Re: Graphic lines create

[Reggie]

Karl Hammar wrote
> Reggie:
> ...
>> Andrew thank you for the vibrato but you say it's able to create close to
>> my
>> image? How would I learn which code to change for that to happen? I
>> probably
>> need to draw curves free as I move forward but I need SVG output so I
>> guess
>> I'm out off luck. In Sibelius it's quite easy to draw lines and curves
>> with
>> ease but not LilyPond? How would you attempt this type of graphic with
>> SVG
>> possible? Do I need to use a graphic  program and create image and then
>> insert into measures on top of staff? Trial and error would take so long
>> though back and forth :( 
> 
> To just do something curvy, do something like:
> 
> zz = \markup\postscript "0 1 360 5 mul { cos 0.01 mul 0.002 add .01 exch
> rlineto } for stroke"
> 
> \relative c'' {
>   c4^\zz c c c |
>   c c c c |
> }
> 
> there is also a \markup\path command that possible could be useful 
> since you want svg output.
> 
> Regards,
> /Karl Hammar
> 
> 
> 
> a.pdf (51K)
> <http://lilypond.1069038.n5.nabble.com/attachment/225060/0/a.pdf>;

Karl this looks outstanding but I don't understand how the code works. Is
there a manual page for curves postscript code? Can you tell how you arrived
at the code? I'm totally unable to see anything. 

0 1 360 5 mul { cos 0.01 mul 0.002 add .01 exch rlineto }



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Re: Graphic lines create

[Reggie]

Andrew Bernard wrote
> HI Reggie,
> 
> If you want to draw all sorts of freeform curves, then that's a whole
> topic
> of it's own. compared to the algorithmic code for the vibrato.
> 
> Let us know.
> 
> Andrew

Andrew thank you for the vibrato but you say it's able to create close to my
image? How would I learn which code to change for that to happen? I probably
need to draw curves free as I move forward but I need SVG output so I guess
I'm out off luck. In Sibelius it's quite easy to draw lines and curves with
ease but not LilyPond? How would you attempt this type of graphic with SVG
possible? Do I need to use a graphic  program and create image and then
insert into measures on top of staff? Trial and error would take so long
though back and forth :( 



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Graphic lines create

[Reggie]

Hi. I cannot find how to create graphic lines anywhere in LilyPond like this.
I find basic shapes but nothing like this modern style. How do you provide
the angle and length to adjust for score? Please suggest code for this.
Thanks!

752ddda41273_10157508106580761_7457284070309888000_o.jpg

  



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Re: Cadenza Senza Tempo Problem

[Reggie]

Thomas Morley-2 wrote
> Am Mo., 28. Okt. 2019 um 11:22 Uhr schrieb Reggie <

> reegistoop@

> >:
>>
>> Hello list. I am struggling with this. Please don't laugh I just feel
>> like
>> crying I cannot see what is right in front of me I must be. I am
>> attempting
>> to learn more deeper in lilypond and try a cadenza sort of passage. I see
>> two problems I am bad at. One, how do I get the trills to be side by
>> alongside? Two, I can't understand how to make piano empty system end at
>> the
>> same location vertical as the trill staff? What is the secret I feel so
>> stupid. Thank you for your kind help. Is there any details about working
>> with free music cadenza pieces? I've read the documentation section on
>> cadenza mode but not in practice I'm struggling.
>>
>> \version "2.19.83"
>> <<
>>   \time 4/4
>>
>>   \new Staff {
>> \cadenzaOn
>> \hide Score.TimeSignature
>> r8 a'4\startTrillSpan^\markup {"senza tempo -" \italic "quasi
>> cadenza"}
>> b'\startTrillSpan\stopTrillSpan a'\startTrillSpan\stopTrillSpan
>>
>> b'\startTrillSpan\stopTrillSpan
>>
>>
>> e'''\stopTrillSpan f'''\startTrillSpan
>> e'''\startTrillSpan\stopTrillSpan
>> f'''\stopTrillSpan
>> \bar "" \break
>>
>> \cadenzaOff
>> \time 4/4 c''' c''' c''' c'''
>>
>>   }
>>   \new PianoStaff {
>> <<
>>   \new Staff  { \clef treble s1*2   }
>>   \new Staff  { \clef bass  s1*2  }
>> >>
>>
>>   }
>> >>
>>
>> \paper {
>>   ragged-right = ##f
>> }
>>
>> Chou_Wen-chungg.jpg
>> <http://lilypond.1069038.n5.nabble.com/file/t5625/Chou_Wen-chungg.jpg>;
>>
>>
>>
>> --
>> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>>
> 
> The space at first line-end is because you provide a new
> 4/4-TimeSignature. Mere hiding it will not affect the space reserved
> for it.
> Better do:
> \override Score.TimeSignature.break-visibility = ##(#f #t #t)
> 
> The trills I'd shorten a bit, maybe set staff-padding in an additional
> override.
> 
> 
> Makes for:
> 
> \paper { ragged-right = ##f }
> 
> <<
>   %\time 4/4
> 
>   \new Staff {
> \cadenzaOn
> \hide Score.TimeSignature
> r8
> \override TrillSpanner.bound-details.right.padding = 1.5
> \override TrillSpanner.staff-padding = 2.5
> a'4 \startTrillSpan^\markup {"senza tempo -" \italic "quasi cadenza"}
> b'  \startTrillSpan\stopTrillSpan
> a'  \startTrillSpan\stopTrillSpan
> b'  \startTrillSpan\stopTrillSpan
> e'''\stopTrillSpan
> \override TrillSpanner.staff-padding = 6
> f'''\startTrillSpan
> e'''\startTrillSpan\stopTrillSpan
> f'''\stopTrillSpan
> \bar ""
> \revert TrillSpanner.staff-padding
> \revert TrillSpanner.bound-details.right.padding
> \cadenzaOff
> \break
> \override Score.TimeSignature.break-visibility = ##(#f #t #t)
> \time 4/4
> c''' c''' c''' c'''
> 
>   }
>   \new PianoStaff {
> <<
>   \new Staff  { \clef treble  s8 s4*8 \bar ""   }
>   \new Staff  { \clef basss8 s4*8 \bar ""   }
> >>
> 
>   }
>>>

Hi Thomas thank you for fixing it for me I see the override now but never
would have discovered that I feel lost :[ Is there a set group of commands
you should suggest for using a piece that was entirely all no time signature
no barlines and most important you want tight space between all notes as
though it's not allowing the space for barlines and more.

I can hide barlines and meter but the spacing over pages still looks as
though it's taking into account barlines. I am hiding correctly not just
hiding. Can you make a full piece of music that is total free with tight
spacing?



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Re: Cadenza Senza Tempo Problem

[Reggie]

Shane, your code does not work. When I move left and right the trills still
do not align line up side by side as I show in my picture. Please?


Shane Brandes-2 wrote
> \once \override TrillSpanner.extra-offset = #'(0 . -0.2)  That will help
> with the vertical position somewhat cumbersome as you must guess the
> offset
> value.
> 
> you can also define a function, which you can invoke where needed.
> 
> trillArrow =
> \once \override TrillSpanner.bound-details.left.text = \markup {
>   \concat {
> \musicglyph #"scripts.trill"
> \translate #'(0.5 . 1.0)
> \fontsize #-4
> \with-dimensions #'(0 . 1.2) #'(0 . -2)
> \↓
>   }
> }
> 
> That should get you going in the right direction.
> 
> regards,
> Shane
> 
> On Mon, Oct 28, 2019 at 6:22 AM Reggie <

> reegistoop@

> > wrote:
> 
>> Hello list. I am struggling with this. Please don't laugh I just feel
>> like
>> crying I cannot see what is right in front of me I must be. I am
>> attempting
>> to learn more deeper in lilypond and try a cadenza sort of passage. I see
>> two problems I am bad at. One, how do I get the trills to be side by
>> alongside? Two, I can't understand how to make piano empty system end at
>> the
>> same location vertical as the trill staff? What is the secret I feel so
>> stupid. Thank you for your kind help. Is there any details about working
>> with free music cadenza pieces? I've read the documentation section on
>> cadenza mode but not in practice I'm struggling.
>>
>> \version "2.19.83"
>> <<
>>   \time 4/4
>>
>>   \new Staff {
>> \cadenzaOn
>> \hide Score.TimeSignature
>> r8 a'4\startTrillSpan^\markup {"senza tempo -" \italic "quasi
>> cadenza"}
>> b'\startTrillSpan\stopTrillSpan a'\startTrillSpan\stopTrillSpan
>>
>> b'\startTrillSpan\stopTrillSpan
>>
>>
>> e'''\stopTrillSpan f'''\startTrillSpan
>> e'''\startTrillSpan\stopTrillSpan
>> f'''\stopTrillSpan
>> \bar "" \break
>>
>> \cadenzaOff
>> \time 4/4 c''' c''' c''' c'''
>>
>>   }
>>   \new PianoStaff {
>> <<
>>   \new Staff  { \clef treble s1*2   }
>>   \new Staff  { \clef bass  s1*2  }
>> >>
>>
>>   }
>> >>
>>
>> \paper {
>>   ragged-right = ##f
>> }
>>
>> Chou_Wen-chungg.jpg
>> <http://lilypond.1069038.n5.nabble.com/file/t5625/Chou_Wen-chungg.jpg>;
>>
>>
>>
>> --
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>>
>>





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Cadenza Senza Tempo Problem

[Reggie]

Hello list. I am struggling with this. Please don't laugh I just feel like
crying I cannot see what is right in front of me I must be. I am attempting
to learn more deeper in lilypond and try a cadenza sort of passage. I see
two problems I am bad at. One, how do I get the trills to be side by
alongside? Two, I can't understand how to make piano empty system end at the
same location vertical as the trill staff? What is the secret I feel so
stupid. Thank you for your kind help. Is there any details about working
with free music cadenza pieces? I've read the documentation section on
cadenza mode but not in practice I'm struggling.

\version "2.19.83"
<<
  \time 4/4

  \new Staff {
\cadenzaOn
\hide Score.TimeSignature
r8 a'4\startTrillSpan^\markup {"senza tempo -" \italic "quasi cadenza"}
b'\startTrillSpan\stopTrillSpan a'\startTrillSpan\stopTrillSpan

b'\startTrillSpan\stopTrillSpan


e'''\stopTrillSpan f'''\startTrillSpan e'''\startTrillSpan\stopTrillSpan
f'''\stopTrillSpan
\bar "" \break

\cadenzaOff
\time 4/4 c''' c''' c''' c'''

  }
  \new PianoStaff {
<<
  \new Staff  { \clef treble s1*2   }
  \new Staff  { \clef bass  s1*2  }
>>

  }
>>

\paper {
  ragged-right = ##f
}

Chou_Wen-chungg.jpg
  



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Help with String Orchestra Template Please

[Reggie]

Good afternoon.

I would really appreciate if some help could come from someone who knows how
to begin engraving a score that I need to do for a job. It is a string
orchestra piece but the divisi is confusing me I have no idea where to
start. Is there any template for this please?

The piece begins in a standard Violin I, Violin II, Viola, Cello, Bass
arrangement from page 1 however as the piece continues the violin I
"instrument" gets divided into 6 for long periods. As this, each Violin I
divisi get it's own staff. Very clean. I have fear when I go to make my
"parts" that I will have to have a messy 6-stave part for Violin I if I
engrave from the beginning, and simply "add ossia staff" as I go, and this
is not ideal.

Please look at my attached photos that show a few of what I am talking
about. I would be so appreciate if someone could show me how to begin this
engraving so the full score has 6-divided staffs correctly, and the parts
files can be separated and not a 6-staff mess per player for all violin 1
parts.  Is this possible in LilyPond? Thank you so kindly.

I'd like to use the template for other instruments later, like viola and
violin 2. Copy and paste I assume.

I am lost as to how to even begin to setup my score for full score and
parts. Thanks for any guidance. I really do not want to need to go back to
Finale.

PS the attached score is not my work it's a sample of what I mean with
divisi.

measure_1.png
  
measure_50.png
  
measure_100.png
  



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Lyrics Include

[Reggie]

Hello. I have a long score composition with a lot of lyrics. I would like to
keep my input clean. Is it possible to put lyrics in a completely other file
and \include it in score file or is lyrics unable to be included in sucha
way?
Thank you. What is the syntax example please?



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Re: Font questions about absolute

[Reggie]

Aaron Hill wrote
> On 2019-05-11 10:52 am, Reggie wrote:
>> Is there any easy way to quickly see or convert absolutely font to #3 
>> or #5
>> and so on? In frescobaldi like a function() or something. Thank you for 
>> any
>> help.
> 
> Within \markup, you can use \abs-fontsize to get a specific size that 
> will not scale based on the global staff size.  That does not require 
> any conversion.
> I usually stick to relative font sizes and do not concern myself with the
> absolutes, since it is my eye that determines whether something is big
> enough or small enough, not a ruler.
> 
> -- Aaron Hill
> 
> ___
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> https://lists.gnu.org/mailman/listinfo/lilypond-user

Aaron wow yes I understand the maths perfectly that's my area. Thank you
your answer is perfect. But as I understand the Gould engraving book and
other font "normal" standards, how does one handle font size then regardless
of staff size and paperr? For example, let's say a publshing house wants
"all tempo marks must be 14pt roman" or "all expressive font must be 12pt in
parts and 14pt in score"? If the size of your paper and staff size could
change depending on the size of ensemble, would you then still use absolute
font sizes to align with explicit needs for font rules? Or would you
personally eye ball font size and use relative and get it close enough to
absolute font size. I don't understand the best practice if you want to in
the end have a certain set point size for certain markings with variable
paper sizes.




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Font questions about absolute

[Reggie]

Hello everyone. I understand you always have the option to use absolute font
for markup, tempo, and other markings for fonts. However is there a chart or
cheat "sheet" showing the conversion or what the current font is without
always refercing the documentation internals? For example, if I'm in
frescobaldi and I'm using a text override something = #4 for font size, how
do I know roughly what that absolute size is without looking up in the
internals for the default of whatever object I am overriding? That is slow I
find.

Is there any easy way to quickly see or convert absolutely font to #3 or #5
and so on? In frescobaldi like a function() or something. Thank you for any
help.

Do you suggest new and beginner users like myself use absolute font sizes
for things like tempo instrument changes and tempo changes? What do you  all
do?



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Re: ties and cross staff beaming

[Reggie]

Lukas-Fabian Moser wrote
> Am 05.03.19 um 19:27 schrieb Rachel Knight:
>> That idea should have worked, but the ties don’t look quite right. 
>> Below is a compilable example.
> 
> Yes, that's why working with hidden extra notes is a bit messy: We have 
> to prevent those from taking up space. (Omit the \hideNotes to 
> understand what's happening here.)
> 
> What works for me here is:
> 
> \version "2.19.81"
> 
> down = { \change Staff = "bass" \stemUp }
> up = {\change Staff = "treble" \stemDown}
> 
> \language "english"
> 
> Treble = {
>    <<
>      \relative c'
>      {
> 
>    \set tieWaitForNote = ##t
>    \down c,8~[ \up ~]
>    \down
>    c,4
>      }
> 
>      \new Voice
>      \relative c'
>      {
>    \stemDown
>    s8 \hideNotes
>    \once \override NoteColumn.force-hshift = -1
>    \once \omit Flag
>    
> 
> 8~
>    \unHideNotes
>    
> 
> 4
>      }
>    >>
> }
> 
> Bass = {
>    \clef bass
>    s2*4
> }
> 
> 
> \score {
> 
>    \new GrandStaff
>    <<
>      \new Staff = treble { \Treble }
>      \new Staff = bass { \Bass }
>    >>
> }
> 
> 
> Just as an aside: The use of \stemDown and \stemUp is discouraged in 
> most cases - in almost all situations that come up, \voiceOne, \voiceTwo 
> etc. should be preferred. But probably you already knew this and use 
> \stemDown/\stemUp here for some good reason.
> 
> Lukas
> 
> 
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Your code has an error. Can you tell me how to fix?
warning: this Voice needs a \voiceXx or \shiftXx setting \down c,8~[ \up ~]





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Re: Simple example with vertical spacing and dynamic contexts

[Reggie]

I also would like to know why this fails not just the fix.


Павел Буданов-2 wrote
> How to control vertical spacing in the middle of a piece?
> 
> \new StaffGroup \with
> { \override StaffGrouper.staff-staff-spacing.padding = 10 } % It's OK
> <<
>\new Staff
>{
>  c' c' c' c'
>  \break
>  \override StaffGrouper.staff-staff-spacing.padding = 30 % It isn't
> work
>  c' c' c' c'
>}
>\new Staff { c' c' c' c' c' c' c' c' }
>>>
> 
> пт, 1 февр. 2019 г. в 11:41, Павел Буданов <

> budanov.pavel@

> >:
> 
>> It really helped me, I am very grateful to you. Would you like to change
>> the vertical spacing chapter
>> ;
>> in the learning manual? You were able to explain a lot of things in plain
>> language.
>>
>> пт, 1 февр. 2019 г. в 05:54, Aaron Hill <

> lilypond@

> >:
>>
>>> On 2019-01-31 9:11 am, Павел Буданов wrote:
>>> > I've solved this problem partially with for lower contexts, but i
>>> > can't find the necessary properties for upper contexts. Can you help
>>> > me?
>>> >
>>> > \new StaffGroup
>>> > <<
>>> >   \new Dynamics { s2.\< s4\ff }
>>> >   \new Lyrics \lyricmode { Ly4 -- ric ly -- ric }
>>> >   \new Staff \with
>>> >   { \override VerticalAxisGroup.staff-staff-spacing =
>>> > #'((basic-distance . 20) (padding . 0.5)) }
>>> >   { a'4 a' a' a' }
>>> >   \new Staff { d'4 d' d' d' }
>>> >   \new Lyrics \with
>>> >   {
>>> > \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
>>> > #'((basic-distance . 10) (padding . 0.5))
>>> > \override VerticalAxisGroup.nonstaff-nonstaff-spacing =
>>> > #'((basic-distance . 10) (padding . 0.5))
>>> >   }
>>> >   \lyricmode { Ly4 -- ric ly -- ric }
>>> >   \new Dynamics { s2.\< s4\ff }
>>> > >>
>>>
>>> Be sure to examine the output of LilyPond for warnings, not just errors:
>>>
>>> > warning: staff-affinities should only decrease
>>>
>>> This is telling you that you need to manually adjust
>>> VerticalAxisGroup.staff-affinity.  By default, Dynamics uses a
>>> staff-affinity of CENTER (0) as it typically appears between two staves,
>>> whereas Lyrics uses UP (1) as it typically appears below a staff.  Your
>>> upper Lyrics context is trying to locate its "relatedstaff" above, but
>>> there is none to be found.  You will need to set its staff-affinity to
>>> DOWN (-1).  (You could leave the two Dynamics contexts set to CENTER
>>> staff-affinity; but it arguably better to also explicitly set them to
>>> UP/DOWN based on where they appear.)
>>>
>>> There is a second issue that unfortunately there is no warning for.  You
>>> are setting basic-distance but not minimum-distance as well.  By
>>> omitting minimum-distance from the spacing alist, you are using the
>>> default value of zero.  LilyPond only attempts to honor basic-distance,
>>> but will collapse down to minimum-distance if needed (and often a little
>>> too eagerly).  If you tried to set only basic-distance for the upper
>>> contexts, you may find that it has no effect.
>>>
>>> It may be easier to see what it going on by only using padding, although
>>> a combination of basic-distance, minimum-distance, padding, and
>>> stretchability is often required to get the most out of the flexible
>>> spacing system.  Consider the following:
>>>
>>> 
>>> \version "2.19.82"
>>>
>>> % Forcibly reset all default spacing variables to zero.
>>> \layout {
>>>\context { \Dynamics
>>>  \override VerticalAxisGroup.nonstaff-nonstaff-spacing = #'(())
>>>  \override VerticalAxisGroup.nonstaff-relatedstaff-spacing = #'(())
>>>  \override VerticalAxisGroup.nonstaff-unrelatedstaff-spacing =
>>> #'(())
>>>}
>>>\context { \Lyrics
>>>  \override VerticalAxisGroup.nonstaff-nonstaff-spacing = #'(())
>>>  \override VerticalAxisGroup.nonstaff-relatedstaff-spacing = #'(())
>>>  \override VerticalAxisGroup.nonstaff-unrelatedstaff-spacing =
>>> #'(())
>>>}
>>>\context { \Staff
>>>  \override VerticalAxisGroup.default-staff-staff-spacing = #'(())
>>>  \override VerticalAxisGroup.staff-staff-spacing = #'(())
>>>}
>>> }
>>>
>>> \new StaffGroup <<
>>>\new Dynamics \with {
>>>% Dynamics is above Staff.
>>>\override VerticalAxisGroup.staff-affinity = #DOWN
>>>% Spacing between this Dynamics and the following Lyrics.
>>>\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
>>>  #'((padding . 2))
>>>  }
>>>  { s2.\< s4\ff }
>>>\new Lyrics \with {
>>>% Lyrics is above Staff.
>>>\override VerticalAxisGroup.staff-affinity = #DOWN
>>>% Spacing between this Lyrics and the following Staff.
>>>\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
>>>  #'((padding . 3))
>>>  }
>>>  \lyricmode { Ly4 -- ric ly -- ric }
>>>\new Staff \with {
>>>% Spacing between this Staff and the following Staff.
>>>\override VerticalAxisGroup.staff-staff-spacing =
>>>

Re: Hide staff with Arrows Possible without other program?

