Re: beaming of eighth note question for 4/4
The way to change the beaming behaviour in LilyPond is described at:
https://lilypond.org/doc/v2.25/Documentation/notation/setting-automatic-beam-behavior
For the case of quavers in 4/4 time, Gould starts with the grouping used in the
LilyPond default, but also suggests (page 154) situations where changing
locally to the pattern you want is appropriate.
Paul
From: Paul Scott
To: Lilypond-User Mailing List
Sent: 15/07/2024 7:53
Subject: Re: beaming of eighth note question for 4/4
Oops!
Here is the MWE:
\version "2.25.18"
\fixed c' {
\time 4/4
c8 8 8 8 r8 8 8 8 c8 8 8 r8 8 8 8 8 \break
c8 8 8 8 r8 8 8[ 8] c8[ 8] 8 r8 8 8 8 8
}
On 7/14/24 11:50 PM, Paul Scott wrote:
> Much printed music that I try to duplicate seems to be beamed like the
> 2nd line of this MWE but the Lilypond default seems to be like the
> first line. Is there a beaming setting way to get the 2nd behavior.
>
> I have looked for a solution in NR 1.2.4.
>
> I don't have a copy of Gould to look this up.
>
> TIA for any ideas,
>
> Paul
>
>
>
Re: beaming of eighth note question for 4/4
Oops!
Here is the MWE:
\version "2.25.18"
\fixed c' {
\time 4/4
c8 8 8 8 r8 8 8 8 c8 8 8 r8 8 8 8 8 \break
c8 8 8 8 r8 8 8[ 8] c8[ 8] 8 r8 8 8 8 8
}
On 7/14/24 11:50 PM, Paul Scott wrote:
Much printed music that I try to duplicate seems to be beamed like the
2nd line of this MWE but the Lilypond default seems to be like the
first line. Is there a beaming setting way to get the 2nd behavior.
I have looked for a solution in NR 1.2.4.
I don't have a copy of Gould to look this up.
TIA for any ideas,
Paul
beaming of eighth note question for 4/4
Much printed music that I try to duplicate seems to be beamed like the 2nd line of this MWE but the Lilypond default seems to be like the first line. Is there a beaming setting way to get the 2nd behavior. I have looked for a solution in NR 1.2.4. I don't have a copy of Gould to look this up. TIA for any ideas, Paul
Re: extra space on pages
Thank you!
Some Lilypond syntax is not as clear to me as the other programming
languages that I have used.
OTOH I am very impressed with Lily code that works even though I
wouldn't be sure that it would. I write little pieces of code for
repeated music patterns and slurs work in and out of these pieces of code.
I used to use ragged-bottom but the music would often be too vertically
compressed than I liked.
Paul
On 7/11/24 2:13 PM, Jean Abou Samra wrote:
Le jeudi 11 juillet 2024 à 14:08 -0700, Paul Scott a écrit :
I believe I got this code from Kieren but I may have a typo in my use of it.
_-\tweak padding 50 _\markup{ " " }
It produces blank space on the page below the music as desired but I get
a tenuto mark in the music before the space (not necessarily connected
to a note).
I use this to facilitate page turns without having the lines of music
spread too far apart.
I am hoping I said enough. I will produce a MWE if necessary
An MWE would be just
\version "2.24.2"
{ c'_-\tweak padding 50 _\markup{ " " } }
and the reason is that the first "_" should not be there.
HTH
Jean
PS: If the lines are too far apart, consider \paper { ragged-bottom = ##t }
extra space on pages
I believe I got this code from Kieren but I may have a typo in my use of it.
_-\tweak padding 50 _\markup{ " " }
It produces blank space on the page below the music as desired but I get
a tenuto mark in the music before the space (not necessarily connected
to a note).
I use this to facilitate page turns without having the lines of music
spread too far apart.
I am hoping I said enough. I will produce a MWE if necessary
TIA for any help with this or any similar way to create blank space on a
page.
Paul
Re: syntax for \afterGrace
Thank you, both,
Sometimes the scope of functions? is not always clear.
Paul
On 7/1/24 12:19 PM, Valentin Petzel wrote:
Hello Paul,
\afterGrace ees2~\startTrillSpan ees1 { d16( ees) }
correct would be
ees2~\startTrillSpan \afterGrace ees1 { d16( ees) }
or
\afterGrace { ees2~\startTrillSpan ees1 } { d16( ees) }
(note that the latter one may have weird implications depending on
afterGraceFraction, e.g.:
\afterGrace { 4 4 4 4 } { 16 }
Cheers
syntax for \afterGrace
Hi,
This MWE works as I expect for the 1st \afterGrace but not for the 2nd
one. In both cases I want the 16th notes in curly brackets to be the
grace notes. I have tried several places to put the tied note.
\version "2.25.17"
\fixed c''' {
r2 \afterGrace f\startTrillSpan { g16( f } ees4)\stopTrillSpan r
\afterGrace ees2~\startTrillSpan ees1 { d16( ees) }
aes,1\stopTrillSpan
}
TIA for any help,
Paul
Re: Windows users - Call for testing
I've compiled seven choral scores of varying complexity with no problems. My most complex instrumental scores will have to wait until I have time to update them manually - convert-ly can't cope with them. Paul From: Michael Käppler To: Lilypond-User Mailing List Sent: 27/06/2024 11:28 Subject: Windows users - Call for testing Hi all, I recently tried to fix some of the remaining problems that we have with Lilypond (or, more precisely, Guile) running under Windows, e.g. https://lists.gnu.org/archive/html/bug-lilypond/2024-04/msg7.html I made a experimental release based on an upgrade to Guile 3.0.10 and the bugfixes. I would really love to see it tested by Windows users before we incorporate the changes into our next development release. You can download the release here: https://drive.google.com/file/d/1yjXZ_2vUQeNi-3djbXQmyhUB_sInpxr3/view?usp=sharing Thanks, Michael
Re: Accidental placement with dense chord
I'm not sure I'd describe a book published in 2011 as "mid-20th-century"... But of course, these books are simply guidelines, and (like dictionaries) attempting to combine observed current practice with logic and practicality. There will never be complete agreement, and in practice situations will arise which the guides haven't fully anticipated. Paul From: Wols Lists To: Sent: 18/06/2024 8:29 Subject: Re: Accidental placement with dense chord On 18/06/2024 00:00, Paul Hodges wrote: > Not necessarily. Your rule is similar to what Read recommends; but the > rule in Gould (which LilyPond generally follows) is based around placing > the highest accidental first, then the lowest, and alternating towards > the middle. But it's not as simple as that when covering a wide range > of possible chords! And possibly not on topic for this particular question, but Gould is mid-20th-century. What if, as I often do, I'm copying sheet music that was printed before Gould was born ... Style guides are great, don't get me wrong, but don't use them where they're not appropriate - and that could include cases where the style guide is older than the style of music and actually makes matters worse! Sounds like that could be the case here. I often get seriously frustrated with lilypond (I think it's got a lot better recently - my coding style is from a rather old lilypond) because for my style of music it emphasises readability over playability. Not good... Cheers, Wol
Re: Accidental placement with dense chord
From: Dirck Nagy Arent accidentals in chords supposed to be placed as follows? Not necessarily. Your rule is similar to what Read recommends; but the rule in Gould (which LilyPond generally follows) is based around placing the highest accidental first, then the lowest, and alternating towards the middle. But it's not as simple as that when covering a wide range of possible chords! Paul
Re: Accidental placement with dense chord
Would you consider:
\relative {
\mark E
<<
{
8
}
\\
{
\once \override NoteColumn.force-hshift = #0.9
8
}
>>
}
Maybe it breaks the rules, but it looks easy to read to me.
Paul
From: Knute Snortum
To:
Sent: 16/06/2024 22:29
Subject: Accidental placement with dense chord
Hello list,
I have a dense chord with a lot of accidentals I need to typeset. The
accidental placement that Lilypond comes up with looks a little too far from
the note heads for me, but I'm struggling to find something better. I came up
with three other configurations but I'm not sure which is better (see attached
and also the LilyPond source file that created them.)
A) is how LilyPond places the accidentals without any outside aid. B) is with
the accidentals in the same configuration, but a little closer to the note
heads. C) is how the edition I'm working from does it, and D) is my own stab at
it.
I have two questions: which looks better, A, B, C, or D? And is there a better
way to manipulate the accidental placements other than forcing the X-offsets?
--
Knute Snortum
Re: hairpin over bar line and over end of line
On 6/11/24 11:50 AM, Jean Abou Samra wrote: \override Hairpin.after-line-breaking = ##f Thank you, Jean How would I have found that in the documentation? Paul
hairpin over bar line and over end of line
Probably a simple answer but how do I get a crescendo in this example to
continue to the next line?
\version "2.25.16"
\fixed c' {
\override Hairpin.to-barline = ##f
a2\< b g4\! r4 r2 %This is what I want any cresc., etc. to do
a2\< b \break
g4\! r4 r2
}
TIA,
Paul
Re: 2.25.16 D.S. al Fine
Ok, I did find the solution someone gave me some time ago. I still wonder: 1. Why the default uses the redundant \segnoMark. 2. Why there isn't a more direct option for what I believe is the more common notation. Paul On 6/8/24 11:42 PM, Paul Scott wrote: Using the repeat segno structure how can I eliminate the redundant segno mark in D.S. [segnoMark] al Fine ? I can't quickly find any examples in printed music that has the redundant segno mark. D.S. aleady means "dal segno" or "from the sign." I don't have a copy of Gould but Wikipedia and other sources on the Internet agree with me. TIA, Paul
2.25.16 D.S. al Fine
Using the repeat segno structure how can I eliminate the redundant segno mark in D.S. [segnoMark] al Fine ? I can't quickly find any examples in printed music that has the redundant segno mark. D.S. aleady means "dal segno" or "from the sign." I don't have a copy of Gould but Wikipedia and other sources on the Internet agree with me. TIA, Paul
manual vertical alternative marks
I have tried several variations of (volta #f) and end-repeat with the
following code:
\version "2.25.16"
xDS = \markup{\fontsize #4 \line{D.S. al Fine }}
xFine = \markup{\fontsize #4 Fine}
music = \fixed c' {
g1
\segnoMark 1
f 4 g a b
\set Score.repeatCommands = #`((volta ,xDS) )
g4 a g a
\set Score.repeatCommands = #`((volta #f) (volta ,xFine))
\bar "||"
b1
\set Score.repeatCommands = #'((volta #f))
\bar "|."
