Re: Rhythmic expressions and bar repeats in ChordNames
On 3/16/21 7:10 PM, Carl Sorensen wrote: On 3/16/21, 2:20 PM, "lilypond-user on behalf of Louis Guillaume" wrote: Hi - I have 2 somewhat related questions here dealing with ChordNames: 1. How would one add rhythmic expressions (such as slashes) For example - in 4/4 I want a:m7 for 6 beats then e:7 for 2 beats, so the ChordNames look like: | A-7| / / E7 | You could \set the noChordSymbol to "/" and put a1:m7 r4 r4 e1:7 in the chord music. See http://lilypond.org/doc/v2.20/Documentation/internals-big-page#chordnames for the documentation on the context properties for the ChordNames context. Carl Thanks Carl - that will work!
Re: Rhythmic expressions and bar repeats in ChordNames
On 3/16/21 4:44 PM, Xavier Scheuer wrote:
On Tue, 16 Mar 2021 at 21:19, Louis Guillaume <mailto:lo...@zabrico.com>> wrote:
>
> Hi - I have 2 somewhat related questions here dealing with ChordNames:
>
> 1. How would one add rhythmic expressions (such as slashes)
>
> For example - in 4/4 I want a:m7 for 6 beats then e:7 for 2 beats, so
> the ChordNames look like:
>
> | A-7 | / / E7 |
>
>
> 2. If I "\set ChordChanges = ##f" can the repeated chord symbol be a
> bar-repeat sign instead of a repeated chord symbol? At least if it's
> on the same line?
>
> I've tried doing
>
> \repeat percent 2 a:m7
>
> but it just omits the chord symbol in that case.
Hello Louis,
No idea about 1., but for 2. you could add the repeat percent (and
double and slash) engravers to the ChordNames context.
\chords {
\repeat percent 2 a4:m7
}
\layout {
\context {
\ChordNames
\consists "Percent_repeat_engraver"
\consists "Double_percent_repeat_engraver"
\consists "Slash_repeat_engraver"
\override ChordName.Y-offset = #-1
% delete the following two lines if you don't need barlines:
\override BarLine.bar-extent = #'(-2 . 2)
\consists "Bar_engraver"
}
}
Based on LSR snippet #993
https://lsr.di.unimi.it/LSR/Item?id=993
<https://lsr.di.unimi.it/LSR/Item?id=993>
Cheers,
Xavier
--
Xavier Scheuer mailto:x.sche...@gmail.com>>
Thank you! This works well enough for now.
--
Louis
Rhythmic expressions and bar repeats in ChordNames
Hi - I have 2 somewhat related questions here dealing with ChordNames: 1. How would one add rhythmic expressions (such as slashes) For example - in 4/4 I want a:m7 for 6 beats then e:7 for 2 beats, so the ChordNames look like: | A-7| / / E7 | 2. If I "\set ChordChanges = ##f" can the repeated chord symbol be a bar-repeat sign instead of a repeated chord symbol? At least if it's on the same line? I've tried doing \repeat percent 2 a:m7 but it just omits the chord symbol in that case. Any help would be great! -- Louis
Re: macOS 10.15 update?
