decreasing spacing between staves
Greetings, I've looked high and low for the solution to this (rather basic, IMO) problem, and seem to be coming up empty-handed: I have a score that requires a single-line tablature staff above the main staff, which contains pitches. I need to find a way to decrease the space between the tablature staff and the main one such that it generally is not more than 2 spaces (i.e. staff spaces) above the main staff, but yet will move higher if needed to avoid collisions with leger lines, articulations, etc. Noteheads between these two staves will typically be beamed together (i.e. cross-staff beaming). Adjusting the minimum-Y-extent of VerticalAxisGroup does not seem to have the desired effect (staves are too far apart); adjusting offsets in NonMusicalPaperColumn is possible, but only doable at the very last stage, i.e. once all other input is done. So, is there an easy (and hopefully intuitive) way to decrease space between two staves (even if the score were to contain more than 2 staves) globally, without having to set system breaks, such that the layout will default to a narrower vertical spacing for those staves? Thanks, EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tenuto/tie collision
Jonathan Kulp jonlancekulp at gmail.com writes: You might try the tweaks covered in Learning Manual 4.5.3 Real Music Example, which has an instance of a tie that needs to be raised to avoid collision with something. Right, but this is precisely the point: I'll be making dozens of such adjustments, when IMO such collisions should be avoidable by default, if not by design. This is why I'm wondering if there isn't a way to globally ensure the positioning of ties _between_ (as opposed to above) noteheads; there would likely then be the problem of the left ends of ties colliding (or at least interfering) with augmentation dots, but there are likely to be fewer such instances. Cheers, EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
tenuto/tie collision
Greetings, I'm sure this has been addressed elsewhere, although my search of the forum turns up negative: It seems that in some instances the program will default to a tie placement such that it is bound to collide with certain articulations, such as tenuto marks. It appears as if ties are lowered for notes on spaces (e.g. the B5), yet they are higher for notes on lines (the 5). I would imagine this is to avoid tie endpoints on lines when such notes appear within the staff, yet one ends up with two different tie appearances, i.e. ties wholly between noteheads (the first measure) and ties above and just slightly off- centered from noteheads (the second measure). The previous would correspond, for instance, to Vinci's recommendations for tie endpoints (see _Die Notenschrift_), whereas the latter corresponds to Gardner Read. Can one _easily_ override the problem in the latter measure, without having to tweak tie end-points or offsets? (I have done both in the past.) The ideal would be to create a global behavior in which ties appear either a) wholly between noteheads (this would require offsetting the left tie end-point to the right of augmentation dots), as per Vinci, or b) to raise ties so that they appear above tenuto marks. This latter occurs above the A5 with the augmentation dot, and I'm not sure why only it has the raised tie, although I suppose it has something to do with the dot itself. Thanks, EF inline: tenuto.jpg___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: air-tone tablature
Bertalan Fodor (LilyPondTool lilypondtool at organum.hu writes: How do you do that in Sibelius? Perhaps mirroring the same approach would be the best. With Sibelius, one can easily start and stop a staff mid-system (or measure) by changing that staff to an invisible one. Thus, the passage was engraved with two staves: a normal one for pitched notes, and a second, single line staff above for non-pitched notes. Instead of placing pitches on that line, I engraved pitches one line higher (this line does not show, of course) and used invisible noteheads; thus the extended stem. Circular noteheads were placed manually as symbols (e.g. articulations). My approach with Lilypond thus far has been similar, but I'm having difficulty suppressing the single-line staff mid-measure or -system: if I change the number of staff lines to zero, I get a whole host of warnings. Also, placing graphical symbols over blank stems to create circular noteheads is problematic, as one then triggers collision avoidance (which, as you say, one should be able to turn off). If I can find a way to create the notehead _and_ shift its position down and to the left on the stem (assuming down stems), then I'm 80% there. Thanks! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: air-tone tablature
Mark Polesky markpolesky at yahoo.com writes: Eric, I've gotten as far as I care to for now. Undoubtedly you'll want to tweak things anyway, so I'm sending off what I have as it is. You could re-code the stencil using Carl's (more efficient) way, but the code here should work fine. Let me know if anything breaks or if you need more from this function, or if you have any questions. - Mark Brilliant! Looks like this should work; I'll play around with it tomorrow. Thanks! EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
problem with engraving breath tones
