Re: Markup text to the left of first chord on ChordNames staff

[Jennifer Clark]

Mats Bengtsson wrote:

The manual includes a direct example of how to change the minimum
vertical spacing allocated to a Staff. To specify a fixed vertical
space for the Staff, just use the same syntax but with the property 
called Y-extent instead of minumum-Y-extent. Here is a full example, 
which shows both advantages and disadvantages of doing what you ask

for.

Mats, that is great, that is exactly what I was looking for. Thanks!

Jennifer


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Re: Markup text to the left of first chord on ChordNames staff

[Jennifer Clark]

Mats Bengtsson wrote:
In contrast to the previous people who answered the questions, I would 
say that you cannot directly apply the same idea to move
a whole line of chords. See 
http://lists.gnu.org/archive/html/lilypond-user/2006-03/msg00411.html

for a hint on how to solve the problem.


Thanks for the reply Mats, I've checked the post and followups, and had 
a look at the manual page and reference, but to be honest I don't really 
understand how to approach this, even with that information. Is there a 
specific command I can use to enable this?


Jennifer



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Re: Markup text to the left of first chord on ChordNames staff

[Jennifer Clark]

Jennifer Clark wrote:

Rick Hansen (aka RickH) wrote:

This should be simple but I cant find an answer after exhaustive tries.

How can I attach a bit of markup text immediately to the left of the 
first

chord in a ChordNames context staff?

  



Did anyone reply to this? I have a similar requirement as well, i.e. 
if I put markup text above the staff, then lilypond will shift the 
chords higher up to get out of its way, which is usually a good thing. 
But there are a few times when I would prefer that the chords just 
remained as they are.


Sorry for answering my own post, but I have found something that may be 
relevant; in the manual, it says you can move about items through use of 
the extra-offset, e.g. for markup text, which seems quite effective;


  \once \override TextScript #'extra-offset = #'(-1.3 . 1.3)

Is it possible to apply the same thing to chords?

Jennifer


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Re: Markup text to the left of first chord on ChordNames staff

[Jennifer Clark]

Rick Hansen (aka RickH) wrote:

This should be simple but I cant find an answer after exhaustive tries.

How can I attach a bit of markup text immediately to the left of the first
chord in a ChordNames context staff?

  



Did anyone reply to this? I have a similar requirement as well, i.e. if 
I put markup text above the staff, then lilypond will shift the chords 
higher up to get out of its way, which is usually a good thing. But 
there are a few times when I would prefer that the chords just remained 
as they are.


Thanks!

Jennifer


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Re: No clef and key each line

[Jennifer Clark]

Mats Bengtsson wrote:

If you read in "Common Tweaks" in the manual, you can
learn about the property called transparent. However, in
this case, I don't think you want the removed clefs and
key signatures to occupy any space. Then, you can instead
add
 \override Score.KeySignature #'stencil = ##f
 \override Score.Clef #'stencil = ##f
somewhere after the first note (since you don't want it
to apply to the first line) in one of the voices.

That's really cool Mats, I just tried it and it is ideal for jazz 
leadsheets. Is there a way of doing it that would add a vertical bar 
line at the start of each line though, rather than leaving it "blank" as 
it is at the moment?


Cheers!

Jennifer


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Re: Strange legato accent behaviour

[Jennifer Clark]

Christian Hitz wrote:


Am 18.04.2006 um 17:17 schrieb Jennifer Clark:


When I use the legato accent like this;

d'4-_



The legato sigh is written like this

d'4--


Doh! Thanks Christian, that's sorted now. Although I am still wondering 
what the other symbol means :-)



Jennifer


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Strange legato accent behaviour

[Jennifer Clark]

When I use the legato accent like this;

d'4-_

It ends up placing a staccato dot under the legato accent as well. I'm 
using lilypond 2.8.1 for Windows; am I doing something wrong here?


Thanks!

Jennifer


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Box round multiple markup objects?