This appears to work for me. I'll continue testing. The stderr is very chatty but that's ok because it works! Thank You :) I'm trying to build using "pkgsrc" but it gets hung up on "gobject-introspection". Apparently "meson/ninja" aren't playing nice with the MacOS library arrangement at this point for some reason. How did you get the dependencies to build? Louis On 2/5/20 1:27 PM, Carl Sorensen wrote: Please try https://bintray.com/marnen/lilypond-darwin-64/download_file?file_path=lilypond-2.19.83.build20200201185223-darwin-64.tar.gz . Let me know if this doesn’t work. Thanks, Carl *From: *Denis Lorrain *Reply-To: *Denis Lorrain *Date: *Wednesday, February 5, 2020 at 9:49 AM *To: * *Subject: *macOS 10.15 update? Hello all, Is there an updated version for macOS 10.15.3 ? The version available at http://lilypond.org/macos-x.html is not compatible. System upgrades are too often a annoying source of problems... Many thanks in advance, DLO
Re: The space between "\score"s
On 11/17/17 10:30 AM, Edward Neeman wrote: Hello, 1. Why the giant gap between scores when the music goes to a second page? - (this happens regardless of how ragged-last-bottom is set) ragged-last-bottom doesn't seem to affect the space between score blocks, so multiple score blocks are spaced out evenly on the last page, even if ragged-last-bottom is set to true. Is this a bug? It doesn't seem to be fixed in version 2.19.80. Fortunately, there are several workarounds available. 2. Is there a way to control that gap? That gap is controlled with the score-system-spacing variable in the \paper block. Try adding this line to your \paper block: score-system-spacing = #'((basic-distance . 0) (padding . 3) (stretchability . 0) (minimum-distance . 0)) Best, Edward This works perfectly! Thank you Dr. Edward :) Louis ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: The space between "\score"s
On 11/17/17 9:00 AM, Ben wrote:
On 11/17/2017 1:19 AM, Louis Guillaume wrote:
On 11/16/17 8:18 PM, Ben wrote:
On 11/16/2017 5:11 PM, Louis Guillaume wrote:
\score
{
...
}
Hello,
Your code does not compile, could you share a working example so we
can help you better with the indent, etc?
Also, let us know what version you're using...
Thanks!
Ok! I'm using version 2.18.2. Here's what I've discovered with some
testing.
If my music goes over one page, there is a large gap between the main
score and the Coda.
If it doesn't, then the Coda shows up where it's expected.
Try this here. Un-comment the last few bars and hopefully you'll see
the large gap between the scores on the second page.
Any help would be great. Thanks!
Louis
On 11/17/2017 1:19 AM, Louis Guillaume wrote:
\paper
{
top-markup-spacing = #'((basic-distance . 0) (padding . 13)
(stretchability . 0) (minimum-distance . 0))
nonstaff-relatedstaff-spacing = #'((basic-distance . 0) (padding .
8) (stretchability . 0) (minimum-distance . 0))
markup-system-spacing = #'((basic-distance . 0) (padding . 5)
(stretchability . 0) (minimum-distance . 0))
system-system-spacing = #'((basic-distance . 0) (padding . 3)
(stretchability . 0) (minimum-distance . 0))
two-sided = ##t
top-margin = 8
bottom-margin = 5
outer-margin = 13
inner-margin = 13
}
Hello,
Yes when you uncomment out those measures I see what you mean.
You have a few options.
If you really want to compact, just add ragged-last-bottom = ##f to the
paper block and it looks nice and tidy together :)
You are using multiple scores in the same file, so that is something to
consider...that's why.
(see attached)
Does this work for you? Or did you want it even tighter?
\paper
{
top-markup-spacing = #'((basic-distance . 0) (padding . 13)
(stretchability . 0) (minimum-distance . 0))
nonstaff-relatedstaff-spacing = #'((basic-distance . 0) (padding .
8) (stretchability . 0) (minimum-distance . 0))
markup-system-spacing = #'((basic-distance . 0) (padding . 5)
(stretchability . 0) (minimum-distance . 0))
system-system-spacing = #'((basic-distance . 0) (padding . 3)
(stretchability . 0) (minimum-distance . 0))
two-sided = ##t
top-margin = 8
bottom-margin = 5
outer-margin = 13
inner-margin = 13
*ragged-last-bottom = ##f*
}
Thanks for that Ben,
It seems though that disabling "ragged-last-bottom" as you suggest
divides the music evenly between the pages - but the "Coda" score still
ends up near the bottom of the second page (when there is a second
page). This is not preferable... I would rather see the main score look
like it "normally" does (with "ragged-last-bottom = ##t").