[Reggie]

Mark Knoop-4 wrote
> You can do this with a simple TextSpanner:
> 
> \version "2.19.82"
> 
> onStaffExtender = {
>   \override TextSpanner.style = #'line
>   \override TextSpanner.thickness = #6
>   \override TextSpanner.to-barline = ##t
>   \override TextSpanner.outside-staff-priority = ##f
>   \override TextSpanner.Y-offset = #0
>   \override TextSpanner.bound-details.left.padding = #0
>   \override TextSpanner.bound-details.right.padding = #0
>   \override TextSpanner.bound-details.right-broken.text =
>   \markup \fontsize #5 \arrow-head #X #RIGHT ##t
>   \override TextSpanner.bound-details.right.text =
>   \markup \fontsize #5 \arrow-head #X #RIGHT ##t
> }
> 
> \score {
>   <<
> \new Staff \repeat unfold 80 c'4
> \new Staff {
>   c'1
>   \stopStaff
>   \once \onStaffExtender
>   <>\startTextSpan
>   s1*18
>   \startStaff
>   <>\stopTextSpan
>   c'1
> }
>   >>
> }
> 
> --
> Mark Knoop
> 
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Mark this is so helpful to me thank you. Can you answer this however? What
if I would like the arrow to be solid straight line and only one arrowpoint
at end of everything not every system arrow at end of system? Also, how to
hide clef for each arrow line system while line occurs instead of treble
showing in your example each system has line + clef instead of just line?
Thank you so very much. And what is <> that you use at end?




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Hide staff with Arrows Possible without other program?

[Reggie]

Hello I was trying to create a score where a staff goes away and a simple
horizontal arrow continues in its place even over page breaks. I cannot
understand where to find this answer and I believe the framengraver is too
much for myneeds. Is it possible?

I would like to have a simple arrow go across the page or pages in place of
staff then the staff would appear later as normal as found in many
contemporary scores. Do I need to leave blank space and go add arrows in
image software after LilyPond I hope not. 

Thank you for helping me with my question. I have a photo to show my help.
The arrows will not always stay on one page but travel pages in place of
staff in some cases which is very common.

help-please.jpg
  



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Re: Text Spanner ID Layer Spans

[Reggie]

Trevor Bača-2 wrote
> Hi Reggie,
> 
> To layer text spanners with David N.'s new functionality, you must \tweak
> spanner properties rather than overriding them.
> 
> %%% BEGIN %%%
> 
> \version "2.19.82"
> \include "text-spanner-id.ly"
> {
> b1
> - \tweak bound-details.left.text \markup { \upright "rit." }
> \startTextSpanOne
> - \tweak bound-details.left.text \markup { \upright "other span" }
> \startTextSpanTwo
> c
> e,
> \stopTextSpanOne
> c
> \stopTextSpanTwo
> }
> 
> %%% END %%%
> 
> 
> [image: layered-start-stop.png]
> 
> 
> Trevor.
> 
> -- 
> Trevor Bača
> www.trevorbaca.com
> soundcloud.com/trevorbaca

Much thanks Trevor!!



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Re: Text Spanner ID Layer Spans

[Reggie]

David Kastrup wrote
> Reggie <

> reegistoop@

> > writes:
> 
>> Using a David's function to allow layering spanners,
> 
> I like "a David's function".  It's like describing a caste of priests.
> 
> -- 
> David Kastrup
> 
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Sorry David :))
Do you know the solution to my question?



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Text Spanner ID Layer Spans

[Reggie]

Using a David's function to allow layering spanners, could you please tell me
how to acheive the spanners over one another and not overlap? I know the
colors example tweak command but using real words and spanner I cannot
figure out how to make them on top of each other. Begin at the same time.
Thank you for the help.
lay.png   
\version "2.19.82"
\include "text-spanner-id.ly"
{
  \override TextSpanner.bound-details.left.text =
  \markup { \upright "rit." }
  b1\startTextSpanOne
  \override TextSpanner.bound-details.left.text =
  \markup { \upright "other span" }
  c\startTextSpanTwo
  e,\stopTextSpanOne
  c\stopTextSpanTwo
}








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Re: How to fix this divisi please

[Reggie]

Valentin Villenave-3 wrote
> On 2/7/19, Reggie <

> reegistoop@

> > wrote:
>> I understand yes but there actually is a section of the piece later where
>> there is a divisi with time signature changes.
> 
> Then you should replace
> \remove Time_Signature_engraver
> 
> with
> \once \override TimeSignature.stencil = ##f
> 
> This will prevent the TimeSignature from being printed at the
> beginning of your "miniStaffGroup", but changes will be printed later.
> (If the time signature changes at the beginning of the divisi, then
> you should remove that line entirely.)
> 
> Just out of curiosity, what piece are you engraving? It looks nice.
> 
> Cheers,
> V.
> 
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My own composition from many years ago. I don't understand one more thing
please. I try to teach myself too learn here. I removed the staff group a4
name you created and I hoped it would bring back the normal names of
strings, but it did not. Why? How did you manage to remove the "single"
staffs name to make blank space for div a4 name? I love how it looks but I
wanted to learn myself. Thank you. I don't see how you removed them.



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Re: How to fix this divisi please

[Reggie]

Valentin Villenave-3 wrote
> Well, since you’re starting in the middle of the score, it doesn’t
> make sense to print a Time Signature like if it was the beginning.
> However, this will also remove new Time Signatures, so if you need to
> change \time in your divisi section, you’ll need to use something
> else.
> 
> Just remove (or comment, by adding "%" at the beginning of the line)
> my \remove line, and you’ll see the difference.

I understand yes but there actually is a section of the piece later where
there is a divisi with time signature changes. Do I really need to remove
the time engraver like you said or can I just input \time as I needed?

How do your code change if there are time changes during the divisi
sections? Many thanks.



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Re: Reverting TextSpanner properties

[Reggie]

David Kastrup wrote
> Andrew Bernard <

> andrew.bernard@

> > writes:
> 
>> Hi David,
>>
>> Really great advice and useful to know. However, I have a long section
>> run
>> of spanners for sul ponticello to natural. I did'nt want to tweak every
>> occurrence for literally a hundred times, or call a function for each
>> spanner each time. So it's kind of 'semi-permanent'.
> 
> Well, it's a matter of
> 
> sulPont = -\single \spToNatSpan \startTextSpan
> stopSulPont = -\endTextSpan
> 
> And then you use \sulPont and \stopSulPont where you now use
> \startTextSpan and \stopTextSpan .  I find that more straightforward
> than what you use but of course it is slightly less efficient.  But
> probably not a measurable difference.
> 
> -- 
> David Kastrup
> 
> ___
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Hello David. I added your suggestions but nothing compiles correctly even
after I replaced the functions you speak of. How can this be fixed to use
your suggestion correctly? :))

%

\version "2.19.82"

spToNatSpan = {
  \override TextSpanner.font-size = #-4
  \override TextSpanner.bound-padding = #1.0
  \override TextSpanner.style = #'line
  \override TextSpanner.bound-details.right.arrow = ##t
  \override TextSpanner.bound-details.left.text = #"SP"
  \override TextSpanner.bound-details.right.text = #"NAT"
  \override TextSpanner.bound-details.right.padding = #0.6
  \override TextSpanner.bound-details.right.stencil-align-dir-y = #CENTER
  \override TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER
  \override TextSpanner.bound-details.left-broken.text = ##f
  \override TextSpanner.bound-details.right-broken.text = ##f
}

sulPont = -\single \spToNatSpan \startTextSpan
stopSulPont = -\endTextSpan


treble = {
  \time 4/4

  \spToNatSpan
  c''4\sulPont c'' c'' c''\stopSulPont |
  c'' c'' c''\sulPont c'' |
  c'' c'' c'' c'' |
  \break
  c'' c''\stopSulPont c'' c''\sulPont |
  \break
  c''\stopSulPont c'' c'' c'' |
  \break
  % how to revert to basic TextSpanner here?
  \revert TextSpanner.bound-details
  c''\sulPont c''\stopSulPont c'' c'' |
}

\score {
  \new Staff \treble
  \layout {}
}

%



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Re: How to fix this divisi please

[Reggie]

Valentin Villenave-3 wrote
> Here is how I would type your example, using many variables (and no
> \tags, like I did earlier). As you can see, everything with notes is
> defined first, and _then_ comes every structural information: what
> should be printed where, in which group, coming after this and before
> that, etc. I think it’s a bit cleaner that way.
> 
> %%%
> 
> scoreAViolinIbegin = \relative c'' {
>   \repeat unfold 10 c1
>   ges1
> }
> scoreAViolinImiddle = \relative c' {
>   \repeat unfold 10 {c2 d}
> }
> scoreAViolinIend = \relative c' {
>   \repeat unfold 20 fes1
> }
> scoreAViolinDivI = \relative c'' {
>   \repeat unfold 10 g1:32
> }
> scoreAViolinDivII = \relative c'' {
>   \repeat unfold 10 bes1:32
> }
> scoreAViolinDivIII = \relative c' {
>   \repeat unfold 10 f1:32
> }
> scoreAViolinDivIV = \relative c'' {
>   \repeat unfold 10 as1:32
> }
> 
> scoreAViolinII = \relative c'' {
>   \repeat unfold 50 d1
> }
> 
> scoreAViola = \relative c' {
>   \clef alto
>   \repeat unfold 50 e1
> }
> 
> scoreACello = \relative c {
>   \clef bass
>   \repeat unfold 50 f1
> }
> 
> scoreAContrabass = \relative c {
>   \clef bass
>   \repeat unfold 50 g1
> }
> 
> violinDivGroupName=\markup \center-column {Vl. "(div. a 4)"}
> 
> %% Big violin Staff and additional divisi.
> %% (This will be used only in the full score.)
> 
> scoreAViolinConductor = {
>   \scoreAViolinIbegin
>   <<
> \scoreAViolinImiddle \break
> \new miniStaffGroup \with {
>   instrumentName = \violinDivGroupName
>   shortInstrumentName = \violinDivGroupName
> } <<
>   \new miniStaff \scoreAViolinDivI
>   \new miniStaff \scoreAViolinDivII
>   \new miniStaff \scoreAViolinDivIII
>   \new miniStaff \with {
> \override BarLine.allow-span-bar = ##f
>   } \scoreAViolinDivIV
> >>
>   >>
>   \scoreAViolinIend
> }
> 
> \score {
>   \header { title = "Full Score." }
>   \new StaffGroup <<
> \new Staff = "ViolinMain" \with {
>   instrumentName = "Violin I"
>   shortInstrumentName = "Vl. 1"
> } \scoreAViolinConductor
> \new Staff \with {
>   instrumentName = "Violin II"
>   shortInstrumentName = "Vl. 2"
> } \scoreAViolinII
> \new Staff \with {
>   instrumentName = "Viola"
>   shortInstrumentName = "Vla."
> } \scoreAViola
> \new Staff \with {
>   instrumentName = "Cello"
>   shortInstrumentName = "Vlc."
> } \scoreACello
> \new Staff \with {
>   instrumentName = "Double Bass"
>   shortInstrumentName = "Cb."
> } \scoreAContrabass
>   >>
>   %% Here’s the layout for _this_ \score only.
>   %% (it doesn’t apply to individual parts.)
>   \layout {
>   \context {
> \Staff
> \name "miniStaff"
> alignAboveContext = "ViolinMain"
> fontSize = #-2
> \override StaffSymbol.color = #grey
> \remove Time_signature_engraver
>   }
>   \layout {
> \context {
>   \Staff
>   \name "miniStaff"
>   alignAboveContext = "ViolinMain"
>   fontSize = #-2
>   \override StaffSymbol.color = #grey
>   \remove Time_signature_engraver
> }
> \context {
>   \StaffGroup
>   \name "miniStaffGroup"
>   \accepts "miniStaff"
>   systemStartDelimiter = #'SystemStartSquare
> }
> \context {
>   \StaffGroup
>   \accepts "miniStaffGroup"
> }
>   }
> }
> 
> \paper {
>   #(set-paper-size "a4")
>   top-margin = 15\mm
>   left-margin = 25\mm
>   right-margin = 25\mm
>   bottom-margin = 15\mm
> }
> 
> \bookpart {
>   \header {
> title = "Violin Part (main)"
>   }
>   \new Staff {
> \scoreAViolinIbegin
> \scoreAViolinImiddle
> \scoreAViolinIend
>   }
> }
> 
> \bookpart {
>   \header {
> title = "Violin Part (div. 1)"
>   }
>   \new Staff {
> \scoreAViolinIbegin
> \scoreAViolinDivI
> \scoreAViolinIend
>   }
> }
> 
> \bookpart {
>   \header {
> title = "Violin Part (div. 2)"
>   }
>   \new Staff {
> \scoreAViolinIbegin
> \scoreAViolinDivII
> \scoreAViolinIend
>   }
> }
> 
> %%%

Thank you V but this does not compile. What did I do wrong? Copy paste into
file and errors.  error: syntax error, unexpected \layout

\layout {




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Re: How to fix this divisi please

[Reggie]

Valentin Villenave-3 wrote
> On 2/6/19, Reggie <

> reegistoop@

> > wrote:
>> Hi. I have put together as much as I can to truly do my best. I hope I am
>> able to get some help to learn why I am wrong. I have a few questions.
>> One,
>> how can I input notes in Violin in the empty measures below divisisi?
> 
> Well, you’re using something a bit unusual : you’re actually starting
> a new StaffGroup _inside_ the variable that’s normally used for a
> single staff (your first violins) alone.
> It’s not impossible, but it’s still a bit hasardous.
> 
> So, if you want your "main" Violin1 to keep playing while all of this
> is happening, you have to include it as a simultaneous voice, like I
> did in the corrected version of your code below.
> 
>> Finally, how can I create a violin 1 part so each part shows the violin 1
>> and then only the "appropriate" divisi for each part only? I don't
>> understand this engraver at all.
> 
> OK, this is where it become tricky. Because of your rather unusual
> hack, _all_ of the divisi part are stored in _one_ variable (where we
> usually prefer to define lots of different variables, and then use
> these whenever we want). 

One more thing. I wanted the markup center instrument name for Violin 1 a4
div which you did perfect. But, you say I hackish a bit with making the
StaffGroup in my violin variable. Well, how else would you be able to center
a instrument name like you did if it wasn't a StaffGroup? What if I kept all
instrument staffs separate and added them instead? How could you hide all
instrument  names and replace with centered a4 divisi without Group? I feel
like I did not bad :))

Please. in a simple MWE how can you have a group of string staffs like that
without StaffGroup but also have shortInstrumentName = \markup
\center-column {Vl. "(div. a 4)"} for each staff line separate?