I have a score that involves numerous passages of wind instruments making pure breath (i.e. non-pitched) sounds; as per Kurt Stone, these should be indicated on a single tablature line above the staff with circular noteheads. These noteheads are unusual in that they are centered on the stem (i.e. the stem goes through the center of the circle), with the stem protruding about a half a space above/below the notehead. A simple example can be found here: http://www.ericflesher.com/scores/example/air.jpg What I'm looking for is a solution that will allow me to introduce and remove this tablature staff at will, including in the middle of the bar; I would further like to be able to import a pre-existing symbol for this notehead, as it does not appear that the Feta font has such a symbol. Any ideas? Many thanks in advance. EF P.S. I have tried the following work-arounds, neither are terribly good: 1. Creating a 6-line staff, with the top line moved up 2 spaces to simulate a separate tablature line. Advantage: ease of getting the breath pitches onto the staff. Disadvantage: Solution does not work if leger-line pitches occur while this 6-line staff is in effect. 2. Creating a separate, 1-line staff for the tablature pitches. Advantage: Can easily accommodate leger-line pitches from (1) above, without placing these above the tablature staff. Disadvantage: Space between staves must be adjusted; may encounter problems in introducing/hiding staff mid-measure and/or mid-system. 3. Creating a line with \draw-line under \markup for the tablature staff. Advantage: None I can see so far. Disadvantages: The line will move to avoid collisions, thus making it difficult (if not impossible) to place noteheads on the line. Insufficient documentation (IMO) on the destination arguments taken by \draw-line, thus making the placement of such line a lengthy trial-and-error process. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup dynamics wrong size
Mats Bengtsson mats.bengtsson at ee.kth.se writes: The best solution for you is probably to use #(make-dynamic-script ... ) to define all your dynamic commands, see subsection New dynamics. Then, they will behave exactly as all the other dynamics. I haven't investigated how much tweaks would be involved to make ordinary \markup commands work better in the centered dynamics context, but you will certainly always suffer from the same lack of vertical alignment that I just pointed out in an email with subject line Re: GDP: NR 1.3 Expressive marks, second draft on the mailing list. There, you can also find hints on how to use #(make-dynamic-script ) without having to learn Scheme syntax for markup commands. /Mats Thanks - this works very well. However, I have had another issue arise from implementing this technique: Longer dynamic strings (e.g. p delicato, crescendo, etc.) that are engraved as dynamic scripts in this fashion end up getting centered, as a text string, horizontally under the notehead. This necessitates offsetting them somehow; my immediate workaround is to apply \once \override DynamicText #'extra-offset = #'( x . y ) to shift the dynamic string to the appropriate position. With this in mind, however, is there a means of doing the following: a) Defining a dynamic text string that will left-align to the notehead? This is generally what is desired for markings such as cresc. dim., plus other expressive markings (dolce, etc.) that stand alone, i.e. without a dynamic marking such as p, f, etc. b) Defining a dynamic text string that centers the dynamic mark (p, f, etc.) under the notehead as per usual, while allowing any modifiers in the string (e.g. dim., dolce, etc.) to follow to the right? I know that this latter, in particular, is a rather sophisticated request, but it would be worth being able to automate such issues that are likely to occur frequently. Regards, EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
duplets
Greetings, Is it possible to suppress/alter the tuplet number in the case of the duplet shown below? (m. 91, bass staff) According to Stone, this should be engraved as a duplet with the numeral 2 in the bracket. This could of course be represented instead by dotted eighths, but these then get rather cumbersome given the quadruplet that follows on the next beat. Replacing the duplet's 4 with a fraction (4:3) is possible, but rather counterintuitive to read. EF inline: duplet.JPEG___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
markup dynamics wrong size
Wondering if anyone has experienced the following problem:
When creating new centered dynamics in a piano staff in ver. 2.11.55
(and several earlier versions) using \markup, three things happen:
1. the markup text created is significantly larger than the normal
dynamic size
2. the text does not align with other dynamic markings
3. the presence of the markup text forces additional space between
the staves
inline: dynamics.JPEG
The dynamic marking concerned is contained in a variable thus:
pocoF = \markup { \italic poco \dynamic f }
and is deployed locally as follows:
\times 4/5 { s16 s\mp s s-\pocoF s\ } \times 4/5 { s8\! s\mp s16 } s4
(I would include more code, but the file is extremely long.)
Any idea what might be wrong here, and how this could be fixed?
Thanks,
EF___
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ties across voices -- DIFFICULT!!!
I am having an extremely difficult time finding an acceptable coding solution for a fairly straightforward (though relatively complex) notational problem: I have several measures of piano music (code appended below) in which an initial chord is struck, with voices released at different times. This _visually_ requires no more than 2 voices to be present during any given beat. Most of my coding attempts, however, require 3 or more voices, often using tweaks to hide pitches and shifting note columns to rectify the default displacement of subsidiary voices. I have tried the documented moving of the Tie_engraver to the staff (vs. voice) level, but end up with simultaneous tie events that end up junking a required tie. Does anyone have any practical advice for solving this problems? The necessity of creating invisible noteheads in 3 or more parts seems cumbersome and carries with it a whole host of horizontal voice-offset (shift) problems. I have also tried manipulating the control points on individual ties (documented elsewhere on this forum) but cannot find any reference as to how this might be done with tie columns. Incidentally, the _simplest_ solution would appear to me to be somehow engraving ties as individual graphic events, i.e. neither attached to, nor dependent upon noteheads in any particular voice. (Is this possible?) I will try to post another message with the code attached, but so far the server fails to accept such, claiming I'm top-posting. Many thanks, EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ties across voices -- DIFFICULT!!!