[Jennifer Clark]

Hi folks,

Is it possible to create a box round multiple markup objects? For 
example, in the code below, when I tried using the \box directive, it 
placed individual boxes round each element. I'd like it to make a single 
box round the whole lot.


  b4^\markup {\hspace #8.0 \italic \bold {"To " \hspace #1.0 \raise 
#1.0 \fontsize #2 \musicglyph #"scripts.coda" "Coda"}}


I can't seem to find anything related to \box about this in the manual. 
Any ideas would be much appreciated.


Jennifer


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Re: Chord Names

[Jennifer Clark]

Gordon Gilbert wrote:

Now ... I'm entering a piece with melody, lyrics, and chordnames which 
calls for "FMaj7", and any combination of that seems to make the 
program crash.  What's the correct syntax to get that chordname?  


I use:

  f:maj7

Which is rendered as f with the wee triangle.

Jennifer


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Lilypond from DOS prompt

[Jennifer Clark]

I'm using the native Windows version of Lilypond, version 2.6.3, and 
wish to produce PNG output for inclusion in other documents. I can make 
PDFs no problem by double clicking on the relevant lilypond file, but 
when I try to run lilypond from the DOS prompt (to use the PNG option) I 
get the following error;


GNU LilyPond 2.6.3
ERROR: In procedure primitive-load-path:
ERROR: Unable to find file "ice-9/boot-9.scm" in load path

However, typing "lilypond -h" or "lilypond -v" does not produce this error?

Does anyone have any advice on this? I tried using the cygwin version of 
lilypond to produce the PNG output, but something is wrong with the 
fonts, so that doesn't work either.


Thanks in advance,
Jennifer


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Re: Unusual Repeat Alternatives

[Jennifer Clark]

Thanks Mats, that has done the trick. I had read this section in the 
manual but hadn't realised it could do what I wanted to do. Doh!


Jennifer

Mats Bengtsson wrote:


Read the section on "Manual repeat commands" in the manual.

  /Mats

Jennifer Clark wrote:

I'm writing out some music at the moment which has an odd repeat 
structure in it. There are two distinct alternatives, a very long one 
and a short one. The long one is called after repeats 1 and 3, and 
the short one after repeat 2.  So the music should look roughly like 
this:


_   ___
| 1--3.   :|   | 2.

The default method in lilypond for repeated alternatives labels the 
above as 1--2 and 3, assuming that the first alternative is played 
twice. I guess this is reasonable, but is there a way to override it 
to state the repeats in the correct way in this case?


Thanks for your help,
Jennifer







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Unusual Repeat Alternatives

[Jennifer Clark]

I'm writing out some music at the moment which has an odd repeat 
structure in it. There are two distinct alternatives, a very long one 
and a short one. The long one is called after repeats 1 and 3, and the 
short one after repeat 2.  So the music should look roughly like this:


_   ___
| 1--3.   :|   | 2.

The default method in lilypond for repeated alternatives labels the 
above as 1--2 and 3, assuming that the first alternative is played 
twice. I guess this is reasonable, but is there a way to override it to 
state the repeats in the correct way in this case?


Thanks for your help,
Jennifer


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Re: beginner problems

[Jennifer Clark]

Robert T Wyatt wrote:
(It yields Co7 instead of Co/, if you know what I mean.)
Any ideas?

How about:-
c:m7.5-
Jennifer
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Re: Drum Scoring

[Jennifer Clark]

Stan Mulder wrote:
Try this:
http://www.intrepidsoftware.com/sgadd/img/drumnotation.jpg
So the notes are indeed smaller, and higher above the staff than I 
thought, but if I move them up to position #6 in Lilypond I get ledger 
lines, which is the wrong thing. Presumably getting the notes smaller is 
enough, but I don't have the Lilypond manual handy to check this at the 
moment. Will have a look later.