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Re: How to fix this divisi please

[Reggie]

Valentin Villenave-3 wrote
> On 2/6/19, Reggie <

> reegistoop@

> > wrote:
>> Hi. I have put together as much as I can to truly do my best. I hope I am
>> able to get some help to learn why I am wrong. I have a few questions.
>> One,
>> how can I input notes in Violin in the empty measures below divisisi?
> 
> Well, you’re using something a bit unusual : you’re actually starting
> a new StaffGroup _inside_ the variable that’s normally used for a
> single staff (your first violins) alone.
> It’s not impossible, but it’s still a bit hasardous.
> 
> So, if you want your "main" Violin1 to keep playing while all of this
> is happening, you have to include it as a simultaneous voice, like I
> did in the corrected version of your code below.
> 
>> Finally, how can I create a violin 1 part so each part shows the violin 1
>> and then only the "appropriate" divisi for each part only? I don't
>> understand this engraver at all.
> 
> OK, this is where it become tricky. Because of your rather unusual
> hack, _all_ of the divisi part are stored in _one_ variable (where we
> usually prefer to define lots of different variables, and then use
> these whenever we want). So we have to start with your huge variable
> with all the staves inside, and then select the ones we want or filter
> the ones we don’t want. LilyPond has a mechanism for that: the \tag
> command, that allows you to mark one music expression and everything
> inside. See
> http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source
> 
> Oh, one other thing: you don’t need to copy all your definitions
> (global, scoreAViolinI etc.) in every file! Just put them all in one
> file, that you can call, for example, "variables.ly":
> 
> % file: variables.ly 
> global = {…}
> scoreAViolinI = {…}
> etc.
> %%%
> 
> And then in another file you can just type :
> 
>  file: score.ly %
> 
> \include "variables.ly"
> \header { title = "Full Score" }
> \score {
>   \new StaffGroup <<
>  \new Staff \scoreAViolinI
>  \new Staff … etc …
>   >>
> }
> %
> 
> And then you can have other files such as
> 
> %% file : solo_part.ly 
> 
> \include "variables.ly"
> \header { title = "individual part" }
> \score {
>   \new Staff \scoreAViolinI
> }
> %%
> 
> Anyway. Here’s my version of your code, I’ve used tags and added some
> examples of divisi parts as \bookparts blocks (just to have nicer
> titles, and to force them to start on separate pages in the PDF).
> 
> 
> 
> 
> \version "2.19.80"
> 
> \header {
>   % Remove default LilyPond tagline
>   tagline = ##f
> }
> 
> global = {
>   \key c \major
>   \time 4/4
> }
> 
> scoreAViolinI = \relative c'' {
>   \global
>   % Music follows here.
>   \repeat unfold 10 { c1 } ges1 \break
>   <<
> \tag #'divMain {
>   \oneVoice
>   \repeat unfold 10 {c,2 d}
> }
> \\
> \new StaffGroup = "Group"
> \with {
>   shortInstrumentName = \markup \center-column {Vl. "(div. a 4)"}
>   systemStartDelimiter = #'SystemStartSquare
> } <<
>   \tag #'div1 \new Staff = "diva1" \with {
> \remove Time_signature_engraver
> alignAboveContext = "ViolinMain"
> %shortInstrumentName = "v1.1"
>   }  { g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 }
>   \tag #'div2 \new Staff = "diva2" \with {
> \remove Time_signature_engraver
> alignAboveContext = "ViolinMain"
> % shortInstrumentName = "v1.2"
>   }  { bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32
>bes1:32 bes1:32 }
>   \tag #'div3 \new Staff = "diva3" \with {
> \remove Time_signature_engraver
> alignAboveContext = "ViolinMain"
> % shortInstrumentName = "v1.3"
>   }  { f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 }
>   \tag #'div4 \new Staff = "diva4" \with {
> \remove Time_signature_engraver
> alignAboveContext = "ViolinMain"
> \override BarLine.allow-span-bar = ##f
> % shortInstrumentName = "v1.4"
>   }  { as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32
>as1:32 }
> >>
>   >>
>   \repeat unfold 20 { fes1 }
> }
> 
> scoreAViolinII = 

Re: How to fix this divisi please

[Reggie]

Michael Gerdau wrote
>> Hi. I have put together as much as I can to truly do my best. I hope I am
>> able to get some help to learn why I am wrong. I have a few questions.
>> One,
>> how can I input notes in Violin in the empty measures below divisisi? I
>> don't understand where to insert in my code please. Second, how can I put
>> a
>> center group name like my attachment image for my strings in my code
>> please.
>> Finally, how can I create a violin 1 part so each part shows the violin 1
>> and then only the "appropriate" divisi for each part only? I don't
>> understand this engraver at all. Each violin one part has all four divisi
>> staffs. I'd like separate. Thank you for the help. I have included all my
>> files for help.,
> 
> That is far too much code for my liking.
> 
> Please create a MWE. Chances are that while doing it you'll find a
> solution to your problem.
> 
> The code you attached is very obviously NOT a MWE.
> 
> Kind regards,
> Michael
> -- 
> Michael Gerdau email: 

> mgd@

> GPG-keys available on request or at public keyserver
> 
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Hello. Not only did I literally include the files as attachment files, which
could not be easier, I also said I am sorry but I do not know how to proceed
so clearly this was the best I could do. Other than not using Liillypond and
not posting for help, I did all work that I could do make helping me easy. I
hope someone else then would kindly download my files and compile them in 5
seconds to help me. I think the code is quite minimal enough if you see 2
files total in body and in attachment. Yes not "MWE" but I think my attempt
is not the most horrible. Thank you. Maybe I should not have body copied
text to scare people away. Obviously you saw the code and felt like MWE was
better. Sorry. In this case if you actually look at divisi problems, it
makes sense. Especially for beginners? 

Just download my ly files please and it's magic :)) all ready for help. MWE
as best I could let's.



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How to fix this divisi please

[Reggie]

Hi. I have put together as much as I can to truly do my best. I hope I am
able to get some help to learn why I am wrong. I have a few questions. One,
how can I input notes in Violin in the empty measures below divisisi? I
don't understand where to insert in my code please. Second, how can I put a
center group name like my attachment image for my strings in my code please.
Finally, how can I create a violin 1 part so each part shows the violin 1
and then only the "appropriate" divisi for each part only? I don't
understand this engraver at all. Each violin one part has all four divisi
staffs. I'd like separate. Thank you for the help. I have included all my
files for help.,

problem.png   
HOW.png   
divisisi_part_score_part.ly
  
divisisis.ly   



% STRING ORCHESTRA SCORE MAIN FILE %

\version "2.19.80"

\header {
  % Remove default LilyPond tagline
  tagline = ##f
}

global = {
  \key c \major
  \time 4/4
}

scoreAViolinI = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 10 { c1 } ges1 \break

  \new StaffGroup = "Group"
  \with {
systemStartDelimiter = #'SystemStartSquare
  }
  <<
<<
  \new Staff = "diva1" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.1"
  }  { g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 }
  \new Staff = "diva2" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.2"
  }  { bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32
bes1:32 bes1:32 }
  \new Staff = "diva3" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.3"
  }  { f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 }
  \new Staff = "diva4" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.4"
  }  { as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32
as1:32 }
>>
  >>
  \repeat unfold 20 { fes1 }
}

scoreAViolinII = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 50 { d1 }
}

scoreAViola = \relative c' {
  \global
  % Music follows here.
  \repeat unfold 50 { e1 }
}

scoreACello = \relative c {
  \global
  % Music follows here.
  \repeat unfold 50 { f1 }
}

scoreAContrabass = \relative c {
  \global
  % Music follows here.
  \repeat unfold 50 { g1 }
}

scoreAViolinIPart = \new Staff = "ViolinMain" \with {
  instrumentName = "Violin I"
  shortInstrumentName = "Vl. I"
} \scoreAViolinI

scoreAViolinIIPart = \new Staff \with {
  instrumentName = "Violin II"
  shortInstrumentName = "Vl. II"
} \scoreAViolinII

scoreAViolaPart = \new Staff \with {
  instrumentName = "Viola"
  shortInstrumentName = "Vla."
} { \clef alto \scoreAViola }

scoreACelloPart = \new Staff \with {
  instrumentName = "Cello"
  shortInstrumentName = "Cl."
} { \clef bass \scoreACello }

scoreAContrabassPart = \new Staff \with {
  instrumentName = "Contrabass"
  shortInstrumentName = "Cb."
} { \clef bass \scoreAContrabass }

\score {
  <<
\new StaffGroup <<
  \scoreAViolinIPart
  \scoreAViolinIIPart
  \scoreAViolaPart
  \scoreACelloPart
  \scoreAContrabassPart
>>
  >>
  \layout { }
}

\paper {
  #(set-paper-size "a4")
  top-margin = 15\mm
  left-margin = 25\mm
  right-margin = 25\mm
  bottom-margin = 15\mm
}


%%% 

% VIOLIN ONE PART FILE %

\version "2.19.80"

\header {
  % Remove default LilyPond tagline
  tagline = ##f
}

global = {
  \key c \major
  \time 4/4
}

scoreAViolinI = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 10 { c1 } ges1 \break

  \new StaffGroup = "Group"
  \with {
systemStartDelimiter = #'SystemStartSquare
  }
  <<
<<
  \new Staff = "diva1" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.1"
  }  { g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 g1:32 }
  \new Staff = "diva2" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.2"
  }  { bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32 bes1:32
bes1:32 bes1:32 }
  \new Staff = "diva3" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.3"
  }  { f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 f1:32 }
  \new Staff = "diva4" \with {
alignAboveContext = "ViolinMain"
shortInstrumentName = "v1.4"
  }  { as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32 as1:32
as1:32 }
>>
  >>
  \repeat unfold 20 { fes1 }
}



scoreAViolinIPart = \new Staff = "ViolinMain" \with {
  instrumentName = "Violin I"
  shortInstrumentName = "Vl. I"
} \scoreAViolinI



\score {


  \scoreAViolinIPart


  \layout { }
}

\paper {
  #(set-paper-size "a4")
  top-margin = 15\mm
  le

Re: Selectively remove some staves consisting only of rests

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> Why has nobody offered this "solution" if it's common knowledge
>> to all who know the manual line by line?
> 
> The solution — including essentially my \showStaff and \hideStaff
> functions, under different names — has already been posted in this very
> thread (by Jean-Charles).
> 
> Please go back and read that post, apply the solution to your own
> situation, and then if it doesn’t solve some problem you have, return to
> the list with a MWE.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
> ___
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Can you share your function code with us please? I cannot follow your
reference to Jean Charles just as you say above. How can we arrive with his
post and create your personal \hideStaff and \showStaff functions? Wouldn't
it be easier if you posted your code or is there a problem I do not see with
Jean Charles code? Thank you. I am sure a lot of users would like it.
Instead having to piece together several posts and solve the function
\hideStaff and \showStaff.



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Re: Selectively remove some staves consisting only of rests

[Reggie]

Kieren MacMillan wrote
> Reggie,
> 
>>> You don’t have to; I select staves and have them appear
>>> and disappear as desired all the time.
>> 
>> * Then why can't Andrew? Why did he post in the first place?
>> Why is a hack the only answer solution?
> 
> In an application where you type r8 when you want to output the visual
> representation of an eighth note rest in the Western musical notation
> system, what does 'hack' mean exactly?
> 
> In my set of include files, I have defined \showStaff and \hideStaff and
> other similar and related layout functions. As a result, I can write code
> like
> 
> c1 1 1 1 \break
> \hideStaff d1 1 1 1 \break
> \showStaff e1 1 1 1
> 
> and have complete control over which staves appear on any given system.
> (In reality, I do layout-level manipulation via the edition-engraver, but
> that’s a separate discussion, and would simply cloud the issue here.)
> 
> I don’t consider that a "hack"; it’s simply a function I’ve written to be
> used in an application where basically every thing I use (\score, \time
> 4/4, \key c \major, \flat, etc.) is a function [pace David K, who would
> rightly object to this well-intentioned but misleading way of describing
> the situation].
> 
> Have you looked at the definition of \time (as in \time 4/4)? Would you
> describe "\time" as a "hack"? Perhaps what you mean by "hack" is that
> *you* don’t currently have access to \hideStaff and \showStaff functions?
> 
>> Even those who work on the code have said in the past posts
>> that certain areas of the program are in need.
> 
> Of course; that will likely always be true.
> But "in need" and "so bizarre" are hardly synonymous.
> 
>> You think that 100% of Lilypond makes total logical sense "under the
>> hood"
>> and also in the user's viewpoint?
> 
> Please point out where I said — or even implied — anything of the sort.
> 
>> * Andrew does not know how to do it either. So now what? 
> 
> (a) You figure out how to do it yourself; or
> (b) You ask others, and they help; or
> (c) You don’t get done what you want to get done.
> 
> If you want *me* to help, you’ll need to scale back on the "Lilypond is
> ridiculous" tone that pervades every post I’ve seen you submit to the
> list.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
> ___
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> lilypond-user@

> https://lists.gnu.org/mailman/listinfo/lilypond-user

I will work on my language and words as best as possible. I will try and be
better so I can obtain some help from others here. I see my word bizarre
gave you an incorrect understanding of my intention and beyond that it all
was lost so nothing I can do now but sorry. Have a good evening. Thank you
for writing your solution to Andrew's first post problem. 



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Re: Selectively remove some staves consisting only of rests

[Reggie]

David Kastrup wrote
> Please work on your quoting.  It's rather hard to figure out who said
> what.
> 
> Reggie <

> reegistoop@

> > writes:
>>
>>> Lilypond is so bizarre sometimes with things.
>>
>> A totally useless and inflammatory comment.
>>
>> * Respect, but there are many things in Lilypond code that is bizarre
>> and confusing. Even those who work on the code have said in the past
>> posts that certain areas of the program are in need.
> 
> "In need of improvement" and "bizarre" are not quite the same thing.
> 
>> It comes up every now and again.
> 
>> You think that 100% of Lilypond makes total logical sense "under the
>> hood" and also in the user's viewpoint?
> 
> Nice straw man but "A totally useless and inflammatory comment" does not
> state anything at all like that.
> 
>> Surely that's hyperbolic as you say. :)
> 
>> But ok.
> 
> Ok, I take back the straw man.  Considering how you are milking it, it's
> more like a straw cow.
> 
> -- 
> David Kastrup
> 
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Sorry David I will work on quoting :) Straw cow was a good call. I withdraw.

So, again. Kieren knows the solution. He hides these staves selective it
"all the time" in his scores. But he has not helped Andrew yet. Why? Why has
nobody offered this "solution" if it's common knowledge to all who know the
manual line by line? The problem remains and there is no real help that I
see yet other than stating "I can do it. It's possible".

I do take back my original claim. I should have said it the way I did the
second time so apologies. :))



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Re: Selectively remove some staves consisting only of rests

[Reggie]

Hi Reggie,

> I would also want to know how to do this basic layout setting which all
> other notation Programs have done since the dawning of time.

That claim seems hyperbolic, and almost certainly not true. (If I recall
correctly, NoteWriter v1 didn’t have any such ability.) In any case, saying
such a thing is totally unnecessary and ultimately unhelpful; it might be
best to avoid adding that kind of commentary in future posts.

* Ok. I should have said differently. 

> You shouldn't have to sacrifice the entire score hiding staves for this

You don’t have to; I select staves and have them appear and disappear as
desired all the time.

* Then why can't Andrew? Why did he post in the first place? Why is a hack
the only answer solution?

> Lilypond is so bizarre sometimes with things.

A totally useless and inflammatory comment.

* Respect, but there are many things in Lilypond code that is bizarre and
confusing. Even those who work on the code have said in the past posts that
certain areas of the program are in need. It comes up every now and again.
You think that 100% of Lilypond makes total logical sense "under the hood"
and also in the user's viewpoint? Surely that's hyperbolic as you say. :)
But ok.

> Why is it not easy to select staves to hide and they hide?

It is easy. You just don’t know how to do it.

* Andrew does not know how to do it either. So now what? 






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Re: Selectively remove some staves consisting only of rests

[Reggie]

Andrew Bernard wrote
> I want to remove some staves containing only rests and yet retain others
> in
> my quartet score. [When there is a long solo I want the other parts
> suppressed, but when just one instrument is at rest I want the empty staff
> to show in the set of four].
> 
> The keepAliveInterface must have something to do with it but my attempts
> lead nowhere. Here's an MWE where if somebody could show how to suppress
> one staff with rests but show the other this would set me on the path to
> enlightenment.
> 
> Andrew
> 
> %
> \version "2.19.82"
> 
> violinOne = {
>   \override Staff.VerticalAxisGroup.remove-first = ##t
>   \set Staff.keepAliveInterfaces = #'()
>   \repeat unfold 8 { c''4 }
>   \break
>   \unset Staff.keepAliveInterfaces
> 
>   \repeat unfold 8 { r4 }
>   \break
>   \repeat unfold 8 { c''4 }
>   \break
>   % how can I show this line of rests?
>   \repeat unfold 8 { s4 }
>   \bar "."
> }
> 
> violinTwo = {
>   \repeat unfold 8 { c'4 }
>   \break
>   \repeat unfold 8 { c'4 }
>   \break
>   \repeat unfold 8 { c'4 }
>   \break
>   \repeat unfold 8 { c'4 }
> }
> 
> \score {
>   <<
> \new Staff {
>   \violinOne
> }
> \new Staff {
>   \violinTwo
> }
>   >>
>   \layout {
> \context {
>   \Staff
>   \RemoveEmptyStaves
> }
>   }
> }
> 
> %
> 
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I would also want to know how to do this basic layout setting which all
other notation Programs have done since the dawning of time. Select staves,
hide, nothing else effected by it. Select the staves you desire to hide and
they hide. You shouldn't have to sacrifice the entire score hiding staves
for this. Lilypond is so bizarre sometimes with things. Why is it not easy
to select staves to hide and they hide? Why do you need a complete score
hiding only? This really should be fixed.

Please Andrew email and share if you ever solve this thank you



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Re: How do you add this staff group bracket?

[Reggie]

Aaron Hill wrote
> On 2019-01-26 6:08 am, Reggie wrote:
>> Hi. I tried to look here and attempt adding delimiter code but no 
>> matter what
>> I do I cannot show a brace or bracket or anything to put my two oboes
>> together for the duration of the 2 staves on a few pages. Then it 
>> should go
>> back to normal grouping in code. Can you please tell me how I am wrong? 
>> How
>> can I have a brace grouping for my oboes but then go back to normal 
>> right
>> after the end of the two?
>> 
>> [ . . . ]
>> 
>> \score {
>>   <<
>> \new StaffGroup <<
>>   \scoreAFluteIPart
>>   \scoreAFluteIIPart
>>   \scoreAOboePart
>>   \scoreABassoonPart
>> >>
>> \new StaffGroup <<
>>   \scoreATrumpetCPart
>>   \scoreATrombonePart
>> >>
>> \new StaffGroup <<
>>   \scoreAViolinIPart
>>   \scoreAViolinIIPart
>>   \scoreAViolaPart
>>   \scoreACelloPart
>>   \scoreAContrabassPart
>> >>
>>   >>
>>   \layout { }
>> }
> 
> I believe you need to put \scoreAOboePart in its own nested StaffGroup:
> 
> 
> \new StaffGroup <<
>\scoreAFluteIPart
>\scoreAFluteIIPart
>\new StaffGroup << \scoreAOboePart >>
>\scoreABassoonPart
>>> 
> 
> 
> That should show a bracket only when the secondary oboe part appears, 
> otherwise the bracket for that group will be hidden when there is just 
> the one staff.
> 
> -- Aaron Hill
> 
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Aaron how can I place an instrument name like Oboes in the middle of the
staffgroup you just helped me create in my score? I tried including the
engraver but the name only appears at the beginning of the SCORE, not only
at the two oboe staffs. Can you tell me how to put a center instrument there
in group please?



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Re: How do you add this staff group bracket?

[Reggie]

One more question. I wonder if Lily can do this :)))

Think about this
\new StaffGroup
\relative c'' <<
  \set StaffGroup.systemStartDelimiterHierarchy
= #'(SystemStartSquare (SystemStartBrace (SystemStartBracket a
 (SystemStartSquare b)  ) c ) d)
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
  \new Staff { c1 }
>>

Is it possible to manually "override" OR set a staffgroup nest for just the
pages where there are the two oboes? As my example, what if I wanted to
group the flutes in one group, oboes and basson in group, brass in group,
and strings in group. But ONLY for a select number of pages. How can you do
this in Lily? I know you can complex delimit and create groups powerful but
I can't understand it.

tldr is there any way in Lily to manually force certain staffgroupings for a
SELECT group of pages, like where two oboes exist, then the rest is left
alone as it was?




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Re: How do you add this staff group bracket?

[Reggie]

Aaron Hill wrote
> On 2019-01-26 6:08 am, Reggie wrote:
>> Hi. I tried to look here and attempt adding delimiter code but no 
>> matter what
>> I do I cannot show a brace or bracket or anything to put my two oboes
>> together for the duration of the 2 staves on a few pages. Then it 
>> should go
>> back to normal grouping in code. Can you please tell me how I am wrong? 
>> How
>> can I have a brace grouping for my oboes but then go back to normal 
>> right
>> after the end of the two?
>> 
>> [ . . . ]
>> 
>> \score {
>>   <<
>> \new StaffGroup <<
>>   \scoreAFluteIPart
>>   \scoreAFluteIIPart
>>   \scoreAOboePart
>>   \scoreABassoonPart
>> >>
>> \new StaffGroup <<
>>   \scoreATrumpetCPart
>>   \scoreATrombonePart
>> >>
>> \new StaffGroup <<
>>   \scoreAViolinIPart
>>   \scoreAViolinIIPart
>>   \scoreAViolaPart
>>   \scoreACelloPart
>>   \scoreAContrabassPart
>> >>
>>   >>
>>   \layout { }
>> }
> 
> I believe you need to put \scoreAOboePart in its own nested StaffGroup:
> 
> 
> \new StaffGroup <<
>\scoreAFluteIPart
>\scoreAFluteIIPart
>\new StaffGroup << \scoreAOboePart >>
>\scoreABassoonPart
>>> 
> 
> 
> That should show a bracket only when the secondary oboe part appears, 
> otherwise the bracket for that group will be hidden when there is just 
> the one staff.
> 
> -- Aaron Hill
> 
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Aaron that works totally perfect wow thank you genius. So that means I can
change the nested oboe group to add a brace or square instead right? Right
inside the SCORE area where you << >> my new group? This is so great. I love
lilypond so much it is so perfect.