}
\score{ \music }
\score{ \unfoldRepeats \music }
How do I get the ending vertical line at the end of the first alternative?
This code also demonstrates the desirablity of getting the repeat segno
structure to work for more cases.
TIA,
Paul
another variation for repeat segno
Is there a way to do this with Segno repeat structure?
\version "2.25.16"
xDS = \markup{\fontsize #4 \line{D.S. al Fine }}
xFine = \markup{\fontsize #4 Fine}
music = \fixed c' {
g1 \segnoMark 1 f 4 g a b
\set Score.repeatCommands =
#`((volta ,xDS) start-repeat)
\bar "||"
g4 a g a
\set Score.repeatCommands =
#`((volta #f) (volta ,xFine) end-repeat)
\bar "||"
b1
\set Score.repeatCommands = #'((volta #f))
\bar "|."
}
\score{ \music }
\score{ \unfoldRepeats \music }
TIA,
Paul
Re: jump to coda inside repeat with alternative
Close enough for now. I get a bar line after the clef sign.
Thank you,
Paul
On 5/22/24 11:49, Knute Snortum wrote:
On Wed, May 22, 2024 at 10:50 AM Paul Scott
wrote:
I sometimes use \stopStaff and \startStaff before the coda. Can
anyone tell me how to get a clef sign after a \startStaff?
Would Staff.forceClef = ##t work in your situation? If not, can you
give us a MWE?
%%%
\version "2.24.3"
{
c''4 4 4 4 \stopStaff
s1
\once \set Staff.forceClef = ##t
\startStaff c''4 4 4 4
}
%%%
--
Knute Snortum
Re: jump to coda inside repeat with alternative
On 5/20/24 18:43, Laurie Savage wrote:
I have struggled with this one in the past and gave up in the end.
There are some tweaks I found on the archived threads but I found it
easier to enter the segnoMark and codaMark manually. Ditto for
the"D.S. al Coda" (which is what I think you mean in your example. I
often edit big band and small combo charts so any simple solution
would be wonderful.
Thank you, Laurie.
That's what I've done for years until segno repeat appeared.
I also often edit big band, concert band and orchestra charts, often
just to make my parts easier to read,
I sometimes use \stopStaff and \startStaff before the coda. Can anyone
tell me how to get a clef sign after a \startStaff?
TIA,
Paul
Laurie
On Tue, 21 May 2024 at 10:35, Paul Scott wrote:
Segno repeat structure is like a black box to me. I have been
relatively successful with help and trial and error.
I would really appreciate some help with this that I need soon:
From NR 2.25.16 1.4.1, Segno repeat structure/alla coda, how do I
add a
repeat with alternative so the coda jump is just before the
alternative?
Here is the manually written MWE:
\version "2.25.16"
\fixed c' {
c1 \segnoMark \default
\repeat volta 2 { d \codaMark \default }
\alternative{ e f }
e_"D.C. al Coda" \bar "||"
<>^"Coda" e
\bar "|."
}
TIA,
Paul
jump to coda inside repeat with alternative
Segno repeat structure is like a black box to me. I have been
relatively successful with help and trial and error.
I would really appreciate some help with this that I need soon:
From NR 2.25.16 1.4.1, Segno repeat structure/alla coda, how do I add a
repeat with alternative so the coda jump is just before the alternative?
Here is the manually written MWE:
\version "2.25.16"
\fixed c' {
c1 \segnoMark \default
\repeat volta 2 { d \codaMark \default }
\alternative{ e f }
e_"D.C. al Coda" \bar "||"
<>^"Coda" e
\bar "|."
}
TIA,
Paul
Re: Cry for help - lost plot ....
If you make your lines sequential music in one score (by adding {...} around
them, as a score can contain only one music expression) they'll all run
together continuously. You can add \break to force new lines, but then they
are stretched to the width of the page. You can then add ragged-right = ##t,
but you will still have an indent for the first (which can be set to zero); you
will also have the time signature repeated at the end of each line - which I'm
sure can be turned off, though I can't recall the details.
It seems you'd be better off putting a \score block round each line, if you
want each line to remain independent.
Paul
From: Aaron Hill
To: Giles Boardman
Cc:
Sent: 18/05/2024 17:18
Subject: Re: Cry for help - lost plot
On 2024-05-18 8:49 am, Giles Boardman wrote:
> \score {
>
> … music …
>
> \layout { }
> \midi { }
> }
>
> Please, someone help me while I still have a little hair left to pull
> out on a later occasion :-}
\score basically expects just one "music". You are providing many
"musics". The question is how you want to handle it.
Normally, we have simultaneous music where the parts are meant to run in
parallel. But you can also do sequential music.
So, this means your \score block should have one of these two patterns:
\score {
<<
...simultaneous music...
>>
\layout { }
\midi { }
}
\score {
{
...sequential music...
}
\layout { }
\midi { }
}
-- Aaron Hill
jump to coda inside repeat with alternative
From NR 2.25.16 1.4.1, Segno repeat structure/alla coda, how do I add a
repeat with alternative so the coda jump is just before the alternative?
Here is the manually written MWE:
\version "2.25.16"
\fixed c' {
c1 \segnoMark \default
\repeat volta 2 { d \codaMark \default }
\alternative{ e f }
e_"D.C. al Coda" \bar "||"
<>^"Coda" e
\bar "|."
}
TIA,
Paul
Re: manual repeat mark syntax question
Thank you! Paul On 5/16/24 11:42, Jean Abou Samra wrote: \set Score.repeatCommands = #'((volta ,voltaOpt)) ^^^ This should be ` not ' .
manual repeat mark syntax question
What is wrong with the following code that gives:
programming error: Trying to interpret a non-markup object: (unquote
voltaOpt)
If it isn't clear, I'm trying to create a 3rd optional ending.
\version "2.25.16"
voltaOpt = \markup{Optional}
\fixed c' {
a1
\repeat segno 2 {
g1
\volta 2
\volta 1 {
\repeat volta 2 { a1 b1 }
\alternative{ c'1 d' } \bar "||"
\set Score.repeatCommands = #'((volta ,voltaOpt))
e1
\set Score.repeatCommands = #'((volta #f))
}
}
}
TIA,
Paul
hairpins inside brackets
I have had help before with adding brackets to dynamics and I see the snippet to parenthesize snippets. Is there a way to enclose a hairpin in brackets? TIA, Paul
Showing fingerings in front of slurs
Hi
I want to show fingerings in front of slurs in a manner very like that
demonstrated in the "Using the whiteout property" snippet
This is what I've tried:
\version "2.24.0"
\language "english"
\relative {
\override Staff.Fingering.layer = 2 % fingering should overwrite
slurs
\override Staff.Fingering.whiteout = ##t
r4 r8 -1-3( 16-2-4 -1-5-2-4-3-5)
}
but the fingerings still avoid the slurs. I want them to appear just where
they would if the Slurs weren't there at all.
What am I missing?
Thanks
Paul McKay
Showing fingering on top of slurs
Hi
I want to show the fingering in front of the slurs. This should keep the
fingerings evenly spaced vertically over the notes. I have tried the
following :
\version "2.24.0"
\language "english"
\relative {
\override Staff.Fingering.layer = 2 % fingering should overwrite
slurs
r4 r8 -1-3( 16-2-4 -1-5-2-4-3-5) }
Fingerings still avoid the slurs.
What am I missing?
Thanks
Paul McKay
Re: 2.25.15 quotedCueEventTypes
On 5/8/24 10:02 AM, Paul Scott wrote: Thank you. Yes. From the NR is it true that I only need this for \cueDuring but not for \quoteDuring? Paul On 5/8/24 9:36 AM, Pierre-Luc Gauthier wrote: \set Score.quotedCueEventTypes = #'( tuplet-span-event note-event articulation-event crescendo-event rest-event slur-event dynamic-event multi-measure-rest-event tie-event repeat-tie-event beam-event tremolo-event ) Does that help ? Yes. Does one of those include phrasing slurs? Paul Le mer. 8 mai 2024, à 12 h 31, Paul Scott a écrit : On 5/8/24 9:27 AM, Paul Scott wrote: On 5/8/24 9:21 AM, Paul Scott wrote: Where are quotedCueEventTypes documented? The index listing goes to NR 1.6.3 but I don't see quotedCueEventTyoes. NR 1.6.3 says that all event types are quoted by default but nothing is mentioned about cues event tyoes. I should have added that setting all the quotedCueEvent seems to be necessary to get everything included in cues. quotedCueEventTypes In particular I'm trying to get some phrasing slurs to appear in cues. TIA Paul -- *Pierre-Luc Gauthier* * *
Re: 2.25.15 quotedCueEventTypes
Thank you. Yes. From the NR is it true that I only need this for \cueDuring but not for \quoteDuring? Paul On 5/8/24 9:36 AM, Pierre-Luc Gauthier wrote: \set Score.quotedCueEventTypes = #'( tuplet-span-event note-event articulation-event crescendo-event rest-event slur-event dynamic-event multi-measure-rest-event tie-event repeat-tie-event beam-event tremolo-event ) Does that help ? Le mer. 8 mai 2024, à 12 h 31, Paul Scott a écrit : On 5/8/24 9:27 AM, Paul Scott wrote: On 5/8/24 9:21 AM, Paul Scott wrote: Where are quotedCueEventTypes documented? The index listing goes to NR 1.6.3 but I don't see quotedCueEventTyoes. NR 1.6.3 says that all event types are quoted by default but nothing is mentioned about cues event tyoes. I should have added that setting all the quotedCueEvent seems to be necessary to get everything included in cues. quotedCueEventTypes In particular I'm trying to get some phrasing slurs to appear in cues. TIA Paul -- *Pierre-Luc Gauthier* * *
Re: 2.25.15 quotedCueEventTypes
On 5/8/24 9:27 AM, Paul Scott wrote: On 5/8/24 9:21 AM, Paul Scott wrote: Where are quotedCueEventTypes documented? The index listing goes to NR 1.6.3 but I don't see quotedCueEventTyoes. NR 1.6.3 says that all event types are quoted by default but nothing is mentioned about cues event tyoes. I should have added that setting all the quotedCueEvent seems to be necessary to get everything included in cues. quotedCueEventTypes In particular I'm trying to get some phrasing slurs to appear in cues. TIA Paul
Re: 2.25.15 quotedCueEventTypes
On 5/8/24 9:21 AM, Paul Scott wrote: Where are quotedCueEventTypes documented? The index listing goes to NR 1.6.3 but I don't see quotedCueEventTyoes. NR 1.6.3 says that all event types are quoted by default but nothing is mentioned about cues event tyoes. I should have added that setting all the quotedCueEvent seems to be necessary to get everything included in cues. In particular I'm trying to get some phrasing slurs to appear in cues. TIA Paul
2.25.15 quotedCueEventTypes
Where are quotedCueEventTypes documented? The index listing goes to NR 1.6.3 but I don't see quotedCueEventTyoes. NR 1.6.3 says that all event types are quoted by default but nothing is mentioned about cues event tyoes. In particular I'm trying to get some phrasing slurs to appear in cues. TIA Paul
2.25.15 segno repeat appearance: add text to coda sign
How does one add text to the coda sign using Segno repeat structure, i.e. add "To coda" to the coda sign automatically created? TIA, Paul
Re: Fwd: nested beaming
It looks like I was wrong about \set subdivideBeams = ##f canceling \set
subdivideBeams = ##t . It was another part in a score where it wasn't
canceled affect the line I was working on.