So the questions remain:
1. Why the giant gap between scores when the music goes to a second
page? - (this happens regardless of how ragged-last-bottom is set)
2. Is there a way to control that gap?
Thanks again for looking!
Louis
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Re: The space between "\score"s
On 11/16/17 8:18 PM, Ben wrote:
On 11/16/2017 5:11 PM, Louis Guillaume wrote:
\score
{
...
}
Hello,
Your code does not compile, could you share a working example so we can
help you better with the indent, etc?
Also, let us know what version you're using...
Thanks!
Ok! I'm using version 2.18.2. Here's what I've discovered with some testing.
If my music goes over one page, there is a large gap between the main
score and the Coda.
If it doesn't, then the Coda shows up where it's expected.
Try this here. Un-comment the last few bars and hopefully you'll see the
large gap between the scores on the second page.
Any help would be great. Thanks!
Louis
%{
Multi-score Test file
%}
#(set-default-paper-size "letter")
\paper
{
top-markup-spacing = #'((basic-distance . 0) (padding . 13)
(stretchability . 0) (minimum-distance . 0))
nonstaff-relatedstaff-spacing = #'((basic-distance . 0) (padding . 8)
(stretchability . 0) (minimum-distance . 0))
markup-system-spacing = #'((basic-distance . 0) (padding . 5)
(stretchability . 0) (minimum-distance . 0))
system-system-spacing = #'((basic-distance . 0) (padding . 3)
(stretchability . 0) (minimum-distance . 0))
two-sided = ##t
top-margin = 8
bottom-margin = 5
outer-margin = 13
inner-margin = 13
}
\header
{
title = "MULTISCORE TEST"
instrument = \markup \small
{
"Violin or Flute"
}
composer = \markup \column \small
{
\right-align {"Composer" }
\right-align {"Arranger" }
}
tagline = ""
}
\score
{
\new Staff
{
\relative c''
{
\set Staff.midiInstrument = #"violin"
\time 4/4
\numericTimeSignature
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
c1 c c c
c c c cis
d dis e2 f fis f
% c1 c c c
% c c c cis
% d dis e2 f fis f
% c1 c c c
% c c c cis
% d dis e2 f fis f
%
% c1 c c c
% c c c cis
% d dis e2 f fis f
\bar "|."
}
}
\layout { }
}
% CODA
\score
{
\new Staff
{
\mark \markup { "CODA " \musicglyph #"scripts.coda"}
\relative c''
{
c1 c
\bar "|."
}
}
\layout
{
indent = 55
}
}
\version "2.18.2" % necessary for upgrading to future LilyPond versions.
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The space between "\score"s
Hi!
I've been trying to set my parts up so that the Coda is separated from
the main score at the bottom by having separate \score commands like this:
\score
{
\new StaffGroup
<<
\new ChordNames
{
\set chordChanges = ##t
\chordSymbols
}
\new Staff = "" \violinNotes
>>
\layout { }
}
% CODA
\score
{
\new StaffGroup
<<
\new ChordNames
{
\set chordChanges = ##t
\codaChords
}
\new Staff = "" \violinCoda
>>
\layout
{
indent = 21
}
}
And it works ok - but there's a giant gap between the scores. How do I
change that?