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How do you add this staff group bracket?

[Reggie]

Hi. I tried to look here and attempt adding delimiter code but no matter what
I do I cannot show a brace or bracket or anything to put my two oboes
together for the duration of the 2 staves on a few pages. Then it should go
back to normal grouping in code. Can you please tell me how I am wrong? How
can I have a brace grouping for my oboes but then go back to normal right
after the end of the two?
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-staves#grouping-staves

Here is my code it compiles sorry I didn't make it only 3 lines long. Thank
you for helping.
how_to_brace.png
  

\version "2.19.82"
\language "english"

#(set-global-staff-size 20)

global = {

}

scoreAFluteI = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 100 {c1}
}

scoreAFluteII = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 100 {c1}
}

scoreAOboe = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 20 {c1}
  <<

\new Staff \with {
  alignAboveContext = #"mainoboe"
  shortInstrumentName = "Solo Ob."
} { \break fs fs1 f f f f f f f f f f f f \break }  {

  \repeat unfold 50 {f,16 e d8 r f16 e d8  e f16 g a8 }
}
  >>


}

scoreABassoon = \relative c {
  \global
  % Music follows here.
  \repeat unfold 100 {c1}
}

scoreATrumpetC = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 100 {c1}
}

scoreATrombone = \relative c {
  \global
  % Music follows here.
  \repeat unfold 100 {c1}
}

scoreAViolinI = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 50 {c2(:32 ef2):32 }
}

scoreAViolinII = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 50 {c2(:32 ef2):32 }
}

scoreAViola = \relative c' {
  \global
  % Music follows here.
  \repeat unfold 50 {c2(:32 ef2):32 }
}

scoreACello = \relative c {
  \global
  % Music follows here.
  \repeat unfold 50 {c2(:32 ef2):32 }
}

scoreAContrabass = \relative c {
  \global
  % Music follows here.
  \repeat unfold 50 {c2(:32 ef2):32 }
}

scoreAFluteIPart = \new Staff \with {
  instrumentName = "Flute I"
  shortInstrumentName = "Fl. I"
} \scoreAFluteI

scoreAFluteIIPart = \new Staff \with {
  instrumentName = "Flute II"
  shortInstrumentName = "Fl. II"
} \scoreAFluteII

scoreAOboePart = \new Staff = "mainoboe" \with {
  instrumentName = "Oboe"
  shortInstrumentName = "Ob."
} \scoreAOboe

scoreABassoonPart = \new Staff \with {
  instrumentName = "Bassoon"
  shortInstrumentName = "Bn."
} { \clef bass \scoreABassoon }

scoreATrumpetCPart = \new Staff \with {
  instrumentName = "Trumpet in C"
  shortInstrumentName = "Tr.C."
} \scoreATrumpetC

scoreATrombonePart = \new Staff \with {
  instrumentName = "Trombone"
  shortInstrumentName = "Trb."
} { \clef bass \scoreATrombone }

scoreAViolinIPart = \new Staff \with {
  instrumentName = "Violin I"
  shortInstrumentName = "Vl. I"
} \scoreAViolinI

scoreAViolinIIPart = \new Staff \with {
  instrumentName = "Violin II"
  shortInstrumentName = "Vl. II"
} \scoreAViolinII

scoreAViolaPart = \new Staff \with {
  instrumentName = "Viola"
  shortInstrumentName = "Vla."
} { \clef alto \scoreAViola }

scoreACelloPart = \new Staff \with {
  instrumentName = "Cello"
  shortInstrumentName = "Cl."
} { \clef bass \scoreACello }

scoreAContrabassPart = \new Staff \with {
  instrumentName = "Contrabass"
  shortInstrumentName = "Cb."
} { \clef bass \scoreAContrabass }

\score {
  <<
\new StaffGroup <<
  \scoreAFluteIPart
  \scoreAFluteIIPart
  \scoreAOboePart
  \scoreABassoonPart
>>
\new StaffGroup <<
  \scoreATrumpetCPart
  \scoreATrombonePart
>>
\new StaffGroup <<
  \scoreAViolinIPart
  \scoreAViolinIIPart
  \scoreAViolaPart
  \scoreACelloPart
  \scoreAContrabassPart
>>
  >>
  \layout { }
}

\paper {
  right-margin = 7\mm
  left-margin = 21\mm

}



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Re: Clef moves notes why??

[Reggie]

Aaron Hill wrote
> On 2019-01-24 1:20 pm, Reggie wrote:
>> David Kastrup wrote
>>> Reggie wrote:
>>>> \override Staff.Clef.stencil = ##t
>>> ^^
>>> what is that even supposed to be/do?
>> 
>> David I do think it's quite obvious what I wass trying. [ . . . ]
> 
> The question was directed specifically at the statement David 
> underlined.  What is your intention for setting a stencil to true?  What 
> are you expecting LilyPond to do in response?
> 
> Normally, a stencil must be an actual stencil (viz. ly:stencil?).  You 
> may set it to false as a way to mean "no stencil", but there is to my 
> knowledge no defined behavior for the other Boolean.
> 
> 
> -- Aaron Hill
> 
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I placed the code literally from the documentation. IE \override
Score.BarLine.stencil = ##f and just tried to be smart and not stupid so I
used \override Staff.Clef.stencil = ##f and if you look at my actual image
PNG it looks output correct. So I thought I was right to do it. What I want
is quite obvious from the PNG if my code was not "perfect" valid. Could you
please correct my stencil code to achieve the same output PNG please?

http://lilypond.org/doc/v2.19/Documentation/notation/visibility-of-objects#removing-the-stencil




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Re: Clef moves notes why??

[Reggie]

David Wright wrote
> On Thu 24 Jan 2019 at 13:22:53 (-0700), Reggie wrote:
>> Good evening. I am attempting a worksheet of sorts and would like to hide
>> a
>> staff for a little while then bring it back with the clef on the right
>> side
>> of the barline.
> 
> There's your mistake. You need to put the clef on the left of the
> barline, either with a ragged stave or an extra measure to contain it.

Need to? But what If I wish to have the clef on the right side of the
barline but have the notes on the other staff be lined up as if I DID put
clef to the left of the barline? Say I want, is this possible? Thank you
you!! :))




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Re: Clef moves notes why??

[Reggie]

David Kastrup wrote
> Reggie <

> reegistoop@

> > writes:
> 
>> Good evening. I am attempting a worksheet of sorts and would like to hide
>> a
>> staff for a little while then bring it back with the clef on the right
>> side
>> of the barline. I have the result I want, I wish to know why it's ruining
>> my
>> other staff? So much extra space at the beginning of the other staff see
>> it?
>> Why? Why can't the code just move the clef and leave everything else
>> alone??
>>
>> I believe the me using of this code is correct but again I feel stupid.
>> As the why.
>>
>> cut.png <http://lilypond.1069038.n5.nabble.com/file/t5625/cut.png>;  
>>
>> \unHideNotes \startStaff
>> \override Score.BreakAlignment.break-align-orders =
>> #(make-vector 3 '(left-edge
>>   cue-end-clef
>>   ambitus
>>   breathing-sign
>>   time-signature
>>   staff-bar
>>   clef
>>   cue-clef
>>   key-cancellation
>>   key-signature
>>   custos))
>>
>> \override Staff.Clef.stencil = ##t  \clef treble g2 etc.
>   ^^ what is that even supposed to
> be/do?
> 
> -- 
> David Kastrup
> 
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David I do think it's quite obvious what I wass trying. Please look at my
image it's clear I was attempting a worksheet cutaway idea and I think I did
pretty good. Can you please tell me why the clef move is bothering other
staves and also how I can fix this with my code? Thanks David. This was an
example of a larger worksheet I am doing I just put this together for
example on the mailing list.

i_tried.png <http://lilypond.1069038.n5.nabble.com/file/t5625/i_tried.png>  

\version "2.19.82"

<<
  \new Staff {
\repeat unfold 100 { c'4 }
  }

  \new Staff {

\repeat unfold 20 { g'2 }
\override Staff.Clef.stencil = ##f
g'1
\stopStaff
s1*4
\once \override Score.BreakAlignment.break-align-orders =
#(make-vector 3 '(
   staff-bar
   clef
   cue-clef
   ))
\unHideNotes \startStaff
\override Staff.Clef.stencil = ##t  \clef treble
\repeat unfold 20 { e'2 }
  }
>>




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Clef moves notes why??

[Reggie]

Good evening. I am attempting a worksheet of sorts and would like to hide a
staff for a little while then bring it back with the clef on the right side
of the barline. I have the result I want, I wish to know why it's ruining my
other staff? So much extra space at the beginning of the other staff see it?
Why? Why can't the code just move the clef and leave everything else alone??

I believe the me using of this code is correct but again I feel stupid.
As the why.

cut.png   

\unHideNotes \startStaff
\override Score.BreakAlignment.break-align-orders =
#(make-vector 3 '(left-edge
  cue-end-clef
  ambitus
  breathing-sign
  time-signature
  staff-bar
  clef
  cue-clef
  key-cancellation
  key-signature
  custos))

\override Staff.Clef.stencil = ##t  \clef treble g2 etc.



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Re: Title Position Off

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> Nothing is above my title. I have a normal Piece of music. I
>> would like to have my title move UP vertically only but not move my 
>> music
>> at all. The top system and beyond is just fine.
> 
> Then you need to decrease top-markup-spacing (to reduce the gap between
> the top margin and your title) and compensate by increasing
> markup-system-spacing (so that the first system stays where it currently
> is).
> 
> Still no need to involve custom titles.  =)
> 
> Hope that helps!
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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For your information, top-system-spacing has zero effect on my Score. I have
my margins set all to a basic .75\in and this top-system-spacing has no
visible change. Why is this? What causes top-system-spacing to not show any
change? How should I be a detective and solve this? :))




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Re: Title Position Off

[Reggie]

Aaron Hill wrote
> A side commentary, if you would not mind.  You have posted a few times 
> asking for features that seem to show a focus on WYSIWYG-style 
> activities.  You are probably used to using tools that let you click and 
> drag items around on a virtual paper, placing things wherever you see 
> fit.  This is very un-LilyPond, which is almost certainly why you are 
> experiencing frustration.  To use LilyPond is to learn and adopt a new 
> way of thinking about music engraving.
> 
> Arbitrary positioning of items is not something typically done in 
> LilyPond, although there are some ways to facilitate the task.  Since 
> this is not the "normal" (as LilyPond defines it) way of doing things, 
> it must be expected that you as the user will have to do the lifting, 
> however heavy it may be.
> 
> My point here is that you may stand your best chance at success by 
> taking a step back from the work you are doing and reconsider your 
> approach.  If I looked at my music and said, "I think the title is too 
> far down on the paper", my experience tells me that the solution is to 
> change the spacing between the top of the paper and the header block.  
> The \paper block has top-margin and top-markup-spacing to adjust for 
> this.
> 
> -- Aaron Hill

I don't mind no that was really actually helpful to hear you say thank you
yes I believe you are correct. My eyes are open now. Sorry. Is there a way
to only adjust the first page top-margin or must I do what Kieren suggested
which is "" then you need to decrease top-markup-spacing (to reduce the gap
between the top margin and your title) and compensate by increasing
markup-system-spacing (so that the first system stays where it currently
is).
 ""

Sorry thank you.




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Re: Title Position Off

[Reggie]

Karlin High wrote
> On 1/21/2019 5:02 PM, Reggie wrote:
>> I literally want just move up the TITLE and not touch anything
>> else.
> 
> Could you attach an image or PDF showing the form of your current 
> layout? I'm curious about what is currently above the title.
> -- 
> Karlin High
> Missouri, USA
> 
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You confuse me. Nothing is above my title. I have a normal Piece of music. I
would like to have my title move UP vertically only but not move my  music
at all. The top system and beyond is just fine.

His raise markup answer does not do that sorry but it's wrong. It moves
music as well somehow. Why can't you just show me in the manual where it
teaches us how to move title TEXT only up or down? No commands I found does
exactly that. You?





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Re: Title Position Off

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> How is it possible to simply? move a title of a piece vertical up?
> 
> %%%  SNIPPET BEGINS
> \version "2.19.80"
> 
> \bookpart {
>   \header {
> title = \markup "My Default Title"
>   }
>   \score {
> c''1
>   }
> }
> \bookpart {
>   \header {
> title = \markup \raise #15 "My Higher Title"
>   }
>   \score {
> c''1
>   }
> }%
> %%  SNIPPET ENDS
> 
>> Why is this not possible without custom headers
> 
> It is!  =)
> 
>> it's too complicated
> 
> Really?  ;)
> 
> Hope this helps,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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I kindly ask you to show me anywhere in the Manual that states that is how
to raise the Title of your Piece please? I coule not locate it anywhere. I
thought markup was markup and title was title. Is everything markup?? :))



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Re: Title Position Off

[Reggie]

And actually you are incorrect that command pushes all systems down in my
Piece so I literally want just move up the TITLE and not touch anything
else. This is not possible I can't see it yet. Sorry but no. Your raise does
not only move title it bothers my music.



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Title Position Off

[Reggie]

How is it possible to simply? move a title of a piece vertical up? Without
moving the systems below first or any systems? I don't want to mess up
markup-system-spacing.minimum-distance or
markup-system-spacing.basic-distance or so on. Just move a title up Y offset
something amount without effecting anything else. Why is this not possible
without custom headers it's too complicated :( Can you help me solve this
thank you!!



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Re: System spacing for Certain

[Reggie]

Aaron Hill wrote
> On 2019-01-16 5:24 pm, Reggie wrote:
>> First, are you saying that every time I want to manually adjust one 
>> staff in
>> a system in one instance I must create a new voice just to hack this? 
>> Like
>> you did? What about my original code itself used?
> 
> You do not need the extra voice.  I did that simply because the advice 
> in the notation reference is sound to follow.  One should try to keep 
> matters of presentation (such as spacing) completely separate from the 
> musical content.  It can muddy a score to have things like that messy 
> \overrideProperty stuck in the middle of notes.  Additionally, it makes 
> it much harder to reuse musical content in different contexts without 
> resorting to tags.
> 
> That all said, you can easily apply the \verticalSpacer to a musical 
> note in your staff rather than on a spacer in a separate voice.
> 
>> Second, you mention that
>> it's relative from PRIOR staff right? What if I want to move the top 
>> staff
>> of a system up or down only for example as such?
> 
> Technically, alignment-distances specifies the values *between* the 
> staves, so it doesn't affect space before the first or after the last.  
> In that case, you'd probably have to use something like extra-offset to 
> shift the entire system upwards or downwards, which is basically what 
> shifting the first staff would mean.
> 
> If we're talking about the placeholder markup, simply use 
> ^\verticalSpacer so the markup appears above the staff in question.  
> This would work on a first staff of a system and force it to appear 
> further down on the paper.
> 
> 
> -- Aaron Hill
> 
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Thank you Aaron. However I also meant asking about the top staff of a system
moving UP as well. So imagine you want to bump up a top staff of a system
without moving other staffs in system. How so accomplish?




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Re: System spacing for Certain

[Reggie]

Aaron Hill wrote
> On 2019-01-16 2:04 pm, Reggie wrote:
>> Please can you help me? I cannot move just ONE staff in a system, it's
>> moving THE system as a unit which is wrong. I am so sad. What did I 
>> break?
>> How difficult is it to just move ONE staff without moving anything else 
>> in
>> the score pages? I just want to learn how to adjust the middle staff 
>> not
>> system as example here.
> 
> Wow... no wonder you're having trouble.  I just tried to work through 
> the relevant section of the documentation [1] and found that it largely 
> does not work as stated.  Well, to be more specific, I could get some 
> partial results using 2.18.2 via lilybin.com, however my local copy of 
> 2.19.82 fails to render the examples as documented.  There are 
> definitely some bugs here that need to be addressed, but let us move 
> that discussion to another thread.
> 
> [1]: 
> http://lilypond.org/doc/v2.19/Documentation/notation/explicit-staff-and-system-positioning
> 
> Getting back to your issue at hand, there are some options.  Firstly, 
> the property (and only property) you want to control is 
> alignment-distances.  That one appears to be the only one that can 
> reliably apply to an individual staff within a system.  Consider the 
> following:
> 
> 
> \version "2.19.82"
> \layout { indent = 0 }
> <<
>\new Staff \repeat unfold 6 b'1
>\new Lyrics \repeat unfold 3 \lyricmode
>  { Lo4 -- rem ip -- sum do8 -- lor sit a -- met2 }
> 
>\new Staff <<
>  \new Voice {
>s1*2 \break
>\overrideProperty 
> Score.NonMusicalPaperColumn.line-break-system-details
>  #'((alignment-distances . (5 15)))
>s1*2 \break
>s1*2 \break
>  }
> 
>  \new Voice \repeat unfold 24 b'4
>>>
> 
>\new Staff \repeat unfold 12 b'2
>>> 
> 
> 
> This example will look odd but it is to show a critical point.  When 
> setting the alignment-distances, you must be careful with the values you 
> use.  Too small of a value will result in overlapping as can be seen.  
> It is important to note that non-staff lines such as lyrics do not count 
> here.  The distance you are specifying is relative to the prior staff.
> 
> Because of that, I would consider the approach above rather fragile.  It 
> may end up working for you, but be aware that it will take continued 
> maintenance when other aspects of the music change.  As such, here is 
> another option to consider:
> 
> 
> \version "2.19.82"
> \layout { indent = 0 }
> verticalSpacer = -\markup \with-color #red \draw-line #'(0 . 8)
> <<
>\new Staff \repeat unfold 6 b'1
>\new Lyrics \repeat unfold 3 \lyricmode
>  { Lo4 -- rem ip -- sum do8 -- lor sit a -- met2 }
> 
>\new Staff <<
>  \new Voice {
>s1*2 \break
>s1*2_\verticalSpacer \break
>s1*2 \break
>  }
> 
>  \new Voice \repeat unfold 24 b'4
>>>
> 
>\new Staff \repeat unfold 12 b'2
>>> 
> 
> 
> All we are doing here is using some dummy markup to create a placeholder 
> object to force LilyPond to space things how we want.  Note that I 
> colored the object red so it would be more clear where the placeholder 
> object is.  This would be a good idea while you are working on the 
> piece, but for the final version you would replace "\with-color #red" 
> with "\transparent".
> 
> The advantage of a placeholder is that all of the elements of the score 
> still remain relative to each other.  Should changes to the music cause 
> it to reflow, you have less work to do to maintain desired spacing.  I 
> also think this technique gives you more control.
> 
> 
> -- Aaron Hill
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> 
> 
> spacing.ex1.png (107K)
> <http://lilypond.1069038.n5.nabble.com/attachment/218899/0/spacing.ex1.png>;
> spacing.ex2.png (109K)
> <http://lilypond.1069038.n5.nabble.com/attachment/218899/1/spacing.ex2.png>;

Thank you for seeing what I mean. I felt so stupid reading it like I was
crazy. I understand your idea about the redline markup however I have few
questions please.