Paul
On 4/9/24 9:28 AM, Paul Scott wrote:
Forgot to send to list.
Forwarded Message
Subject:Re: nested beaming
Date: Tue, 9 Apr 2024 09:26:22 -0700
From: Paul Scott
To: Carl Sorensen
On 4/8/24 3:59 PM, Carl Sorensen wrote:
On Mon, Apr 8, 2024 at 4:51 PM Carl Sorensen
wrote:
On Mon, Apr 8, 2024 at 11:14 AM Paul Scott
wrote:
The case at the moment is with long groups of triplets of
which the
following is now a part:
{
\time 2/4
\tuplet 3/2 8 {
a'16 16 \set stemRightBeamCount = 1 16 \set
stemLeftBeamCount = 1
16 16 16
}
}
I think that after last summer's GSOC project on beaming,
this now works correctly out of the box:
My mistake. These changes didn't get in until 2.25
\version "2.25.11" % but earlier 2.25 versions may work
{
\time 2/4
\set subdivideBeams = ##t
\tuplet 3/2 8 {
a'16 16 16
16 16 16
}
}
Carl
It worked for the triplets but \set subdivideBeams = ##f doesn't turn
it off for following music.
Paul
Fwd: nested beaming
Forgot to send to list.
Forwarded Message
Subject:Re: nested beaming
Date: Tue, 9 Apr 2024 09:26:22 -0700
From: Paul Scott
To: Carl Sorensen
On 4/8/24 3:59 PM, Carl Sorensen wrote:
On Mon, Apr 8, 2024 at 4:51 PM Carl Sorensen
wrote:
On Mon, Apr 8, 2024 at 11:14 AM Paul Scott
wrote:
The case at the moment is with long groups of triplets of
which the
following is now a part:
{
\time 2/4
\tuplet 3/2 8 {
a'16 16 \set stemRightBeamCount = 1 16 \set
stemLeftBeamCount = 1
16 16 16
}
}
I think that after last summer's GSOC project on beaming, this
now works correctly out of the box:
My mistake. These changes didn't get in until 2.25
\version "2.25.11" % but earlier 2.25 versions may work
{
\time 2/4
\set subdivideBeams = ##t
\tuplet 3/2 8 {
a'16 16 16
16 16 16
}
}
Carl
It worked for the triplets but \set subdivideBeams = ##f doesn't turn it
off for following music.
Paul
Re: nested beaming
On 4/8/24 9:46 AM, Simon Albrecht wrote:
On 08.04.24 18:22, Paul Scott wrote:
Many years ago I could nest square brackets in Lilypond. How can I
write this now incorrect code:
a16[[ 16 16] 16[ 16 16]] i.e. two groups of 3 beamed 16th notes
joined by a single beam.
The question is: what is the context and why do you want this?
The case at the moment is with long groups of triplets of which the
following is now a part:
{
\time 2/4
\tuplet 3/2 8 {
a'16 16 \set stemRightBeamCount = 1 16 \set stemLeftBeamCount = 1
16 16 16
}
}
Normally, this is called subdividing beams and there is a context
property to turn it on. This is explained in the NR at Rhythms ->
Beams -> Setting automatic beam behaviour (or similar).
I did look at NR 1.2.4
There have recently been significant improvements to how LilyPond
handles this, but IIRC it’s not fully ‘there’ yet and in some
situations manual intervention is needed besides defining baseMoment etc.
What Jean gave you is the fully manual version of this and may be
necessary for ‘non-standard’ notation.
My triplet example is definitely not non-standard unless for some reason
Gould doesn't like it.
I presume the old ability to nest brackets break something else somewhere.
Thank you,
Paul
Best, Simon
nested beaming
Many years ago I could nest square brackets in Lilypond. How can I write this now incorrect code: a16[[ 16 16] 16[ 16 16]] i.e. two groups of 3 beamed 16th notes joined by a single beam. I have looked at NR 1,2,4 TIA, Paul
Re: ragged-bottom and spacing for individual pages
On 3/21/24 9:46 AM, Mats Bengtsson wrote:
On 2024-03-21 02:08, kie...@kierenmacmillan.info wrote:
Hi Paul,
I have a separate voice where I put all my breaks and pageBreaks. I
haven't been able to make a blank markup. TIA on how to do that.
e.g.:
\version "2.25.1"
\paper {
indent = 0
ragged-bottom = ##f
}
{
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
c'1 \break c'1-\tweak padding 132 _\markup " " \pageBreak
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
}
I thought I had a clever proposal in replacing the somewhat clumsy
-\tweak padding 132 _\markup " "
by
\markup \vspace #40
but in the example above it doesn't give the expected effect. I have
used \vspace successfully in some other situations, but here when it's
used within a TextScript, I guess that LilyPond considers it as a too
empty an object to be taken into account.
I had tried \vspace. I will try to define a text function which takes
just the number when I have some time with my current project.
Paul
/Mats
Fwd: ragged-bottom and spacing for individual pages
Forgot to copy this to the list.
Paul
Forwarded Message
Subject:Re: ragged-bottom and spacing for individual pages
Date: Wed, 20 Mar 2024 23:38:37 -0700
From: Paul Scott
To: kie...@kierenmacmillan.info
On 3/20/24 6:08 PM, kie...@kierenmacmillan.info wrote:
Hi Paul,
I have a separate voice where I put all my breaks and pageBreaks. I
haven't been able to make a blank markup. TIA on how to do that.
e.g.:
\version "2.25.1"
\paper {
indent = 0
ragged-bottom = ##f
}
{
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
c'1 \break c'1-\tweak padding 132 _\markup " " \pageBreak
\repeat unfold 2 { c'1 \break c'1 \pageBreak }
}
Hope that helps!
It did! It took me a while to factor it into what I needed which is :
\version "2.25.13"
\paper {
indent = 0
ragged-bottom = ##f
}
notes = { \repeat unfold 5 c'1 }
breaks = {
s1 s1 \break s1-\tweak padding 128 _\markup " " \pageBreak
\repeat unfold 2 { s1 \pageBreak }
}
\score{ \new Staff << \notes \breaks >> }
Thank you,
Paul
Re: ragged-bottom and spacing for individual pages
On 3/20/24 12:44 PM, Kieren MacMillan wrote: Hi Paul, 1. How can I cause an individual page other than the last page of a score to have ragged-bottom? As far as I know, you can’t… To fake that behaviour, I usually just inject an appropriately-sized blank markup below the last system I want on a given page (attached to anything in that system, e.g., the last BarLine). Sounds great! I have a separate voice where I put all my breaks and pageBreaks. I haven't been able to make a blank markup. TIA on how to do that. Paul
ragged-bottom and spacing for individual pages
1. How can I cause an individual page other than the last page of a score to have ragged-bottom? 2. How can I change the vertical spacing for a page that uses raged-bottom? TIA, Paul
Re: French Horn - transposing
On 3/8/24 4:46 PM, TJ Kolev wrote:
Greetings!
So I've been notating a piece for my son's school band (junior high).
Copying the music from paper into LilyPond using Frescobaldi. And now
I hit a wall. The music piece is written for french horns in E flat
pitch. But the band's horns are in F pitch. I need to transpose the
score appropriately. The band director expects staff with three flats
(E flat major). I hope there's some easier way to do this than me
manually re-writing the score. And I am not even sure how to do that.
I would appreciate any help.
I've played piano, so I can read notes. But these crazy pitched brass
instruments are an intimidating concept... :-/
Below is the initial part of the score for the E flat french horn.
Seems rather big for a small example, but I'd rather have a bit more
context.
Thank you!
TJ Kolev :)
==
\version "2.24.0"
trl = \tuplet 3/2 \etc
rpt = #(define-music-function (cnt snip) (integer? ly:music?)