Jennifer
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Re: Drum Scoring

[Jennifer Clark]

Stan Mulder wrote:
There is a book on drum notation put out by the Percussive Arts 
Society and it is generally agreed that this is the reference book for 
writing drum parts. The book is called "Guide to Standardized Drumset 
Notation by Norman Weinberg" 
. 
Link:  
http://www.amazon.com/exec/obidos/ASIN/0966492811/thestevegaddwebs/ref=nosim 

This book has been pointed out before in the archives: 
http://lists.gnu.org/archive/html/lilypond-devel/2004-12/msg00143.html

On page 39 he shows the type of notation you are trying to achieve 
where the sax or brass rhythms with articulations are written on a 
single line above the staff. This gives the drummer cues as to where 
he/she can emphasize along with the rest of the ensemble.
That's exactly it - this makes a lot of sense to me as an arranger as it 
avoids the need to spell out explicitly what the drummer is most likely 
better at doing anyway.

I suppose I could scan that section if needed. I'm fairly new to 
Lilypond so I don't know how to do that type of notation.
That would be really handy!
Jennifer

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Re: Drum Scoring

[Jennifer Clark]

Mats Bengtsson wrote:
Replace the \score{...} in my previous example by .
Brilliant, that is exactly the right thing! The correct position is 
indeed #5, although I am not sure where this convention is stated. Now I 
am getting into this more it may be that the noteheads on the rhythm 
voice are smaller than the drum voice, but I can't recall for sure. The 
drummer I was speaking to said he would get me some examples of good 
parts, and would also give me his opinion on parts I prepare (with 
Lilypond), so I can check with this. I'll let you know how I get on.

Thanks again,
Jennifer

\score {
\repeat "volta" 2
<<
\new DrumStaff <<
\new Voice \with {
  \consists "Pitch_squash_engraver"
  squashedPosition = #4
  \override Rest #'staff-position = #4
} {\stemUp \timb }
\set Staff.instrument = "drums"
\new DrumVoice {\stemDown \drl }
>>
>>
\paper {
  \context{
\DrumStaffContext
\accepts "Voice"
  }
}
and see if that's more to the point. Maybe you want to replace
the #4 with #5, I'm not certain what position you want.
Two tricks are used here:
- Modifying a normal Voice context so that all notes and rests appear
  on the same "pitch".
- Telling LilyPond that you can have a Voice context also within a
  DrumStaff context.
   /Mats
Jennifer Clark wrote:
Mats Bengtsson wrote:
Do you mean something like the top line in this example
(which is a minor modification of the example called drums.ly
in the Regression Tests document).

Thank you Mats, that is very close to what I am talking about. The main
differences are that the common time denoter for the rhythm notes is not
needed - essentially this rhythm part should be just another voice on
the drum staff, with the notes resting on the top line of the drum
staff, i.e. the place the crash cymbal currently occupies. How one
denotes a crash cymbal under these circumstances I have no idea, I shall
enquire about this.
Jennifer


\version "2.2.0"
drh = \drums { cymc4.^"crash" hhc16^"h.h." hh \repeat "unfold" 5 
{hhc8 hho hhc8 hh16 hh} hhc4 r4 r2 }
drl = \drums {\repeat "unfold" 3 {bd4 sn8 bd bd4 << bd ss >> } bd8 
tommh tommh bd toml toml bd tomfh16 tomfh }
timb = \drums \repeat "unfold" 2 {timh4 ssh timl8 ssh r timh r4 ssh8 
timl r4 cb8 cb}

\score {
\repeat "volta" 2
<<
\new RhythmicStaff \with {
  \remove "Staff_symbol_engraver"
} {\timb}
\new DrumStaff \with {
drumStyleTable = #timbales-style
\override StaffSymbol #'line-count = #2
\override BarLine #'bar-size = #2
} <<
\set Staff.instrument = "timbales"
\timb
>>
\new DrumStaff <<
\set Staff.instrument = "drums"
\new DrumVoice {\stemUp \drh }
\new DrumVoice {\stemDown \drl }
>>
>>
\paper {}
}

Jennifer Clark wrote:
Dear all,
I am now getting confident enough with Lilypond to use it for 
writing scores for larger bands, currently a nine piece jazz band 
for example, and find the software excellent. One area I am not 
entirely confident in is the writing of drum music; the latest 
score I did had the transcribed drums set out note for note (as it 
were), but I was sure this was not the best way to present music to 
a drummer. So I asked one of the good drummers about here for his 
advice, which he gave, and he also showed me many examples of good 
big band drum scores, and some bad ones.

