Re: Lead sheet: How to change spacing between staff and chords?
The general principles are described in the section on Vertical spacing inside a system in the manual. In the 2.10.14 manual the section is called simply Vertical Spacing, but thank you; this is exactly the pointer I needed. Your suggestions solved my problem. But your suggestions seem to apply to the entire score. How can I change the spacing between chords and staff for just one printed line? Thanks! -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lead sheet: How to change spacing between staff and chords?
How do I move the chord symbols up from the staff in a lead sheet? The chord symbols come very close to the textscripts and I want to move them apart. Thanks! -- Robert P.S. Version 2.10.14. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I get rehearsal marks at both end and beginning of lines?
I wrote:
Werner wrote:
Robert wrote:
I want a rehearsal mark at the end of one line, and a different
rehearsal mark at the beginning of the next line.
Hmm. I've never seen this before. I assume that you use the
RehearsalMark grob for something different, right?
I don't understand your question. Something different from what?
Maybe I want a fermata on a bar line that comes at the end of one
line, and a tempo indication at the beginning of the following line.
I can think of many more situations where I might want a rehearsal
mark at the end of one line and also at the beginning of the next
line.
Let me ask my question a different way.
Suppose I have a 'Fine' and a rehearsal mark '\markup{\box{C}}'
occurring at the same bar line. If the bar line comes in the middle of
a line, I want the two marks printed together, consecutively. If the
bar line comes at the end of a line, I want 'Fine' at the end of the
first line, and '\markup{\box{C}}' at the beginning of the next
line.
What is the right way to do it?
This situation occurs very often. It happens in a large fraction of
the big band charts I've seen, for example.
-- Robert
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Re: How do I get rehearsal marks at both end and beginning of lines?
This is what I've said: You are using the RehearsalMark mechanism to place a fermata and a tempo indication. Neither of them is a real rehearsal marks actually. The user manual recommends using \mark for both of those. See section 8.1.3. If the manual is recommending the wrong way, what is the right way? -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making a staff take extra vertical space?
That's also solve in the latest development versions. How stable are the development versions? If I try using them, will I be happy or more frustrated? Many thanks for your advice! -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I get rehearsal marks at both end and beginning of lines?
Oh, there is a misunderstanding. I haven't said that this is the wrong way (rather the opposite). I was just wondering what you are actually trying to do. I see. I explained what I am actually trying to do in a different message. Basically I want Fine at the end of one line, and a letter inside a box as a rehearsal mark at the beginning of the following line. Of course if that point in the music happens to come in the middle of a line instead, I want the two marks typeset next to each other. Is there a good way of doing this? -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly broken in 2.10/11.15?
I've probably missed something, but in v 2.10.14/2.11/14 and 2.10.15/2.11.15 if convert-ly is invoked (through Update Syntax), the following message is presented: Traceback (most recent call last): File /Users/ssanders/Documents/Lilypond stuff/LilyPond 2.11.x/ LilyPond.app/Contents/Resources/bin/convert-ly, line 22, in ? import lilylib as ly ImportError: No module named lilylib Macintosh G4 OS X 10.4.8 Previous versions have converted without problem. I tried the list archive, but it appears to be broken at the moment. I encountered the same thing and had to run convert-ly manually to work around it. Open a terminal window and type the commands: export PYTHONPATH=/Users/ssanders/Documents/Lilypond\ stuff/LilyPond\ 2.11.x/Lilypond.app/Contents/Resources/share/lilypond/current/python /Users/ssanders/Documents/Lilypond\ stuff/LilyPond\ 2.11.x/LilyPond.app/Contents/Resources/bin/convert-ly -e myfile.ly where you substitute the name of your lilypond source file for myfile.ly. If you use csh or tcsh in your terminal window instead of sh, you need to change the export command to setenv PYTHONPATH /Users/ssanders/Documents/Lilypond\ stuff/LilyPond\ 2.11.x/Lilypond.app/Contents/Resources/share/lilypond/current/python Hope this helps! -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How do I get rehearsal marks at both end and beginning of lines?
I want a rehearsal mark at the end of one line, and a different
rehearsal mark at the beginning of the next line.
It seems to be a bug that rehearsal marks are junked as duplicates
without regard to different values of their break-visibility
properties.
One of the rehearsal marks in the following files disappears. How do I
get them both to appear in the right places?
-- Robert Kennedy
--
\new Staff { c''1
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark \markup { end of line }
\break
\mark \markup { beginning of line } d'' }
\version 2.10.14
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Re: Making a staff take extra vertical space?
I wonder, though, how I can get it to appear *below* the chords...
