2 the chord names are around 1mm farther
away from the line.

I will try to build a minimal example, because the songs I usually
publish are not allowed to be sent here.

Is this a known problem? I don´t know where I should start searching ...


Dominic


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Re: lilypond-book with multi-dir projects

[Dominic Neumann]

Hi Laura,

2008/3/2, Laura Conrad [EMAIL PROTECTED]:

A hack to get the included files to cause recompilation


I´m interested in that hack because I´ve got always problems when I
change my central include files. The only solution I use then is to
remove the complete out-directory and recompile it all. But that takes
minutes ...

Dominic


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LaTeX sans font for LilyPond lyrics?

[Dominic Neumann]

Hi,

is there an easy way to use the LaTeX sans font for LilyPond lyrics? I
already search the mailinglist but I couldn´t find a solution for it.

Dominic


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