All of this was a great help, and all appears easily doable in 
Lilypond except for one thing: The general rhythm of the dominant 
melodic line in the piece was always written in the space above the 
top line on the drum score, allowing the drummer to see where 
accents might be placed without explicitly writing out the entire 
drum part for him. The notes on this line can be of any duration. 
Based on this information he can do his own thing without needing a 
cluttered drum part, which makes perfect sense.

I tried to achieve this in Lilypond 2.2.5 by adding an extra 
(standard) voice to the DrumStaff, but this ended up with two 
separate staves. Is there any way to achieve this? I also thought 
about redefining a drumkit, but I am not sure if e.g. moving a tom 
to the space above the top line would work since the toms appear 
unable to take on a value greater than a quarter note. Ideally the 
notes should behave like those in a standard voice.

Thanks again for any advice, and advice given in the past, it is 
much appreciated.

Jennifer
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Re: Drum Scoring

[Jennifer Clark]

Sebastiano Vigna wrote:
This is indeed an area where Lilypond would need some improvement... no
matter how I tweaked the various parameters, the drum scores I got were
not very satisfying (even beginners in the class noticed problems).
There are problems with rest positioning, uneven spacing, plus some
other minor things. I had the intention of writing something documenting
the various issues--maybe we could try to write down something.
The point is that drum scores are somehow an adaptation of rhythm to a
pre-existing notation. Notes do not represent pitch, and regularity in
note disposition is much more important than aesthetic consideration, as
we're playing fast and we're playing with four parts of our body 8^).
 

That's interesting, I had no idea that note spacing should be more even 
for drum parts, but it does make sense. I'll certainly let you know 
about the feedback I get from the drums parts I prepare with Lilypond. 
Do you have any links to examples of good drums parts online?

Jennifer
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Re: Drum Scoring

[Jennifer Clark]

Mats Bengtsson wrote:
Do you mean something like the top line in this example
(which is a minor modification of the example called drums.ly
in the Regression Tests document).
Thank you Mats, that is very close to what I am talking about. The main
differences are that the common time denoter for the rhythm notes is not
needed - essentially this rhythm part should be just another voice on
the drum staff, with the notes resting on the top line of the drum
staff, i.e. the place the crash cymbal currently occupies. How one
denotes a crash cymbal under these circumstances I have no idea, I shall
enquire about this.
Jennifer


\version "2.2.0"
drh = \drums { cymc4.^"crash" hhc16^"h.h." hh \repeat "unfold" 5 {hhc8 
hho hhc8 hh16 hh} hhc4 r4 r2 }
drl = \drums {\repeat "unfold" 3 {bd4 sn8 bd bd4 << bd ss >> } bd8 
tommh tommh bd toml toml bd tomfh16 tomfh }
timb = \drums \repeat "unfold" 2 {timh4 ssh timl8 ssh r timh r4 ssh8 
timl r4 cb8 cb}

\score {
\repeat "volta" 2
<<
\new RhythmicStaff \with {
  \remove "Staff_symbol_engraver"
} {\timb}
\new DrumStaff \with {
drumStyleTable = #timbales-style
\override StaffSymbol #'line-count = #2
\override BarLine #'bar-size = #2
} <<
\set Staff.instrument = "timbales"
\timb
>>
\new DrumStaff <<
\set Staff.instrument = "drums"
\new DrumVoice {\stemUp \drh }
\new DrumVoice {\stemDown \drl }
>>
>>
\paper {}
}

Jennifer Clark wrote:
Dear all,
I am now getting confident enough with Lilypond to use it for writing 
scores for larger bands, currently a nine piece jazz band for 
example, and find the software excellent. One area I am not entirely 
confident in is the writing of drum music; the latest score I did had 
the transcribed drums set out note for note (as it were), but I was 
sure this was not the best way to present music to a drummer. So I 
asked one of the good drummers about here for his advice, which he 
gave, and he also showed me many examples of good big band drum 
scores, and some bad ones.