#{
{ \repeat unfold $cnt $snip }
#}
)
frhornInIIA = {
\sectionLabel "Intro"
\key f \major
| \trl {a'8( bes a)} g r | \trl {g( a g)} f[ r16 e] | g8 r f[ r16 e]
| d8 r r4 \break
\sectionLabel "Part A"
\repeat volta 2 {
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r 4.:8 | a'>2:8^"" \break
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r8 4.:8 | a'>2:8^"" \break
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r 4.:8 | a'>2:8^"" \break
| \rpt 2 { r8 [ r ] } | r8 [ r ] | r8
4.:8 \break
| r8 [ r ] | r8 [ r ] | r8 [
r ]
}
\alternative {
{ r r4 \break }
{ 8 r 4 }
}
} % A part
frhornIIInIVA = {
\sectionLabel "Intro"
\key f \major
| \trl {a'8( bes a)} g r | \trl {g( a g)} f[ r16 e] | g8 r f[ r16 e]
| d8 r r4 \break
\sectionLabel "Part A"
\repeat volta 2 {
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r 4.:8 | a,>2:8^"" \break
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r8 4.:8 | a,>2:8^"" \break
| \rpt 4 { r8 [ r ] } \break
| \rpt 2 { r8 [ r ] } | r 4.:8 | a,>2:8^"" \break
| \rpt 2 { r8 [ r ] } | r8 [ r ] | r8
4.:8 \break
| r8 [ r ] | r8 [ r ] | r8 [ r ]
}
\alternative {
{ r r4 \break }
{ 8 r 4 }
}
} % A part
frhornInIINotes = {
\time 2/4
\relative c' {
\frhornInIIA %{
\frhornInIIB
\frhornInIIC
\frhornInIID
\frhornInIIE
\frhornInIIF %}
}
}
frhornIIInIVNotes = {
\time 2/4
\relative c' {
\frhornIIInIVA %{
\frhornIIInIVB
\frhornIIInIVC
\frhornIIInIVD
\frhornIIInIVE
\frhornIIInIVF %}
}
}
sgFrenchHorn = \new StaffGroup <<
\new Staff \with {
instrumentName = \markup { \column { \line { French Horn E\flat}
\line {"I & II"} } }
shortInstrumentName = \markup \teeny { \column { \line {"fhorn"}
\line {"I,II"} } }
}
\frhornInIINotes
\new Staff \with {
instrumentName = \markup { \column { \line { French Horn E\flat}
\line {"III & IV"} } }
shortInstrumentName = \markup \teeny { \column { \line {"fhorn"}
\line {"III,IV"} } }
}
\frhornIIInIVNotes
>>
\score {
\sgFrenchHorn
}
My go to is \quoteDuring:
%{ Transposing Eb horn music %}
\version "2.25.13"
\include "english.ly"
EfHornNotes = \fixed c' { % or \relative or \absolute
\set Score.quotedCueEventTypes = #'(
note-event rest-event tie-event beam-event tuplet-span-event
`dynamic-event slur-event articulation-event span-dynamic-event
)
\transposition ef
\time 2/4
a4( b) c( d) e( f g2)
}
\addQuote qef \EfHornNotes
FHornNotes = \fixed c' {
\transposition f
\time 2/4
\quoteDuring qef s2*4
}
\score{ \new Staff \new Voice \FHornNotes }
HTH,
Paul
keep a \book in a Variable
Hi
I’m producing scores on multiple page sizes. The basic technique is to
create a new book for each size. Like this:
music = {
\new PianoStaff <<
\new Staff = "right"
<< \clef treble \new Voice\soprano >>
\new Staff = "left"
<< \clef bass \new Voice \tenor \new Voice \bass >>
>>
}
"A4book" = \book {
\include "Output for A4.ily"
\bookOutputName "JS Bach - Book2-05 BWV 874 1-Praeludium D (A4)"
\score {
\keepWithTag #'pc \music
\layout { }
}
}
\”A4book”
The last line can be commented out so I don’t have to wait to generate all
possible page sizes during development. I just invoke the books I want to
work on.
But now I have a score which, at a particular page size, is on 3 pages. The
first page is repeated, and the last 2 pages are too. I want a blank page
at the start.
I’m trying to use bookParts. The following works:
\version "2.24.0"
\language "english"
hdr = \header {
title = "Praeludium 5"
subtitle = "BWV 874/1"
}
%testBook =
\book {
\bookOutputName "Booktest"
\bookpart { \markup \null }
\bookpart {
\hdr
\score {
\relative { c'4 c c c }
\layout { }
}
}
}
%\testBook
If I remove the comment markers, I think it should still work, but I get
the following instead:
Parsing...ERROR: In procedure ly:book-process:
Wrong type (expecting real number): #
Exited with return code 1.
What am I doing wrong?
Thanks in advance
Paul McKay
Re: Segno and Coda from LilyJazz in a DrumStaff
From: Sebastien Richard I usually stick to the official release but I don't mind trying beta releases. I'll try that ASAP Bear in mind that you can install multiple versions of LilyPond without conflict. Paul
Re: zero-duration s to hold marks
On 1/9/24 11:29 AM, John Asmuth wrote:
Hi lilypond,
I have two users for a s0 (except it tells me 0 is not a duration).
<> does what I believe you want: <>_\<
HTH,
Paul
First, I have a "\repeat unfold N { ... }" and I want to surround the
whole thing with a crescendo.
I could unpack the first and last item in the repeat, but I feel
lily lilypond has some way to do an equivalent of "s0_\< \repeat
unfold N { ... } s0_\!"
The second is for putting a mark, eg a coda, at the very end of a
measure, over the barline (not over the last note, or the first note
of the next measure).
Are there nice ways to do this?
Thanks!
- John
Re: Hold a note the length of a cadenza
The way I'd do it is to force the length of the held note to match that of the sung cadenza by multiplication. For instance if there is a semibreve c being held while the cadenza part adds up to 7 crotchets, I'd write it as c1*7/4. But you could just write it normally and pad it out with skips (s2. in this instance) I guess. Paul From: John Burt To: lilypond-user Sent: 26/12/2023 20:21 Subject: Hold a note the length of a cadenza Dear list,While one part is singing a cadenza another part is holding a long note. I know how to make a rest or a skip the length of a cadenza bu not how to make a held note the length of the cadenza. thanks John Burt
Re: Tuplet bracket padding at system ending
I had a lot of trouble with this a while ago (using 2.23.3), and was quite vocal about it. I believe the default behaviour has changed recently, so it's well worth checking the current beta. Paul From: Gregory Evans To: Lilypond-User Mailing List Sent: 24/12/2023 14:03 Subject: Tuplet bracket padding at system ending Hello, I need some help constructing a function. Lilypond seems to be relatively consistently applying less right padding to tuplet brackets at the end of a system. This causes tuplets in voices below the top of a score to collide with the barline at the end of every system. I have attached an image highlighting this: The solution which I have found useful is to set a shorten-pair value to '(0 . 0.7) only for these system ending tuplets: \once \override TupletBracket.shorten-pair = #'(0 . 0.7) . How can I write a function such that this override applies automatically only at the end of a system? I am currently using 2.23.81 (old, I know). thank you, gregory evans-- gregory rowland evans http://www.gregoryrowlandevans.com https://github.com/GregoryREvans https://soundcloud.com/gregory-rowland-evans
Re: text over hairpin
On 12/13/23 10:28 AM, David Wright wrote: On Wed 13 Dec 2023 at 09:54:41 (-0700), Paul Scott wrote: I should have changed my subject line to "text inside hairpin" before sending the original post. Inside relative to what, though? Between the two lines of the hairpin. Paul (Think roads. In both the UK and the US, the "inside lane" is the one on the left, ie slow in the UK, fast in the US.) Cheers, David.
Re: text over hairpin
I should have changed my subject line to "text inside hairpin" before sending the original post. Paul On 12/13/23 9:22 AM, Michael Werner wrote: Hi Paul, On Wed, Dec 13, 2023 at 10:36 AM Paul Scott wrote: How do I put text (molto) inside a hairpin? I didn't see it in snippets or NR. Found this in the Snippets: http://lilypond.org/doc/v2.25/Documentation/snippets/expressive-marks_003a-center-text-below-hairpin-dynamics -- Michael
Re: text over hairpin
On 12/13/23 9:22 AM, Michael Werner wrote:
Hi Paul,
On Wed, Dec 13, 2023 at 10:36 AM Paul Scott
wrote:
How do I put text (molto) inside a hairpin? I didn't see it in
snippets
or NR.
Found this in the Snippets:
http://lilypond.org/doc/v2.25/Documentation/snippets/expressive-marks_003a-center-text-below-hairpin-dynamics
Thank you for your reply!
The results of that snippet are easily accomplished with simple code and
simple code is what I am using as a substitute for what I was trying to
get. For example:
s1\> s1_\markup\italic{molto} s2. s8\!
I actually was trying to get "molto" inside the hairpin.
Regards,
Paul
text over hairpin
How do I put text (molto) inside a hairpin? I didn't see it in snippets or NR. TIA, Paul
Re: Unexpected bar boundaries with volta repeats and lyrics.
Here's my (rather tedious) suggestion for a workaround: so that the alternative
starts with a note, not a rest, provide a note and hide it, then patch the rest
in using another voice; the lyrics need a skip to avoid the dummy note. It
works (see below).
Paul
%
\version "2.25.10"
music = \relative {
\time 4/4
\repeat volta 2 {
d'1 |
\alternative {
{ d1 | }
{ | << { \hideNotes d4 \unHideNotes } \new Voice { b'4\rest } >> d,2
d4 | d1 }
}
}
\bar "|."
}
words = \lyricmode {
\repeat volta 2 {
a
\alternative {
{ b }
{ \skip1 c d e }
}
}
}
\score {
\new Staff <<
\new Voice \music
\addlyrics \words
>>
}
%%%
From: Kevin Pye
To: Michael Werner
Cc: Lilypond User
Sent: 09/12/2023 21:14
Subject: Re: Unexpected bar boundaries with volta repeats and lyrics.
Thank you,
Unfortunately, in this case (the real score from which the example was
extracted) I need the words to be repeated so I can unfold them for midi
output. I'll just have to do the unfold manually.
Kevin.
On Sat, 9 Dec 2023, at 23:45, Michael Werner wrote:
Hi Kevin,
On Fri, Dec 8, 2023 at 11:31 PM Kevin Pye wrote:
What silly mistake am I making here?
Not all that silly. Though the docs do talk about putting lyrics into the same
repeat structure as the music, there's one detail in
http://lilypond.org/doc/v2.25/Documentation/notation/lyrics-and-repeats that
you may have missed:
"... when one of the \alternative blocks starts with a rest, a repeat construct
cannot be used around the words"
Change the lyrics block to just
words = \lyricmode {
a b c d e
}
and it should behave itself a bit better for you.
