Re: Part text vs Score text
Sorry Jacques, I wasn't able to do it through my phone when I first wrote the email. So, here it is. First, there is a selection of the alto part. The text "Samba" coincides in its position in all the parts, so in the Score I would like to get it just once.On the other hand, some parts get the text "open" in different places (for example, the soloist of that specific section gets it just before the repeat sign, while the others have silence). With that scenario, I couldn't write a variable with all the markings, since they would vary. My problems now is that, since I imported the text in all the parts (I created a variable to each of them), when I include it in the Score, it becomes messy and redundant (as you can see from the second image). How would be a better way to approach this? GB Em seg., 10 de mai. de 2021 às 17:03, Jacques Menu escreveu: > Hello Gabriel, > > Can you post an image of what you’re after? > > JM > > > On 10 mai 2021, at 21:00, Gabriel Borin > wrote: > > > > Hello, > > > > I have a question regarding the best way to manage score texts and part > text: after migrating to Lilypond from Musescore (an other WYSIWYG > editors), I miss the functionality of the Score Texts that affects all > parts, and the part text that is not displayed in the score. How is the > best way to achieve this in Lilypond? > > > > Also, some of the text I put on parts seem to misalign when transported > to the score, and I don't know how to fix it without affecting the part. > How can I handle this better? > > > > > > Sincerely, > > > > Gabriel > > > >
Part text vs Score text
Hello, I have a question regarding the best way to manage score texts and part text: after migrating to Lilypond from Musescore (an other WYSIWYG editors), I miss the functionality of the Score Texts that affects all parts, and the part text that is not displayed in the score. How is the best way to achieve this in Lilypond? Also, some of the text I put on parts seem to misalign when transported to the score, and I don't know how to fix it without affecting the part. How can I handle this better? Sincerely, Gabriel
Re: Chord Name Exceptions
Thank you, Aaron
This code worked, thanks...
\version "2.22.0"
customChordNames = {
-\markup \concat { m \super { 7 ( \flat 5 ) } }
}
customChordNameExceptions = #(append
(sequential-music-to-chord-exceptions
customChordNames
#t)
ignatzekExceptions)
\new ChordNames
\chordmode {
d:m7.5-
\set chordNameExceptions =
#customChordNameExceptions
d:m7.5-
}
I should have posted what I was trying to do. My mistake. It was pretty
similar. I don´t know if the position where the customChordNames in the
document matters. Something I missed.
Anyway, thanks again. Much appreciated.
Sincerely,
Gabriel Borin
Em sex., 9 de abr. de 2021 às 16:56, Aaron Hill
escreveu:
> On 2021-04-09 12:06 pm, Gabriel Borin wrote:
> > Hello,
> >
> > I have been trying to write a bass part for a big band. Although I am
> > mostly happy with the general output of chord names, I don´t like
> > half-diminished notation in Lilypond. I prefer the descriptive "m7(b5)
> > or
> > min7(b5)".
> >
> > I have been trying to use the snippet under this link with no success:
> >
> https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html
>
> It is hard to say what is going wrong without an example of what you
> specifically tried. Here is an example that specifically works with
> m7(b5) that you can compare and contrast with:
>
>
> \version "2.22.0"
>
> customChordNames = {
>
> -\markup \concat { m \super { 7 ( \flat 5 ) } }
> }
> customChordNameExceptions = #(append
> (sequential-music-to-chord-exceptions
>customChordNames
>#t)
> ignatzekExceptions)
>
> \new ChordNames
> \chordmode {
>d:m7.5-
>\set chordNameExceptions =
> #customChordNameExceptions
>d:m7.5-
> }
>
>
> While requiring a little bit more logic, it is possible to use
> \chordmode so you do not have to type out :
>
>
> \version "2.22.0"
>
> customChordNamesUsingChordMode = {
>\chordmode { c:m7.5- }
> -\markup \concat { m \super { 7 ( \flat 5 ) } }
> }
> customChordNameExceptionsUsingChordMode = #(append
> (sequential-music-to-chord-exceptions
>(make-sequential-music
> (extract-typed-music
> customChordNamesUsingChordMode
> 'event-chord))
>#t)
> ignatzekExceptions)
>
> \new ChordNames
> \chordmode {
>d:m7.5-
>\set chordNameExceptions =
> #customChordNameExceptionsUsingChordMode
>d:m7.5-
> }
>
>
>
> -- Aaron Hill
>
Chord Name Exceptions
Hello, I have been trying to write a bass part for a big band. Although I am mostly happy with the general output of chord names, I don´t like half-diminished notation in Lilypond. I prefer the descriptive "m7(b5) or min7(b5)". I have been trying to use the snippet under this link with no success: https://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords.en.html Can somebody help me, please? Sincerely, Gabriel Borin
Re: Custom bar count
Aaron,
Thank you, this was very helpful!
