Space between time signature and repeat bar line.

[Frederick Dennis]

Dear All,
Thanks to Peter Gentry and James pkx188h
for helpful suggestions regarding first and second
time repeat bars. I find that
\set Score.repeatCommands = #'((volta #f) (volta "1.") )
is easier to use than the usual method.

I've been trying to typeset a score which has an
initial repeat bar line *after* the time signature.
I know that it is not necessary to have this
bar line or maybe even deprecated but I thought
I'd duplicate it anyway. Lilypond's default seems
to be that the bar line will occur *before* the time
signature.

Using the following code achieves the desired result
and also enables control of the space
between key signature and bar line:

%%
\version "2.14.2"
\relative c'' {
\time 6/8
  \once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(instrument-name
  left-edge
  ambitus
  breathing-sign
  clef
  key-signature
  time-signature
  staff-bar
  custos))
  \once \override Staff.TimeSignature #'space-alist =
#'((first-note . (fixed-space . 2.0))
   (right-edge . (extra-space . 0.5))
   ;; free up some space between time signature
   ;; and repeat bar line
   (staff-bar . (extra-space . 9 )))%increase this number for more space
   %between time signature and bar line
  \bar "|:"
  c2.
  d2.
  d4 e8 f4 g8
}
%%

but when I use the code in my setting, the extra space
number doesn't work which is a shame, as the default
position looks too close to the time signature:

%%
\version "2.14.2"

#(set-global-staff-size 19.5)
\header {
title = "BLOW THE WIND SOUTHERLY"
composer = "Northumbrian folk-song"
arranger = "arr. Donald J. Hughes"
}

soprano =
\relative c' {
\key a \major
\time 6/8
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(instrument-name
  left-edge
  ambitus
  breathing-sign
  clef
  key-signature
  time-signature
  staff-bar
  custos))
  \once \override Staff.TimeSignature #'space-alist =
#'((first-note . (fixed-space . 2.0))
   (right-edge . (extra-space . 0.5))
   ;; free up some space between time signature
   ;; and repeat bar line
   (staff-bar . (extra-space . 90)))%increase this number for more space
   %between time signature and repeat bar line
   %Doesn't work.
\bar "|:"
cis'8.^\mp^\markup { \bold Moderato } b16 a8 e cis e
fis d fis e cis e
}

alto =
\relative c'
{
\key a \major
cis8. cis16 d8 e cis e
b d b e cis e}

tenor =
\relative c' {
\clef bass
\key a \major
e,8. e16 fis8 a a gis
fis fis gis b a gis}

bass =
\relative c' {
a,8._\mp a16 b8 cis8. d16 cis8
d8. e16 d8 cis8. d16 cis8}

altoLyrics = {
\lyricmode {
Blow the wind south -- er -- ly, south -- er -- ly, south -- er -- ly,
}}

\score {
\new ChoirStaff<<

\new Staff = women <<
\new Voice =
"soprano" { \voiceOne << \soprano >> }
\new Voice =
"alto" { \voiceTwo << \alto >> }
>>

\new Lyrics \with {alignBelowContext=women}
\lyricsto alto { \altoLyrics}

\new Staff = men <<
\new Voice =
"tenor" { \voiceOne << \tenor >> }
\new Voice =
"bass" { \voiceTwo << \bass >> }
>>

>>
\layout {}
\midi {}
}

I have obviously missed something.
Thanks for any suggestions.
p.s sorry, I forgot to edit the subject line.
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Re: lilypond-user Digest, Vol 109, Issue 56

[Frederick Dennis]

Dear All,
Thanks to Peter Gentry and James pkx188h
for helpful suggestions regarding first and second
time repeat bars. I find that
\set Score.repeatCommands = #'((volta #f) (volta "1.") )
is easier to use than the usual method.

I've been trying to typeset a score which has an
initial repeat bar line *after* the time signature.
I know that it is not necessary to have this
bar line or maybe even deprecated but I thought
I'd duplicate it anyway. Lilypond's default seems
to be that the bar line will occur *before* the time
signature.

Using the following code achieves the desired result
and also enables control of the space
between key signature and bar line:

%%
\version "2.14.2"
\relative c'' {
\time 6/8
  \once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(instrument-name
  left-edge
  ambitus
  breathing-sign
  clef
  key-signature
  time-signature
  staff-bar
  custos))
  \once \override Staff.TimeSignature #'space-alist =
#'((first-note . (fixed-space . 2.0))
   (right-edge . (extra-space . 0.5))
   ;; free up some space between time signature
   ;; and repeat bar line
   (staff-bar . (extra-space . 9 )))%increase this number for more space
   %between time signature and bar line
  \bar "|:"
  c2.
  d2.
  d4 e8 f4 g8
}
%%

but when I use the code in my setting, the extra space
number doesn't work which is a shame, as the default
position looks too close to the time signature:

%%
\version "2.14.2"

#(set-global-staff-size 19.5)
\header {
title = "BLOW THE WIND SOUTHERLY"
composer = "Northumbrian folk-song"
arranger = "arr. Donald J. Hughes"
}

soprano =
\relative c' {
\key a \major
\time 6/8
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(instrument-name
  left-edge
  ambitus
  breathing-sign
  clef
  key-signature
  time-signature
  staff-bar
  custos))
  \once \override Staff.TimeSignature #'space-alist =
#'((first-note . (fixed-space . 2.0))
   (right-edge . (extra-space . 0.5))
   ;; free up some space between time signature
   ;; and repeat bar line
   (staff-bar . (extra-space . 90)))%increase this number for more space
   %between time signature and repeat bar line
   %Doesn't work.
\bar "|:"
cis'8.^\mp^\markup { \bold Moderato } b16 a8 e cis e
fis d fis e cis e
}

alto =
\relative c'
{
\key a \major
cis8. cis16 d8 e cis e
b d b e cis e}

tenor =
\relative c' {
\clef bass
\key a \major
e,8. e16 fis8 a a gis
fis fis gis b a gis}

bass =
\relative c' {
a,8._\mp a16 b8 cis8. d16 cis8
d8. e16 d8 cis8. d16 cis8}

altoLyrics = {
\lyricmode {
Blow the wind south -- er -- ly, south -- er -- ly, south -- er -- ly,
}}

\score {
\new ChoirStaff<<

\new Staff = women <<
\new Voice =
"soprano" { \voiceOne << \soprano >> }
\new Voice =
"alto" { \voiceTwo << \alto >> }
>>

\new Lyrics \with {alignBelowContext=women}
\lyricsto alto { \altoLyrics}

\new Staff = men <<
\new Voice =
"tenor" { \voiceOne << \tenor >> }
\new Voice =
"bass" { \voiceTwo << \bass >> }
>>

>>
\layout {}
\midi {}
}

I have obviously missed something.
Thanks for any suggestions.
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Not interested in mid meaning of \repeat volta

[Frederick Dennis]

Dear All,
Since my previous mail, I've looked in the
documentation and come up with:

%%start snippet
\version "2.14.2"

\header {
title = "BLOW THE WIND SOUTHERLY"
composer = "Northumbrian folk-song"
}

soprano =
\relative c' {
\key a \major
\time 6/8
\bar "|:"
cis'8. b16 a8 e cis e
fis d fis e cis e
cis'8. b16 a8 e cis e
\set Score.repeatCommands = #'((volta #f) (volta "1.") )
fis b gis a4.
\bar ":|"
\set Score.repeatCommands = #'((volta #f) (volta "2.") )
fis8 b gis a4 cis8
\set Score.repeatCommands = #'((volta #f))
}

\score {
\soprano
}

\layout {}
%%%end snippet

which seems to do the trick with the error:
warning: cannot end volta spanner

However, is there a way of getting the first
repeat bar to print out *after* the key signature?

Thanks.
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Not interested in midi meaning of \repeat volta etc.

[Frederick Dennis]

Dear All,
In 2.14.2
is there any way of getting
\bar "|:"
to print out *after* the time signature?

Also, is there any way of printing the
first-time and second-time bars as
markup  or \mark instead of using \repeat volta
\alternative etc.?

Thanks.
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dynamics placing (was Re: Lilypond lobbying?)

[Frederick Dennis]

> >> How do you like syntax like this:
> >> e1 \< #0.25 \f #0.5 \> f2 \! #0.5
> >> which would mean this
> >> \new Voice << { e1 f2 } {s4 s4 \< s2 \f \> s4 s4 \! } >>
>
Dear All,
I've tried

e1 \< #0.25 \f #0.5 \> f2 \! #0.5

which gets an error: unexpected NOTENAME_PITCH

I've tried

\new Voice << { e1 f2 } {s4 s4 \< s2 \f \> s4 s4 \! } >>

which works nicely. Without \new Voice, it goes on two staves.

<< e1 {s4 s4\< s2\f\>} >> << f2 {s4 s4\!} >>

produces two systems of two staves each without any
dynamics at all.

What about

\new Voice  { e1*1/2\< s4\f s4\> f2*1/4 s4\! }

except this method doesn't line the hairpins up very well.
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Collision between voiceOne & voiceTwo, peculiar cautionary

[Frederick Dennis]

Dear All,
Thanks to Xavier and Peter for sorting out what
was not such a problem.
The following amended code looks fine:

\version "2.14.2"

pianoOne = \relative c' { \time 6/8 \voiceOne
aes'4 g8 \once\override NoteColumn #'force-hshift = #1 fis4 g8 }

pianoTwo = \relative c' { \voiceTwo 4 8 4 8}

\score {
\new PianoStaff <<
\new Staff = "RH"
<< { \pianoOne } \\ { \pianoTwo } >>
>>
}

The main problem was that the f sharp sat on top of the
f natural. The added natural on the following f could
be seen as excessive but is acceptable.
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Re: lilypond-user Digest, Vol 105, Issue 5

[Frederick Dennis]

Dear All,
In this code:

\version "2.14.2"
pianoOne = \relative c' { \voiceOne aes'4 g8 fis4 g8 }
pianoTwo = \relative c' { \voiceTwo 4 8 4 8}

\score {
\new PianoStaff <<
\new Staff = "RH"
<< { \pianoOne } \\ { \pianoTwo } >>
>>
}

the cautionary accidental has been moved to the next chord
and the f sharp is on top of the f natural. Is this a bug?