--
Michael
Re: Centering a word before a gap in the lyrics
I don't know where in the documentation the difference in behaviour between \skip1 and "" as opposed to _ is explained. But the opportunity is missed on these pages, the first of which actually conflates the "" and _ notation: https://lilypond.org/doc/v2.25/Documentation/snippets/rhythms_003a-skips-in-lyric-mode-_00282_0029 https://lilypond.org/doc/v2.25/Documentation/snippets/rhythms_003a-skips-in-lyric-mode Paul
Re: Centering a word before a gap in the lyrics
Sure. Just use a skip. Like so: And now I discover that "" will do the same - which makes it doubly curious that " " does not. "" is a lot more elegant than \skip1 as well! Paul
Re: Centering a word before a gap in the lyrics
I should have tried that again; but I've tried it in the past and it hasn't seemed to work. There must be some other subtlety involved; scores converted from Music XML use \skip1 for melismas... I guess I haven't fully internalised the various options for lyric placement. Thanks, Paul From: Michael Werner To: Paul Hodges Cc: Sent: 04/12/2023 9:10 Subject: Re: Centering a word before a gap in the lyrics Hi Paul, On Mon, Dec 4, 2023 at 3:52 AM Paul Hodges wrote: In the middle lyric, the first word is justified because the following skip (_ in this case) defines a melisma. But I actually simply want there to be no immediately following word - this arises with multiple verses and alternatives in the repeat structure, for example. I thought a quoted space would count as a word, but no... In the end I have done it above by a rather unnatural circumlocution, but is there a more natural solution which I've missed? Sure. Just use a skip. Like so:
Centering a word before a gap in the lyrics
Consider the following:
%%%
\version "2.25.10"
wordsA = \lyricmode { centred centred centred }
wordsB = \lyricmode { justified _ centred }
wordsC = \lyricmode { justified " " centred }
wordsC = \lyricmode { centred \once \override Lyrics.LyricText.color = #white
"." centred }
\score {
\new Staff <<
\new Voice = "vvv" { r2 c'2 g'2 c''2 }
\new Lyrics \lyricsto "vvv" \wordsA
\new Lyrics \lyricsto "vvv" \wordsB
\new Lyrics \lyricsto "vvv" \wordsC
\new Lyrics \lyricsto "vvv" \wordsD
>>
%%%
In the middle lyric, the first word is justified because the following skip (_
in this case) defines a melisma. But I actually simply want there to be no
immediately following word - this arises with multiple verses and alternatives
in the repeat structure, for example. I thought a quoted space would count as
a word, but no...
In the end I have done it above by a rather unnatural circumlocution, but is
there a more natural solution which I've missed?
Paul
Re: 2.25.10 *-1.pdf
On 11/24/23 10:49 AM, Jean Abou Samra wrote:
I only have one \book block in my case as I think I always do. As I
mentioned the file-1.pdf usually is accompanied by error messages
leading to a fix which eliminates the file-1.pdf but not in this case.
At this point it's just a nuisance not worth creating a MWE.
The other \book might be implicit as in
\book { { c' } }
{ c' }
Oops!
I actually was in transition from an old style of my .ly files. I
had a temporary \score{ } before the \book block.
Thank you!,
Paul
Re: 2.25.10 *-1.pdf
On 11/24/23 2:15 AM, Jean Abou Samra wrote:
This typically happens when you have several \book blocks,
which requests separate output files. For example
\book { { c' } } % => file.pdf
\book { { c' } } % => file-1.pdf
Jean, Thank you for your reply.
I only have one \book block in my case as I think I always do. As I
mentioned the file-1.pdf usually is accompanied by error messages
leading to a fix which eliminates the file-1.pdf but not in this case.
At this point it's just a nuisance not worth creating a MWE.
Paul
Best,
Jean
2.25.10 *-1.pdf
What kind of errors generate a PDF with -1 added? i.e. file.ly generates file-1.pdf . No errors appear when Lily generates the PDF. Usually when I get file-1.pdf there are error message(s) and I fix the problem and don't get another file-1.pdf . Now I have a case where I continually get them for a certain project. Thank you, Paul
Re: Aligning verse text?
I would put hidden notes there to link the lyrics to, and place the rests in a
parallel voice, like this:
%%
\version "2.24.3"
musicOne = {
\key f \major
\time 2/1
e'4. e'8 e'4 e' e'2 e'4
<<
{ \hideNotes g'4 | g'4 g'4 g'4 r4 \unHideNotes }
\new Voice { b'4\rest | \break b'1\rest }
>>
g'4 fis' g' r
r1 e'4 e' e' r
}
verseOne = \lyricmode {
x -- xx xx -- xx -- xx -- xx
ooo -- oo o -- ooo -- uu -- u -- uu
}
\score {
<<
\new Voice = "one" {
\musicOne
}
\new Lyrics \lyricsto "one" {
\verseOne
}
>>
}
%
Note that the parallel construction is not << \\ >> because that creates two
new voices; the voice with the hidden notes needs to be the same so that the
lyrics link to it.
Paul
From:
To:
Sent: 21/11/2023 13:52
Subject: Aligning verse text?
How to place (ooo -- oo o -- ooo --) verse to first (r1) rest and (uu -- u --
uu) to (g'4 fis' g')?
\version "2.24.3"
musicOne = {
\key f \major
\time 2/1
e'4. e'8 e'4 e' e'2 e'4 r | \break
r1 g'4 fis' g' r
r1 e'4 e' e' r
}
verseOne = \lyricmode {
x -- xx xx -- xx -- xx -- xx
ooo -- oo o -- ooo -- uu -- u -- uu
}
\score {
<<
\new Voice = "one" {
\musicOne
}
\new Lyrics \lyricsto "one" {
\verseOne
}
>>
}
Re: Relative rhythms across bars for time changes?
From: Kieren MacMillan
There may be a way to do it with a MetronomeMark — I just don’t know it. I was
surprised to find that I couldn’t make the following (or similar) work:
When I was asked to place the = in a rhythm change over the start of a staff
(i.e. sticking out to the left), I used a MetronomeMark like this:
\once\override Score.MetronomeMark.break-align-symbols = #'(left-edge
staff-bar)
\once\override Score.MetronomeMark.self-alignment-X = ##f
\tempo \markup { \centered-on-middle #0.5
\line { "←" \smaller \note-by-number #2
#0 #0.8 }
"="
\line { \smaller \note-by-number #2 #1
#0.8 "→" }
}
I may have got the idea from this post:
https://lists.gnu.org/archive/html//lilypond-user/2018-01/msg00214.html
but I'm not sure.
But in the same score, to centre the = over a mid-staff bar line I just used a
markup on an adjacent note tweaking the alignment by adding spaces at one end...
Paul
Re: change staff-staff-spacing in a single score?
Assuming your sections are all (or nearly all) less than half a page, you could halve the paper requirement by typesetting onto landscape A5 (or whatever is half the size of your output paper) and print from Acrobat (or whatever) two-up on each page. Paul From: David Zelinsky To: Sent: 07/11/2023 5:55 Subject: change staff-staff-spacing in a single score? Is there a way to change the spacing between staves (single-staff systems) in one score, in a document with multiple scores, without introducing a page break? The only way I've found in the manual to change the spacing of systems (as opposed to staves within a system) is in a \paper block, and the lowest level that can occur is in a \bookpart, which introduces a page break which I don't want. I could use NonMusicalPaperColumn.line-break-system-details, but that seems to only apply to one line, so I would need to set it separately for each line in the score, which is a nuisance. To explain better what I need, I am re-engraving some short sections from an orchestra part, to faithfully match the lines in the original but with some particular rhythmic changes that the conductor wants. I will print these out and cut and paste them over the original (using removable/restickable adhesive), so I want everything to match the original as closely as possible. The sections range from 1 to 5 lines each. Currently I am using a separate \score for each short section, which seems to make it easier to maintain control over the line breaks. But I'm trying to fit as many on of these short scores on page as I reasonably can, to save trees. I've set the staff size and staff-staff-spacing globally to match the average in the original pretty well, but of course the spacing varies some from page to page, so some of the sections need adjustment. I could introduce a new \bookpart and \paper block for those sections, but I'd rather not have those extra page breaks. Is there a better way to do this? -David
Re: extracting page number
On 11/3/23 9:31 AM, Jean Abou Samra wrote:
Le vendredi 03 novembre 2023 à 09:13 -0700, Paul Scott a écrit :
Thank you! I thought it was a type problem. The solution would have
been clear in C or Fortran or Pascal or Forth that I have programmed in.
Except that it doesn't work /blush/...
I wanted to write "number->string" and somehow muscle memory kicked in
and made me write "markup->string". Sorry about that.
This works:
|\version "2.24.2" firstPage = #59 \markup \fill-line {
#(number->string firstPage) } |
Best,
Jean
Thank you!
Paul
Re: extracting page number
On 11/3/23 2:43 AM, Jean Abou Samra wrote:
Le 3 nov. 2023 à 09:35, Paul Scott a écrit :
\markup\fill-line{ \firstPage }
59 is a number, but you're trying to use it as a string, so try
\markup \fill-line { #(markup->string firstPage) }
I tried:
\version "2.25.9"
firstPage = #59
\book{
\markup \fill-line{ #(markup->string firstPage ) }
\score{ \new Staff \new Voice \absolute{ a'1 } }
}
and the fill-line gives me nothing. Text I add to the fill-line shows up.
TIA for further help,
Paul
Re: extracting page number
Thank you! I thought it was a type problem. The solution would have
been clear in C or Fortran or Pascal or Forth that I have programmed in.
Paul
On 11/3/23 2:43 AM, Jean Abou Samra wrote:
Le 3 nov. 2023 à 09:35, Paul Scott a écrit :
\markup\fill-line{ \firstPage }
59 is a number, but you're trying to use it as a string, so try
\markup \fill-line { #(markup->string firstPage) }
Re: extracting page number
On 11/3/23 12:42 AM, Jean Abou Samra wrote:
Le 3 nov. 2023 à 07:56, Paul Scott a écrit :
I know how to use fromproperty to put the page number in a header or
footer. Can I get the page number in a variable so I can use it in
another text string?