It worked!
Sincerely,
Gabriel Borin
On Wed, Apr 7, 2021, 00:48 Aaron Hill wrote:
> On 2021-04-06 9:02 pm, Gabriel Borin wrote:
> > Hello,
> >
> > I am working on a part based on a manuscript. The arranger took many
> > liberties on bar count, and since I am just replacing one lost part, I
> > need
> > to do 2 things:
> >
> >- I need the bar count to start at measure 7 (basically, mm.7 = 1).
> >- I need to exclude a single bar in the middle from the bar count.
> >
> > Could anybody give me some advice on that?
>
> You can \set the currentBarNumber as you need to. Additionally, you
> could use a function as follows to skip a particular number of bars if
> you do not easily know what the bar number should be:
>
>
> \version "2.22.0"
>
> skipBarNumbers =
> #(define-music-function
>(count) (integer?)
>(define (proc context)
> (ly:context-set-property! context 'currentBarNumber
> (+ count (ly:context-property context 'currentBarNumber
>#{ \context Score \applyContext #proc #})
>
> {
>\override Score.BarNumber.break-visibility = #all-visible
>\set Score.currentBarNumber = 7
>R1*3 \bar "||" \skipBarNumbers 3 R1*2
> }
>
>
>
> -- Aaron Hill
Custom bar count
Hello, I am working on a part based on a manuscript. The arranger took many liberties on bar count, and since I am just replacing one lost part, I need to do 2 things: - I need the bar count to start at measure 7 (basically, mm.7 = 1). - I need to exclude a single bar in the middle from the bar count. Could anybody give me some advice on that? Sincerely, Gabriel
Fwd: Slurs and multiple voice writing in piano music
-- Forwarded message -
De: Gabriel Borin
Date: qua., 31 de mar. de 2021 às 23:15
Subject: Re: Slurs and multiple voice writing in piano music
To: Mark Stephen Mrotek
I guess I solved it!! Tks, Marc
The code became (for the excerpt)
\version "2.22.0"
<<{d4.\( \acciaccatura f8( e8) d4. a8_~\stemDown | a2 \clef "bass" 4 | 2\)} \\ {s1 \stemUp b'4 b8. b16}>>
<<{\phrasingSlurUp b4.\( c8 | 1\)\arpeggio} \\ {2\arpeggio}>>
Gabriel
Em qua., 31 de mar. de 2021 às 22:57, Gabriel Borin <
gabriel.s.bo...@gmail.com> escreveu:
> Hello, Mark
>
> That solved the note input, tks.
>
> How do I make that phrasing slur over? As far as I know, I would need to
> input it inside the <<{...} Of one of the voices, right?
>
> Sincerely,
>
> Gabriel
>
> On Wed, Mar 31, 2021, 22:38 Mark Stephen Mrotek
> wrote:
>
>> Gabriel,
>>
>> Perhaps:
>>
>>
>>
>> \version "2.22.0"
>>
>> \relative c' {
>>
>> <<{d4. \acciaccatura f8 e d4. a8_~ \stemDown |
>>
>> a2}\\
>>
>> {s1 \stemUp b4 b8. b16}>> s2 |
>>
>> }
>>
>>
>>
>> Mark
>>
>>
>>
>> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
>> ca.rr@gnu.org] *On Behalf Of *Gabriel Borin
>> *Sent:* Wednesday, March 31, 2021 6:59 PM
>> *To:* lilypond-user@gnu.org
>> *Subject:* Slurs and multiple voice writing in piano music
>>
>>
>>
>> Hello,
>>
>>
>>
>> I have been trying Lilypond for a week now. For practice, I am trying to
>> copy a few piano pieces I am familiar with. In one of them, Chopin´s
>> Prelude n.2, I have been struggling to produce the output below (last four
>> bars of the prelude).
>>
>>
>>
>> I couldn't manage to tie the A across the bars, due to the voice change.
>> And also in the second to last chord I have the same struggle. Every slur
>> that I open outside the <<{...} \\ {...}>> syntax, I am not able to close.
>> How should I proceed?
>>
>>
>>
>> Sincerely,
>>
>>
>>
>> Gabriel
>>
>
Slurs and multiple voice writing in piano music
Hello,
I have been trying Lilypond for a week now. For practice, I am trying to
copy a few piano pieces I am familiar with. In one of them, Chopin´s
Prelude n.2, I have been struggling to produce the output below (last four
bars of the prelude).
I couldn't manage to tie the A across the bars, due to the voice change.
And also in the second to last chord I have the same struggle. Every slur
that I open outside the <<{...} \\ {...}>> syntax, I am not able to close.
How should I proceed?
Sincerely,
Gabriel