Frederick Dennis.
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Collision between voiceOne and voiceTwo, peculiar cautionary

[Frederick Dennis]

Dear All,
In this code:

\version "2.14.2"
pianoOne = \relative c' { \voiceOne aes'4 g8 fis4 g8 }
pianoTwo = \relative c' { \voiceTwo 4 8 4 8}

\score {
\new PianoStaff <<
\new Staff = "RH"
<< { \pianoOne } \\ { \pianoTwo } >>
>>
}

the cautionary accidental has been moved to the next chord
and the f sharp is on top of the f natural. Is this a bug?
Sorry, I forgot to edit the subject.
Frederick Dennis.

Frederick Dennis.
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Indent only one system, replace long extender with dashes

[Frederick Dennis]

Dear All,
\version "2.12.2"
How do you indent just one system?
I've got some shortInstrumentNames appearing at bar
23, the previous bars being hidden, so
short-indent in \layout makes room for the
names, but also indents all the other
systems which I don't want.

Also, the section is voices singing: "Ah".
I used a hidden slur to get an extender
but would rather have a line of dashes
as the extenders look ugly to my mind.
How do I replace a long extender with
a row of dashes?

Thanks for your attention. I have looked in
the docs and the listservs.
Fred.
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Re:title on a separate page (Susan Dittmar) (David Nalesnik)

[Frederick Dennis]

Dear All,
When I tried to add the titlepage code to
the LSR, I got a message from Firefox
that lsr.dsi.unimi.it had an out-of-date
certificate and could not be trusted(?)
I have altered the music so it is now
public domain, hopefully.

%start file
\version "2.12.2"

%The next bit is scheme code to define \vspace
#(define-markup-command (vspace layout props amount) (number?)
  "This produces a invisible object taking vertical space."
(ly:make-stencil "" (cons -1 1) (cons 0 amount))
(ly:make-stencil "" (cons -1 1) (cons amount amount)))

\paper {
 print-page-number=##f
 ragged-bottom=##t
 ragged-last-bottom=##t
 print-all-headers = ##t

}

#(set-global-staff-size 14)

\header {
title = \markup \center-column
{ \vspace #64 \fontsize #10 "The Conqueror Worm" }
subtitle =  \markup \center-column { \vspace #64 \fontsize #12 "Evanescence"
}
 copyright = "Evanescence (http://www.evanescence.com/)"
 tagline = ##f
}

melody = \relative c' {
 a'1 ~
 a2.  a16( gis) a(  b)
 c2~  c8( e) d( c)
 b4. b8 d4 b
 a2 c
 e4. e,8 e4 e
 c'2 b4( a)
 g2. g4
 a1 ~
 a4 b c2
}

textI = \lyricmode {
 Lo! __ 'tis __ a __ ga -- la __ night
 With -- in the lone -- some lat -- ter years!
An an -- gel __ throng, be -- winged, __ be -- dight
}

guitar = \chordmode {
 a1:m f a:m g a:m e
 a:m g f r
}

\book {
\pageBreak

 \score {

  <<
\new ChordNames { \set chordChanges = ##t \guitar }
\new Voice = "one" { \clef treble \melody }
\new Lyrics \lyricsto "one" { \textI }
  >>
  \layout { indent = 0.0\cm }
  \header {
 title = "The Conqueror Worm"
 subtitle = ""
 composer = "Composed by Evanescence"
 poet = "Lyrics by Edgar Allan Poe"
 }
 }
}
%end of file
I like this code because it is short and easy to understand.
It will definitely come in useful.
Fred.
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Re:title on a separate page (Susan Dittmar)

[Frederick Dennis]

Dear All,
I was very interested in the correspondence about a title-page.
I noticed that Kieren's solution seemed to ignore the original header
information and insert another markup for it while Valentin's
solution produced very small titles while using \book so I took
the liberty of combining the two solutions:

%start of file
\version "2.10.33"
% I strongly recommend using 2.12 or 2.13!

#(define-markup-command (vspace layout props amount) (number?)
  "This produces a invisible object taking vertical space."
(ly:make-stencil "" (cons -1 1) (cons 0 amount))
(ly:make-stencil "" (cons -1 1) (cons amount amount)))

\paper {
 print-page-number=##f
 ragged-bottom=##t
 ragged-last-bottom=##t
 print-all-headers = ##t

}

#(set-global-staff-size 14)

\header {
title = \markup \center-column { \vspace #64 \fontsize #18 "Mask" }
%  poet = "Eva Wiest"
subtitle =  \markup \center-column { \vspace #64 \fontsize #12 "Eva Wiest" }
 copyright = "Eva Wiest (http://summerandfall.de/)"
 tagline = ##f
}

melody = \relative c' {
 a'1 ~ a2
 a4 b4 c2 c4 c4 b2 c4 b4 a2 a4 g4 e2
 a4 b4 c2 c4 c4 b2 a4 g4 a1 ~ a2
 a4 b4
}

textI = \lyricmode {
 She
 She is cold as blue ice with a face of gra -- nite,
 she will ne -- ver give up or give in,
 She won't
}

guitar = \chordmode {
 a1:m f a:m g a:m e
 a:m g f r
}

\book {
\pageBreak

 \score {

  <<
\new ChordNames { \set chordChanges = ##t \guitar }
\new Voice = "one" { \clef treble \melody }
\new Lyrics \lyricsto "one" { \textI }
  >>
  \layout { indent = 0.0\cm }
  \header {
 title = "Mask"
 subtitle = ""
 composer = "Composed by Eva Wiest"
 poet = "Lyrics by Eva Wiest"
 }
 }
}
%end of file
To get another header on the second page, you insert the \header {}
into the \score but *after* the music. Also I had to put \subtitle = ""
to stop part of the first header from repeating itself.
Also,
print-all-headers = ##t
has to go in \paper {}
Thanks to Kieren and Valentin for elucidating this problem.
(And thanks to Susan for asking the question)
I can now place this code in my archive for future use.
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Re: The best way for a book?

[Frederick Dennis]

Dear Pierre,
I noticed that your lyrics (De- us in ad- iu- tó- ri- um  me- um in- ten-
de.)
didn't have the hyphen in the right place.
Shouldn't they be: De -- us in ad -- iu -- to -- ri -- um etc.?
Then the syllables get spaced out nicely.
I can't help you on the other problem.
Yours, Fred.
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Re: Accidentals: Unwanted naturals

[Frederick Dennis]

> > these programs operate as you describe
>
> Okay, then they *do* use (essentially) the same method as Lilypond,
> not some "visually-oriented" method which "follows the key signature"...
>

Not so. In Sibelius, you put the key signature, e.g. F sharp major, then
type
the plain letter names, e.g. f g a b c d e f which plays back as the scale
of F sharp major. The Lilypond method seems a bit odd to start with,
but "es" and "is" are easily typed. What's the point of quibbling over it.
As Graham says, the coders got there first.

> So is there *any* example of an application which tries to "follow
> the key signature" for someone?
>
Yes - Sibelius.

> Not only do I know of no such program, I can't even imagine how it
> could be done (technically).
>
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Re: lilypond-user Digest, Vol 81, Issue 135

[Frederick Dennis]

Dear Kieren,
I think I've sorted it out.

>
> > On one system, the piano staves are ridiculously far
> > apart. How do you bring them closer together?
>
> Have you looked at the documentation on vertical spacing, particularly
>  staff-and-system-positioning#Explicit-staff-and-system-positioning>
>
> It's relatively easy to control the (explicit) position of a single
> staff.
>
> Hope this helps!
> Kieren.
>
> Thanks for the pointer to the documentation. I extracted the

following code and have put comments in:
%start
\version "2.12.2"
 \score {
<<
  \new Staff <<
\new Voice {%Spacer track containing line breaks,
%system positions and distance between
%the two staves of each system.
  \overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 20)
(alignment-offsets . (0 -10)))
%Line-break-system etc. gives the position of the first system on the page.
  %Increase the Y-offset number to move the system down.
  %Alignment-offsets etc. gives the distance
%between the first two staves: -10 is narrower than -15
  s1*5 \break
  \overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 60)
   (alignment-offsets . (0 -15)))
%Line-break-system etc. gives the position of the second system on the page.
  %Increase the Y-offset number to move the system down
%alignment-offsets etc. gives the distance
%between the staves: -10 is narrower than -15
  s1*5 \break
  \overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 100)
   (alignment-offsets . (0 -15)))
%Line-break-system etc. gives the position of the second system on the page.
  %Increase the Y-offset number to move the system down
%alignment-offsets etc. gives the distance
%between the staves: -10 is narrower than -15
  s1*5 \break
}
\new Voice { \repeat unfold 15 { c'4 c' c' c' } }%The top stave.
%Repeat unfold 15 gives 15 bars of music.
  >>
  \new Staff {
\repeat unfold 15 { d'4 d' d' d' }%The bottom stave
  }
>>
  }
 %end
This produces a useful demonstration.
In my particular case, there are four voice parts with lyrics
and a piano part, so I ended up with:

\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 70)
(alignment-offsets . (0 -7 -14 -21 -28 -35 -42 -49
-59 -70)))

which may need a bit more adjusting but is very satisfactory so far.
I wasted time because I failed to notice that the lyrics count as a
staff. All I had to do was insert the \overrideProperty
etc(alignment-etc.
immediately after a \break and put a \break at the end of the system.
The Y-offset etc. is the position of the system on the page,
and the alignment-offsets numbers etc. are the position of each stave and
line
of lyrics within this system. With a bit of juggling, Bob's your uncle!
Thank you once again.
Yours, Fred.
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Re: Change distance between piano staves for one system only

[Frederick Dennis]

>
> Am Samstag, 29. August 2009 schrieb Frederick Dennis:
> > Dear All,
> > \version "2.12.2"
> > I'm typesetting a 6-stave piece, SATB and piano.
> > Is there any way of altering the distance between the
> > piano staves, just for one system. Also, is there any
> > way to put more distance between the top piano
> > stave and the bass singers' stave? I have checked
> > out the documentation and not found anything that
> > worked.
> > Fred.
>
> If that position is fixed to a note, but not to the system (like for
> example
> 3rd system on 2nd page), I would first try inserting spacing by markups.
> That
> would appear as the easiest way.
> --
>
Dear Frank,
Thanks for that suggestion, which had not occurred to me.
On one system, the piano staves are ridiculously far
apart. How do you bring them closer together?
Yours, Fred.
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Re: chord duration

[Frederick Dennis]

Dear Christian,
I checked out your code and all you have to do is
add a dot after the g2 to give the value of a
dotted minim (half-note). Thanks for the code,
as I've never used \improvisationOn.
Yrs, Fred.


> Hi there, another problem. I hope people don't get too impatient with
> me. I try to figure out how to define a chord notation that doesn't
> quite fit into the normal mode. Please consider the following working
> code example:
>
> \version "2.12.2"
>
> #(ly:set-option 'delete-intermediate-files #t)  % deletes the .ps file
> automatically
>
> <<
>  \new ChordNames {
>\chordmode {
>  g1 | g1:sus4 | g2 g4:sus4 |
>}
>  }
>
>  \new Voice \with {
>\consists Pitch_squash_engraver
>  } \relative c'' {
>\improvisationOn
>g4 g g g
>g4 g g g
>g4 g g g
>  }
> >>
>
> Inside the third measure, how can have the G chord last for 3 quarter
> notes? The g:sus4 is suppose to be on the last quarter note.
>
>
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Change distance between piano staves for one system only

[Frederick Dennis]

Dear All,
\version "2.12.2"
I'm typesetting a 6-stave piece, SATB and piano.
Is there any way of altering the distance between the
piano staves, just for one system. Also, is there any
way to put more distance between the top piano
stave and the bass singers' stave? I have checked
out the documentation and not found anything that
worked.
Fred.
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Re: Have a title page, but also default headers on 1st score page (Frank Steinmetzger)

[Frederick Dennis]

Dear Frank,
Thank you for the snippet and modifications. Just looking at it makes my
head
spin. Hopefully, I'll be able to use it after studying it.
Fred.

Am Freitag, 28. August 2009 schrieb Frederick Dennis:
> > > I'm creating scores for my choir and because some of us use duplex
> > > printers,
> >
> > they would like an empty page at the beginning. So I thought "Why not
> have
> > a
> >
> > > nice title page there?", But because the majority does not use duplex
> > > printers, I want the default title still visible. (Also because I
> > > couldn't
> >
> > I have encountered this problem.
> >
> > > . So now I have
> > > a title page and, on the following page, the default header with title
> > > and composer.
> >
> > Excellent. Could you possibly post an example, please?
>
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Lilypond Speed (Jonathan Wilkes)

[Frederick Dennis]

Dear Jonathan,
It takes me 11 seconds the first time, 4 seconds without a version number
and 3 seconds with a version number.
AMD Sempron 2500+
1.4 GHz, 448MB of RAM
Physical Address Extension
Windows XP Professional
Fred
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Re: lilypond-user Digest, Vol 81, Issue 124

[Frederick Dennis]

>
>
>
> I'm creating scores for my choir and because some of us use duplex
> printers,

they would like an empty page at the beginning. So I thought "Why not have a
> nice title page there?", But because the majority does not use duplex
> printers, I want the default title still visible. (Also because I couldn't

I have encountered this problem.

> . So now I have
> a title page and, on the following page, the default header with title and
> composer.
>
Excellent. Could you possibly post an example, please?

> But there is one last thing:
> How can I get the copyright notice on the second page instead of the first?
>
> Again, I looked at titling-init.ly, and found oddFooterMarkup=...
> So I also copied it to my document and exchanged odd and even headers, so
> the
> copyright would appear on page 2 of the PDF. But I only found things like
> #not-last-page, #first-page, etc, but not how to check for a certain
> number.
>
> On the other hand, because I don't fancy editing default code and keeping
> that
> around for later, I would perfer an alternative which would let me use said
> snippet for the title page, and then have lilypond deal with the following
> code as if it would be starting a new document. (As if using two different
> books, but get them into one file).

I agree with this. Everything you mention is already possible, of course,
but
a simple-to-understand snippet is always welcome.
Fred.

>
>
>
>
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TIP] Scheme function to force regular system breaks (Kieren MacMillan)

[Frederick Dennis]

Thanks, Kieren. Added to the archives.
>
>
> Thought I'd share this... it's a Scheme function I wrote to force
> system breaks at regular intervals (e.g., four measures per system is
> a popular jazz sheet music layout).
> Comments/improvements are welcome.
>
> Hope this helps someone else!
> Kieren.
> 
>
> \version "2.13.3"
>
> breakSet =
>   #(define-music-function
> (parser location measureDuration perSystem systemReps)
> (ly:music? number? number?)
> #{
>   \repeat "unfold" $systemReps {
> \repeat "unfold" $perSystem { $measureDuration \noBreak }
> \break
>   }
> #})
>
> theMusic = { \repeat "unfold" 80 c''4 }
>
> \markup \wordwrap { This is the default layout for 90 quarter notes: }
> \score { \theMusic }
>
> \markup \fill-line { "" }
> \markup \wordwrap { Using the \typewriter "\breakSet" function, we
> can easily force equal systems of four measures each: }
>
> \score {
>   \new Staff << \theMusic \breakSet s1 #4 #5 >>
> }
>
>
>
>
>
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How do you shorten a hairpin?

[Frederick Dennis]

Dear All,
When I try to shorten a hairpin on a minim (half note) using
<< { } \\ { } >> and spacers, the lyrics ignore the note.
I've tried Keiren's scheme code from a few versions ago
without success.
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How do you indent a system

[Frederick Dennis]

Dear All,
\version "2.12.2"
I'm producing a single-stave unison score of a hymn.
How do I indent the start of each verse without having
to use a separate \score for each.
I can use \break in the music and \set stanza = "1." etc.
inside verse = \lyricmode {} so can put the
music and words in one variable each.
I have looked in the documentation.
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Re: [Frescobaldi] Re: [ANN] Frescobaldi 0.7.9

[Frederick Dennis]

On Tue, May 26, 2009 at 4:08 AM, Frederick Dennis <
frederickden...@googlemail.com> wrote:

>
>> Frescobaldi 0.7.9 has been released. This release contains some bugfixes
>> and
>> small improvements. Changes:
>>
>> Dear Mr. Berendsen,
> I had some problems installing Frescobaldi 0.7.8 into opensuse 11.1
> The latest was:
> kde4_meinproc_executable-notfound, Error 127
>
> Meinproc seems to be a program which compresses html files and is hidden
> in the kdelibs4-doc. However, cmake cannot find it. The other errors were
> caused
> by programs missing from kde4 such as python, a c compiler and a c++
> compiler.
> By using yast software management I was able to locate, by trial and error,
> the
> necessary programs, but could not solve the missing meinproc problem
>
> With 0.7.9, the make install produces:
> CMake Error at cmake_install.cmake:36 (FILE)
> cannot copy file frescobaldi to /usr/bin/frescobaldi
>
> As a new user of linux, I have no idea why frescobaldi cannot be copied
> to the bin directory, but it is very galling to have fallen at the final
> hurdle.
>
>
>
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Re: lilypond-user Digest, Vol 78, Issue 99

[Frederick Dennis]

>
>
> Frescobaldi 0.7.9 has been released. This release contains some bugfixes
> and
> small improvements. Changes:
>
> Dear Mr. Berendsen,
I had some problems installing Frescobaldi 0.7.8 into opensuse 11.1
The latest was:
kde4_meinproc_executable-notfound, Error 127

Meinproc seems to be a program which compresses html files and is hidden
in the kdelibs4-doc. However, cmake cannot find it. The other errors were
caused
by programs missing from kde4 such as python, a c compiler and a c++
compiler.
By using yast software management I was able to locate, by trial and error,
the
necessary programs, but could not solve the missing meinproc problem

With 0.7.9, the make install produces:
CMake Error at cmake_install.cmake:36 (FILE)
cannot copy file frescobaldi to /usr/bin/frescobaldi

As a new user of linux, I have no idea why frescobaldi cannot be copied
to the bin directory, but it is very galling to have fallen at the final
hurdle.
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Custom volta text problem.

[Frederick Dennis]

Dear All,
I worked out the custom volta text problem but Graham beat
me to it.