First, are you saying that every time I want to manually adjust one staff in
a system in one instance I must create a new voice just to hack this? Like
you did? What about my original code itself used? Second, you mention that
it's relative from PRIOR staff right? What if I want to move the top staff
of a system up or down only for example as such? 



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Re: System spacing for Certain

[Reggie]

Andrew Bernard wrote
> Hi Reggie,
> 
> If I understand you aright, you want explicit positioning of a system.
> This
> is in the NR at Section 4.4.2 Explicit staff an system positions.
> (2.19.82).
> 
> Andrew
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Please can you help me? I cannot move just ONE staff in a system, it's
moving THE system as a unit which is wrong. I am so sad. What did I break?
How difficult is it to just move ONE staff without moving anything else in
the score pages? I just want to learn how to adjust the middle staff not
system as example here.

\version "2.19.82"
<<
  \relative c'
  \new Staff  { \repeat unfold 25 { c1 } e e e e e e e e e e e e e  }
  \relative c'
  \new Staff \with {
\override VerticalAxisGroup.staff-staff-spacing.basic-distance = 20
  }
  {
\repeat unfold 10 { c1 } c

\break
\overrideProperty Score.NonMusicalPaperColumn.line-break-system-details
#'((extra-offset . (0 . 10)))

c c c c c c c c c c c c \break c  c c c c c c c
  }
  \relative c'
  \new Staff  { \repeat unfold 25 { c1 } c c c c c c c c c c c c c }
>>
% so on




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Re: System spacing for Certain

[Reggie]

Andrew Bernard wrote
> Hi Reggie,
> 
> If I understand you aright, you want explicit positioning of a system.
> This
> is in the NR at Section 4.4.2 Explicit staff an system positions.
> (2.19.82).
> 
> Andrew
> 
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Yes but the problem is nothing works. I've tried all choices. No breaks.
Nothing works. I cannot move according to my image attached earlier. Why is
this so frustrating. The documentation I wish was more direct in stating how
to move a single system = one statement. Too much overload I am sorry.
Thanks for helping.

\overrideProperty NonMusicalPaperColumn.line-break-system-details
  #'((X-offset . 20))

\overrideProperty NonMusicalPaperColumn.line-break-system-details
  #'((Y-offset . 40))

\overrideProperty NonMusicalPaperColumn.line-break-system-details
  #'((X-offset . 20)
 (Y-offset . 40))

\overrideProperty NonMusicalPaperColumn.line-break-system-details
  #'((alignment-distances . (15)))

\overrideProperty NonMusicalPaperColumn.line-break-system-details
  #'((X-offset . 20)
 (Y-offset . 40)
 (alignment-distances . (15)))



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Re: System spacing for Certain

[Reggie]

Karlin High wrote
> On 1/15/2019 10:46 AM, Reggie wrote:
>> How can LilyPond allow me to adjust various spacing between systems in a
>> piece without causing movement to any others
> 
> The Joram Berger LilyPond spacing map often clarifies things for me:
> <http://joramberger.de/files/LilypondSpacing.pdf>;
> -- 
> Karlin High
> Missouri, USA
> 
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Right. But it doesn't with my problem presented here. So I asked. I don't
want any changes in all but only the one system involved in specific
mentioned. How is that code inserted inline as I need it?




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System spacing for Certain

[Reggie]

How can LilyPond allow me to adjust various spacing between systems in a
piece without causing movement to any others since I already created staves
correctly using override in with command? I am not undertanding. Somewhere
in all my c's?

\version "2.19.82"
<<
  \relative c'
  \new Staff  { \repeat unfold 25 { c1 } e e e e e e e e e e e e e  }
  \relative c'
  \new Staff \with {
\override VerticalAxisGroup.staff-staff-spacing.basic-distance = 20
  }
  { \repeat unfold 25 { c1 } c c c c c c c c c c c c c }
  \relative c'
  \new Staff  { \repeat unfold 25 { c1 } c c c c c c c c c c c c c }
>>

% so on

filehelp.png   



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Re: Aleatoric Elements with barlines

[Reggie]

Aaron Hill wrote
> On 2019-01-07 7:55 am, Reggie wrote:
>> Hi Aaron thank you for that help. I don't like to use indepedant meters
>> however since this section I believe should be cadenza for easy input.
>> However, I add spacer rests like you said but it makes everything way 
>> wrong
>> too many repeats and breaks everything. I don't see what you mean to 
>> add.
>> Can you give one example of a pairing of spacer and r1* to move one 
>> repeat
>> barline successfully? Many thanks. My error image.  error.png
> 
> The article I linked covers more than just meter, specifically it covers 
> how to have independent bar lines.  You need to follow it to ensure that 
> your bar lines do not "bleed" into the other staves.
> 
> See the following:
> 
> 
> \version "2.19.82"
> 
> \paper { ragged-right = ##f }
> \layout {
>\context { \Score
>  \remove "Timing_translator"
>  \remove "Default_bar_line_engraver"
>}
>\context { \Staff
>  \consists "Timing_translator"
>  \consists "Default_bar_line_engraver"
>}
> }
> 
> << \new Staff \relative c'' {
>\cadenzaOn
>r1*5/4\fermata \bar ".|:"
>< d e f >1\> r1\!\fermata \bar ":|."
>s1*3/4 \bar "||"
> }
> \new Staff \relative c'' {
>\cadenzaOn
>r1\fermata \bar ".|:"
>< d e f >1\> r1\!\fermata \bar ":|."
>s1 \bar "||"
> }
> \new Staff \relative c'' {
>\cadenzaOn
>r1*3/4\fermata \bar ".|:"
>< d e f >1\> r1\!\fermata \bar ":|."
>s1*5/4 \bar "||"
> } >>
> 
> 
> Regarding the spacer rests (or actual rests if you wanted them to be 
> printed), the beginning and ending rests must add up to the same total 
> across all staves.  So, for the above example, we need the rests to be 
> equivalent to two full measures.  In the first staff, scaling the 
> leading rest by 5/4 requires a corresponding scaling of the final 
> spacing rest to 3/4.  The middle staff is trivial, and the final staff 
> is just the opposite of the first.
> 
> -- Aaron Hill
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> 
> 
> aleatoric.cropped.png (43K)
> <http://lilypond.1069038.n5.nabble.com/attachment/218568/0/aleatoric.cropped.png>;

Aaron you are a great teacher thank you. Just a couple few more questions
please. First how did you know that it had to equal 2 full measures? I did
not see how you arrived. Second please tell me is there any negative effect
of moving the barline from score to staff I didn't want to do that on a
global scale because this alignment is just one small section of a "normal"
composition, but if it's safe? Then ok. Any caveats with moving to staff?
Thank you. I don't understand the math of 2 full bars.



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Re: Aleatoric Elements with barlines

[Reggie]

Aaron Hill wrote
> On 2019-01-07 6:04 am, Reggie wrote:
>> Please can someone show me in Lilypond how possibly can you adjust or 
>> change
>> the space before the first repeats in order to acheive the attached 
>> image? I
>> don't know if you move padding or add hidden to padding but I'm 
>> confused.
>> Thank you. My best effort
>> 
>> [ . . . ]
> 
> Since you are going to have bar lines that do not line up, you need to 
> follow the advice in this post[1] by Urs.
> 
> Otherwise, it should be easy enough to change the relative duration of 
> the leading rests using the scaling operator.  That is, "r1*2" or 
> "r1*1/2".  You will need to have a corresponding spacer rest (with 
> appropriate scaling) on each staff to compensate for the variable 
> lengths at the start so that the final bar lines will line up.
> 
> [1]: http://lilypondblog.org/2014/05/independent-meters/
> 
> -- Aaron Hill
> 
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Hi Aaron thank you for that help. I don't like to use indepedant meters
however since this section I believe should be cadenza for easy input.
However, I add spacer rests like you said but it makes everything way wrong
too many repeats and breaks everything. I don't see what you mean to add.
Can you give one example of a pairing of spacer and r1* to move one repeat
barline successfully? Many thanks. My error image.  error.png
<http://lilypond.1069038.n5.nabble.com/file/t5625/error.png>  



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Aleatoric Elements with barlines

[Reggie]

Please can someone show me in Lilypond how possibly can you adjust or change
the space before the first repeats in order to acheive the attached image? I
don't know if you move padding or add hidden to padding but I'm confused.
Thank you. My best effort

\version "2.19.82"

<<
  \new Staff
  \relative c' {
\cadenzaOn
r1\fermata
\bar ".|:"
< d' e f >1\>
r1\!\fermata
\bar ":|."
s1 \bar "||"



  }


  \new Staff
  \relative c' {
\cadenzaOn
r1\fermata
\bar ".|:"
< d' e f >1\>
r1\!\fermata
\bar ":|."
s1 \bar "||"


  }

  \new Staff
  \relative c' {
\cadenzaOn
r1\fermata
\bar ".|:"
< d' e f >1\>
r1\!\fermata
\bar ":|."
s1 \bar "||"

  }


  \new Staff
  \relative c' {
\cadenzaOn
r1\fermata
\bar ".|:"
< d' e f >1\>
r1\!\fermata
\bar ":|."
s1 \bar "||"


  }
>>

\paper {

  ragged-right = ##f
}

my_example.jpg
  



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Re: How to auto print empty measures?

[Reggie]

Aaron Hill wrote
> On 2018-12-28 3:45 pm, Reggie wrote:
>> Again you don't understand the first post. He wants a finale sibelius 
>> pre
>> engraving blank bar layout. I am aware of all your code aaron but 
>> thanks
>> though :)) not neccsarry
> 
> I am very aware of what OP is talking about, and what you describe is 
> not it.
> 
> OP desires that LilyPond automatically extend staves to match the length 
> of another longer staff.  That is, one may have a series of instruments 
> of varying lengths of music, but one desires that all of them terminate 
> at the same moment, even if that means adding in space.
> 
> All a user needs to do is manually insert the desired amount of space on 
> lines that are too short.  As I showed, this can be done in a way that 
> does not require one to care how much or how little music each staff 
> has.
> 
> 
> -- Aaron Hill
> 
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loll it's literally in the OP title of thread auto print empty just like
finale and sebelius do when you begin engraving a piece of music. :)) you'll
see what i am meaning when all is done



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Re: How to auto print empty measures?

[Reggie]

Aaron Hill wrote
> On 2018-12-28 2:01 pm, Reggie wrote:
>> Kieren and David I think you don't understand I believe the poster 
>> wanted to
>> see blank music ahead of engraving like the other program software 
>> does. Not
>> simple to just hide and unfold that's not quite the same thing.
> 
> LilyPond prints precisely as much music as you provide.  If you only 
> input a few notes, then that is all you will (and should) get.
> 
> If you require additional empty space, simply use the spacer rest.  For 
> instance, "s1*10" will result in the space equivalent to ten whole 
> notes.
> 
> You can use simultaneous music to make this process very clear.  
> Consider:
> 
> 
><< \new Staff \repeat unfold 4 \relative c' { c4 d e f | g a b c }
>   \new Staff << \relative c' { c8 d e f g } \\ { s1*8 } >> >>
> 
> 
> Here we have a second staff with only five quavers for the time being, 
> and we would like the staff to extend as long as the eight measures 
> above.  The << \\ >> construct makes it easy to independently specify 
> the notes for display as well as the desired overall duration.
> 
> 
> -- Aaron Hill
> 
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Again you don't understand the first post. He wants a finale sibelius pre
engraving blank bar layout. I am aware of all your code aaron but thanks
though :)) not neccsarry



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Re: How to auto print empty measures?

[Reggie]

Kieren MacMillan wrote
> Hi Philip,
> 
>> When working with Lilypond I want Lilypond to print the empty measures
>> from
>> every instrument, like how Denemo is doing by default. For example:
>> instr. 1
>> has 10 measures of music. I want lilypond to print the empty measures of
>> all
>> staffs in the project. Is there a way to reach this? How?
> 
> There are many possible ways to accomplish what you want. One would be to
> omit / hide / remove all grobs/engravers that are being used:
> 
> \version "2.19.80"
> 
> \layout {
>   \context {
> \Staff
> \remove "Ledger_line_engraver"
> \hide NoteHead
>   }
> }
> 
> {
>   \repeat unfold 10 { c'1 }
> }
> 
> There are probably more efficient and elegant ways.
> 
> Hope this helps!
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Kieren and David I think you don't understand I believe the poster wanted to
see blank music ahead of engraving like the other program software does. Not
simple to just hide and unfold that's not quite the same thing. 



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Re: How to auto print empty measures?

[Reggie]

Philip Bergwerf wrote
> When working with Lilypond I want Lilypond to print the empty measures
> from
> every instrument, like how Denemo is doing by default. For example: instr.
> 1
> has 10 measures of music. I want lilypond to print the empty measures of
> all
> staffs in the project. Is there a way to reach this? How?
> 
> Cheers, Philip Bergwerf
> 
> 
> 
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I too wanted this but failed to understand how to do it in lilypond so i am
curious to see how you do. Also I think it's silly that Lily cannot auto
fill measures either that way. Like if you enter input 4 4 time. You input
one Quarter note and an eighth note and want to auto fill measure with
engraved correctly blank rests like finale And sibelius it doesn't. You have
to always do all rests yourself.
I don't think what you are asking is available in lilypond but I wish you
the best.



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Re: synchronization of feathered beams

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> WHy does measure now have no spacing out duration even though I use { }
>> around the whole feather area? See it works then it doesn't work.
> 
> No… it works and then it still works.  ;)
> 
> \new Staff
> \relative c' {
>  \override Beam.grow-direction = #LEFT
>  \featherDurations #(ly:make-moment 2 1)
>  { c32[ d e f g f g f] }  c4 c c | \break
>  \revert Beam.grow-direction
>  c4 e d f c d e f d f
> }
> 
> You just don’t have enough space in that measure/system for the spacing to
> display effectively.
> 
> Hope this helps,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Sorry but no. It looks terrible even worse with testing breaks. Now space
even after feathers.

\version "2.19.82"

\new Staff
\relative c' {
  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 7/1)
  {c32[ d e f g f g f]}  c4 c c |
  \revert Beam.grow-direction
  c4 e d c \break c1 d e c \break c c c c c c c


}




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Re: synchronization of feathered beams

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> WHy does measure now have no spacing out duration even though I use { }
>> around the whole feather area? See it works then it doesn't work.
> 
> No… it works and then it still works.  ;)
> 
> \new Staff
> \relative c' {
>  \override Beam.grow-direction = #LEFT
>  \featherDurations #(ly:make-moment 2 1)
>  { c32[ d e f g f g f] }  c4 c c | \break
>  \revert Beam.grow-direction
>  c4 e d f c d e f d f
> }
> 
> You just don’t have enough space in that measure/system for the spacing to
> display effectively.
> 
> Hope this helps,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Arg :)) No sir. Show me how as the work continues "naturally"" it would
space out. It doesn't it's always clumpy.

\version "2.19.82"

\new Staff
\relative c' {
  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 7/1)
  {c32[ d e f g f g f]}  c4 c c |
  \revert Beam.grow-direction
  c4 e d c c1 d e c \break c c c c c c c


}




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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> Am Fr., 21. Dez. 2018 um 23:18 Uhr schrieb Reggie <

> reegistoop@

> >:
> 
>>
>> Is there a way in LilyPond to simply add a beam line without changing the
>> time or anything else behind the elements? I mean, visually say I had a
>> c16
>> feather beam measure that had all the math and checks OK. But I wanted 3
>> lines for my feather beams. Can you add a "extra" beam line without
>> having
>> it impact anyy other elements? In score music.
> 
> Well, yes, it's possible, you can always rewrite the stencil, but it
> would mean far more work than scaling durations.
> 
>> That would help me because I
>> am slower than you with math.
> 
> I don't see a problem here.
> 
> Say you have an 8th: { \time 1/8 c''8[] }
> This code creates a single 8th note with a one beam-segments
> 
> Now we want an equal lasting note with two beam-segmants.
> So write the half duration, i.e. c''16 and double the it's length: {
> \time 1/8 c''16*2[] }
> Or use \scaleDurations: { \time 1/8 \scaleDurations 2 c''16[] }
> 
> Same for three beam-segments: { \time 1/8 \scaleDurations 4 c''32[] }
> 
> etc
> Note, if \scaleDurations should be applied to more than one note, {
> and } are needed.
> Other examples are in the NR
> 
> Cheers,
>   Harm
> 
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 Back on topic

WHy does measure now have no spacing out duration even though I use { }
around the whole feather area? See it works then it doesn't work. Why am i
wrong? I tried 1 2, 2 1, 1/2, and 2/1.

\new Staff
\relative c' {
  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 2 1)
  { c32[ d e f g f g f]}  c4 c c |
  \revert Beam.grow-direction
  c4 e d f c d e f d f


}





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Re: Problems defining markup function to draw lines.

[Reggie]

Michael Stickles wrote
> Our choir has developed some "in-house" markings which I'm trying to 
> replicate in LilyPond. One is the use of a double slash to visually 
> indicate the last section of a piece when the musical pattern changes 
> for that last part.
> 
> I can replicate that by using a markup like the following:
> 
> a2^\markup { \with-dimensions #'(0 . 0) #'(0 . 0) \path #0.3 #'((moveto 
> 5 -2) (lineto 7 2) (moveto 6 -2) (lineto 8 2)) }
> 
> However, when the note I'm using is above the staff, I need to move the 
> Y-coordinates down, and sometimes there's a need to shift the slashes 
> closer to or further away from the note. So I'm trying to set up a 
> markup function to handle this, so I can just annotate the note as:
> 
> a2^\markup \double-slash #5 #-2
> 
> But I can't seem to get the syntax correct. If I leave the arguments as 
> dummy args, this works:
> 
> #(define-markup-command (double-box layout props xoff yoff) (number? 
> number?)
>    (interpret-markup layout props
>      #{
>          \markup {
>              \with-dimensions #'(0 . 0) #'(0 . 0)
>              \path #0.3 #'((moveto 5 -2) (lineto 7 2) (moveto 6 -2) 
> (lineto 8 2))
>          }
>      #}
> ))
> 
> But when I try to implement the numbers, I get errors no matter what I 
> do. This (while it doesn't work) shows what I'm trying to get to:
> 
> #(define-markup-command (double-box layout props xoff yoff) (number? 
> number?)
>    (interpret-markup layout props
>      #{
>          \markup {
>              \with-dimensions #'(0 . 0) #'(0 . 0)
>              \path #0.3 #'((moveto xoff yoff) (lineto (+ xoff 2) (+ yoff 
> 4)) (moveto (+ xoff 1) yoff) (lineto (+ xoff 3) (+ yoff 4)))
>          }
>      #}
> ))
> 
> 
> Any ideas on what I'm doing wrong?
> 
> 
> - Mike
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Featherbeamingthread on Nabble.coms?