One method is to typeset the text as a text script instead of using \mark:
| c'4^\markup { \huge \line{ \box C \bold (first time only) }}
Then it will be connected to the stave and therefore the chords
will move out of the way automatically.
I like this suggestion, but unfortunately it seems to demonstrate
another bug. The chords move out of the way regardless of whether they
would collide with the text script. The result is a bunch of ugly,
unnecessary blank space. Thanks for the tip, though.
You already know how to move
these things horizontally using extra-offset. However, you maybe don't
know that you can also use
\once \override TextScript #'self-alignment-X = #-0.8
That's very good to know, and you're right that I hadn't known about
it. Thanks!
-- Robert
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Re: How do I get rehearsal marks at both end and beginning of lines?
I want a rehearsal mark at the end of one line, and a different rehearsal mark at the beginning of the next line. Hmm. I've never seen this before. I assume that you use the RehearsalMark grob for something different, right? I don't understand your question. Something different from what? Maybe I want a fermata on a bar line that comes at the end of one line, and a tempo indication at the beginning of the following line. I can think of many more situations where I might want a rehearsal mark at the end of one line and also at the beginning of the next line. Generally things should work without funny special breakage even if we cannot imagine how they would be used. If things work, someone will find a legitimate use for them. -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making a staff take extra vertical space?
In the latest development version, this problem doesn't exist anymore since the collision handling has been improved. Actually, the result you get there is similar to what you get if you add \once \override Score.RehearsalMark #'padding = #6 before the corresponding \mark command, i.e it appears above the chords. Thanks for the information! I wonder, though, how I can get it to appear *below* the chords, which is not how lead sheets are often done, but I think it might be better in some situations. -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Glissando notation?
In my experience, having played a number of pieces with glissandi, rips to us horn players, the straight line notation is quite common. I've seen both. Thanks for your input on this. I have seen the straight-line option in horn charts, but only in handwritten ones. Most horn charts (even handwritten ones) use a wavy line in my experience. The straight line looks too much like a tremolo or something unknown to me as a piano player. I've never seen an engraved piano score use that notation. I input some pieces with glissandi and tried the zigzag option but it didn't look right to me, as I'm not used to to seeing it done that way, so I went back to the default. Yeah, I prefer the straight-line option over the zigzag, too. Many thanks again! -- Robert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Glissando notation?
It seems in Lilypond (v2.10.14) the default notation for glissandos is a straight line. I've never seen that notation used for glissando before so I have no idea why it's the default, but that's OK because everything can be changed, right? So I tried \override Glissando #'style = #'zigzag, thinking it would give me the right thing. But it gives me a very thin, light zig-zag line -- yet another notation that I have never seen used for glissando. The most common, correct notation for glissando looks like a trill mark. It's a wavy line of varying thickness. A statement in the on-line reference documentation suggests that \override Glissando #'style = #'trill might help: http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/line_002dspanner_002dinterface#line_002dspanner_002dinterface But unfortunately it doesn't work. I still get a light, straight line. How do I get correct glissando notation? -- Robert P.S. I really *love* the output I get from Lilypond but even (dare I say it?) Finale gets this particular piece of notation more or less right. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Making a staff take extra vertical space?
Without changing any other spacing, how can I make the final staff in
this lead sheet take up some extra space so the chord symbols will
move up (relative to the staff) and won't overlap the markup text?
My best idea so far is to put an invisible note somewhere (using
\transparent) at the top of the staff with its stem pointing up. But I
haven't been able to figure out how to use \stemUp; for example,
\stemUp f4 \stemNeutral f
gives me only one stem. Also, notes produced with \transparent take up
both vertical and horizontal space. I want something that takes no
horizontal space, but does take vertical space.
Thanks for any help with this!