 \version "2.12.2"
voltaSafety = \markup { "" \text \italic { safety } }
voltaLast = \markup { "" \text \italic { last time only }}
\relative c'' {
  c1
  \set Score.repeatCommands = #(list (list 'volta voltaSafety)
'start-repeat)
  c4 b d e
  \set Score.repeatCommands = #(list (list 'volta voltaLast) 'end-repeat)
  f1
  \set Score.repeatCommands = #'((volta #f))
}

My version is a bit different.
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Kieren's Double Breve: Thank You.

[Frederick Dennis]

Thank you, Kieren, for that double-breve function
which I am now using in Reading's (d.1692)
Preces and Responses. I think the breve looks
much better with double side-bars.
Fred.
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Re: lilypond-user Digest, Vol 76, Issue 98

[Frederick Dennis]

Dear All,
In the following extract from "The Preces and Responses"
by John Reading (d. 1692), the tenorTwoSnippet lyric "to"
has an over-long extender. Adding skips after it makes
the extender even longer. Is there any way of shortening
it?

The first and third staves for the priest aren't long enough.
How do you lengthen them?

Is there an easy way of lining up the choir staves so they
stack neatly?

Why doesn't \once \override Slur #'positions = #'(6 . 6)
have any effect on the slur in the alto part?

Thank you for your attention.

% Created on Mon Jun 23 17:27:19 BST 2008
\version "2.12.2"
#(set-global-staff-size 19)
\paper {

paper-height = #270
indent = #0
line-width = 17\cm %This figure is crucial in getting both bits of score
%into the line without going off the page horizontally.

}
right = {
\once \override Voice.NoteColumn #'force-hshift = #0.5  %This moves a note
to
%the right to avoid
%overlapping
}

global = {
\key a \major
}
\header {
title = "The Preces and Responses"
   subtitle = " "
   composer = "John Reading"
   meter = ""
   piece = ""
}
%Line One%
vicar = \relative c' {
\cadenzaOn%This line turns off automatic barlines, thereby allowing
%as many notes per bar as desired.
\override Score.RehearsalMark #'break-align-symbols = #'(clef)%Positions
text above the   %clef
\clef bass
\mark "Priest"%This is the text which is positioned.
\key a \major
a\breve  s4 s4 s4 s4 s4 \bar "||"
}

vicarlyrics = \lyricmode {
%\once \override LyricText #'self-alignment-X = #LEFT %The left means the
%vicar's note is at the
%left
"O Lord, open Thou our lips."
}

soprano = \relative c' {
%\cadenzaOn
\key a \major
\time 3/4
\partial 4
cis'8.^\markup { Choir } cis16
cis4 cis d
e( d8.) cis16( b8. a16)
gis2.
\bar "||"

}

alto = \relative c' {
\key a \major
\time 3/4
\partial 4
a'8. a16
a4 e e
e2 fis4
e2.
}

tenor = \relative c' {
\key a \major
\time 3/4
\partial 4
e8. e16
e4 a, gis
a4.. e'16( d8. cis16)
b2.
}

bass = \relative c' {
\key a \major
\time 3/4
\partial 4
a8. a16
a4 a, b
cis2 d4
e2.
}

words = { \lyricmode {
%\once \override LyricText #'self-alignment-X = #LEFT %the words in quotes
%are set to one note
%which is at the left
And our mouth shall shew forth __
thy __ praise.
}}

\markup { \fill-line {
\translate #(cons -7 -7) {%The 2nd number will move the vicar's
%line up or down. -1 is up, -10 is down
%The first no. moves the vicar's line
%sideways. -7 takes it to the left

\score {
\new Staff = vicar
%\with { \remove "Time_signature_engraver" }
<< %\with remove etc. gets rid of the time signature
%It has to go after the = vicar
\new Voice ="vicar" { \vicar }
\new Lyrics \lyricsto vicar \vicarlyrics
>>
\layout {
line-width = #70 %Juggle this number - to find the optimum.
\context { \Lyrics
\override LyricText #'font-size = #-1 % -1 is 12% smaller
%\override LyricSpace #'minimum-distance =#1
}
}
}
}

\score {
\relative c'
<<
\new ChoirStaff
<<
\new Staff %\with { \remove "Time_signature_engraver" }
<<
\clef treble
\new Voice = "Soprano" { \global  \voiceOne \soprano }
\new Voice = "Alto" { \global \voiceTwo \alto }
>>
\new Lyrics \lyricsto Soprano \words

\new Staff %\with { \remove "Time_signature_engraver" }
<<
\clef bass
\new Voice = "Tenor" { \global \voiceOne \tenor }
\new Voice = "Bass" { \global \voiceTwo \bass }
>>
>>
>>

%\midi {}

\layout  {
line-width = #70 %Juggle this number to find optimum.
%ragged-right = ##t
\context { \Lyrics
\override LyricText #'font-size = #-1 }%-1 is 12% smaller
}
}
}
}

%Line Two

vicarTwo = \relative c' {
\cadenzaOn%This line turns off automatic barlines, thereby allowing
%as many notes per bar as desired.
%\override Score.RehearsalMark #'break-align-symbols = #'(clef)
%Positions text above the %clef
\clef bass
%\mark "Priest"%This is the text which is
positioned.
\key a \major
 \override Stem #'transparent = ##t%makes stems invisible
fis,4 a a b a a a
\bar "||"
}

vicarTwolyrics = \lyricmode {
%\once \override LyricText #'self-alignment-X = #LEFT %The left means the
%vicar's note is at the
%left
O, God, make speed to save us.
}

sopranoTwo = \relative c' {
%\cadenzaOn
\key a \major
\time 3/4
%\pa

Re: Cannot install Frescobaldi

[Frederick Dennis]

Dear All,
I tried to install Frescobaldi with openSuse but keep getting the
message: cmake - no such program. I'm a novice at linux.
Also, --exec-prefix produced an error.
Is there an easier way of getting it to work?
Thanks for your attention.
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Reading the maillists, mutopia and the docs

[Frederick Dennis]

Dear All,
Graham keeps saying

Lots of users don't read the mailists


As a new user, I ransack the docs, the maillists and mutopia
for answers to questions before asking for help, anywhere Google takes me.
Often, the answer is in the docs
but not in any obvious place. I check out the listserv and archive any
snippets that seem potentially useful.
The problem with mutopia seems to be that the code is usually out of date
and rarely seems to contain
the solution I am seeking. The maillists often throw up an example where
someone has the same problem
as me, maybe several years ago.
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Prevent precautionary key signature

[Frederick Dennis]

Sorry, I forgot to edit the subject line again.
Dear All,
\version "2.10.33"
Thanks to Trevor Daniels, I can now prevent the precautionary
time signature at the end of a movement by putting:

\override Staff.TimeSignature #'break-visibility = #end-of-line-invisible
after the notes and before

\bar ":|" \pageBreak

I can also get rid of the precautionary natural
(going from D major to G major)
by using:
\set Staff.printKeyCancellation = ##f
in the same place.
However,
\override Staff.KeySignature #'break-visibility = #end-of-line-invisible

has no effect.
How do I get rid of the precautionary key signature at the end of the line?
Thank you for your attention.
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Re: lilypond-user Digest, Vol 68, Issue 104

[Frederick Dennis]

Dear All,
\version "2.10.33"
Thanks to Trevor Daniels, I can now prevent the precautionary
time signature at the end of a movement by putting:

\override Staff.TimeSignature #'break-visibility = #end-of-line-invisible
after the notes and before

\bar ":|" \pageBreak

I can also get rid of the precautionary natural
(going from D major to G major)
by using:
\set Staff.printKeyCancellation = ##f
in the same place.
However,
\override Staff.KeySignature #'break-visibility = #end-of-line-invisible

has no effect.
How do I get rid of the precautionary key signature at the end of the line?
Thank you for your attention.
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Hiding end-of-line cautionary key signature and time signature

[Frederick Dennis]

Dear All,
\version "2.10.33"
How do you hide end of line cautionary key signatures
and time signatures. I've used:
\once \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible
\once \set Staff.explicitTimeSignatureVisibility = #end-of-line-invisible
which don't work.
I'm only using one staff, with several movements.
Thank you for your attention. I have been looking in the docs, snippets,
nabble and GMANE.
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Bar numbers collide with StaffGroup bracket

[Frederick Dennis]

Dear All,
\version "2.10.33"
I've just noticed that the bar numbers are colliding with the StaffGroup
bracket.
I've put
\context {\score \override BarNumber #'padding = #3  }
in the layout block but nothing happens.
I've also put it at the top and in various other places.
Thank you for your attention.
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Alter size of dynamics

[Frederick Dennis]

Dear All,
I solved the problem about moving a note along a bit (to accommodate a ffz
sign next to an accent)
I simply used \cadanzaOn ...Off and inserted a few spacer rests to attach
the ffz to.
However, comparing the score with the Barenreiter one, I feel that the
dynamics are too large.
I have searched the docs without success. It could be something to do with
DynamicTextSpanner #'font-size = -1 but I have had no luck.
Thank you for your attention.
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move note to the right a bit

[Frederick Dennis]

Dear All,
In the SATB & pno. piece, Nun laßt uns den Leib begraben, by Schubert,
he uses ffz, > and a fermata over a note. The ffz is to the left side
of the >
This means that the note has to be moved to the right a bit.
Previously, \voiceThree \once \override NoteColumn #'force-hshift = #1.
has worked fine. Now it doesn't do anything. I was using a spacer
<< {  }  \\  {  s2\ffz  }  for the ffz. I've  tried \shiftOn, \shiftOnn etc.
Sometimes  I can get this to work but now it also does nothing.
(What is the significance of the On, Onn, Onnn?)
To get ffz, I used:ffz = #(make-dynamic-script "ffz")
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Make LilyPond go on to page two

[Frederick Dennis]