Eric Flesher ericflesher at gmail.com writes:
I am having an extremely difficult time finding an acceptable coding solution
for a fairly straightforward (though relatively complex) notational problem:
... et cetera...
Here's the code:
\version 2.11.51
upper = \relative c'' {
\clef bass
\time 3/1
{ s1 s1 r1 } \\
{ \stemUp fis,,,_~ gis_~ cis^~ dis^~ 1
fis~ gis~ cis^~ dis 1
fis gis~ cis~ 2
gis~ cis^~ 2 }
\time 3/1 \clef bass
fis! gis!~ cis!~ dis! 1
gis cis 1~ gis cis 2.~ gis cis 8 r8
\break
\time 4/1 \clef bass
{
fis_~ gis_~ cis^~ dis^~ 1
fis \tweak #'transparent ##t gis cis
\tweak #'transparent ##t dis 1~
\stemDown \tweak #'transparent ##t fis cis' 1~
\stemUp cis'2. r4
}
\\
{
s1 s1 fis,2~ fis8 r8 r4 s1
}
\\
{ s1 gis dis' 2. r4 s1 s1
}
}
lower = \relative c {
\clef bass
{
f,!_~ g!^~ c!^~ d!^~ 1
\tweak #'transparent ##t f g
\tweak #'transparent ##t c d 1~
g d' 1~
}
\\
{
s1
\stemDown
\once \override NoteColumn #'force-hshift = #0.75
f c' 4 c4\rest c2\rest s1
}
{ s1
\once \override NoteColumn #'force-hshift = #-0.15
d'2. r4 s1
}
\\
{
f,!_~ g!_~ c!^~ d!^~ 1
f g c \tweak #'transparent ##t d 1~
\stemUp f_~ \tweak #'transparent ##t g c^~ 2
f c' 4. d'8\rest
}
\\
{ s1 s1 \stemDown g,4. a,8\rest a2\rest }
{
f'!_~ g!_~ c!^~ d!^~1
\once \override TieColumn #'tie-configuration =
#'((-5.5 . -1) (-4.5 . -1) (0.5 . 1) (1.5 . 1))
\once \override NoteColumn #'force-hshift = #-0.75
\tweak #'transparent ##t f \tweak #'transparent ##t g
\tweak #'transparent ##t c \tweak #'transparent ##t d
\stemDown
\once \override NoteColumn #'force-hshift = #-2.5 g2_~
g8 c,8\rest c4\rest c2\rest
des\harmonic ges\harmonic as\harmonic des\harmonic 2
}
\\
{ s1 \stemDown
\once \override NoteColumn #'force-hshift = #-0.75
g c 1~
\once \override TieColumn #'tie-configuration =
#'((-6.5 . -1) (-2 . -1))
\once \override NoteColumn #'force-hshift = #-2.75
\tweak #'transparent ##t g c^~ \stemUp c2. a'4\rest
}
\\
{ s1
\once \override NoteColumn #'force-hshift = #0.25
f, d' 2. r4
}
\\
{ \stemUp
}
}
\score {
\new PianoStaff
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
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Re: cross-staff synchronized grace-note figure
David Fedoruk david.fedoruk at gmail.com writes: I'm not sure which notes are grace and which are not. The problem is interesting *think* i'm encountering a similar one, but you haven't given me enough information to tell. All the left-hand (bass clef) pitches will look like grace notes. The right hand pitch in the treble clef is a normal (and hence normal-sized) note. This all unfolds in one measure of 3/8 time, with the pitches as follows: Right hand: D#4 (i.e. just above middle C), dotted quarter-note Left hand: D2 - D#4 - C#3 - F#3 G3 (dyad), all grace notes. (The second grace note coincides with the main note in the right hand.) I'm using standard pitch notation, where the digit after the pitch-class name denotes the octave, i.e. not pitch-registral designations as would be given in Lilypond – those could be converted easily enough. The main issue is how one makes the second of the group of grace notes coincide with the right-hand pitch. This also requires cross-staff beaming with the grace notes, and a double-stemmed notehead on the D#4. I have found a post on a similar topic, dealing with synchronizing grace and normal notes between staves, but it only references synchronizing the first grace of the figure with the normal note, and there is no cross-staff beaming of the graces. Thanks! EF ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cross-staff synchronized grace-note figure
This may have been addressed before, but my search of the archives hasn't returned anything: Is it possible in a piano (grand-staff) score to create a grace-note figures such that: 1. the figure consists of 4 notes in the bass staff (beamed as small 8th notes) 2. the second note of the figure synchronizes with the same pitch on beat 1 of the treble staff. 3. this second note is cross-staff beamed to the note in the treble staff Essentially this is a sort of arabesque figure in which a chief melodic note (here, the beat-1 note of the treble staff) is ornamented by a grace-like figure beginning one pitch before the chief (treble-staff) note and finishing 2 pitches later. Any advice would be most welcome. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