It depends on what kind of variable you are talking about and what you
want to use it for. There is no way to do "num = \currentPage" in the
middle of the music, simply because the music cannot be defined in
terms of its own page numbers. However, if you write a custom markup
command, then you can read the 'page:page-number property, and this
will work in paper or header markups (but elsewhere, it gets more subtle).
So, this is a little complicated in general. But if you're just trying
to print a reference like "go to page x", see \label and \markup
\page-ref (
https://lilypond.org/doc/v2.25/Documentation/notation/other-markup-commands ).
I did find the reference above from the index.
Your answer made me realize that I can use a normal header for all the
page numbers except the first one which I want to embed in the title to
duplicate the music that I am modifying.
Now if I define firstPage = #59, I can do:
first-page-number = \firstPage
in the \paper block but when I try
\markup\fill-line{ \firstPage } :
I get:
error: syntax error, unexpected NUMBER_IDENTIFIER
I can provide a MWE if necessary.
Thank you,
Paul
extracting page number
2.25.9 I know how to use fromproperty to put the page number in a header or footer. Can I get the page number in a variable so I can use it in another text string? TIA, Paul
Re: fontsize of scripts.segno in \repeat segno
Perfect! Thank you. I was easily able to apply other properties to the SegnoMark and CodaMark with that information. Paul
fontsize of scripts.segno in \repeat segno
How I change the font size of a segno in a \repeat segno structure? (I've googled for a while without seeing the answer or a close snippet) TIA, Paul
Re: Tuplet brackets too short?
I have used tupletFullLength extensively, and it mostly does what I need
correctly. However, the illustration here shows the remaining issue with it -
which is specific to line breaks. Within a line, the RH end of the bracket is
correctly placed just before the bar line, but at a break it is placed on it as
in this example.
I've also got a patch by Harm in there which extends the bracket over the
noteheads - as that was written for release 2.23.3, I don't know if it's been
added to the main codebase (the example here suggests not, unless it's a new
parameter).
Paul
From: Werner LEMBERG
To:
Cc:
Sent: 20/10/2023 6:33
Subject: Re: Tuplet brackets too short?
> Shouldn't both tuplet brackets span every notecolumn within the
> purview of the last note's duration?
Yes, at least according to Gould. Using `tupletFullLength` helps, but
now tuplet brackets are too long:
```
\new Staff
{ \set Staff.tupletFullLength = ##t
\time 2/4
<< \tuplet 3/2 { c''4 d'' c'' } \\ \tuplet 3/2 { g'4 a'2 } >>
}
```
It looks like a tricky problem, and it seems not to be covered in the
tracker, so please file an issue.
Werner
Re: Barlines
Omit the \bar "||" and change the \bar ".|: to \bar ".|:-||" Paul From: To: Sent: 15/10/2023 20:07 Subject: Barlines I have a problem in the above snippet. In bar 7 there is a change of key and this should be seen at the end of bar 6 ( as in bar 20 ) with a double barline before the new key signature. The double barline however is missing. Lines 1-3 are repeated in lines 4-6 but here I have commented out the command \bar ".|:" in bar 21 in order to visualise the double barline at the end of bar 20. This fix, however, causes the repeat barline at the beginning of bar 21 to disappear. Can you explain to me how I should code this snippet to keep both the double and repeat barlines. John McWilliam
Re: adding accidental to "tr" for trill spanner
On 10/15/23 11:41 AM, Werner LEMBERG wrote: If you can't find something in the docs, you should try the LilyPond Snippet Repository next: https://lsr.di.unimi.it Entering 'trill' into the search box you will soon find https://lsr.di.unimi.it/LSR/Item?id=304 Thank you for the reminder. That was it. Paul Werner
Re: Octave control.
The intervals in the image are all going to the nearest option. You need to mark some of your notes with ' in order (I presume) to convert some of the downward fourths into upward fifths. Paul From: To: Sent: 15/10/2023 19:47 Subject: Octave control. For the initiated this is a simple question but I have Been away from Lilypond for some time. Now when I compile a simple piece of music the control of note range seems to have disappeared. And I get increasing or decreasing octaves – see example. Previously the program remembered where the last note was and chose to keep within a range of 5 positions on the stave – otherwise I had to specify going outwith this range using a comma or ‘ . Can you explain?I cannot remember how to save my music in PDF format. Previously saving the .ly file also saved a PDF copy. All very elementary questions but I hope someone has time to answer. P.S. On the plus side I am very happy to se that the export and import of XML music files works much better now.
Re: adding accidental to "tr" for trill spanner
On 10/15/23 11:28 AM, Mats Bengtsson wrote: Have you looked at http://lilypond.org/doc/v2.25/Documentation/notation/trills ? Many times. Paul On 2023-10-15 20:18, Paul Scott wrote: This is probably simple but some parts of the wonderful Lilypond documentation are not clear to me. Rather than use a pitched trill I need the other version of a trill where the "tr" is followed by an accidental. Can someone direct to the documentation where I can change the "tr" to either "trb" or "tr#"? Thank you, Paul
adding accidental to "tr" for trill spanner
This is probably simple but some parts of the wonderful Lilypond documentation are not clear to me. Rather than use a pitched trill I need the other version of a trill where the "tr" is followed by an accidental. Can someone direct to the documentation where I can change the "tr" to either "trb" or "tr#"? Thank you, Paul
Re: Dynamics placement in partCombine
I presume that partCombine overrides the dynamic placement so that dynamics for
the two parts are placed above and below, which seems a reasonable approach
when the parts are more distinct than in the given example. Using ^ to
override it in this case seems a tolerable alternative.
Paul
From: Michael Gerdau
To: lilypond-user
Sent: 13/10/2023 11:30
Subject: Dynamics placement in partCombine
Hi list,
the following code places the 2nd \p under the music but I'd like it
above. I know I could explicitly add a placement (like ^\p) but wonder
why \dynamicUp doesn't do its job.
- snip - snip - snip - snip - snip - snip - snip -
\version "2.25.9"
musa = { \dynamicUp c'4\p \repeat unfold 3 { c' } c'4\p \repeat unfold 3
{ c' } }
musb = { \dynamicUp s1 c'4\p \repeat unfold 3 { c' } }
\score {
\partCombine \musa \musb
}
- snip - snip - snip - snip - snip - snip - snip -
Kind regards,
Michael
--
Michael Gerdau email: m...@qata.de
GPG-keys available on request or at public keyserver
Re: How to end a trill with an acciaccatura in the same measure
And you have taught me something in return! I didn't know about the
afterGraceFraction - which easily deals with my complaint about the spacing,
which I was about to bring up on the list - you have saved me the
embarrassment...
Thanks,
Paul
From: Volodymyr Prokopyuk
To: Paul Hodges
Cc: lilypond-user
Sent: 12/10/2023 17:11
Subject: Re: How to end a trill with an acciaccatura in the same measure
Hi Paul,
Nice and clean solution! After some tweaks I've got what I wanted with the
following code
\afterGrace 15/16 d''1\( \trill { c16( d } | e2)\)
Thank you very much,
Vlad
On Thu, Oct 12, 2023 at 4:09 PM Paul Hodges wrote:
The way I'd do it is:
{ \afterGrace d''1\trill( { c''16_\( d'' } e''2)\) }
Paul
From: Volodymyr Prokopyuk
To: lilypond-user
Sent: 12/10/2023 14:58
Subject: How to end a trill with an acciaccatura in the same measure
Hi,
I'd like to achieve the below
With the following code
<<
\new Voice = voiceOne \relative {
\voiceOne
d''1( \trill | \stemDown e2)
}
\new Voice = voiceTwo \relative {
\voiceTwo
s2 s4. \acciaccatura { c''16 d } | s2
}
>>
I was able to get the following
What is the recommended approach to finish a trill with two acciaccatura notes
with stems up and slurred to the next note?
Thank you in advance,
Vlad
Re: How to end a trill with an acciaccatura in the same measure
The way I'd do it is:
{ \afterGrace d''1\trill( { c''16_\( d'' } e''2)\) }
Paul
From: Volodymyr Prokopyuk
To: lilypond-user
Sent: 12/10/2023 14:58
Subject: How to end a trill with an acciaccatura in the same measure
Hi,
I'd like to achieve the below
With the following code
<<
\new Voice = voiceOne \relative {
\voiceOne
d''1( \trill | \stemDown e2)
}
\new Voice = voiceTwo \relative {
\voiceTwo
s2 s4. \acciaccatura { c''16 d } | s2
}
>>
I was able to get the following
What is the recommended approach to finish a trill with two acciaccatura notes
with stems up and slurred to the next note?
Thank you in advance,
Vlad
Re: The problem of acciaccatura from the beginning of the work.
The oldest bug of all, I believe!
Just put hidden ("s") appoggiaturas in the other parts and then everything will
line up.
Paul
From: Виноградов Юрий
To: "lilypond-user@gnu.org"
Sent: 10/10/2023 19:16
Subject: The problem of acciaccatura from the beginning of the work.
Hello. Please help me to remove this collision at the beginning of the piece.
So that everything starts smoothly.
С уважением,
Виноградов Юрий.