-- Robert
\header{
title = Bouncing with Bud (Bebop in Pastel)
composer = Earl Rudolph \Bud\ Powell
enteredby = Robert Kennedy
style = jazz
tagline =
}
harmonies = \chordmode {
\repeat volta 2 { bes1:maj bes1:maj b1:maj }
\alternative { { b1:maj } { b1:maj } }
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:7.11+
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}
melody = \relative {
\key bes \major
% \override Glissando #'style = #'zigzag
\override Glissando #'style = #'trill
\override Glissando #'minimum-length = #5
\repeat volta 2 { | \mark \markup{\bold Intro} r8 f bes[ f'~] f4. f,8 bes
f'8~ f2 r4 r8 f,8 b[ f'~] f4. f,8 }
\alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
{ \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0.5)
| \mark \markup { \box \bold A1 } d c bes a c bes a g f d ees ges~ ges4
f8 ees d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4
r2 r8 ees'8
\once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box A2 } d a r8 c r bes r d, r a' r fis g f ees d f b,
r2 r8 f'
fis g ees c gis' a fis d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c
f bes, r8 d f d fis g~
| \mark \markup { \box B } g g4 e d bes a' fis dis c bes'
g e d d'8~ bes~ g~ e~
d'4 bes g e bes'8 g e d a'4 fis dis c g' e d bes
d'8~ a~ g~ ees~
d'2~ a~ g~ ees~ d'8 a g ees d' \times 2/3 { a g ees }
\times 2/3 { f'8 c bes fis ees' f~ c~ bes~ fis~ } f'2 c
bes fis ees'8 bes fis cis'~ a~ e~ b~
cis'2~ a~ e~ b~ cis'8 a e b e' cis f,
\times 2/3 { ees' bes aes e des' ees~ bes~ aes~ e~ } ees'2
bes aes e des'8 bes aes e d'~ bes~ g~ ees~
d' bes g ees bes'~ g~ ees~ d~ bes'4 g ees d bes'16 a
aes g ees8 g
des' e, c'~ ees,~ c'4 ees, r4 r8 ees'8
| \mark \markup { \box A3 } d c bes a c bes a g f d ees ges~ ges4 f8 ees
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f8
bes,
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\once \override Score.RehearsalMark #'extra-offset = #'(6 . 0)
\mark \markup { \bold Fine } r2. \bar ||
\once \override Score.RehearsalMark #'extra-offset = #'(12 . 0)
| \mark \markup { \box C \bold (first time only) } c'4 c bes r8 a~ a a~
a g~ g4 r d' f ees r8 b~ b4 \glissando d8 c~ c4 aes8 g~ g1~ g2. b8 bes r1 r1
\bar |.
}
}
\layout {
\context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
\new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space = #0
\override VoltaBracket #'extra-offset = #'( 0 . -1 )
}
{
\harmonies
}
\new Staff \with {
voltaOnThisStaff = ##f
}
{ \melody
}
\version 2.10.14
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Re: Lead sheet examples?
For the record, the answer to your original question can also be found in
an example in the Tips and Tricks document (I'm sure it's included in the
LilyPond Snippet Repository as well).
Many thanks for the pointers. I hadn't even discovered the existence
of the Tips and Tricks document until you mentioned it.
To reduce the spacing, you can do
\new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space =#0
} { ... }
This looks like it should work, and LP accepts it OK, but it doesn't
have any effect. The volta brackets are still much too high. I can't
see any difference in output appearance between the versions with and
without the \override VoltaBracket #'minimum-space = #0 line. Below
is my current LP source in case you'd like to try and see if it really
works for you.
Again, many thanks for helping!
-- Robert
\header{
title = Bouncing with Bud (Bebop in Pastel)
composer = Earl Rudolph \Bud\ Powell
enteredby = Robert Kennedy
style = jazz
tagline =
}
harmonies = \chordmode {
\repeat volta 2 { bes1:maj bes1:maj b1:maj }
\alternative { { b1:maj } { b1:maj } }
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj b:maj
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes:maj d:7
g1:m6 g:m6 a:m7.5- d:7.9+ g:7.11+ c:7.9+ c:m7 f:7
bes2:maj c:m7 d:m7 ees:dim7 d:m7 g:7
c:m7 d:7 g1:m7 des:dim7 c2:m7 f:7 bes1:maj
fis2:dim g:m6 d:7.9- g:m6 b:dim7 c:m7 b:dim7 c:m7
f1:7.9 f2.:7.9 b8:maj bes:maj r1 r1
}
melody = \relative {
\key bes \major
\repeat volta 2 { r8 f bes[ f'~] f4. f,8 bes f'8~ f2 r4 r8 f,8 b[ f'~] f4.