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LilyPond can't engrave 16 pages of music

[Reggie]

I am trying to understand theoretically why this is failing. It's only 16
pages. I am a minimalist composer so as a test I tried this extreme
situation. But yet I don't quite agree rather that it's that extreme. It's
only 16 pages and LilyPond crashes.

\version "2.19.82"
{
  \time 4/4
  \repeat unfold 1000 { c4 d e f } % TEN PAGES of music
  \repeat unfold 1000 { f1 } % + SIX MORE PAGES of music
  \repeat unfold 1000 { c4 d e f } % BUT WHEN ADDING MORE PAGES, fail NOW
}

wHY?

Preprocessing graphical objects...terminate called after throwing an
instance of 'std::bad_alloc'
  what():  std::bad_alloc
Exited with return code 6.



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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
>> Do you think it's even possible to write a function to automatically
>> space
>> according to the feather beam length and duration?
> 
> As said, likely it's possible.
> Speaking only for myself, I doubt I've the time to try.
> 
> Cheers,
>   Harm
> 
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Is there a way in LilyPond to simply add a beam line without changing the
time or anything else behind the elements? I mean, visually say I had a c16
feather beam measure that had all the math and checks OK. But I wanted 3
lines for my feather beams. Can you add a "extra" beam line without having
it impact anyy other elements? In score music. That would help me because I
am slower than you with math. 




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Re: Re:Combine these segments for same score

[Reggie]

Flaming Hakama by Elaine wrote
> Yes, you can use tags for segmenting large works into smaller chunks.
> 
> And it is possible to use them for other things as well.  Besides
> segmenting the work, I use them for MIDI vs PDF, as well as Score vs Parts
> (vs Lead Sheet), and sometimes for instrument-specific differences (in
> instrumental doubled or transposed parts), all at the same time.
> 
> This is something I practice.  I have a script that will create the
> necessary files for the project that will compile a score and parts that
> can be built into a blank project.  It relies on some templates, plus a
> list of instruments.  It works fine enough that I haven't had to look for
> another solution.
> https://github.com/flaminghakama/lilypond-project-template
> 
> Like any of the solutions discussed on the list, this is not a
> one-size-fits-all bullet and requires wrangling with some decisions about
> how you want to structure your content.  You will likely have to
> deconstruct some of what you already have to work in any templating
> system.  It is also somewhat of an iterative process, since you need to
> start with a template of the global definitions and timings, before
> setting
> up the template used to generate the instrument-specific files of musical
> content.
> 
> In any case, your pain is felt.  But it is possible.  I generally do
> scores
> of 9-12 staves at 200-400 measures and it took me quite some time to
> arrive
> at a solution that works.
> 
> 
> HTH,
> 
> Elaine Alt
> 415 . 341 .4954   "*Confusion is
> highly underrated*"

> elaine@

> Producer ~ Composer ~ Instrumentalist
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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I am intrigued. How does one use the tag system for concatenating sections
of the same piece for easy working and compiling speed during edit phase?
Please, can you provide some code showing how to use tags like this I have
only seen tags used for differences in music of the score for parts and so
on.

Tags for combining sections?!



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Re: Re[2]: feathered beam calculations

[Reggie]

Trevor Daniels wrote
> "Reggie" <

> reegistoop@

> > wrote 21/12/2018 19:10:12
>>\relative c'
>>{
>>   \override Beam.grow-direction = #LEFT
>>   \featherDurations #(ly:make-moment 2/1)
>>   c32[ d e f g f e f d f g f d e d f] c4~c | c1 |
>>}
>>
>>My CODE has no errors. And yet the 2/1 does NOT space out any notes at ALL
>>it's just normal beamed notes with fancy feathers. What math do I need how
>>does one even know what math to use since there are no bar bad checks?
See?
>>:))
> I'm sure in an earlier note you were told to include brackets round the 
> music
> because otherwise \featherDurations affects only the first note.
> 
> Try this
> 
> \relative c'
> {
>\override Beam.grow-direction = #LEFT
>\featherDurations #(ly:make-moment 2/1) {
>  c32[ d e f g f e f d f g f d e d f]
>}
>c4~c | c1 |
> }
> Trevor
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yes everyone thank you I realized after the posting I made an error. I see
that now.



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Re: feathered beam calculations

[Reggie]

Reggie wrote
> Aaron Hill wrote
>> Given the current implementation, it would be necessary to use an 
>> approximate rational like 50/63 as the moment in order to get 'f' to be 
>> half of 'c'.  Why that number?  Well, it's a close approximation to the 
>> irrational cube root of one half.  We determine this exact value by 
>> taking the desired ratio (1/2) and raising it to the reciprocal of the 
>> number of scaling steps between the first and last notes (three, in this 
>> case, which becomes the fraction 1/3).  (1/2)^(1/3) is about 0.7937; and 
>> 50/63 is roughly 0.79365.
>> 
>> But before we get lost in the murky details of whether the implemented 
>> behavior is right or the documentation is right, let us circle back 
>> around to a key point that I feel has not been stressed enough.
>> 
>> This means your score really should be bar check clean *before* you ever 
>> use \featherDurations.  
>> 
>> I said earlier we would talk about bar checks *within* the feathered 
>> sequence of notes.  Consider the following addition to our example:
>> 
>>  << { r64 \featherDurations #(ly:make-moment 2/1)
>>   { c32*127/14[ d e f g a | b] } }
>> { r64 \featherDurations #(ly:make-moment 2/1)
>>   { c32*63/12[ d e f g a] } | b1 }
>> { r64 { c64 d32 e16 f8 g4 a2 } | b1 } >>
>> 
>> You'll see that the 'b' is included within the beamed notes.  Because we 
>> now have seven notes covering the period of two measures less one 64th, 
>> we had to adjust our scaling fraction to 127/14.  However, what is most 
>> important is that \featherDurations fixes the timing of the notes to 
>> allow the inside bar check to pass.  Omit it, and you'll see that the 
>> bar check fails.  But also try changing the 2/1 moment to anything else, 
>> and the bar check will also fail.
>> 
>> What we have here is a very fragile element in the score that can be 
>> easily avoided by never requiring any note (apart from the first) within 
>> a feathered sequence to align to anything else.  The final 'b' above 
>> should properly be outside the feathered sequence (or possibly start a 
>> new sequence of its own).  In this way, the math to ensure all of the 
>> sequences have the right lengths can be done completely independent of 
>> \featherDurations.
>> 
>> Hopefully some of this will be helpful.
>> 
>> -- Aaron Hill
>> 
>> ___
>> lilypond-user mailing list
> 
>> lilypond-user@
> 
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> Aaron that makes sense but only if you have failed bar checks before
> feathering. Let's say you have a perfect score with no fails. And now you
> want to simply insert feather beamed notes only in one measure but have
> them
> spaced out according to the speed accelerando ritard as standard. How do
> you
> even begin to know what math * * * * you should be doing when there is no
> math to do in the first place??? NO bar check math because everything is
> already fine. Why can't you just spread out the notes according to how
> feathers are supposed to? Prove me please. Here look.
> 
> 
> \relative c'
> {
> 
>   \override Beam.grow-direction = #LEFT
>   \featherDurations #(ly:make-moment 2/1)
>   c32[ d e f g f e f d f g f d e d f] c4~c | c1 |
> }
> 
> 
> My CODE has no errors. And yet the 2/1 does NOT space out any notes at ALL
> it's just normal beamed notes with fancy feathers. What math do I need how
> does one even know what math to use since there are no bar bad checks?
> See?
> :))
> 
> 
> 
> 
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I gave a small example. Please provide help so I can be wrong :))

What math can I do to my example from up above to show the space out correct
from 2/1?
(in other words c32*127/14) but for my example. No clues for me.



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Re: feathered beam calculations

[Reggie]

Aaron Hill wrote
> Given the current implementation, it would be necessary to use an 
> approximate rational like 50/63 as the moment in order to get 'f' to be 
> half of 'c'.  Why that number?  Well, it's a close approximation to the 
> irrational cube root of one half.  We determine this exact value by 
> taking the desired ratio (1/2) and raising it to the reciprocal of the 
> number of scaling steps between the first and last notes (three, in this 
> case, which becomes the fraction 1/3).  (1/2)^(1/3) is about 0.7937; and 
> 50/63 is roughly 0.79365.
> 
> But before we get lost in the murky details of whether the implemented 
> behavior is right or the documentation is right, let us circle back 
> around to a key point that I feel has not been stressed enough.
> 
> This means your score really should be bar check clean *before* you ever 
> use \featherDurations.  
> 
> I said earlier we would talk about bar checks *within* the feathered 
> sequence of notes.  Consider the following addition to our example:
> 
>  << { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*127/14[ d e f g a | b] } }
> { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*63/12[ d e f g a] } | b1 }
> { r64 { c64 d32 e16 f8 g4 a2 } | b1 } >>
> 
> You'll see that the 'b' is included within the beamed notes.  Because we 
> now have seven notes covering the period of two measures less one 64th, 
> we had to adjust our scaling fraction to 127/14.  However, what is most 
> important is that \featherDurations fixes the timing of the notes to 
> allow the inside bar check to pass.  Omit it, and you'll see that the 
> bar check fails.  But also try changing the 2/1 moment to anything else, 
> and the bar check will also fail.
> 
> What we have here is a very fragile element in the score that can be 
> easily avoided by never requiring any note (apart from the first) within 
> a feathered sequence to align to anything else.  The final 'b' above 
> should properly be outside the feathered sequence (or possibly start a 
> new sequence of its own).  In this way, the math to ensure all of the 
> sequences have the right lengths can be done completely independent of 
> \featherDurations.
> 
> Hopefully some of this will be helpful.
> 
> -- Aaron Hill
> 
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> lilypond-user@

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Aaron that makes sense but only if you have failed bar checks before
feathering. Let's say you have a perfect score with no fails. And now you
want to simply insert feather beamed notes only in one measure but have them
spaced out according to the speed accelerando ritard as standard. How do you
even begin to know what math * * * * you should be doing when there is no
math to do in the first place??? NO bar check math because everything is
already fine. Why can't you just spread out the notes according to how
feathers are supposed to? Prove me please. Here look.


\relative c'
{

  \override Beam.grow-direction = #LEFT
  \featherDurations #(ly:make-moment 2/1)
  c32[ d e f g f e f d f g f d e d f] c4~c | c1 |
}


My CODE has no errors. And yet the 2/1 does NOT space out any notes at ALL
it's just normal beamed notes with fancy feathers. What math do I need how
does one even know what math to use since there are no bar bad checks? See?
:))




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Re: feathered beam calculations

[Reggie]

Aaron Hill wrote
> This means your score really should be bar check clean *before* you ever 
> use \featherDurations. 
> 
> At the end of the day, there is no real need to use any math for the 
> \featherDurations moment.  Any positive rational less than one will 
> produce an accelerando, while fractions greater than one generate a 
> ritardando.  The best thing to do is to listen to the MIDI output and 
> determine if it sounds right to your ear.
> 
> I said earlier we would talk about bar checks *within* the feathered 
> sequence of notes.  Consider the following addition to our example:
> 
>  << { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*127/14[ d e f g a | b] } }
> { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*63/12[ d e f g a] } | b1 }
> { r64 { c64 d32 e16 f8 g4 a2 } | b1 } >>
> 
> You'll see that the 'b' is included within the beamed notes.  Because we 
> now have seven notes covering the period of two measures less one 64th, 
> we had to adjust our scaling fraction to 127/14.  However, what is most 
> important is that \featherDurations fixes the timing of the notes to 
> allow the inside bar check to pass.  Omit it, and you'll see that the 
> bar check fails.  But also try changing the 2/1 moment to anything else, 
> and the bar check will also fail.
> 
> What we have here is a very fragile element in the score that can be 
> easily avoided by never requiring any note (apart from the first) within 
> a feathered sequence to align to anything else.  The final 'b' above 
> should properly be outside the feathered sequence (or possibly start a 
> new sequence of its own).  In this way, the math to ensure all of the 
> sequences have the right lengths can be done completely independent of 
> \featherDurations.
> 
> Hopefully some of this will be helpful.
> 
> -- Aaron Hill
> 
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> https://lists.gnu.org/mailman/listinfo/lilypond-user

The fractions do NOT always  accelerando, while fractions greater than one
generate a 
ritardando as intended. That is why I began this mess in the first place :))




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Re: feathered beam calculations

[Reggie]

Aaron Hill wrote
> At the end of the day, there is no real need to use any math for the 
> \featherDurations moment.  Any positive rational less than one will 
> produce an accelerando, while fractions greater than one generate a 
> ritardando.  The best thing to do is to listen to the MIDI output and 
> determine if it sounds right to your ear.
> 
> I said earlier we would talk about bar checks *within* the feathered 
> sequence of notes.  Consider the following addition to our example:
> 
>  << { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*127/14[ d e f g a | b] } }
> { r64 \featherDurations #(ly:make-moment 2/1)
>   { c32*63/12[ d e f g a] } | b1 }
> { r64 { c64 d32 e16 f8 g4 a2 } | b1 } >>
> 
> You'll see that the 'b' is included within the beamed notes.  Because we 
> now have seven notes covering the period of two measures less one 64th, 
> we had to adjust our scaling fraction to 127/14.  However, what is most 
> important is that \featherDurations fixes the timing of the notes to 
> allow the inside bar check to pass.  Omit it, and you'll see that the 
> bar check fails.  But also try changing the 2/1 moment to anything else, 
> and the bar check will also fail.
> 
> What we have here is a very fragile element in the score that can be 
> easily avoided by never requiring any note (apart from the first) within 
> a feathered sequence to align to anything else.  The final 'b' above 
> should properly be outside the feathered sequence (or possibly start a 
> new sequence of its own).  In this way, the math to ensure all of the 
> sequences have the right lengths can be done completely independent of 
> \featherDurations.
> 
> Hopefully some of this will be helpful.
> 
> -- Aaron Hill
> 
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I read every word. Thank you huge for making that post. Bloody well done. 
But it's sad now. Because according to Harm I believe he said it's not
always reliable if the spacing will be what you want, so to speak. But it
just counts the durations themselves. Spacing is a side effect of sorts.
Never 100% certain correct spacing.

So which can it be? This is so confusing. Sometimes spacing looks correct.
But sometimes I try every number combination I can and the notes don't
budge. Ratio not making a difference. 



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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> \featherDurations changes durations, nothing more!! It does not change
> spacing on it's own.
> The changed spacing is more a side-effect. Doing note-spacing is a
> very involved process, durations are only one element of the
> calculation.
> 
> So I ensure you \featherDuarations will _always_ affect the
> _durations_ of it's argument, though, whether the resulting spacing is
> really what you desire? Probably/likely/sometimes not.
> 
>> I wouldn't even know how to make this function besides. Sorry.
> 
> Well, there are some good coders on the list ;)
> Not sure, if I'll have the time to give it a try ...
> 
> Cheers,
>   Harm
> 
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Harm this is very important you just solved the mystery :)) Sort of. It
sounds like you just admitted that the spacing out of feather beamed
duration notes is not always going to work correctly, but the durations
themselves WILL. Well, according to Gould, it's pretty obvious that feather
beams need to be spaced out according to the tempo of the feathers, always.
So, there's no way in LilyPond as of today function wise that simply put
makes feather beams spaced out correctly according to standard engraving
rules. Wow.

I would hope beg love for someone to write a function that simply put spaced
out notes according to the speed of the feathers. Finale Sibelius do this
for years now. Hack yes but doable every time it works. What's LilyPond work
around for this? Assume you want to engrave correctly and have your feather
beams spaced out as they slow or speeden up, how can you do it? manually
tweak space between notes it seems? Yikes :))

Do you think it's even possible to write a function to automatically space
according to the feather beam length and duration?




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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> Meanwhile I think you didn't understand that feathered beams, done with
> \override Beam.grow-direction = #RIGHT
> and
> \featherDurations
> are _independant_ from each other. See:
> 
> \version "2.19.82"
> 
> {
>   r2..
>   \featherDurations #(ly:make-moment 1 2)
>   { c''32[ 32 32 32 32 32 32 32] } r2..
> }
> 
> The old message you quoted previously, explains already that
> \featherDurations changes the durations of the notes.
> With those changed durations LilyPonds spacing engine may insert
> different spacings between those notes.
> Ofcourse things like barchecks fail if applied to the _unchanged_ notes.
> 
> So it seems to me your problem has _nothing_ to do with feathered
> Beams but with featherDurations and it's consequences.
> 
> Probably don't use featherDurations at all, but use a custom function
> to space the note-columns, only for the visible output, without
> changing their durations (midi would not reflect any
> accelerando/rallentando then ofcourse).
> 
> 
> Cheers,
>   Harm
> 
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Harm I don't use MIDI so a custom function could work great yes for visual
spacing. But please bear with me on this for a second. If the durations
command already spaces them out then why doesn't this work *every* time? I
understand both commands are independent yes thank you. But I presumed that
I needed durations to space out the notes correctly like Gould and
publishing houses all over do.

Why would I need a custom function to do what featherdurations does if I'm
misunderrstanding?
I wouldn't even know how to make this function besides. Sorry.




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Re: synchronization of feathered beams

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> the notes are not spaced out according to the feathered tempo. […]
>> They should be spaced out to show slow fast change
> 
> Why is that necessary? I mean, you obviously *want* that… but I’m not sure
> they "should" be spaced out like that, necessarily.
> 
>> How do you do that?
> 
> There are dozens of ways, each with advantages and disadvantages.
> Have you tried anything? If so, show us a minimum example, and we’ll help
> you fine-tune it.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Gould even says space by speed, if anyone cares :) like me
Make durations never seems to space them correctly unless I am missing it.
Bar checks never not failing if you do get the spacing eventually.
It's just confusing and I feel stupid. Sorry :(( thank you!!



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Re: synchronization of feathered beams

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> the notes are not spaced out according to the feathered tempo. […]
>> They should be spaced out to show slow fast change
> 
> Why is that necessary? I mean, you obviously *want* that… but I’m not sure
> they "should" be spaced out like that, necessarily.
> 
>> How do you do that?
> 
> There are dozens of ways, each with advantages and disadvantages.
> Have you tried anything? If so, show us a minimum example, and we’ll help
> you fine-tune it.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Respect, but because it's the correct way to do it. Widely accepted.
https://www.scoringnotes.com/wp-content/uploads/2016/09/behind-bars-beams-2-300x81.png
You show speed by clumping notes and then more space between as needed
depends on speed. Very accepted. 

I have seen this in many Lily scores but never saw a clear answer how to
always get this behavior?
https://www.scoringnotes.com/tutorials/feathered-beams-that-look-and-play-back-correctly-in-sibelius/

Maybe someone can show clearly how Lily handles this correct behavior and
not just default spacing.




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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> Am Fr., 21. Dez. 2018 um 15:21 Uhr schrieb Reggie <

> reegistoop@

> >:
> 
>> It's impossible to have feather
>> beams cross barlines and look correect why is this?
> 
> ??
> 
> What's wrong with:
> 
> \version "2.19.82"
> 
> {
>   r2..
>   \override Beam.grow-direction = #RIGHT
>   c'32[ \repeat unfold 6 c'' c'] r2..
> }
> 
> Cheers,
>   Harm
> 
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Finally your version is also wrong because the notes are not spaced out
according to the feathered tempo. They just look like default beams
placement with 3 beams. They should be spaced out to show slow fast change
not just like you made it. How do you do that?