Re: 2.22.2 and 2.24.2
The easy way to get what you need (at least using the Windows built-in Zip handler) using Windows conventions is to double-click it to see the contents (the logic is that it's the same as opening a folder - it just happens to be a zipped one), and then drag the internal folder to where you want (or right-click "Copy" | "Paste"), which quietly performs the necessary unzipping. Paul From: Jean Abou Samra To: Robin Bannister , Mark Stephen Mrotek , 'Paul Hodges' Cc: Sent: 09/09/2023 20:07 Subject: Re: 2.22.2 and 2.24.2 Le samedi 09 septembre 2023 à 18:16 +0200, Robin Bannister a écrit : On my win7: - I download the zip for 2.23.80 and put it in folder test_ - Looking in this folder, I can then see test_a.png - When I double-click on the .zip file, I then see test_b.png The config qualifier is dropped from the folder name. When you double-click on the file, you're not extracting the ZIP archive. You're just previewing its contents. This archive contains a single folder called "lilypond-2.23.80". (In my view, the preview, with the potential confusion it creates, is a Windows misfeature. With my GNOME file manager, when I double-click on an archive, it just gets extracted.) When you extract any archive, the system will usually create a folder with all its contents, named like the archive but without the ".zip" extension. In this case, that means you get a "lilypond-2.23.80" folder inside a "lilypond-2.23.80-mingw-x86_64" folder. Some systems / file managers may be smart and skip the outer directory if the archive contains only one file or directory, but that was not the case on the Windows system I used when writing this installation procedure, as you can see from the screenshots. Best, Jean
Re: 2.22.2 and 2.24.2
Jean has already answered your question. But perhaps it should be made explicit that the Windows installation procedure has changed between 2.22 and 2.24. Version 2.22 (and all earlier) are 32 bit programs and have install programs which place the program in Program Files (x86); 2.24 and later is 64 bit, and has no install program - you just unzip the directory and its contents from the zip file. You can put it wherever suits you - desktop, home directory, whatever (I put it in Program Files, but that might cause access problems for some people). Paul From: Mark Stephen Mrotek To: 'Paul Hodges' , 'Jean Abou Samra' Cc: Sent: 09/09/2023 16:16 Subject: RE: 2.22.2 and 2.24.2 Paul, Thank you for the reassurance based on your experience. Please bear with me and clarify some procedures. I opened: https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows to read the process. My current Frescobaldi is 3.3.0. So good there. Then further down is the direction: Click on the folder icon and navigate to the lilypond-x.y.z-mingw-x86_64 folder you previously created. Inside this folder, open ‘lilypond-x.y.z’, then ‘bin’, and finally select ‘lilypond’. When was that done? Your assistance is appreciated. Mark From: Paul Hodges [mailto:p...@cassland.org] Sent: Saturday, September 9, 2023 1:20 AM To: Mark Stephen Mrotek ; 'Jean Abou Samra' Cc: lilypond-user@gnu.org Subject: Re: 2.22.2 and 2.24.2 Yes you can - they install by default into separate directories. I have installed in Windows the final version of every stable release from 2.6, and the current (and one other) development version so that I can compile and update any lilypond code I come across. Frescobaldi has them all linked in so the correct one is used automatically. Paul From: Mark Stephen Mrotek To: 'Jean Abou Samra' Cc: Sent: 09/09/2023 2:20 Subject: RE: 2.22.2 and 2.24.2 Jean, Thank you. My error in not being precise. I am installing under Windows 10. Mark From: Jean Abou Samra [mailto:j...@abou-samra.fr] Sent: Friday, September 8, 2023 5:08 PM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: 2.22.2 and 2.24.2 Le 9 sept. 2023 à 02:05, Mark Stephen Mrotek a écrit : Hello All. Can I keep an operational 2.22.2 while I attempt to download and install 2.24.2? Depends on the installation method. With a package manager on Linux or macOS, usually no, but if you're just downloading the official binaries from lilypond.org, then yes, no problem at all.
Re: 2.22.2 and 2.24.2
Yes you can - they install by default into separate directories. I have installed in Windows the final version of every stable release from 2.6, and the current (and one other) development version so that I can compile and update any lilypond code I come across. Frescobaldi has them all linked in so the correct one is used automatically. Paul From: Mark Stephen Mrotek To: 'Jean Abou Samra' Cc: Sent: 09/09/2023 2:20 Subject: RE: 2.22.2 and 2.24.2 Jean, Thank you. My error in not being precise. I am installing under Windows 10. Mark From: Jean Abou Samra [mailto:j...@abou-samra.fr] Sent: Friday, September 8, 2023 5:08 PM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: 2.22.2 and 2.24.2 Le 9 sept. 2023 à 02:05, Mark Stephen Mrotek a écrit : Hello All. Can I keep an operational 2.22.2 while I attempt to download and install 2.24.2? Depends on the installation method. With a package manager on Linux or macOS, usually no, but if you're just downloading the official binaries from lilypond.org, then yes, no problem at all.
Re: Bug
By replying to me personally rather than to the mailing list, you are restricting the number of people who might help you. After this email I am going out for much of the day. The procedure you need is: (1) unzip the downloaded file - complete, as it is - it includes python in the form it needs it. Try simply dragging the main directory inside the zip file to your desktop, or c:\ , or wherever else you may prefer; don't do anything more to the contents of the directory.. (2) install Frescobaldi. (3) run Frescobaldi, and go into Edit | Preferences | Lilypond and set up a link pointing to \lilypond-2.24.2\bin\lilypond.exe (4) write and edit music. I never, ever run lilypond.exe directly, myself - but of course it can be used directly without going through Frescobaldi, if you are sufficiently comfortable with command-line working. Good luck, Paul From: Vishal Ghule To: Paul Hodges Sent: 09/09/2023 0:05 Subject: Re: Bug Sorry for taking your time, but what should I do? Whith python zip which is in bin folder! Should I unziped it as well? On Sat, Sep 9, 2023, 4:20 AM Vishal Ghule wrote: I need that software to open right !? so when I use frescobaldi and make some notation, then I have to insert file in midi format! On Sat, Sep 9, 2023, 4:17 AM Vishal Ghule wrote: No matter how many times I open after running it shows black screen saying some some prompt username but it didn't last long even for second! On Sat, Sep 9, 2023, 4:11 AM Vishal Ghule wrote: Lilypond application rights who have Lotua symbol On Sat, Sep 9, 2023, 4:01 AM Paul Hodges wrote: Then you did it wrong, or after doing it you ran the zipped copy instead of the newly copied one. In the directory you extracted to you should see should see six subdirectories (bin, etc, lib, libexec, licenses, share), or you may see lilypond-2.24.2, in which you will find those six directories. In bin you will find 20 files (including the dll files you got error messages about) - run lilypond.exe in that directory. Paul From: Vishal Ghule To: Paul Hodges Sent: 08/09/2023 19:38 Subject: Re: Bug No I did it On Fri, Sep 8, 2023, 11:57 PM Paul Hodges wrote: You have not extracted the application from its zip file. On my machine it even warns me if I try running it without doing the extraction first, but that may depend on what program you have for viewing the contents of the zip file. Just extract the zip into a suitable directory where you want it, and then run Lilypond from there. Paul From: Vishal Ghule To: Sent: 08/09/2023 19:08 Subject: Bug version 2.24.2 mingw×86_64 Installing error Code execution cannot proceed because lobintl.8.dll was not found The code execution cannot proceed libgilb-2.0.0.0.doll was not found The code execution cannot proceed because libgio-2.0-0.dill not found The code execution cannot proceed because libgobject-2.0-0 was not found Even though I have downloaded multiple times whenever I open application it shows like this
Re: Bug
Then you did it wrong, or after doing it you ran the zipped copy instead of the newly copied one. In the directory you extracted to you should see should see six subdirectories (bin, etc, lib, libexec, licenses, share), or you may see lilypond-2.24.2, in which you will find those six directories. In bin you will find 20 files (including the dll files you got error messages about) - run lilypond.exe in that directory. Paul From: Vishal Ghule To: Paul Hodges Sent: 08/09/2023 19:38 Subject: Re: Bug No I did it On Fri, Sep 8, 2023, 11:57 PM Paul Hodges wrote: You have not extracted the application from its zip file. On my machine it even warns me if I try running it without doing the extraction first, but that may depend on what program you have for viewing the contents of the zip file. Just extract the zip into a suitable directory where you want it, and then run Lilypond from there. Paul From: Vishal Ghule To: Sent: 08/09/2023 19:08 Subject: Bug version 2.24.2 mingw×86_64 Installing error Code execution cannot proceed because lobintl.8.dll was not found The code execution cannot proceed libgilb-2.0.0.0.doll was not found The code execution cannot proceed because libgio-2.0-0.dill not found The code execution cannot proceed because libgobject-2.0-0 was not found Even though I have downloaded multiple times whenever I open application it shows like this
Re: Bug
You have not extracted the application from its zip file. On my machine it even warns me if I try running it without doing the extraction first, but that may depend on what program you have for viewing the contents of the zip file. Just extract the zip into a suitable directory where you want it, and then run Lilypond from there. Paul From: Vishal Ghule To: Sent: 08/09/2023 19:08 Subject: Bug version 2.24.2 mingw×86_64 Installing error Code execution cannot proceed because lobintl.8.dll was not found The code execution cannot proceed libgilb-2.0.0.0.doll was not found The code execution cannot proceed because libgio-2.0-0.dill not found The code execution cannot proceed because libgobject-2.0-0 was not found Even though I have downloaded multiple times whenever I open application it shows like this
Re: RhythmicStaff with measure counter
In the layout you're still adding the Measure_counter_engraver to the Staff context; you need to add it to the RhythmicStaff context. Paul From: Rajesh Baskar To: Lilypond-User Mailing List Sent: 06/09/2023 3:22 Subject: RhythmicStaff with measure counter Hi, I'm trying to achieve displaying the measure counter on top of the each measure on a rhythmic staff. The below script working fine if you change the \new RhythmicStaff to \new Staff. How do I make this script work for rhythmicStaff. Thanks for the help- Raj
Re: Trouble using version 2.20.0 & 2.24.1
From: Ian West Yes! I have now followed the instructions for running LilyPond with Frescobaldi. But I do not like it. Indeed, I will not use it. The coding (on the left) is far too small for my eyes. (I was in the habit of using font-size 18 when typing in the code.) And I have not found a way to enlarge it. The font size for the source text is on the Fonts and Colours page of the Preferences, extreme bottom right. Paul
Re: search terms
I think the "errant" dot is in the right place (in line with the one above). The issue I see is that the e above it is too far to the right. I'd move that back and then adjust the tie with \shape to miss the dot on the c (also to miss the b at the other end). To hide the flags, try "\once \hide Flag" before the note. But sometimes I write e4*1/2 to write a crotchet (i.e.no flag) but with the timing of a quaver. Paul From: Mark Stephen Mrotek To: Sent: 03/09/2023 23:42 Subject: search terms Hello! Two items for which I request search terms to locate solution/commands. The first is the errant dot on the c4. This has been presented/discussed/resolved in a previous thread. Please provide a search term to locate that thread. The second is a search term for the command to eliminate two flags, one on the e8 the other on the e16. I am using version 2.22, Thank you for your kind attention. Mark Stephen Mrotek
Re: strange detached beam issue
I note some other differences between your image and what the code sample generates, in the slur and dynamic positions. I can't suggest what in particular is happening, but if this happened to me, I'd be looking for an earlier tweak or override which hadn't been cancelled. Paul From: Jin Choi To: Sent: 15/08/2023 23:11 Subject: strange detached beam issue I have a section of piano music where two voices start in the treble clef and subsequently move down into the bass clef. When the right hand moves down, the beam stays in the treble clef unattached to anything: When I try to isolate this section, the problem does not occur. I am mystified as to what is going on. What might be some things I could try?