All of this was a great help, and all appears easily doable in 
Lilypond except for one thing: The general rhythm of the dominant 
melodic line in the piece was always written in the space above the 
top line on the drum score, allowing the drummer to see where accents 
might be placed without explicitly writing out the entire drum part 
for him. The notes on this line can be of any duration. Based on this 
information he can do his own thing without needing a cluttered drum 
part, which makes perfect sense.

I tried to achieve this in Lilypond 2.2.5 by adding an extra 
(standard) voice to the DrumStaff, but this ended up with two 
separate staves. Is there any way to achieve this? I also thought 
about redefining a drumkit, but I am not sure if e.g. moving a tom to 
the space above the top line would work since the toms appear unable 
to take on a value greater than a quarter note. Ideally the notes 
should behave like those in a standard voice.

Thanks again for any advice, and advice given in the past, it is much 
appreciated.

Jennifer
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Drum Scoring

[Jennifer Clark]

Dear all,
I am now getting confident enough with Lilypond to use it for writing 
scores for larger bands, currently a nine piece jazz band for example, 
and find the software excellent. One area I am not entirely confident in 
is the writing of drum music; the latest score I did had the transcribed 
drums set out note for note (as it were), but I was sure this was not 
the best way to present music to a drummer. So I asked one of the good 
drummers about here for his advice, which he gave, and he also showed me 
many examples of good big band drum scores, and some bad ones.

All of this was a great help, and all appears easily doable in Lilypond 
except for one thing: The general rhythm of the dominant melodic line in 
the piece was always written in the space above the top line on the drum 
score, allowing the drummer to see where accents might be placed without 
explicitly writing out the entire drum part for him. The notes on this 
line can be of any duration. Based on this information he can do his own 
thing without needing a cluttered drum part, which makes perfect sense.

I tried to achieve this in Lilypond 2.2.5 by adding an extra (standard) 
voice to the DrumStaff, but this ended up with two separate staves. Is 
there any way to achieve this? I also thought about redefining a 
drumkit, but I am not sure if e.g. moving a tom to the space above the 
top line would work since the toms appear unable to take on a value 
greater than a quarter note. Ideally the notes should behave like those 
in a standard voice.

Thanks again for any advice, and advice given in the past, it is much 
appreciated.

Jennifer
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Re: [Fwd: Re: Powerchords (edited..]

[Jennifer Clark]

Brett Duncan wrote:
You can overrider Lilypond's chord naming mechanism by adding the
following... 
Thanks for your help Brett, much appreciated. I've tried the example you 
gave, but am getting the following error:-

/home/jen/scores/RockFord/notes.ly:7:3: error: syntax error, unexpected 
STRING,
expecting NOTENAME_PITCH or DRUM_PITCH or '>':
 <
  c g>1-\markup { \super "5" }

Is there somewhere in particular the statements you gave must go? I have 
them alongside all the \notes definitions. I am using lilypond 2.2.5.

Jennifer
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Re: Powerchords

[Jennifer Clark]

Bernard Hurley wrote:
A question I can't seem to find the answer to in the manual or online: 
Is it possible to represent powerchords, i.e. those consisting of only a 
root note and fifth, in the ChordNames notation? 
   

I havn't come across the term "powerchord" before. I would normally
refer to them as "bare fifths". in what context is the term used?
 

In a rock or heavy metal context usually, perhaps it is a British term? 
There is more detail at the following link:-

" In music , a *power chord* is an 
interval  which 
serves the diatonic function 
 of a major or minor 
chord . It consists of 
two pitches  or three 
pitches with one doubled at the octave 
, and thus only two pitch classes 
. The pitch classes are 
separated by a perfect fifth 
 or its inversion the 
perfect fourth ."

http://en.wikipedia.org/wiki/Power_chord
I'm still not sure how to render theseas chord symbols in Lilypond... 
I'm not even sure what the official nomenclature is. I'm sure I've come 
across things like "C5" in the past though.

Jennifer
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Re: Powerchords (edited..