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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> Am Fr., 21. Dez. 2018 um 15:21 Uhr schrieb Reggie <

> reegistoop@

> >:
> 
>> It's impossible to have feather
>> beams cross barlines and look correect why is this?
> 
> ??
> 
> What's wrong with:
> 
> \version "2.19.82"
> 
> {
>   r2..
>   \override Beam.grow-direction = #RIGHT
>   c'32[ \repeat unfold 6 c'' c'] r2..
> }
> 
> Cheers,
>   Harm
> 
> ___
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> lilypond-user@

> https://lists.gnu.org/mailman/listinfo/lilypond-user

Also, as I earlier mentioned over and over, the bar lines fail. Your example
does not work unless you ignore bar checks. Why needing to be this way is
silly to me :)




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Re: synchronization of feathered beams

[Reggie]

Thomas Morley-2 wrote
> Am Fr., 21. Dez. 2018 um 15:21 Uhr schrieb Reggie <

> reegistoop@

> >:
> 
>> It's impossible to have feather
>> beams cross barlines and look correect why is this?
> 
> ??
> 
> What's wrong with:
> 
> \version "2.19.82"
> 
> {
>   r2..
>   \override Beam.grow-direction = #RIGHT
>   c'32[ \repeat unfold 6 c'' c'] r2..
> }
> 
> Cheers,
>   Harm
> 
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> lilypond-user@

> https://lists.gnu.org/mailman/listinfo/lilypond-user

Nothing. It works. It's simple. Not the question really sorry my. The
example the other person made was what I mentioned.

\version "2.12.3"
upper = {
 \override Beam #'grow-direction = #RIGHT

 \featherDurations #(ly:make-moment 1 2)
 { \time 7/16 des''16 -. [\p\< es''16 -. e''16 -. f''16 -. ges''16 -. as''16
-. c'''16 -> -. \f \time 3/16 cis''' d''' dis'''] }
}
\score {
   \new Staff \upper
}




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Re: synchronization of feathered beams

[Reggie]

kontrapunktstefan wrote
> Dear Phil,
> thanks for Your explanations.
> I do have now another problem.
> What can I do, when I want to have feathered beams across barlines, like
> e.g.:
> 
> \version "2.12.3"
> upper = {
>  \override Beam #'grow-direction = #RIGHT
> 
>  \featherDurations #(ly:make-moment 1 2)
>  { \time 7/16 des''16 -. [\p\< es''16 -. e''16 -. f''16 -. ges''16 -.
> as''16
> -. c'''16 -> -. \f \time 3/16 cis''' d''' dis'''] }
> }
> \score {
>\new Staff \upper
> }
> 
> 
> 
> 2010/9/30 Phil Holmes <

> mail@

> >
> 
>>  Top posting because of HTML original.
>>
>> Stefan,
>>
>> featherDurations changes the tempo of the notes.  Thus the notes at the
>> start of the bar have a longer duration than those at the end, and I
>> presume
>> LilyPond is having a problem applying this to the longer rests.  This may
>> not give the appearance you want, but shows that this will work with
>> short
>> duration rests.  (I've replaced all your eighth notes with sixteenth, to
>> show the beam feathering).
>>
>> \version "2.12.3"
>> global = { \time 7/16 }
>> upper = { \global
>>  \override Beam #'grow-direction = #RIGHT
>>
>>  \featherDurations #(ly:make-moment 1 2)
>>  { des''16 -. [\p\< es''16 -. e''16 -. f''16 -. ges''16 -. as''16 -.
>> c'''16
>> -> -. \f] }
>> }
>> lower = { \global
>>\override Beam #'grow-direction = #RIGHT
>>
>>\featherDurations #(ly:make-moment 1 2)
>>  { r16 r r r r r16 -> -. \sfz }
>>
>> }
>> \score {
>>   << \new Staff \upper
>> \new Staff \lower >>
>> }
>>
>> --
>> Phil Holmes
>>
>>
>>
>> - Original Message -
>> *From:* Stefan Thomas <

> kontrapunktstefan@

> >
>> *To:* lilypond-user <

> lilypond-user@

> >
>> *Sent:* Thursday, September 30, 2010 9:42 AM
>> *Subject:* synchronization of feathered beams
>>
>> Dear community,
>> I have a problem with the synchronisation in the below quoted snippet.
>> I expect to have the notes on the end of the bar on the same vertical
>> height.
>> How can I achieve it?
>> Thanks for help,
>> Stefan
>>
>> \version "2.12.3"
>> global = { \time 7/8 }
>> upper = { \global
>>\featherDurations #(ly:make-moment 1 2)
>>  { des''8 -. [\p\< es''8 -. e''8 -. f''8 -. ges''8 -. as''8 -. c'''8 ->
>> -.
>> \f] }
>> }
>> lower = { \global
>>\featherDurations #(ly:make-moment 1 2)
>>  { r2 r4   8 -> -. \sfz }
>> }
>> \score {
>>   << \new Staff \upper
>> \new Staff \lower >>
>> }
>>
>>
>>  --
>>
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>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>>
>>
> 
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Another feather beaming problem for me. It's impossible to have feather
beams cross barlines and look correect why is this? How can you do this? 8
years ago. What now?



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Re: feathered beam calculations

[Reggie]

Michael Gerdau wrote
> First thing you have to answer for yourself is:
> What do I need feathered beams for?
> The answer should be something along the line "to visually notate an
> accellerando or rallentando".
> Assuming that's your answer then you should have a rough idea as to how
> strongly you wish to change the timing, as in double/halve the speed,
> adding 50% to it etc. pp.
> Doubling the speed would mean you'd have to issue
> \featherDurations #(ly:make-moment 1/2)
> Halving the speed would mean
> \featherDurations #(ly:make-moment 2/1)
> Adding 50% to it
> \featherDurations #(ly:make-moment 2/3)
> and so on.
> You come to these numbers by dividing the metronom marks at the beginning
> of your section through the metronom mark at the end of it.
> 
> Basically that's it. No magic. You as the composer have to know what you
> want and you should be able to write it down simply by giving metronom
> marks along the way. Once you can do that you could use feathered beams to
> visually show it.

Hello. I see what you are saying thank you. I just feel that feather beaming
is so confusing it all depends on so much, it's not simple like "select
these notes and change beam style to feather left or right". It's first,
math. Then, trial error. Then, settling. Then, Repeat. I now understand how
to create the feather beams on paper, but the bar line check fails is what
remains to be problemsome. Is there not a way that you can for me please
make it so you can use cadenzaOn for one instrument without effecting the
other instruments? I could use that as needed for feather beam so it would
ignore the barline check fails in those feather measures. But I tried it and

cadenzaon/off always affects other instruments of system staff. Can you
help? Maybe that's a better choice? Just to erase the idea of time fails.
Can Lily not allow to use cadenza on certain staffs but not all, occuring at
the same time that is in a system.



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Re: feathered beam calculations

[Reggie]

Michael Gerdau wrote
>> I understand your math now but I do not understand how you began to know
>> how
>> to use math from the beginning. How did you determine which note NEEDED
>> the
>> math to it? Is there a sort of study sheet where we can look to find out
>> which notes need math for each time we use?
> 
> I'm not sure what you are after and maybe what follows is as obvious to
> you as it is to me, but in case it isn't here I go:
> 
> For easier reference I'll repost one of Harm's examples:
> \relative d {
>   \clef bass
>   \override Beam.grow-direction = #RIGHT
>   \featherDurations #(ly:make-moment 3/4)
>   c16*4/3[ d e]
>   c32*2*4/3[ d e]
>   c64*4*4/3[ d e]
>   c128*8*4/3[ d e] |
>   \revert Beam.grow-direction
>   cis1 |
> }
> 
> c16/c32/64/128 means 2/3/4/5 feathers respectively
> 
> Each group is expected to last one quarter note which is denoted by "4".
> Since we start with a 1/16th we have to mutliply by 4 to get back to 4.
> There are 3 notes in each group which means we add the notelength 3 times
> which is another way of saying we multiply by 3. Hence we have to divide
> by 3 to make the whole group 1/4 note in length again.
> 
> A very similar argument goes for c32 (*2 == c16), c64 (*4 == c16) and c128
> (*8 == c16).
> 
> If you were looking for something else when you asked for the math then
> please be more specific.
> 
> Kind regards,
> Michael
> -- 
> Michael Gerdau email: 

> mgd@

> GPG-keys available on request or at public keyserver
> 
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Michael thank you. That helps in addition.
However my question remains. Please here me.

How does one  calculate the extra numbers needing to be for the spacing OUT
of notes as the feather speed up slow down. They always look spaced tight
together as real notes just beamed differently.  When you engrave a feather
beam measure should youy first figure out how many notes you want (or stems)
in the feathers or begin by finding how many beats they all should take up?
I cannot find this out anywhere. And finally how to ensure always the
spacing out of notes automatically according to the slow down speed up ramp
of feathers. Thank you.



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Re: feathered beam calculations

[Reggie]

Thomas Morley-2 wrote
> {
>   \time 1/4
>   b16*4 | % i.e. 1/16 lasts 1/4
>   b16*4/3 b b | % b16*4 is 1/4, so b16*4/3 is a third of 1/4
>   %% similar for 1/32,
>   b32*2 %{is 1/16%} *4 |
>   b32*2*4/3 b b |
>   %% etc
> }
> 
> HTH,
>   Harm
> 
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I understand your math now but I do not understand how you began to know how
to use math from the beginning. How did you determine which note NEEDED the
math to it? Is there a sort of study sheet where we can look to find out
which notes need math for each time we use?




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Re: feathered beam calculations

[Reggie]

Thomas Morley-2 wrote
> Am Mo., 17. Dez. 2018 um 14:52 Uhr schrieb Reggie <

> reegistoop@

> >:
> 
>> How do you change the amount of "beams" you feather when
>> the amount of notes is example 3. You need to just forget it? 3  beams
>> are
>> not possible?
>>
>> \relative d {
>>   \clef bass
>>   \time 4/4
>>   d2 e4
>>   \override Beam.grow-direction = #RIGHT
>>   \featherDurations #(ly:make-moment 3/4)
>>   {
>> \once \override TupletNumber.stencil = ##f
>> \tuplet 3/4 { c16[ d e] } |
>>   }
>>   \revert Beam.grow-direction
>>   cis1 |
>> }
> 
> Scale durations:
> 
> \relative d {
>   \clef bass
>   \override Beam.grow-direction = #RIGHT
>   \featherDurations #(ly:make-moment 3/4)
> c16*4/3[ d e]
> c32*2*4/3[ d e]
> c64*4*4/3[ d e]
> c128*8*4/3[ d e] |
>   \revert Beam.grow-direction
>   cis1 |
> }
> 
> HTH,
>   Harm
> 
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Harm can you show how you got the math I haven't a clue how you would have
known how to do it. Can you show your math please for us thank you.



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Re: feathered beam calculations

[Reggie]

Vaughan McAlley wrote
> On Fri, 15 Dec 2017 at 19:34, N. Andrew Walsh <

> n.andrew.walsh@

> >
> wrote:
> 
>> Hi List,
>>
>> I'm trying to use the \featherDurations command on a brief passage:
>>
>> \relative c' {
>> a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
>>  \override Beam.grow-direction = #LEFT
>>   \featherDurations #(ly:make-moment 2/1)
>>  { a,32[\( b cis dis eis]\)\fermata }
>>  \override Beam.grow-direction = #'()
>>  < a, cis e >16 < a cis e >
>>
>> }
>>
>> What I want is for that feathered group on the fourth line to occupy the
>> duration of exactly one eighth note. As there are five notes, I'm
>> struggling with the math, and thus what to put after ly:make-moment.
>>
>> Can you advise as to what the numbers should be?
>>
>> Cheers,
>>
>> A
>>
>>
> I just consulted one of the two feathered beams I’ve written this century.
> I was initially a bit baffled about the number I had chosen. It turns out
> that number is just for MIDI playback (correct me if I’m wrong) and you
> just put the notes inside a tuplet and omit the number. For typesetting
> purposes the total length of the unaltered notes is what counts:
> 
> \version "2.18.2"
> 
> \relative d {
>   \clef bass
>   \time 4/4
>   d2 e4~
>   \override Beam.grow-direction = #RIGHT
>   \featherDurations #(ly:make-moment 3/4)
>   {
> \once \override TupletNumber.stencil = ##f
> \tuplet 5/4 { e16 [ dis-. ais-. fis'-. d-. ] } |
>   }
>   \revert Beam.grow-direction
>   cis1 |
> }
> 
> Vaughan
> 
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See the problem. How do you change the amount of "beams" you feather when
the amount of notes is example 3. You need to just forget it? 3  beams are
not possible?

\relative d {
  \clef bass
  \time 4/4
  d2 e4
  \override Beam.grow-direction = #RIGHT
  \featherDurations #(ly:make-moment 3/4)
  {
\once \override TupletNumber.stencil = ##f
\tuplet 3/4 { c16[ d e] } |
  }
  \revert Beam.grow-direction
  cis1 |
}




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Re: feathered beam calculations

[Reggie]

Vaughan McAlley wrote
> On Fri, 15 Dec 2017 at 19:34, N. Andrew Walsh <

> n.andrew.walsh@

> >
> wrote:
> 
>> Hi List,
>>
>> I'm trying to use the \featherDurations command on a brief passage:
>>
>> \relative c' {
>> a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
>>  \override Beam.grow-direction = #LEFT
>>   \featherDurations #(ly:make-moment 2/1)
>>  { a,32[\( b cis dis eis]\)\fermata }
>>  \override Beam.grow-direction = #'()
>>  < a, cis e >16 < a cis e >
>>
>> }
>>
>> What I want is for that feathered group on the fourth line to occupy the
>> duration of exactly one eighth note. As there are five notes, I'm
>> struggling with the math, and thus what to put after ly:make-moment.
>>
>> Can you advise as to what the numbers should be?
>>
>> Cheers,
>>
>> A
>>
>>
> I just consulted one of the two feathered beams I’ve written this century.
> I was initially a bit baffled about the number I had chosen. It turns out
> that number is just for MIDI playback (correct me if I’m wrong) and you
> just put the notes inside a tuplet and omit the number. For typesetting
> purposes the total length of the unaltered notes is what counts:
> 
> \version "2.18.2"
> 
> \relative d {
>   \clef bass
>   \time 4/4
>   d2 e4~
>   \override Beam.grow-direction = #RIGHT
>   \featherDurations #(ly:make-moment 3/4)
>   {
> \once \override TupletNumber.stencil = ##f
> \tuplet 5/4 { e16 [ dis-. ais-. fis'-. d-. ] } |
>   }
>   \revert Beam.grow-direction
>   cis1 |
> }
> 
> Vaughan
> 
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Thank you for answering. So are you meaning to say that when you desire
feather beams you should always "wrap" them in tuplets in order to avoid bar
check failures? Because I cannot see how to avoid without spending time
calculating and trial errors.  yes the documentation is confusing with the
number of beats but N said the client changed the mind but the fact remains
feather beams are trial error. Can you Vaughan give me a brief guide to
calculate feather beams in bar checks ? tuplets?



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Re: Combine these segments for same score

[Reggie]

David Wright wrote
> On Sun 16 Dec 2018 at 11:05:05 (-0700), Reggie wrote:
>> Urs Liska-3 wrote
>> > one thing you will have to accept is that the segment approach you're
>> > after will not save compilation time of the score as a whole. What it
>> can
>> > do is give you a handle to compile only small chunks or "segments" at a
>> > time *while editing*.
>> > 
>> > I'm only on my mobile phone so I can't go into detail now, but you
>> should
>> > clarify if that is what you mean or if my comment shows you that you
>> were
>> > hoping for something that doesn't exist.
>> 
>> Urs hello this is 100% what I am desiring to save on small chunk segments
>> compile times during editing. I am aware and OK with of course having to
>> wait in the "end" when the full score needs to be compiled :)) I am
>> interested in how to create segments as I go along and the piece gets
>> longer
>> and I compile segments as NEEDED during editing yes yes. Can you at your
>> convenience help in this thread with how segments work I feel so stupid.
> 
> I think you may be after tagging.
> 
> Cheers,
> David.
> 
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Hello I am not looking for tagging I use tags for certain things but in this
case as I've said now I am interested in the segment that Urs is clearly
talking about. I understand now that it's not in the documentation. Thank
you. I know skipping music is available but that is not what I am looking
for thank you. I hope Urs or someone can clearly show how this segment works
now that I hope we finally arrived on the same page :)




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Re: Combine these segments for same score

[Reggie]

Urs Liska-3 wrote
> Reggie,
> 
> one thing you will have to accept is that the segment approach you're
> after will not save compilation time of the score as a whole. What it can
> do is give you a handle to compile only small chunks or "segments" at a
> time *while editing*.
> 
> I'm only on my mobile phone so I can't go into detail now, but you should
> clarify if that is what you mean or if my comment shows you that you were
> hoping for something that doesn't exist.
> 
> Urs

Urs hello this is 100% what I am desiring to save on small chunk segments
compile times during editing. I am aware and OK with of course having to
wait in the "end" when the full score needs to be compiled :)) I am
interested in how to create segments as I go along and the piece gets longer
and I compile segments as NEEDED during editing yes yes. Can you at your
convenience help in this thread with how segments work I feel so stupid.
Thank you hugely.




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Re: Combine these segments for same score

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> I am not talking about what Kieren said in the lilybin that's mere simple
>> combining parts into score file
> 
> You apparently missed the fact that I concatenated two halves of each part
> (violin and cello) and recombined them later. (*IN ADDITION*, I combined
> them simultaneously.)
> 
> I took segments of a violin part and combined them to make a whole part —
> whether or not you realized it, that demonstrated exactly the problem what
> you were trying to solve.
> 
> Just to make it explicit, I broke the two scores up:
> http://lilybin.com/mkleo5/3
> 
> Warning: You may find Lilypond difficult to work with if you don’t have
> the wherewithal to take simple examples (q.v. the first version I provided
> on Lilybin, as well as hundreds of similar examples in the docs and
> elsewhere on the web) and combine and/or extrapolate them to solve the
> exact problem(s) you want (q.v. the version now on Lilybin).
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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Hello I didn't miss the simultaneous I misunderstood thinking your code only
applied if I wanted to segment combine simultaneously so I am sorry thank
you for letting me know. I am sorry I am a slow learner having read through
dozens of times the enormous learning and this section confused me. Thank
you for your help. I'll try again.



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Re: Combine these segments for same score

[Reggie]

Michael Gerdau wrote
>> You are close to what I need to help thank you very much. I am not
>> talking
>> about what Kieren said in the lilybin that's mere simple combining parts
>> into score file that's basic. I mean this so called segment handling that
>> people on the list have mentioned time and time. Kieren Trevor B Urs and
>> more. They always use segments if the "SCORE" is a large piece to savve
>> on
>> compiling time that's all I mean. Not combining parts <<>> but rather
>> stringing along together in sequence segments not simultaneous. Is therer
>> any documentation on this because I sure cannot locate segment sequence
>> anywhere except mailing list where these users suggest it for large
>> pieces. 
>> Thank you for helping and I am sorry I was not clear :(
> 
> I may be misunderstanding what you’re after but there are no such things
> as segments in LP other than the already mentioned concatenation of stuff.
> 
> Just guessing but could the segments you are referring to actually have
> been just parts (manually) enabled/disabled for compiling? With segment
> being a synonym for part?
> 
> As I said, just guessing 
> 
> Kind regards 
> Michael 
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I understand you I just re-use the word segments because others have used
them over the mailing list to describe exactly what I am. Concatenating
small "chunks" of music into one long score obviously many users do this but
I cannot understand how. I apologize. The blog post was too much for me to
follow so I assumed I could find help here.