On Sat, Jul 5, 2008 at 9:07 PM, Frederick Dennis <
[EMAIL PROTECTED]> wrote:

>
>
> Dear All,
> In 20.10.33, I've assembled a stack of \markups with two \scores within
> each (cantor/choir).
> The horizontal dimensions are fine (all lined up) except for one choir
> block which does not
> have a preceding cantor block. I got round this by copying the code for the
> cantor but not putting any notes
> in. As a result, the choir block will not line up properly. A bigger
> problem is the vertical spacing.
> There is a big gap above the header and the music is just sliding off the
> bottom of the page.
> The peculiar setup seems to have made lilyPond forget to assign further
> pages for the music.
> I've tried putting various lines in \paper. These work for horizontal
> spacing e.g. line-width and indent,
> but paper-height will not make the music go on to a page two.
> Thank you for your attention. Sorry, sorry,I forgot to edit the subject
> line.
>
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Re: lilypond-user Digest, Vol 68, Issue 17

[Frederick Dennis]

Dear All,
In 20.10.33, I've assembled a stack of \markups with two \scores within each
(cantor/choir).
The horizontal dimensions are fine (all lined up) except for one choir block
which does not
have a preceding cantor block. I got round this by copying the code for the
cantor but not putting any notes
in. As a result, the choir block will not line up properly. A bigger problem
is the vertical spacing.
There is a big gap above the header and the music is just sliding off the
bottom of the page.
The peculiar setup seems to have made lilyPond forget to assign further
pages for the music.
I've tried putting various lines in \paper. These work for horizontal
spacing e.g. line-width and indent,
but paper-height will not make the music go on to a page two.
Thank you for your attention.
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How do you move a couple of words down a bit?

[Frederick Dennis]

Dear All,
in version 2.10.33, how do you move lyrics down a bit? Just two words.
Thank you for your attention. I have looked at the docs. Adding a
blank lyricline would move them down too much.
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Re: lilypond-user Digest, Vol 67, Issue 107

[Frederick Dennis]

Dear All,
\version "2.10.33"
I've been trying to set the Anglican Preces and Responses.
So far, I've got one line, with two \score lines inside a \markup.
and juggled the numbers so that the score does not go
off the page. I've shrunk the font by 1 , which looks
reasonable.
Is there any way of moving all the music to the left and down a bit, away
from the header?
There will be about ten lines altogether.
Does anyone have any suggestions, as my code is all over
the place.
Thank you for your attention.

% Created on Mon Jun 23 17:27:19 BST 2008
\version "2.10.33"
\paper {
line-width = 17\cm %This figure is crucial in getting both bits of score
%into the line without going off the page.
}
right = {
\once \override Voice.NoteColumn #'force-hshift = #0.5  %This moves a note
to
%the right to avoid
%overlapping
}

global = {
\key g \major
}
\header {
title = "Morning and Evening Prayer"

}
%\layout {
%\context {
%\Staff \override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
%}
%\context { \Lyrics
%\override LyricText #'font-size = #-2
%\override LyricSpace #'minimum-distance =#1.2
%\consists "Bar_engraver"
%\consists "Separating_line_group_engraver"
%}
%\context { \Score }
%}

vicar = {
\cadenzaOn%This line turns off automatic barlines, thereby allowing
%as many notes per bar as desired.
\clef bass
\key g \major
g\breve \bar "||"
}

vicarlyrics = \lyricmode {
\once \override LyricText #'self-alignment-X = #LEFT %The left means the
%vicar's note is at the
%left
"O Lord, open Thou our lips."
}

soprano = {
\cadenzaOn
g'\breve
a1 a2 g1 \bar "||"

}

alto = {
d\breve fis1 fis2 \right g1
}

tenor = {
b,\breve d1 d2 b1
}

bass = {
g\breve d1 d2 g1
}

words = { \lyricmode {
\once \override LyricText #'self-alignment-X = #LEFT %the words in quotes
%are set to one note
%which is at the left
"And our mouth shall shew"

forth
thy praise.
}}

\markup { \fill-line {
\translate #(cons 0 -7) {%The 2nd number will move the vicar's
%line up or down. -1 is up, -10 is down
\score {
\new Staff = vicar <<
\new Voice ="vicar" { \vicar }
\new Lyrics \lyricsto vicar \vicarlyrics
>>
\layout {
line-width = #50 %Juggle this number - to find the optimum.
%ragged-right = ##f %false fills up the line
\context { \Lyrics
\override LyricText #'font-size = #-1 % -1 is 12% smaller
%\override LyricSpace #'minimum-distance =#1
}
}
}
}

\score {
\relative c'
<<
\new ChoirStaff
<<
\new Staff \with { \remove "Time_signature_engraver" }
<<
\clef treble
\new Voice = "Soprano" { \global  \voiceOne \soprano }
\new Voice = "Alto" { \global \voiceTwo \alto }
>>
\new Lyrics \lyricsto Alto \words

\new Staff \with { \remove "Time_signature_engraver" }
<<
\clef bass
\new Voice = "Tenor" { \global \voiceOne \tenor }
\new Voice = "Bass" { \global \voiceTwo \bass }
>>
>>
>>

\midi {}

\layout  {
line-width = #50 %Juggle this number to find optimum.
%ragged-right = ##t
\context { \Lyrics
\override LyricText #'font-size = #-1 }%-1 is 12% smaller
}
}
}
}
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Re: Vertical Stretching of Groups

[Frederick Dennis]

Dear All,
Regarding vertical stretching of staves, have you looked at Trevor Bača's
"Controlling vertical spacing exactly - mini HOWTO"
in which he says:
1. First, it seems that there are two *different* models for
controlling vertical spacing, which we might term "permissive" and
"strict", respectively. The first model corresponds roughly to chapers
11.3.1 and 11.3.3, and concerns overrides to VerticalAxisGroup and
settings in the paper block like

  \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)

  \paper {
 between-system-space = 1.5\cm
 between-system-padding = #1
 ragged-bottom=##f
 ragged-last-bottom=##f
  }

My analysis of this type of vertical spacing control is that what
we're really doing here is mostly setting *padding* in different
guises. We're not really saying "this staff should be so far away from
this other staff; and then this system should be so far away from this
other system further down the page". Instead we're saying "I want at
least this much padding between these staves or between these systems;
beyond those padding specifications, just let Lily figure out what to
do." So we might term this padding-based way of thinking about
vertical spacing something like "permissive". And an interesting
characteristic of this way of tweaking vertical spacing is that -- I
think -- you can *not* cause staves or systems to *overlap*. And this
relates to the primary disadvantage of using VerticalAxisGroup
overrides (and paper and margin adjustments) to control vertical
spacing: it can sometimes seem frustratingly difficult to draw staves
or systems close enough together.[1]

[1] Feel free to contradict me here; Is it possible to cause staff- or
system-overlaps using the commands given in 11.1 and 11.3? And maybe I
was alone in my experience of feeling frustrated trying to game
VerticalAxisGroup to move staves closer together.

The second model for controlling vertical spacing centers around
NonMusicalPaperColumn line-break-system-details, is very lightly
touched on in 11.4, and concerns commands like:

  \overrideProperty
#"Score.NonMusicalPaperColumn"
#'line-break-system-details
#'((alignment-offsets . (0 -5 -20)))

\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 20)
(alignment-offsets . (0 -15)))

  \overrideProperty
  #"Score.NonMusicalPaperColumn"
  #'line-break-system-details
  #'((fixed-alignment-extra-space . 15))

These overrides to line-break-system-details might be termed the
"strict" (or "control freak") approach to vertical spacing (as opposed
to the traditional, more "permissive" approach) because what we're
doing with these settings is saying "I want control here; start this
staff at exactly this vertical offset and then start this staff at
this vertical offset and finally put this staff at this vertical
offset; the vertical spacing that results is whatever results and I
don't even care if there are overlaps; just do what I say; oh and same
with the systems, too". If we want to be precise, we might even point
out that these overrides to line-break-system-details don't so much
control the spacing *between* staves and systems so much as the exact
vertical *positions at which* staves and systems begin on the page
(with the vertical spacing just a side-effect of these explicit
positioning commands).

The advantages and disadvantages to the line-break-system-details
approach to vertical spacing are pretty much what we would expect
versus the VerticalAxisGroup approach: line-break-system-details makes
it extremely easy to draw staves and system quite close to each other
but does indeed allow for staff or system overprinting.

So, to sum up this first point: it seems to me that there are two
different approaches to controlling vertical spacing: by
VerticalAxisGroup + paper settings or else by
line-break-system-details. These two methods aren't so much at odds
with each other as in a kind of cascade relationship: you can make
whatever VerticalAxisGroup + paper settings you want, but any
overrides to line-break-system-dettails will have the last say. Seems
relatively important to keep the relationship between these
"permissive" and "strict" approaches in mind to see what your vertical
spacing tweaks are really doing in any one particular score.

(One last parenthetical distinction is this: overrides to
VerticalAxisGroup will almost always be context-global and appear in
the with-block whereas overrides to line-break-system-details will
almost always appear inter alia in the middle of music input just
after an explicit \break command. So this suggests that maybe
"permissive" and "strict" might also be termed "global" and "local"
... but that pair of terms seems much less descriptive somehow.)


Second major concept running through the vertical spacing stuff is the
PianoStaff / nonPianoStaff dichotomy.