[Jennifer Clark]

Bernard Hurley wrote:
A question I can't seem to find the answer to in the manual or 
online: Is it possible to represent powerchords, i.e. those 
consisting of only a root note and fifth, in the ChordNames notation?   

I havn't come across the term "powerchord" before. I would normally
refer to them as "bare fifths". in what context is the term used?
 

In a rock or heavy metal context usually, perhaps it is a British term?
There is more detail at the following link:-
"In music, a *power chord* is an interval which serves the diatonic
function of a major or minor chord. It consists of two pitches or three
pitches with one doubled at the octave, and thus only two pitch classes.
The pitch classes are separated by a perfect fifth or its inversion the
perfect fourth."
http://en.wikipedia.org/wiki/Power_chord
I'm still not sure how to render theseas chord symbols in Lilypond...
I'm not even sure what the official nomenclature is. I'm sure I've come
across things like "C5" in the past though.
Jennifer

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Powerchords

[Jennifer Clark]

A question I can't seem to find the answer to in the manual or online: 
Is it possible to represent powerchords, i.e. those consisting of only a 
root note and fifth, in the ChordNames notation? Using ^3 as part of the 
notation does not produce the desired effect, the chord is still 
rendered as a standard major chord.

I am using Lilypond 2.5.2 under Cygwin. Thanks for any guidance on this!
Jennifer
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Re: Still frustrated with chords

[Jennifer Clark]

David Raleigh Arnold wrote:
LilyPond uses two conventions for noting chords.  I have never seen 
either
one ever used in printed music, and with any luck at all I never will.
Why not just use text/fingering or lyrics(?) for your chords?  daveA
 

Using text or lyrics for chords is a hassle; you will also have to 
tranpose them manually to other keys should you wish to do so. In this 
day and age I feel that the computer should do it for you.

I have distributed leadsheets using the default lilypond chords, and 
while I am not entirely satisfied with them either, nobody has actually 
complained yet. I think they are ok, but the conventions used in the 
Real books are superior IMHO. Sammy Nestico's "Complete Arranger" has a 
list of right (and wrong) chord naming terminology that appeals to me.

Jennifer

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Re: Score.skipBars

[Jennifer Clark]

Thanks Mats, that is good advice - when attempting to reduce the file 
size to make the problem more obvious to those on list as you suggested, 
I actually found the problem - I had been including chord changes in the 
tune which means that the rest bars were always be written out in full, 
not in condensed form. I'm just off to see if making a new set of chord 
changes with rests that align will work out.

Jennifer

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Score.skipBars

[Jennifer Clark]

Hello folks,
I have been preparing several scores where it is useful to have the 
ability to have numbered multi-rest bars rather than, say, 32 full bar 
rests. I have been able to implement this using the following setting as 
described in the manual:-

 \set Score.skipBars = ##t
The only problem is that sometimes I can get it to work for me, but 
other times not, and I have been unable to figure out why. For example, 
the following source does not work, the bars come out fully expanded:-

\header {
   \include "header.ly"
 subtitle = "Clarinet (Vocal Version)"
}
\include "notes.ly"
\score {
 \notes <<
 \time 4/4
 \set Score.markFormatter
   = #(lambda (mark  context)
   (make-bold-markup (make-box-markup
   (make-markletter-markup (1- mark)
 {
   % Bb Instruments
   <<
   \context ChordNames {
 \set chordChanges = ##t
 \transpose bes c'
 \Changes
   }
   \context Staff {
 \key d \major
 \clef treble
  \set Score.skipBars = ##t
 \transpose bes c''
  {\Intro \notes{r2 \bar"||" R1*11 r2} \LeadBreak R1*8}
   }
   >>
 }
 >>
 \midi { \tempo 4=140 }
 \paper{
   papersize = "a4"
   indent = 0
 }
}
--
But the source below does work as expected. I seem to have reached a 
brick wall in trying to figure out why, so any help would be much 
appreciated! Thanks in advance, Jennifer.