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Re: Combine these segments for same score

[Reggie]

David Wright wrote
> You will have to accept a line break at each change of score, but then
> the only reason I would break a piece down into score fragments is
> because it's made up of sections with grossly differing layouts
> (like number of parts/choirs/soloists/accompaniment etc).
> 
> Cheers,
> David.
> 
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No David, the reason is to save on compiling time :) And compile segments as
you go along that's what I learned by reading these good users on the list.
Large pieces need this. Concatenate merge segment whichever you call it :))



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Re: Combine these segments for same score

[Reggie]

David Wright wrote
> We prefer you to do that so we don't have to second guess what you are
> really trying to do.
> That's because your example is so simple that it doesn't make it clear
> what you want to concatentate. The response assume you're just
> concatenating the notes into one part, whereas I suspect you actually
> want to deal with the three *scores* that LP has instantiated
> automatically. If so, then it would make your example less ambiguous
> if you were to write out the \score { … } constructions explicitly.
> 
> With that assumption, there are several things you need to do in order
> to concatentate scores:
> 
> All but the first score need \indent=0 as well as
> \context { \Staff \omit TimeSignature } which can both go in the
> layout. To get consecutive bar numbers, you need to put
> \set Score.currentBarNumber=#51 and so on into a part.
> However, that won't print a bar number for the first bar of a score
> section for which you additionally need
> \once \override Score.BarNumber.break-visibility = #end-of-line-invisible
> \bar ""
> 
> You will have to accept a line break at each change of score, but then
> the only reason I would break a piece down into score fragments is
> because it's made up of sections with grossly differing layouts
> (like number of parts/choirs/soloists/accompaniment etc).
> 
> Cheers,
> David.
> 
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David,

You are close to what I need to help thank you very much. I am not talking
about what Kieren said in the lilybin that's mere simple combining parts
into score file that's basic. I mean this so called segment handling that
people on the list have mentioned time and time. Kieren Trevor B Urs and
more. They always use segments if the "SCORE" is a large piece to savve on
compiling time that's all I mean. Not combining parts <<>> but rather
stringing along together in sequence segments not simultaneous. Is therer
any documentation on this because I sure cannot locate segment sequence
anywhere except mailing list where these users suggest it for large pieces. 
Thank you for helping and I am sorry I was not clear :(



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Re: Combine these segments for same score

[Reggie]

Phil Holmes wrote
> - Original Message - 
> From: "Reggie" <

> reegistoop@

> >
> To: <

> lilypond-user@

> >
> Sent: Sunday, December 16, 2018 2:57 PM
> Subject: Re: Combine these segments for same score
> 
> 
> 
>> That was my question yes please. I have done just what you say. I have 6 
>> ly
>> files with instruments and a score ly file. Every time I combine into 
>> Score
>> block the measure numbers do not line up and there are problems overlap 
>> and
>> so on. How is it you can combine in sequence every time? All staffs 
>> overlap
>> and combine every time I try this segmentation out. I must be not so 
>> smart.
>> Sorry.
> 
> It should not do that.  Can you cut it down to a very short example that 
> shows what you are doing and how the score goes wrong?  Please make sure 
> it's not private or copyright.
> 
> --
> Phil Holmes 
> 
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I am sorry I am not able to share as you describe. I seem to need assistance
in someone here showing a small multipleinstrument staffed score  snippet
because I can't continue this job without this understanding so I need to
consider. Thank you if anyone is able to create help for others learning
segments for large scale.



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Re: Combine these segments for same score

[Reggie]

Kieren MacMillan wrote
> Hi Reggie,
> 
>> That does not help and work.
> 
> It works for me. Maybe you didn’t implement the suggestion correctly?
> 
>> What are we to do if we have a full orchestra score with many staffs and
>> divisis
>> how do we create the big score file including segmentation?
> 
> I have written pieces for 54 staves (including divisi) and 200+ measures.
> It does take a while to compile (several minutes), but the code design is
> simple, and works as expected.
> 
>> Can you describe how a big piece works for segment?
> 
> 1. Create individual variables for each instrument. If necessary, break
> variables down into smaller variables to be recombined in the score. (n.b.
> I have never needed to break down variables because of size restrictions —
> only for single-player-multi-instrument switching purposes).
> 
> 2. Recombine them in the score, using {} if the segments are sequential
> and <<>> if the segments are simultaneous.
> 
> Hope that helps!
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: 

> info@

> 
> 
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That was my question yes please. I have done just what you say. I have 6 ly
files with instruments and a score ly file. Every time I combine into Score
block the measure numbers do not line up and there are problems overlap and
so on. How is it you can combine in sequence every time? All staffs overlap
and combine every time I try this segmentation out. I must be not so smart.
Sorry.



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Re: Combine these segments for same score

[Reggie]

Schneidy wrote
> Hi Reggie,
> How about:
> 
> \version "2.19.82"
> % current bar number?
> %\include "segment1.ly"
> %\include "segment2.ly"
> %\include "segment3.ly"
> 
> %My other files are this code respectively 1 2 3
> 
> segmentOne = \relative c' { \repeat unfold 50 {c2 c2} }
> segmentTwo = \relative c' { \repeat unfold 50 {e2 e2} }
> segmentThree = \relative c' { \repeat unfold 50 {g'2 g'2} }
> 
> \new Staff = "mystaff" { \segmentOne \segmentTwo \segmentThree }
> 
> HTH,
> Cheers,
> Pierre
> 
> Le sam. 15 déc. 2018 à 22:55, Reggie <

> reegistoop@

> > a écrit :
> 
>> I cannot use LilyPond for large scores it takes hours to compile. Nowhere
>> in
>> the documentation does it teach me how to merge. Can someone please show
>> me
>> how to make a seamless score from these multiple "segments" name? Every
>> time
>> I compile I get broken scores and not one piece together. Do I need to
>> include currentBars or some kind of Scorecode? Please help. Please create
>> a
>> dummy file so I can merge into a larger score thank you.
>>
>> badSegmenttt.png
>> <http://lilypond.1069038.n5.nabble.com/file/t5625/badSegmenttt.png>;
>>
>> My score file is this code
>>
>> \version "2.19.82"
>> % current bar number?
>> \include "segment1.ly"
>> \include "segment2.ly"
>> \include "segment3.ly"
>>
>> My other files are this code respectively 1 2 3
>>
>> \new Staff = "mystaff" \relative c' { \repeat unfold 50 {c2 c2} }
>> \new Staff = "mystaff" \relative c' { \repeat unfold 50 {e2 e2} }
>> \new Staff = "mystaff" \relative c' { \repeat unfold 50 {g'2 g'2} }
>>
>>
>>
>>
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That does not help and work. I have seen on this very list people who keep
talking about segments and big scores but nowhere in manual does it mention
this anywhere so confusing. What are we to do if we have a full orchestra
score with many staffs and divisis how do we create the big score file
including segmentation? Your solution is only working for simple example I
provided. Can you describe how a big piece works for segment? Thank you for
doing that.



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Combine these segments for same score

[Reggie]

I cannot use LilyPond for large scores it takes hours to compile. Nowhere in
the documentation does it teach me how to merge. Can someone please show me
how to make a seamless score from these multiple "segments" name? Every time
I compile I get broken scores and not one piece together. Do I need to
include currentBars or some kind of Scorecode? Please help. Please create a
dummy file so I can merge into a larger score thank you.

badSegmenttt.png
  

My score file is this code

\version "2.19.82"
% current bar number?
\include "segment1.ly"
\include "segment2.ly"
\include "segment3.ly"

My other files are this code respectively 1 2 3

\new Staff = "mystaff" \relative c' { \repeat unfold 50 {c2 c2} }
\new Staff = "mystaff" \relative c' { \repeat unfold 50 {e2 e2} }
\new Staff = "mystaff" \relative c' { \repeat unfold 50 {g'2 g'2} }




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Re: feathered beam calculations

[Reggie]

N. Andrew Walsh wrote
> Hi List,
> 
> I'm trying to use the \featherDurations command on a brief passage:
> 
> \relative c' {
> a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
>  \override Beam.grow-direction = #LEFT
>   \featherDurations #(ly:make-moment 2/1)
>  { a,32[\( b cis dis eis]\)\fermata }
>  \override Beam.grow-direction = #'()
>  < a, cis e >16 < a cis e >
> 
> }
> 
> What I want is for that feathered group on the fourth line to occupy the
> duration of exactly one eighth note. As there are five notes, I'm
> struggling with the math, and thus what to put after ly:make-moment.
> 
> Can you advise as to what the numbers should be?
> 
> Cheers,
> 
> A
> 
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Did you solve this? I cannot find anywhere in documentation an exact
information about how to explicitly tell lilypond how many beats should be
in a group of feather beamed notes. Like you say 1 eighth note what about a
dotted quarter or a half note. No idea how to force the duration of feathers
to be X beats in order for bar check success. Did you find the answer?



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Why is spacing wrong before command?

[Reggie]

Here is my code I do not understand why newspacing would have any effect on
previous notes and measures why not just what comes after? Like in the user
manual. Page here
http://lilypond.org/doc/v2.19/Documentation/notation/new-spacing-section Why
are the first 3 measures adjusted when the newspacing comes after?

\relative c'
{
  \time 2/4
  c4 c8 c
  c8 c c4 c16[ c c8] c4
  \newSpacingSection
  \time 4/16
  c16[ c c8]

}


\relative c'
{
  \time 2/4
  c4 c8 c
  c8 c c4 c16[ c c8] c4
  
  \time 4/16
  c16[ c c8]

}

attach.png   



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Not Nice Review of the LilyPond

[Reggie]

Has anyone else seen this do you know who the author is? Some complaints
about gibberish and documentation and God knows what else. Is this a joke
one or seriously critical of the program? Or in cheek.
http://www.alethis.net/reference/lily/lily.html



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Re: advice on orchestral parts and string Divisi

[Reggie]

Please show me how you mean what you are talking about I cannot understand
this. I believe this is an essential piece when composing orchestral works
and making the parts for the parts and players. Thank you.


Xavier Scheuer wrote
> Hello,
> 
> I use VerticalAxisGroup.remove-layer as described in
> input/regression/divisi-staves.ly
> 
> http://lilypond.org/doc/v2.19/input/regression/a6/lily-436997bb.ly
> 
> See more info on the bug tracker of issue 3518.
> https://code.google.com/archive/p/lilypond/issues/3518
> 
> Works very well but unfortunately not documented in the Notation
> Reference manual it seems.
> 
> Cheers,
> Xavier
> 
> 
> On Thu, 26 Jul 2018 at 03:07, Reggie <

> reegistoop@

> > wrote:
>>
>> For those of you who engrave orchestral music in which the strings often
> have
>> your typical divisi a2 or a3
>>
>> Suppose a performance is coming up and you need to print parts from the
> full
>> score.
>>
>> So when you go to engrave the individual parts for any of the strings for
>> example, (say Violin I), would you:
>>
>> a) always leave the Violin I "as is" and just \new Staff the violin
> variable
>> as it appears in the full score regardless of divisi complexity /
>> independence
>> --*(Violin I all on one staff for part)
>> b) only leave the Violin I as is from the full score if it's a simple
> score
>> and not that complicated of a separate part
>> --*(Violin I all on one staff for part, but only if it's not too complex
> of
>> a division rhythm-wise and for not that many measures in the score)
>> c) always input all divisi as separate variables from the beginning and
>> actually partcombine the divisi of the same instrument, so as to have
>> multiple staves if need be on the part version.
>> --*(Violin I from the start of engraving has already been pre-variabled
> into
>> 2/3 divisi with a ton of spacer rests throughout the whole part until the
>> sections needed, then input the divisi notes, then go back to normal, etc
> -
>> at the end, use partcombine on the part, etc.)
>>
>> How do you approach printing string parts for a modern orchestral piece,
>> regarding divisi? Does it depend or is your approach constant?
>> Most of the music I am engraving has divisi similar to that of the 19th
>> century, where it's not too separate of a part difference but some
> upcoming
>> projects I will be working on have rather diverse divisi spreads within
> the
>> same string part.
>> So I wanted to begin the project 'correctly' before getting too deep in
> and
>> realizing I couldn't do parts easily. You can't really [easily] do a
>> partcombine with just one variable taht has temporary voices on it.
>>
>> Thanks
>>
>>
>>
>> --
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>>
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>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 
> 
> --
> Xavier Scheuer <

> x.scheuer@

> >
> 
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Re: advice on orchestral parts and string Divisi

[Reggie]

Can you show how to apply this to my code I shared please? Staffgroup added?


Xavier Scheuer wrote
> Hello,
> 
> I use VerticalAxisGroup.remove-layer as described in
> input/regression/divisi-staves.ly
> 
> http://lilypond.org/doc/v2.19/input/regression/a6/lily-436997bb.ly
> 
> See more info on the bug tracker of issue 3518.
> https://code.google.com/archive/p/lilypond/issues/3518
> 
> Works very well but unfortunately not documented in the Notation
> Reference manual it seems.
> 
> Cheers,
> Xavier
> 
> 
> On Thu, 26 Jul 2018 at 03:07, Reggie <

> reegistoop@

> > wrote:
>>
>> For those of you who engrave orchestral music in which the strings often
> have
>> your typical divisi a2 or a3
>>
>> Suppose a performance is coming up and you need to print parts from the
> full
>> score.
>>
>> So when you go to engrave the individual parts for any of the strings for
>> example, (say Violin I), would you:
>>
>> a) always leave the Violin I "as is" and just \new Staff the violin
> variable
>> as it appears in the full score regardless of divisi complexity /
>> independence
>> --*(Violin I all on one staff for part)
>> b) only leave the Violin I as is from the full score if it's a simple
> score
>> and not that complicated of a separate part
>> --*(Violin I all on one staff for part, but only if it's not too complex
> of
>> a division rhythm-wise and for not that many measures in the score)
>> c) always input all divisi as separate variables from the beginning and
>> actually partcombine the divisi of the same instrument, so as to have
>> multiple staves if need be on the part version.
>> --*(Violin I from the start of engraving has already been pre-variabled
> into
>> 2/3 divisi with a ton of spacer rests throughout the whole part until the
>> sections needed, then input the divisi notes, then go back to normal, etc
> -
>> at the end, use partcombine on the part, etc.)
>>
>> How do you approach printing string parts for a modern orchestral piece,
>> regarding divisi? Does it depend or is your approach constant?
>> Most of the music I am engraving has divisi similar to that of the 19th
>> century, where it's not too separate of a part difference but some
> upcoming
>> projects I will be working on have rather diverse divisi spreads within
> the
>> same string part.
>> So I wanted to begin the project 'correctly' before getting too deep in
> and
>> realizing I couldn't do parts easily. You can't really [easily] do a
>> partcombine with just one variable taht has temporary voices on it.
>>
>> Thanks
>>
>>
>>
>> --
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>>
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>> 

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>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 
> 
> --
> Xavier Scheuer <

> x.scheuer@

> >
> 
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Re: advice on orchestral parts and string Divisi

[Reggie]

Sorry is there a problem with Google translate please my apologies I fixed it
now from now on.



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Re: advice on orchestral parts and string Divisi

[Reggie]

Reggie wrote
> Reggie wrote
>> For those of you who engrave orchestral music in which the strings often
>> have
>> your typical divisi a2 or a3
>> 
>> Suppose a performance is coming up and you need to print parts from the
>> full
>> score.
>> 
>> So when you go to engrave the individual parts for any of the strings for
>> example, (say Violin I), would you:
>> 
>> a) always leave the Violin I "as is" and just \new Staff the violin
>> variable
>> as it appears in the full score regardless of divisi complexity /
>> independence
>> --*(Violin I all on one staff for part)
>> b) only leave the Violin I as is from the full score if it's a simple
>> score
>> and not that complicated of a separate part
>> --*(Violin I all on one staff for part, but only if it's not too complex
>> of
>> a division rhythm-wise and for not that many measures in the score)
>> c) always input all divisi as separate variables from the beginning and
>> actually partcombine the divisi of the same instrument, so as to have
>> multiple staves if need be on the part version.
>> --*(Violin I from the start of engraving has already been pre-variabled
>> into
>> 2/3 divisi with a ton of spacer rests throughout the whole part until the
>> sections needed, then input the divisi notes, then go back to normal, etc
>> -
>> at the end, use partcombine on the part, etc.)
>> 
>> How do you approach printing string parts for a modern orchestral piece,
>> regarding divisi? Does it depend or is your approach constant?
>> Most of the music I am engraving has divisi similar to that of the 19th
>> century, where it's not too separate of a part difference but some
>> upcoming
>> projects I will be working on have rather diverse divisi spreads within
>> the
>> same string part.
>> So I wanted to begin the project 'correctly' before getting too deep in
>> and
>> realizing I couldn't do parts easily. You can't really [easily] do a
>> partcombine with just one variable taht has temporary voices on it.
>> 
>> Thanks
>> 
>> 
>> 
>> --
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>> 
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>> lilypond-user@
> 
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 
> 
> Please can someone help me with divisi engraver practices in lilypond
> writing the music? 
> 
> 
> 
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See what I mean here  https://image.ibb.co/bzL5aL/divisiexample.png how can
I create divisi from full score without going crzy?

\version "2.19.80"
\language "english"
#(set-global-staff-size 18)
\header {
  title = "Composition"
  % Remove default LilyPond tagline
  tagline = ##f
}

\paper {
  #(set-paper-size "folio")
}

global = {
  \key c \major
  \numericTimeSignature
  \time 5/4
  \tempo "Slow"
}

violinI = \relative c'' {
  \global
  % Music follows here.
  \repeat unfold 10 { c4 d c d8 ef8 f4 }
  \repeat unfold 4 {
<<
  { c'16 c c c r4 cs16 cs cs cs r4 c}
  \\ { \tuplet 3/2 { < ef,, a>4 q q } 8 q q q q4 }
>>
  }
  |
  c1~c4 c1~c4 R1*5/4*4
}

violinII = \relative c'' {
  \global
  % Music follows here.
  R1*25
}

viola = \relative c' {
  \global
  % Music follows here.
  R1*25
}

cello = \relative c {
  \global
  % Music follows here.
  R1*25
}

contrabass = \relative c {
  \global
  % Music follows here.
  \repeat unfold 10 { c2 d c d4 ef4 f2 }
}

violinIPart = \new Staff \with {
  instrumentName = "Violin I"
} \violinI

violinIIPart = \new Staff \with {
  instrumentName = "Violin II"
} \violinII

violaPart = \new Staff \with {
  instrumentName = "Viola"
} { \clef alto \viola }

celloPart = \new Staff \with {
  instrumentName = "Cello"
} { \clef bass \cello }

contrabassPart = \new Staff \with {
  instrumentName = "Contrabass"
} { \clef bass \contrabass }

\score {
  \new StaffGroup <<
\violinIPart
\violinIIPart
\violaPart
\celloPart
\contrabassPart
  >>
  \layout { }
}




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