Re: grace notes/acciaccaturas occur before time signature change if only in bass clef
One of the oldest of all LilyPond bugs, to do with items which take no musical
time. You need to put a dummy grace note before the c in the upper staff;
\grace s8 will do it.
Paul
From: Jin Choi
To:
Sent: 15/08/2023 19:30
Subject: grace notes/acciaccaturas occur before time signature change if
only in bass clef
In the following snippet, a change of time signature appears after an
acciaccatura if the time change happened in one staff without a grace note but
a grace note appears in some other staff. Is there a way to fix this without
making sure the time change always appears in the staff with the grace?
\version "2.24.1"
upper = \relative c' {
\key c \major
c1
\time 2/2
c1
}
lower = \relative c {
\clef bass
c1
\acciaccatura c8 c1
}
\score {
\new PianoStaff {
<<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
}
}
Re: grace notes/acciaccaturas occur before time signature change if only in bass clef
Well known bug.
Add \grace s8 to upper in same position as acciaccatura c8
HTH,
Paul
On 8/15/23 11:30 AM, Jin Choi wrote:
In the following snippet, a change of time signature appears after an
acciaccatura if the time change happened in one staff without a grace note but
a grace note appears in some other staff. Is there a way to fix this without
making sure the time change always appears in the staff with the grace?
\version "2.24.1"
upper = \relative c' {
\key c \major
c1
\time 2/2
c1
}
lower = \relative c {
\clef bass
c1
\acciaccatura c8 c1
}
\score {
\new PianoStaff {
<<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
}
}
Re: One-page page-turning
From: Pierre-Luc Gauthier I understand from your code that this opens up the door to an arbitrary number of pages, say, a 3 page bloc. 'Could be fun ! This isn't necessarily a joke! Both the last score I did (now in print) and the one I'm working on have fold-out pages to make the opening 3 pages wide. Paul
Re: shifting accidentals horizontally
Gould p91 "Altered Unisons" gives the requested layout, not the LilyPond one. Paul From: Werner LEMBERG To: Cc: Sent: 12/06/2023 18:46 Subject: Re: shifting accidentals horizontally > Not the answer to the Lilypond question, but as a reference of > comparison, here is what Dorico does in this situation by default, > and I believe this to be correct standard practice. Well, it can't be generalized – sometimes LilyPond's default is the right choice. However, it would be nice to have a simple command to get the 'other' solution (that Dorico defaults to). Werner
Re: How to make a blank page
Hi
Many thanks to you all for your help. I thought you might like to know that
I found Simon's solution the best one.
Perhaps my minimal example was a little too pared down. In reality, I use
headers and footers on my music as well. So my minimal example begins:
Jean Abou's suggestion
\version "2.24.0"
\language "english"
\header {title = "Praeludium" }
myScore = \score { \relative { c'4 d e f g }}
\markup ""
\pageBreak
\myScore
puts the header on the first page and the music on the second page.
With Simon's trick I can use a variable to push the header after the
initial page break thus:
\version "2.24.0"
\language "english"
hdr = \header {title = "Praeludium" }
myScore = \score { \relative { c'4 d e f g }}
\bookpart { \markup \null }
\bookpart { \hdr \myScore }
I guess my concept of how \pageBreak should work was gleaned from having to
use Microsoft Word. There you get a page break wherever you ask for one,
even if it makes no sense. (Followed by space above the first paragaph on
the page which is execrable. Don't get me started … )
On Mon, 12 Jun 2023 at 10:46, Valentin Petzel wrote:
> Hello Silvain,
>
> it might help to understand that \pageBreak is not an instruction to
> insert a
> pageBreak. Think of \noPageBreak: This is a token that prevents a
> pageBreak to
> happen at the given place. Similarly \pageBreak is a token that enforces a
> pageBreak to happen at the given place (in other words the token must not
> happen within one page).
>
> Now, if you have
>
> [ page1 ]
> \pageBreak
> [ page2 ]
>
> and [page1] and [page2] are already two different pages the \pageBreak
> will not
> do anything, as there already is a pageBreak. This is similar to how
> adding
> \break at a line break will not cause an empty line. I’d suggest you do
>
> \pageBreak
> \markup\null
> \pageBreak
>
> The first \pageBreak will ensure that a new page is started, the second
> guarantees that the follwing content starts on a new page. All in all this
> will create an empty page, no matter where you insert it. You can even do
> a
> function for this:
>
> emptyPage =
> #(define-scheme-function () ()
>(collect-music-aux add-score #{ \pageBreak #})
>(add-text (markup #:null))
>(collect-music-aux add-score #{ \pageBreak #}))
>
> \emptyPage
> \markup "a"
> \emptyPage
> \markup "b"
>
> Cheers,
> Valentin
>
> Am Montag, 12. Juni 2023, 08:28:36 CEST schrieb Silvain Dupertuis:
> > I tried this trick, which seems to work :
> >
> > \markup " "
> > \pageBreak
> >
> > produces a blank page
> >
> > It seems that there must be something on the page for \pageBreak to
> produce
> > a page.
> >
> > Of course, there is also possibilities to add blank pages to a PDF
> document.
> > Le 11.06.23 à 15:41, Paul McKay a écrit :
> > > \version "2.24.0"
> > > \language "en"
> > > myScore = \score { \relative { c'4 d e f g }}
> > > \pageBreak
> > > \myScore
>
>
How to make a blank page
Hi
I'm engraving a piece in two sections. The first section fits on one page
and the second one is rather longer and requires 2 pages. I would like the
pdf to have a blank page at the start because I often view pdf's with 2
pages side by side. All my searches have not helped. My minimum not-working
example is:
\version "2.24.0"
\language "en"
myScore = \score { \relative { c'4 d e f g }}
\pageBreak
\myScore
My understanding of the documentation says that this ought to produce an
initial blank page. It doesn't. A solution which would also allow me to
insert a blank space between scores (so I could begin a 2nd movement on an
even-numbered page) would be good, but my current request is just for an
initial one.
Thanks in advance for your help
Paul McKay
Re: Markup with text or text in dynamics font
In markup, you can use \dynamic to use the dynamics characters. However, only a small part of the alphabet is provided, as it is normally only used for actual dynamics; what you want is not normal practice, and would come out looking like the attached image. Paul From: Ralph Palmer To: lilypond-user Mailinglist Sent: 29/05/2023 23:00 Subject: Markup with text or text in dynamics font Hi - I appreciate all the help this list provides. I seem to be helping less than I used to; not sure why. I've tried a few times recently to figure out how to make what would effectively be a markup in dynamic script, with no success. I've looked pretty extensively on the LilyPond site, as well as in the LSR and the email archives. I'm currently running LilyPond 2.24.0 and Frescobaldi 3.2 (still having problems figuring out how to install 3.3) under Linux/Ubuntu 22.04.2 LTS. I currently would like to add sempre ff e ben marcato in dynamic font. I can do a markup using \bold and \italic, but it's not quite the same as the dynamic font. Am I missing a simple way to accomplish this? I appreciate any help on this. All the best, Ralph __ Ralph Palmer Seattle USA (he, him, his) palmer.r.vio...@gmail.com
Re: Fonts and Tempo
For Unicode in Windows my preference is a little program called Wizkey - not
free, but extremely ergonomic, both for searching and blind typing (in the case
of ö, I just keyed: ctrl-: o).
https://antibody-software.com/wizkey/
For the tempo example, I just use markup in the \tempo command.
For the equality, I use something like:
^\markup \left-align \concat { " ← " \smaller \note-by-number #2 #0 #0.8 "
=" \smaller \note-by-number #2 #0 #0.8 " →" }
with alignment and offset trimmed as required (in my case to get the = over the
bar-line).
Regards,
Paul
From: Greg Lindstrom
To:
Sent: 21/05/2023 3:42
Subject: Fonts and Tempo
Good evening -
Let me start off by saying I'm loving working with lilypond to engrave music.
Well Done!!
Questions. How can I do this (an umlaut over the o??)
And on tempo markings (the "ca." after the equal sign. I could do it as all
text but wanted to know if there's a more "lilypond" way to do it).
And as long as I'm asking (and you're still reading). How about this (a half
note = a quarter note. I'd be happy to do it without the arrows -- which I
think borders on silly -- but I'll give extra credit):
Thanks for any help you can provide. I have the Lilypond 2.12 Notation
Reference so if you even point me to the section to reference I'll work it out.
Kind Regards,
--greg
Re: Moving note in three-voice context
In fact Breitkopf's new Bach edition has somewhat more generous spacing that
doesn't require a tweak.
Overriding LilyPond's very clever spacing algorithm is a dark art to me. I'm
having to do a lot of it right now, but my approach is unashamedly hacky - but
it works for me! Anyway, my totally hacky solution (which I'm sure will get
blown away shortly) is extremely simple: turn the first crotchet in the pedals
into two notes, but secretly - that changes the spacing just enough.
pedal = \relative c {\global c1~ | c4*1/2 s8 c4 h a | gis2 gis' | }
c4*1/2 draws a crotchet, but only uses a quaver of time; the other quaver is
filled by s8 (I tried a hidden real quaver first, but that took too much
space), and the other parts move over a little to match.
Paul
Re: Moving note in three-voice context
ps. There's a free imaginary balloon to anyone who recognises the piece. BWV 572, bar 109
Horizontal bracket with dashed edges - possible?
I have a horizontal bracket with lengthened edges. I want the edges to be dashed, but I can't see a way to do this without the horizontal part being dashed as well. Is there a simple solution, or do I just have to draw an extra solid line over the part I don't want dashed? Thanks, Paul