There's another thread active right now on the topic of wheth

Slur in wrong place: rests too high: adjust stave separation for just one system

[Frederick Dennis]

Dear All,
I'm using version 2.10.33
In the following extract, the slur from b to a is too high. Is there a
remedy for this? Also, why are the quaver rests so high? Do I have
to write c8\rest or something for each one? I started doing this but
this caused unexpected changes elsewhere so I gave up. Last question:
I'm fine getting the dynamics between the piano staves. Centered is
not really the right word as if a chord is on many leger lines, the dynamic
has to be lower down. However, when there are no dynamics or leger lines,
is it possible to bring the piano staves closer together for just one
system,
or do you have to set this distance for the entire score?
I have looked at the docs but may have missed something.
Thank you for your attention.

\relative c'
<<
{ r8  r8 d'~ d16( c a g) \bar "||" } \\

{ s4 s8\< ^( )\![ c] }

>>
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Placing \score within \markup (?)

[Frederick Dennis]

Dear All,
I read in an old listserve that if you put the \score in a \markup, you can
control separate areas of
notation, and, for instance, have a gap between the cantor's single stave
and the following SATB
on two staves. I am thinking of the Preces and Responses used in church
services. Although
there are several examples available, I would really like to get hold of the
ly files.
Could someone point me to the relevant documentation, please?
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Template for Anglican preces & responses (please)

[Frederick Dennis]

Dear All,
Anybody got a template for SATB Anglican preces & responses?
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Discovered: how to set SATB with keyboard reduction and place the dynamics nicely.

[Frederick Dennis]

Dear All,
I've discovered how to set SATB with dynamics and lyrics. Also how to make a
keyboard reduction with the dynamics
placed nicely between the staves and not touching the notes or barlines.
Would it be O.K. to email my efforts so
that the experts could point out any better ways of doing it?
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Re: lilypond-user Digest, Vol 66, Issue 56

[Frederick Dennis]

Dear All,
I'm trying to set a Magnificat for SATB with piano reduction. The problem I
have encountered is
that if I put dynamics into the voice parts, they all go into the reduction.
I have done a spacer track
with dynamics in and they appear in the reduction (although too high up and
colliding). Can I use a
spacer track for the voice parts? As the dynamics occur at slightly
different times in places, would I
have to use a separate spacer track for every voice? I have read the
documentation but don't understand
it.
% Created on Sat May 17 12:46:01 BST 2008
\version "2.10.33"
\header {
title = "Magnificat"
composer = "F. Dennis"
}

soprano = {
c'2\f b4 c4
a4. b8 c4 d4
e2. c8 c
f4. f8 e4 d
c4. c8 b4 a
a2 g4 g\p
f2 e4 f
d2 e4 f
 bes4. bes8 a4 f
f2 e4( d)
d2 cis
r4 d8.\f d16 e4 f4
c'2 bes
bes4 a8bes g2
a4 bes c d
g,2 f4 r4
r1
r2 c'2
c4 b8 c a4 b
r4 c d4. d8
d2 e
\time 2/4 r4 e,4\p
\time 4/4 a4. a8 g4 f
e2. c8\mf d
e e d e g4 f
f e2 c8( d)
e4 d d4. e8
d4 c2 e8\f fis
g4 a b2
c4. c8 b4 b8 c
d b r4 r e
a, r4 r8 g a b

\time 2/4 c4 b8( a)
\time 4/4 g( e) fis( g) fis4. e8
e4 r r2
r4 c'-> a-> fis->
dis4. dis8 dis4 dis
e(\> dis8 e g4.) fis8
e2( dis8) e\f fis g
d'2 d4 e
a,4.(\mf b8) c4 d
g, g8.\f g16 a4 b
d2 c
c4 b8( c) a2(
b4) r r2
r1 d4. d8 d4 c8( d)
b4-> cis-> r2
d2\p a4. a8
a1~
a2. d,8\mf\< e
f4 e8 f a4 g~
g f\> f d8 e
f4 e e4. d8
d2 d4\mf\< e
fis8 fis e fis a4 g
g\> fis2 e8\f fis
\time 3/2 g4 a8 a b2 c
\time 4/4 c2 b
r1 r1 r1 r1 r1
c1(\f
b4) c a a8( b)
c4 d e2~
e4 c8 c f4. f8
e4 d4 c2
b4 a a2
g4( f) e c'~
c1
c
}

alto = {
e2 f4 g
f4. g8 a4 a
gis2. a8 a
a4. a8 a4 a
g4. g8 g4 d
c2 c4 cis
d2
a4 a
bes2 c4 c
e4. e8 f4 c
d2 bes
a a
r4 a8. a16 c4 c
f2 e
r2 e4 d8 e
f4 e8 e f4 f
e2 f4 r
r2 f2
a4 g8 a g4 f
e4 f8 g f4 g
r g f4. f8
f2 e
r4 c
c4. c8 c4 b
c2. c8 c
c1
c2. c4
c b b4. b8
b4 c2 c8 d
d4 fis g2
g4. g8 g4 g8 a
b g r4 r g
fis r4 r8 e fis g
a4 g8( fis)
e4 e e dis
b b' g e
c1~
c4. c8 b4 b
b2( e4.) c8
b2~ b8 b c d
fis4( g8 a) g4 g
g2 e4 fis
d d8. d16 fis4 g4
g2 fis
r2 fis4 e8( fis)
g4 r4 r2
g4. g8 b4 a8( b)
a4( g) fis g8( a)
g4 a r2
r1
a2 g4. g8
f2. d4~
d2. d4
d2 d4 d
d cis cis4. d8
bes2 d4 d
d1
d2. c8 d
d4 fis8 fis g2 g
g g
r4 b,8(c a4) b
c8( e) d c b( g') fis( e)
d4 e8 fis g4 f
e8 a g fis g b, c d
e( d c) b a b c d
c( b a) g f4 a
d c2 f4
g2. f4
e2 f4. g8
g4 f e d8 c
f2~f8 g f e
d2( c4) e(
f2 d)
e1
}

tenor = {
g2 g4 c
c4. b8 a4 a
b2. c8 c
d4. d8 cis4 d
e4. e8 d4 b
c2 c4 a
a2 a4 f
f2 g4 f
g4. g8 c4 f,
f2 g4( f)
f2 e
r4 f8. f16 g4 a
c2 c
r c4 bes8 c
c4 c8 c c4 bes
c2 c4 r
r g bes a8 bes
c4( bes8 c) bes4 a
g g8 g c4 d
r c c4. c8
b2 c
r4 g
f4. f8 g4 g
g2. e8f
g g f g b4 a
a g2 e8( f)
g4 f f4. g8
f4 e2 c'8 c
b4 d g,2
c4 e d r
r b8 a g e r4
r d' g, r
r8 a8 b c
b b c b b4 a
g r r2
r4 a a a
a4. a8 g4 fis
g( fis8 g b4.) a8
g2( fis8) g a b
c2 b4 c
c2 c4 a
b b8. b16  d4 d
d2 d
r2 d4 c8( d)
d4 r4 r a8. a16
c4 b8( c) d4( c8 d)
c4 b a a4
d4 e r2
r1
d2 cis4. cis8
d2. f,8 g
a4 g8 a c4 bes~
bes a a f8 g
a4 g g4. f8
f2 f4 g
a8 a g a c4 b
b a2 c8 c
b4 d8 d g,2 c4( e)
e2 d
g,2( fis4) g
e e8 fis g4 a
b2. g8 g
c4. c8 b4 a
g2( f4) e
e2( d4) e8 f
d4 e f8( a)  g( f)
e c' b( a) g4 a8( b)
c4 bes a8( d c b)
c e, f g a( g f e
d) e f g f( e d c
b2 c4) g'(
a2 aes)
g1
}

bass = {
c,2 d4 e
f4. f8 f4 f
e2. a8 a d,4. d8 e4 f
g4. g8 g4 f
e2 e4 e
d2 cis4 d
bes2 bes4 a
g4. g8 f4 a
bes2 g
a a
r4 d8. d16 c4 f
a2 g
r2 c,2
f4( g a) bes
bes2 a4 c,
f4 e8 f d4 c8d
c1~
c4 d8 e f4 f
r e d4. d8
g2 c,
r4 c4
f4. f8 e4 d
c2. c8 c c1
c2. r4
g2 g
a2. r4
r2 r4 g'8 g
e4 c g' r
r g8 fis e c r4
r fis e r

r8 fis g a
b g a b b,4 b
e r r2
r4 a fis dis
b4. b8 b4 b
e2~ e4. a,8
b2~b8 r8 r4
r8 d e fis g4( c,)
d2. d4
g g8. g16 d4 g
b2 a
r2 d,4 d
g d8. d16 g4 fis8 g
e4 d8 e d2~ d2. e8( fis)
g4 g r2
r1
f2 e4. e8
d2. d4~
d2. d4
d2 d4 d
a a bes4. bes8
bes2 r
d2. d4
d d2 r4
r2 r4 g8 g e4 c
g2 g
r1 r2 g2
g2 g4 g8 g
g2 g4 g
g2. g4
g2. g4
g g g g
g g8 g g g g g
g g g4 g g
g g g2
g4 g g2
g c4 c~
c1
c
}

spacertrack = {
s1\f s1 s1 s1 s1
s2. s4\p%6
s1 s1 s1 s1 s1
s4 s4\fs2%12
s1 s1 s1 s1 s1 s1 s1 s1 s1
s4 s4\p%22
s1
s2. s4\mf%24
s1 s1 s1
s2. s4\f%28
s1 s1 s1 s1 s2 s1 s1 s1 s1
\setTextDim
s1\decr%38
s2 s8 s8\f s4%39
s1
s1\decr%41
s4 s4\f s2%42
s1 s1
s4 s4\mf s2%45
s1 s1 s1
s1 \p%49
s1
s2. s4\mf\cr%51
s1
s4 s2.\decr %53
s1
s2 s2\mf
s1\cr%56
s2.\decr s4\f%57
s1. s1 s1 s1 s1 s1 s1
s1\f%65
s1 s1 s1 s1 s1 s1 s1 s1
}

sopranowords = \lyricmode {

My soul doth mag -- ni -- fy the Lord
and my spi -- rit hath re -- joiced in God my Sa -- viour.
For he hath re -- gard -- ed the low -- li -- ness of his hand --
maid -- en.
For be -- hold from hence -- forth,
all gen -- er -- a -- tions shall call me bles -- sed.
For he that is migh -- ty hath mag -- ni -- fied me
and ho -- ly is his name

Re: All Ye People Clap Your Hands

[Frederick Dennis]

Dear All,
I collected the midi file of "All Ye People Clap Your Hands" from
westgallerymusic.com
The composer , John Broderip, died in 1770 and the lyricists, Brady and
Tate, are early Victorian, so the copyright is in
the public domain.
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Re: lilypond-user Digest, Vol 66, Issue 13

[Frederick Dennis]

Dear All,

Thanks to Reinhold and Mats, I've managed to set a hymn, SATB with piano
reduction, 3 verses printed separately under each
voice. The ignore melismata routine is fine but I would also like to use
dotted slurs. Putting #(set-global-staff-size 14) in \paper
doesn't make any difference. How can I fit all the music on to two pages?
Sorry to be such a nuisance.