f,8 }
\alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
{ \once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box A1 } d c bes a c bes a g f d ees ges~ ges4 f8 ees
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f4
r2 r8 ees'8
\once \override Score.RehearsalMark #'extra-offset = #'(-1 . 0)
| \mark \markup { \box A2 } d a r8 c r bes r d, r a' r fis g f ees d f b,
r2 r8 f'
fis g ees c gis' a fis d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c
f bes, r8 d f d fis g~
| \mark \markup { \box B } g g4 e d bes a' fis dis c bes'
g e d d'8~ bes~ g~ e~
d'4 bes g e bes'8 g e d a'4 fis dis c g' e d bes
d'8~ a~ g~ ees~
d'2~ a~ g~ ees~ d'8 a g ees d' \times 2/3 { a g ees }
\times 2/3 { f'8 c bes fis ees' f~ c~ bes~ fis~ } f'2 c
bes fis ees'8 bes fis cis'~ a~ e~ b~
cis'2~ a~ e~ b~ cis'8 a e b e' cis f,
\times 2/3 { ees' bes aes e des' ees~ bes~ aes~ e~ } ees'2
bes aes e des'8 d~ bes~ g~ ees~
d' bes g ees bes'~ g~ ees~ d~ bes'4 g ees d bes'16 a
aes g ees8 g
des' e, c'~ ees,~ c'4 ees, r4 r8 ees'8
| \mark \markup { \box A3 } d c bes a c bes a g f d ees ges~ ges4 f8 ees
d c f b, r4. g'8~
g4 ees8 c a'4 fis8 d bes' g r2 r8 a bes g r2 r8 a bes g a bes g ees d c f8
bes, r2. \bar ||
| \mark \markup { \box C } c'4 c bes r8 a~ a a~ a g~ g4 r d' f ees r8 b~
b4 d8 c~ c4 aes8 g~ g1~ g2. b8 bes r1 r1 \bar |.
}
}
\layout {
\context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
\new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
\override VoltaBracket #'minimum-space = #0
}
{
\harmonies
}
\new Staff \with {
voltaOnThisStaff = ##f
}
{ \melody
}
\version 2.10.14
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Re: Lead sheet examples?
Late last night I wrote: This looks like it should work, and LP accepts it OK, but it doesn't have any effect... Embarassingly, now it seems to work. I must have been having some kind of version control problem when I wrote that. Many thanks to everyone who helped! -- Robert Kennedy ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lead sheet examples?
I'm not sure if what I'm seeing is a design flaw or user
ignorance. Probably the latter because I just started using LP
yesterday. But I haven't been able to find an example or explanation
in the user guide to help me with this.
Here's my question: In the presence of \repeat volta, how do I get
the chord symbols placed properly on a lead sheet?
The problem I'm having is that the chord symbols are placed above the
lines that delineate the first and second endings. The chord symbols
should be below those lines.
Below is one example input file. The chords don't reflect the repeat
properly, but that's immaterial and relatively easy for me to fix. The
issue is the placement of the chord symbols above the lines that
delineate first and second endings.
As I said, this is probably user error. But lead sheets are a common
thing and it seems like a documentation bug that there is no example
and no discussion of how to do this.
If anyone can show me the right way, I'll be very grateful! Thanks in
advance!
-- Robert Kennedy
\header{
title = Bouncing with Bud (Bebop in Pastel)
composer = Earl Rudolph \Bud\ Powell
}
harmonies = \chordmode {
bes1:maj bes1:maj b1:maj b1:maj
bes2:maj c:m7 d:m7 ees:dim7
}
melody = \relative {
\key bes \major
\repeat volta 2 { r8 f bes[ f'~] f4. f,8 bes f'8~ f2 r4 r8 f,8 b[ f'~] f4.
f,8 }
\alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
{ | \mark \markup {\box A1} d c bes a c bes a g f d ees ges~ ges4 f8 ees d
c f b, r4. }
}
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\melody
\version 2.10.14
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Re: Lead sheet examples?
Try
\new ChordNames \with {
voltaOnThisStaff = ##t
}
instead of \new ChordNames
Thanks. That helps quite a bit, and I looked through the archives,
too. The problem now is that the volta lines are much too high,
especially the one for the first ending where there is no chord symbol
underneath it. But even the second one is too high.
How should I fix that? Below is my little example file as it stands
now.
Many thanks!
-- Robert
\header{
title = Bouncing with Bud (Bebop in Pastel)
composer = Earl Rudolph \Bud\ Powell
enteredby = Robert Kennedy
style = jazz
}
harmonies = \chordmode {
bes1:maj bes1:maj b1:maj b1:maj
bes2:maj c:m7 d:m7 ees:dim7
}
melody = \relative {
\key bes \major
\repeat volta 2 { r8 f bes[ f'~] f4. f,8 bes f'8~ f2 r4 r8 f,8 b[ f'~] f4.
f,8 }
\alternative { { b8 f'~ f2 r4 } { b,8 f'~ f2 r8 ees8 } }
{ | \mark \markup {\box A1} d c bes a c bes a g f d ees ges~ ges4 f8 ees d
c f b, r4. }
}
\layout {
\context { \Score \override RemoveEmptyVerticalGroup #'remove-first = ##t }
}
\new ChordNames \with {
chordChanges = ##t
voltaOnThisStaff = ##t
} {
\harmonies
}
\new Staff \with {
voltaOnThisStaff = ##f
} {
\melody
}
\version 2.10.14
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