Louis
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Re: Multiple tensions in Chord Mode
On 6/1/12 6:16 PM, Jeff Barnes wrote: To me, there is no such thing as a flat 6. It's flat 13, and almost always that means -alt. The definition of -alt to me is altered 9th and flat 13. Although... I usually omit the 11th in an alt chord. Hmmm I may need to re-think. As I learned it, an altered dominant means a specific thing, that is: a dominant chord with a flat 5, and you can use the b9, #9 and b13. And yes, you leave out the 4th. And it's *always* worthy of re-thought. So you get a chord-scale that is C Db D# E Gb Ab Bb. It's the same pitch-set as the altered scale, super locrian, a mode of melodic minor starting on the 7th scale degree and I've even heard Ionian-sharp-one (!) and probably many others. It's the context and interpretation that matters. Those altered dominants end up sounding like diminished 7th chords a lot of the time to me. In fact, I commonly play 7b9 chords as diminished 7ths (leaving out the root). And so many of these things sound (to me) like it's simply an approach to a minor tonic (whether it resolves or not). Like a G7b5 - C7b9 sounds like it's going to resolve to F-. Regardless of what tensions you want to put on there, the flavor is that of F melodic minor. The E and Db will provide strong gravity towards the F- chord. Given the context, one may be more strongly inclined to stay in that flavor or not. So the composer/arranger can use the tensions in the chord symbol to guide the player to what they were thinking by specifying the important tensions on the chord. But deriving some tensions from the others isn't always a reliable thing, and that, IMO, makes it such that a dominant with b9 and #9 doesn't imply an altered chord. Louis ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple tensions in Chord Mode
On 5/28/12 6:38 PM, lilyp...@umpquanet.com wrote:
On Mon, May 28, 2012 at 09:48:29AM -0400, Louis Guillaume wrote:
There is, however, one thing that I find impossible, that is, having two
of the same tension in the chord symbol expression. There is a single
case I can think of and that is having both flat-nine and sharp-nine on
a dominant chord. e.g.
In chord mode:
c:7.9-.9+
In regular markup:
c e g bes des' dis'
Both of these produce a chord symbol AND chord without the flat-nine. It
seems to only accommodate one 9th, and uses the last one encountered.
Is there a way to do work around this?
Louis
Hi, Louis.
If I may start with a bit of humble philosophy, when I see a flat
9 especially, I almost always conclude that the tonality will
include a sharp 9 as well, simply because of the dissonance that
would result from having the flat 9 competing against an
unaltered 9.
Not to mention the root, which is smunched up with those!
Not to say that it could never happen, it just
strikes me as being rare. This doesn't necessarily work the
other way around. A sharp 9 chord to me would normally imply a
normal 9 also, unless inspection of the melody or harmony
suggests a flat 9 would be more appropriate, in which case I'll
grumble that the arranger should have written a flat 9.
But maybe [s]he doesn't want you anywhere near the flat nine :). At
least for your part. We are talking chord symbols so there's expected
interpretation. I think when tensions are explicitly described on a
part, they are not subject to as much interpretation as if you were
playing off a lead-sheet.
In summary, IMHO:
flat 9 = flat 9 and usually sharp 9 also
sharp 9 = sharp 9 and usually natural 9 (or 2)
I think that's accurate for the most part. Obviously there's a lot of
interpretation involved with this kind of thing.
If you want a flat 9 sharp 9 chord, consider using a flat 9 and
leaving the sharp 9 implied. This is especially appropriate if
the key signature implies a sharp 9 (C7 b9 in key of Db, Bb or Ab
for example)
I see the suggestion you're making, but this is where we diverge from
the philosophical and get practical!
IMHO, this situation also arises around flat fifths -- a flat
fifth would almost always cause me to assume a sharp fifth as
well.
I'm not so sure about that. Certainly there's no natural 5th (it's been
explicitly flattened), but the 6th could certainly be natural. Consider
the mode c d e f ges a bes.
C7 b5 often implies a whole-tone scale (c d e ges aes bes
c). However, I don't make this assumption about sharp 11 chords.
I assume that sharp 11 chords are chosen to make the fourth tone
of the mode be only a half step away from the perfect fifth,
Lydian-style.
Yes 7,#11 chords are almost certainly Lydian-flat-seven.
Anyway, having tried my best to talk you out of it, :) I can
understand your desire to explicitly call out both alterations
when necessary. I experimented quite a bit with this and learned
a lot about the extent of the gap in my knowledge about lilypond
chordmode and chord naming.