% Created on Mon May 05 16:30:06 BST 2008
\version "2.10.33"

\header {
title = "All ye People Clap your Hands"
poet = "Brady and Tate"
composer = "Broderip"
piece = "Psalm 47"
}

soprano = {   g'2 d'4( c)
 b2 a
 g2. a4
 b2. a4
 b a b cis
 d2 g,
 a4 a4 a4 a4
 b2 b
 a2. g4
  fis1
R1*8
d'2 c4 b
a2 b
c4( b) a( g)
fis d fis a
b2.( c4
d2) c
b a4.( g8)
g1
}

alto = { d2 g4( fis)
 g2 fis
 g2. fis4
 g2. fis4
 g d g g
 fis2 g
 fis4 fis fis fis
 fis2 g
 fis e
 d1
 R1*8
 b2 a4 g
 d'2 g
 e c
 d1
 r4 g g g
 g2 e
 d2. c4
 b1
}

tenor = { g2 b4( c)
 d2 d
 d4( c b) a
 g2. d'4
 d c b g
 a2 cis
 d4 d d d
 d2 e
 cis2. cis4
 d1
 d2 c?4 b
 a2 b
 c4( b) a( g)
 fis d fis a
 d1~
 d2 c
 b a
 g1
 R1*4
 r4 d' d d
 b2 a
 g fis
 g1
}

bass = {
g2 g4( a)
 g2 d
 b4( g b) d
 g2. d4
 g fis g e
 fis2 e
 d4 d d d
 d2 g
 a a,
 d1
 b'2 a4 g
 fis2 g
 e c
 d1~
 d4 g, b d
g2 c,
d2. d4
g,1
R1*4
r4 g b d
g2 c,
d2. d4
g,1
}
verseone =
{ \set stanza = \markup { \dynamic "f" }
\lyricmode { All ye __ peo -- ple clap your hands,
and with tri -- umph -- ant voi -- ces sing, and with tri -- umph -- ant
voi -- ces sing; No force the migh -- ty pow'r  with -- stands, of God,
the u -- ni -- ver -- sal King. }
}
versetwo =
{ \set stanza = \markup { \dynamic "mf" }
\lyricmode{ \set ignoreMelismata = ##t
He shall op -- po -- sing
\unset ignoreMelismata
na -- tions quell, and with suc -- cess our bat -- tles fight, and with
suc -- cess our bat -- tles fight,
Shall fix the place where we must dwell, the pride of Ja -- cob,
his de -- light. }
}
versethree =
{ \set stanza = \markup { \dynamic "ff" }
\lyricmode { \set ignoreMelismata = ##t
God is gone up,
\unset ignoreMelismata
our Lord and King, with shouts of joy and trum -- pet's
sound; with shouts of joy and trum -- pet's sound;
To him re -- peat -- ed prai -- ses  sing, and let the
cheer -- ful song go  round. }
}

tenorandbassverseone =
{ \set stanza = \markup { \dynamic "f" }
\lyricmode { All ye __ peo -- ple clap your hands,
and with tri -- umph -- ant voi -- ces sing, and with tri -- umph -- ant
voi -- ces sing; No force the migh -- ty pow'r with -- stands, of God,
the u -- ni -- ver -- sal King.
of God, the u -- ni -- ver -- sal King. }
}
tenorandbassversetwo =
{ \set stanza = \markup { \dynamic "mf" }
\lyricmode{ \set ignoreMelismata = ##t
He shall op -- po -- sing
\unset ignoreMelismata
na -- tions quell, and with suc -- cess our bat -- tles fight, and with
suc -- cess our bat -- tles fight,
Shall fix the place where we must dwell, the pride of Ja -- cob,
his de -- light.
the pride of Ja -- cob,
his de -- light. }
}
tenorandbassversethree =
{ \set stanza = \markup { \dynamic "ff" }
\lyricmode { \set ignoreMelismata = ##t
God is gone up,
\unset ignoreMelismata
our Lord and King, with shouts of joy and trum -- pet's
sound; with shouts of joy and trum -- pet's sound;
To him re -- peat -- ed prai -- ses  sing, and let the
cheer -- ful song go  round.
and let the cheer -- ful song go  round. }
}




staffSoprano = \new Staff  {
\time 2/2
\set Staff.instrumentName="Soprano"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef treble
\relative c' {
\context Voice = "melodySop" {
\dynamicUp
 % Type notes here
 \soprano
}

\bar "|."
}

}
staffAlto = \new Staff  {
\set Staff.instrumentName="Alto"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef treble
\relative c' {
\context Voice = "melodyAlt" {
\dynamicUp
 % Type notes here
\alto
}

\bar "|."
}

}
staffTenor = \new Staff  {
\set Staff.instrumentName="Tenor"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef "G_8"
\relative c' {
\context Voice = "melodyTen" {
\dynamicUp
 % Type notes here
 \tenor
}

\bar "|."
}

}
staffBass = \new Staff  {
\set Staff.instrumentName="Bass"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef bass
\relative c' {
\context Voice = "melodyBas" {
\dynamicUp
 % Type notes here
 \bass
}

\bar "|."
}

}
staffPiano = \new PianoStaff {
\set PianoStaff.midiInstrument = #"acoustic grand"
\set PianoStaff.instrumentName = #"Piano  "
<<
\context Staff = "RH" {  % Right hand
\clef treble
\key g \major
\relative c' {
  

Re: lilypond-user Digest, Vol 66, Issue 11

[Frederick Dennis]

Dear All,

I'm trying to set  an SATB hymn with separate vocal staves and a piano
accomp. duplicating the voice parts
(sop. - stem up,  alto - stemdown etc.)
Where do you insert \stemUp or \stemDown? Also, I would like to have a
bracket for the vocal parts. The other problem is
when I type cis for c sharp or fis for f sharp, I get "string error". I have
been through the tutorial and have searched the documentation.
The only reference to "bracket" was for tuplets. I cannot find an example of
SATB/piano accomp. with separate vocal staves and
polyphonic parts for piano (hymn-style) within the documentation or in
mutopia. I found the hymn on westgallerymusic which I can
recommend.

% Created on Mon May 05 02:07:20 BST 2008
\version "2.10.33"

\header {
title = "All ye People Clap your Hands"
poet = "Brady and Tate"
composer = "Broderip"
piece = "Psalm 47"
}

\include "english.ly"
soprano = {   g'2 d'4 c
 b2 a
 g2. a4
 b2. a4
 b a b c
 d2 g,
 a4 a4 a4 a4
 b2 b
 a2. g4
  f1
R1*8
d'2 c4 b
a2 b
c4( b) a( g)
f d f a
b2.( c4
d2) c
b a4.( g8)
g1
}

alto = { d2 g4 f
 g2 f
 g2. f4
 g2. f4
 g d g g
 f2 g
 f4 f f f
 f2 g
 f e
 d1
 R1*8
 b2 a4 g
 d'2 g
 e c
 d1
 r4 g g g
 g2 e
 d2. c4
 b1
}

tenor = { g2 b4 c
 d2 d
 d4( c b) a
 g2. d'4
 d c b g
 a2 c
 d4 d d d
 d2 e
 c2. c4
 d1
 d2 c4 b
 a2 b
 c4( b) a( g)
 f d f a
 d1~
 d2 c
 b a
 g1
 R1*4
 r4 d' d d
 b2 a
 g f
 g1
}

bass = {
g2 g4 a
 g2 d
 b4( g b) d
 g2. d4
 g f g e
 f2 e
 d4 d d d
 d2 g
 a a,
 d1
 b'2 a4 g
 f2 g
 e c
 d1~
 d4 g, b d
g2 c,
d2. d4
g,1
R1*4
r4 g b d
g2 c,
d2. d4
g,1
}
verseI= \lyricmode {
\set stanza = "1."

}

verseII= \lyricmode {
\set stanza = "2."

}

verseIII= \lyricmode {
\set stanza = "3."