\header {
 \include "header.ly"
 \include "directions.ly"
 subtitle = "Tenor Sax"
}
%  \include "english.ly"
\include "notes.ly"
\score {
 \notes <<
 \time 4/4
 \set Score.markFormatter
   = #(lambda (mark  context)
   (make-bold-markup (make-box-markup
   (make-markletter-markup (1- mark)
 {
   <<
   \context ChordNames {
 \set Staff.midiInstrument = "acoustic piano"
 \set chordChanges = ##t
 %\transpose bes c'
 %\Changes
   }
   \context Staff {
 \set Staff.midiInstrument = "tenor sax"
 #(set-accidental-style 'modern-cautionary)
 \key c \major
 \clef treble
 \set Score.skipBars = ##t
 \transpose c c'
 {\TenorSax}
   }
   %\lyricsto "" \new Lyrics \lyrics { the text }
   >>
 }
 >>
 \include "settings.ly"
}
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Re: Fixed Measure Widths

[Jennifer Clark]

> Just last week, I had a job with a local jazz ensemble (I'm a (french)
> horn player, so this is pretty uncommon) and had to transpose a couple
> parts, so since I was already punching out parts with lilypond, I copied
> one piece that was so badly done in finale that I could barely read it. I
> got compliments for all of the parts that I did.

Same with the jazz band I am in, no complaints about the layout done by
lilypond. Nothing was said about the chord symbols, but having the
capability of rendering them in a larger font would be good to increase the
legibility in dim light and/or when reading them over someone's shoulder.
This is another thing you find in the real books... perhaps it can be done
easily with lilypond, it isn't something I've examined in great detail yet.

Jennifer



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Rehearsal Marks

[Jennifer Clark]

My apologies for yet another question, I have tried to resolve this myself but cannot 
find the answer. Here's the situation - I can create rehearsal marks:-

With letters, boxed, by manually adding text
With letters, unboxed, automatically
With numbers, unboxed, automatically
With numbers, boxed, automatically (example in the manual)

What I'm looking for is letters, boxed, automatically. Is this possible?

BTW, I tried out the the charts I prepared with lilypond last week with our jazz combo 
last night, and received no negative comments whatsoever about the layout - praise 
indeed, believe me. So congratulations on a good program!

Thanks again,
Jennifer
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Re: Adding Text After Music

[Jennifer Clark]

> > The scoring is coming along, but I'd like to add notes about solos
> > etc. at the bottom of the music. I know how to attach text related to
> > the score itself, e.g. "D.S. al fine" and so on, but this is not
> > actually related to any musical event so seems less clear to me.
>
> You could try using the copyright, footer, or tagline headers -- those
> appear on the
> bottom of the score.

Thanks Graham, I tried that but had no luck - when inserting markup the text
dissappeared - but will try again.

> If you want to do anything fancy, though, I recommend looking at
> lilypond-book.

I noticed that in the manual, but it is pretty over specified for what I am
looking for. What I want to say is something along these lines:-

Intro: repeat section A->B twice
Solo on section C->D. After solos, go to $

It seems that the footer/copyright/tagline options would be most
appropriate.

Jennifer



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Adding Text After Music

[Jennifer Clark]

The scoring is coming along, but I'd like to add notes about solos etc. at the bottom 
of the music. I know how to attach text related to the score itself, e.g. "D.S. al 
fine" and so on, but this is not actually related to any musical event so seems less 
clear to me.

Thanks for any help,
Jennifer
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lilypond-user@gnu.org

[Jennifer Clark]

> Jan Nieuwenhuizen <[EMAIL PROTECTED]> writes:
>
> > I can see that we're heroes, but unsung?
> > ;-)
>
> I see guys like Don Knuth and Guido van Rossum in the list. Not a bad
> list to have you name mentioned in :-)

Definitely exalted company!

I've been using lilypond for almost a week now and would like to say I find
it excellent, I've managed to produce a reasonable lead sheet for a jazz
combo and am now working on doing separate parts for each musician. That you
can transpose the chords automatically is a joy, I've had to do this manually
up until now :-) The ease of using "\include" to do different parts from the
same noteset is also brilliant.

I like the text based note entry; it is easy and I know exactly what notes
are where and for how long, unlike some of the GUI based software I've used
in the past.

Jennifer



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