I use jazz-chords.ily instead of pop-chords.ly, but
Look in your pop-chords.ly file for a chord defined as
c e g bes cis' dis' If you find it, comment out that chord
markup. If you don't find it, double check for alternate
enharmonic spellings. If you still can't find it, perhaps it's
not in pop-chords.ly.
My pop-chords.ly has been heavily modified! I have the chord in there,
but without that voicing.
In my jazz-chords.ily I inserted this instead, with a slight
spelling difference of des here instead of cis above:
c e g bes des' dis'-\markup\jcRaise{ 7( \jcFlat 9 \jcSharp 9) }
For pop-chords.ly, the \jc* functions don't exist, so use this
in pop-chords.ly:
c e g bes des' dis'-\markup { 7 \chordFlat 9 \chordSharp 9 }
Now the strangest thing that I ran into was that I do not know
how (and could not find a way) to describe those notes in
\chordmode. As your message suggested, it appears that chordmode
can handle only one alteration per scale degree, and it seems
that a later alteration overrides any earlier alteration for a given
scale tone. Further strangeness arose when I realized that
spelling the same chord pitches in different order changes the
way the chord markup is selected.
However, the following snippet produces the correct markup,
although the inability to use a \chordmode representation of
those notes may prove to be inconvenient. I don't have the
expertise to say whether the fact that identical chord pitches
(shown as identically engraved chords) specified in a different
sequence causes the chord naming functions to assign different
markup to the chord. Could be seen as a feature by some, I
suppose.
I hope this helps. It was an interesting learning experience.
It certainly does, Jim. Thanks for taking the time!
I'll try to get this working this weekend and report back...
Louis
Multiple tensions in Chord Mode
Hi! I'm working out a set of chord symbols to suit my needs, based primarily on pop-chords.ly. For the most part everything works beautifully, and I'm sure any issues with alignment, spacing etc. can be sorted out using the tools. Very nice! There is, however, one thing that I find impossible, that is, having two of the same tension in the chord symbol expression. There is a single case I can think of and that is having both flat-nine and sharp-nine on a dominant chord. e.g. In chord mode: c:7.9-.9+ In regular markup: c e g bes des' dis' Both of these produce a chord symbol AND chord without the flat-nine. It seems to only accommodate one 9th, and uses the last one encountered. Is there a way to do work around this? Louis ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Jazz Chord Symbols
Hi, This may be a FAQ but I can't find definitive answers by googling. I'm looking for more control over chord symbols. For the most part - what I'm looking for is something close to what we see in the Real Book. But that's actually in handwriting, so some changes would obviously be wanted or needed for a LilyPond-engraved output. The thing is - With LilyPond we seem to have the Ignatzek and alternate chord styles. These are both pretty far off from what I'm used to. Is there a way to create a new set of symbols for rendering chords? In particular, I have these requirements: o 6th, 7th, 9th, etc. chords would have the 7 at the same font size as the Chord letter. e.g. C7 should not have the 7 in superscript. o Minor would use `-' instead of `m'. o Major 7th would look like Gma7 - no superscript. o Extra Tensions on a chord would be added as superscipt. e.g. - Fma7#11 would have the #11 in superscript. - C7b5 would have the \flat 5 in superscript. - A-7b5 would have the \flat 5 in superscript. - However B9 and E-11 should have NO superscript. o Multiple tensions would be stacked in a column to the right. - C7#9/b9/b13 would have the 3 tensions stacked, next to the 7 in the small superscript-size text. - A7sus2/sus4 would have those suspensions stacked. o Inverted chords, e.g. A/C# would be written as shown here, but the bottom of the A would be close to the top of the C. So they aren't exactly in-line. The intent is to try and mimic the way these are typically written. o Polychords e.g. G over F would be written with a horizontal bar between both letters. And there's probably a lot more... Any help or direction towards this end would be great. Thanks, Louis ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