}


staffSoprano = \new Staff  {
\time 2/2
\set Staff.instrumentName="Soprano"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef treble
\relative c' {
\context Voice = "melodySop" {
\dynamicUp
 % Type notes here
\soprano
}

\bar "|."
}

}
staffAlto = \new Staff  {
\set Staff.instrumentName="Alto"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef treble
\relative c' {
\context Voice = "melodyAlt" {
\dynamicUp
 % Type notes here
 \alto
}

\bar "|."
}

}
staffTenor = \new Staff  {
\set Staff.instrumentName="Tenor"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef "G_8"
\relative c' {
\context Voice = "melodyTen" {
\dynamicUp
 % Type notes here
\tenor
}

\bar "|."
}

}
staffBass = \new Staff  {
\set Staff.instrumentName="Bass"
\set Staff.midiInstrument="choir aahs"
\key g \major
\clef bass
\relative c' {
\context Voice = "melodyBas" {
\dynamicUp
 % Type notes here
 \bass
}

\bar "|."
}

}
staffPiano = \new PianoStaff {
\set PianoStaff.midiInstrument = #"acoustic grand"
\set PianoStaff.instrumentName = #"Piano  "
<<
\context Staff = "RH"
\relative c'
{  % Right hand
\clef treble
\key g \major
\relative c'

{
<<   {  \soprano  } {  \alto   } >>
}
}
\context Staff = "LH" {  % Left hand
\clef bass
\key g \major
\relative c'
{
<< {  \tenor } {  \bass } >>
}
}
>>
}



\score {
<<
\staffSoprano
\context Lyrics = "lmelodySopLI" \lyricmode  { \lyricsto "melodySop"
\verseI }

\context Lyrics = "lmelodySopLII" \lyricmode  { \lyricsto
"melodySop" \verseII }

\context Lyrics = "lmelodySopLIII" \lyricmode  { \lyricsto
"melodySop" \verseIII }

\staffAlto
\context Lyrics = "lmelodyAltLI" \lyricmode  { \lyricsto "melodyAlt"
\verseI }

\context Lyrics = "lmelodyAltLII" \lyricmode  { \lyricsto
"melodyAlt" \verseII }

\context Lyrics = "lmelodyAltLIII" \lyricmode  { \lyricsto
"melodyAlt" \verseIII }

\staffTenor
\context Lyrics = "lmelodyTenLI" \lyricmode  { \lyricsto "melodyTen"
\verseI }

\context Lyrics = "lmelodyTenLII" \lyricmode  { \lyricsto
"melodyTen" \verseII }

\context Lyrics = "lmelodyTenLIII" \lyricmode  { \lyricsto
"melodyTen" \verseIII }

\staffBass
\context Lyrics = "lmelodyBasLI" \lyricmode  { \lyricsto "melodyBas"
\verseI }

\context Lyrics = "lmelodyBasLII" \lyricmode  { \lyricsto
"melodyBas" \verseII }

\context Lyrics = "lmelodyBasLIII" \lyricmode  { \lyricsto
"melodyBas" \verseIII }

\staffPiano
>>

\midi {
}

\layout  {
}
}

\paper {
}
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New user, linux, Xp, jEdit, Lilypond tool, cutting and pasting

[Frederick Dennis]

Dear All,
I am a new Lilypond user. I have processed some single staff scores, and
found the transpose function
quite easy and useful. I had a problem with collisions between grobs and
notes but discovered how to use
the padding  to  move things, thanks to some advice. This was on OpenSuse
10.2 using a text editor, a file selector
and a terminal. Unfortunately, the machine was an old, slow one. Now I am
trying Lilypond in Windows XP, which will, hopefully, speed things up.
Browsing the letters, I came across a very helpful one which mentioned jEdit
and the Lilypond tool which can be installed as a plugin. First you have to
install  Java runtime environment 1.4 or later. Within the jEdit, once setup
with the plugin, you can run a wizard which will set up your score in great
detail, saving lots of coding and brain-ache. A very useful REM (comment)
says: Insert your notes here.
jEdit colours the various components of the coding, enabling easy analysis.
Also, errors are immediately underlined, enabling swift correction (in the
case of simple errors).
As regards documentation, there is plenty of it. Would it be an idea to
include quite a lot of simple, entire examples, as snippets still have to be
incorporated within one's code and the full examples contain many
complexities which are peculiar to themselves and not useful in other
contexts. I am thinking of say, two-part inventions, three-part inventions,
hymns, simple piano pieces e.g. Bergmüller, small symphony movements e.g.
Mozart's 1st, flute sonata movements (J.C. Bach for instance). It is then
possible for the novice to simply cut and paste, having compared the code
with the pdf. You could then process endless hymns, symphonies whatever. For
any particular feature, the novice could be referred to a short, simple but
complete code and have the pdf to see its effect. Cutting and pasting is
easier than trying to understand or remember complicated code. Yes, I know
that you can build up your own library, I'm thinking of the novice.

A problem I have encountered is the version number. When I process the
welcome file, I get 2.10.0 but when I ran some other code, I got 2.10.33
What is an external error? My jEditor says there are no errors, but Lilypond
will not process the code.
% Created on Mon Nov 05 23:43:17 GMT 2007
\version "2.10.33"

\header {
title = "1. Eclipse"
composer = "Pam Wedod"
meter = "Gently - with a little movement"
}

\include "english.ly"


staffAltoSaxophone = \new Staff  {
\time 4/4
\tempo 4 = 72
\set Staff.instrumentName="Alto Saxophone"
\set Staff.midiInstrument="alto sax"
\transposition ef,
\key ef \major
\clef treble
\relative c' {
 r1 r1 e4. ( d16 c) b4.( a16 g e2) r8 a( gis b)

% bar 5
e4.( c16 a) f'4.( e16 d e2)\< r8 f( g e)\! a4.\mf( g16 f) g4 c,
f4.( e16 d) e4 a, b8(\> c d2) c8( b)\!

% bar 10
a2 r2 r1 a8(\p\< b c e) b'\!\( a\> e c)\! d2. c8( b)

% bar 14
a2. r4 r1 r2 a'8 g e d e d a b c4.(\> b8\!

% bar 18
a2) r2 a'8 g e a, c4.(\> b8\! a2)\p r a4(\poco c b\> gis

% bar 22
a2)\a  r2 r1 e4.\mf( d16 c) b4.( a16 g e2) r8 a8(\< gis b)\!

% bar 26
e4.(\mp c16 a) f'4.( e16 d e2\<) r8 f( g e)\! a4.\f( g16 f) g4 c,
f4.( e16 d) e4 a, b8(\> c d2) c8( b)\!

% bar \mp
a2 r2 r1 a8(\mf\< b c e) b'\!\( a\> e c)\! d2.\p c8( b)

% bar 35
a2. r4 r1 e'4. ( d16 c) b4.( a16 g e1)\> r1\!^\fermataMarkup

\bar "|."
}

}
staffPiano = \new PianoStaff {
\set PianoStaff.midiInstrument = #"acoustic grand"
\set PianoStaff.instrumentName = #"Piano  "
\tempo 4 = 72
<<
\context Staff = "RH" {  % Right hand
\clef treble
\key ef \major
\relative c' {
}
}
\context Staff = "LH" {  % Left hand
\clef bass
\key ef \major
\relative c {
    }
    }
    >>
}



\score {
<<
\staffAltoSaxophone
\staffPiano
>>

\midi {
}

\layout  {
}
}

\paper {
}

By the way, I am wearing my asbestos coms in anticipation of the flames.
Frederick Dennis.
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Re: lilypond-user Digest, Vol 58, Issue 105

[Frederick Dennis]

Dear LilyPond users,
Thank you for your advice.
Some progress.

\version "2.8.7"

\header { title = "Singin' In The Rain"
composer = "Freed and Brown"
meter = "Medium Swing"}

melody = \transpose c d \relative c'' {
\clef treble
\key f \major
\time 4/4
\set Score.skipBars = ##tt

%line 1
R1*3 r2 r4 c
\once \override Score.SeparationItem #'padding = #1
\mark \markup { \musicglyph #"scripts.segno" } \bar "||" c'2~ \times 2/3 {
c4 a8 } \times 2/3 ( g4 f8 } d2 r4 c

% more notes
% bar 27 starts the next line

c2~ \times 2/3 ( c4 a8 } g4 d2 r4 c \times 2/3 ( c'4 c8~ } c4 r4 c,^"To
Coda" \times 2/3 { e4 e8~ }
e8.~ a16~ a4
\mark \markup { \musicglyph #"scripts.coda" } c,

%more notes
% bar 53 starts the next line

bes2 aes4 ges ges aes2 bes4 bes f f f~ f2. f4 f2 ees4 des4 des ees2 f4 aes f
\once \override TextScript #'extra-offset = #'( -1.0 . 2.5 )
aes\mark "D.S. al Coda " c~ c2. c,4 \bar "||" \break
f2. \mark \markup { \musicglyph #"scripts.coda" CODA }
f1~ r4 R!*2 r1^\fermataMarkup \bar ".|."
}

\score {
\new Staff \melody
\layout {}
\midi {}

}

Score.SeparationItem moves the note after the segno along a bit, avoiding
the collision.
However, the coda signs and texts are very untidy.  The extra.offset doesn't
seem to have any effect.
Yours,
Frederick Dennis.
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moving objects

[Frederick Dennis]

So far, as a total beginnner, I've produced several different pdf's of
single stave notes with title, composer, tempo and multirests. However, my
segno touches the next note. Can I shift it? No. Neither up or sideways. Not
using padding, \once \override, #'extra-offset or musicglyph, mark or markup
or spaces in quotes. My D.S. al Coda remains firmly fixed, nestling
obstinately among the notes and my Coda sign and text will not go where I
want them to. With Sibelius, I just pick the **@(**& up with the mouse and
deposit it but with lilypond this will not do. Surely, something as simple
as positioning the segno would be self-evident? Wouldn't it?
Frederick Dennis.
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