Re: Moving glissando ends
> I want each line to go to the centre of the invisible notehead, so that > I get a continuous line. Of course, the first and last lines only want > to be full-length at one end, because there is an actual notehead at > the other. > > How can I achieve this? for the first line: \override Glissando.bound-details.right.padding = #-1 for the intermediate lines: \override Glissando.bound-details.right.padding = #-1 \override Glissando.bound-details.left.padding = #-1 for the last line: \override Glissando.bound-details.left.padding = #-1 You did not give an example, so this is not tested. Toine Schreurs
Re: Disabling beamExceptions and beatStructure
> I am working on a piece with constantly changing meters and it got
> me wondering if there is a way to set beamExceptions to #’() and
> beat structure to a suitably long sequence of ones for all time
> signatures in the whole piece at once. At the moment I’m doing so
> for each time signature change, every other bar or so, but this
> feels somewhat clumsy and makes me suppose there should be a better
> way.
I usually use a list of \overrideTimeSignatureSettings for the various
timesignatures. For example:
myAutoBeam = {
\overrideTimeSignatureSettings
#'(3 . 4) % timeSignatureFraction
#'(1 . 4) % baseMomentFraction
#'(1 1 1) % beatStructure
#'() % beamExceptions
\overrideTimeSignatureSettings
#'(2 . 2) % timeSignatureFraction
#'(1 . 2) % baseMomentFraction
#'(1 1)% beatStructure
#'((end . (((1 . 12) . (3 3 3 3 ) % beamExceptions
}
It is easy to expand and will be used by every timesignature change.
Toine Schreurs
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Re: connectArpeggios problem
connectArpeggios connects arpeggios. The first voice does not contain
an arpeggio so there is nothing to connect. Change:
\grace { s16 s s } cis'''2 | % 1
into:
\grace { s16 s s } cis'''2\arpeggio | % 1
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Re: glissando problem
> I'm typesetting a percussion part where the composer wants a
> glissando on both sets of bars of the glockenspiel; i.e. all the
> white notes and all the black notes.
> I'm not getting the expected result, which should show two
> glissandos between each note, one between the two Bb's and one
> between the two Cb's.
What about using chords instead of two voices, and a little bit of tweaking?
\version "2.19.82"
\language english
\score {
\relative c' {
\time 6/4
%\override Glissando.style = #'zigzag
\override Glissando.minimum-length = #4
\override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
\override Glissando.breakable = ##t
\override Glissando.after-line-breaking = ##t
\override Glissando.bound-details.left.padding = #1.5
\override Glissando.bound-details.right.padding = #1.5
\override Glissando.bound-details.right.end-on-accidental = ##f
\override Glissando.bound-details.right-broken.padding = #0.5
% 6 bars of 3 patterns of 2 quarter notes = 18
% 1 bar of 2 patterns of 2 quarter notes = 2
% and a final pattern without the last glissando
<>^"Glk. gliss. on both rows of bars"
\repeat unfold 20 { 4 \glissando \glissando }
4 \glissando
}
}
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Re: hide barline when \startStaff coincides with system break
> In bar 6 below, where \startStaff coincides with a system break, a lone > barline is drawn at the end of the previous system. I would prefer for > the barline to be omitted in this situation. Insert the next line before every \startStaff: \once \override Staff.BarLine.break-visibility = ##(#f #t #f) or \once \override Staff.BarLine.break-visibility = #center-visible If a \startStaff occurs at the end of a line, no barline will be drawn. Toine Schreurs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando
Try
\version "2.21.0"
\fixed c'' {
\override Glissando.style = #'zigzag
c4*1/2 \glissando \hideNotes c,4*1/2 \unHideNotes d4 e f
}
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page-turn-breaking with toplevel markup
page-turn-breaking combined with toplevel markups issues a programming
error.
\version "2.19.80"
\paper {
#(define page-breaking ly:page-turn-breaking)
}
\markup { one }
\markup { two }
GNU LilyPond 2.19.80
Processing `turnable.ly'
Parsing...
programming error: found a page-turnable place which was not breakable
continuing, cross fingers
programming error: found a page-turnable place which was not breakable
continuing, cross fingers
Calculating page and line breaks (1 possible page breaks)...[1]
Drawing systems...
.
The compilation completes succesfully, but the message clearly
suggests a programmming error.
greetings,
Toine Schreurs
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Re: trying to solve "cyclic chain in pure-Y-offset callbacks" error in custom (ScoreMarks) context
> In the snippet included below, I'm using a custom ScoreMarks context to show
> MetronomeMarks (plus, in the real world, RehearsalMarks and other things)
> above the system. The problem is, in order to have the MetronomeMark align
> correctly with the TimeSignature, I must (?) include the TimeSignature in
> some form or other. But I don't want the actual grob to appear, or affect
> spacing in any way *other than* helping with alignment.
>
> All the attempts I've tried (\omit-s, stencil tweaks, etc.) throw "cyclic
> chain in pure-Y-offset callbacks" errors, which I have just been ignoring
> (for years now). But I'd like to solve this once and for all, if possible…
>
> 1. Is the error more serious than a simply aesthetic problem?
>
> 2. If not, is there some way to avoid seeing the errors?
>
> 3. In any case, is there a better way of doing what I'm trying to do (i.e.,
> one that won't cause the error in the first place)?
What about:
\layout {
\context {
\Score
\remove Staff_collecting_engraver
}
}
This apparently removes the errors/warnings. I have no idea about other
implications.
Toine Schreurs
> %%% SNIPPET BEGINS
> \version "2.19"
>
> \layout {
> \context {
> \type "Engraver_group"
> \name ScoreMarks
> \consists "Staff_collecting_engraver"
> \consists "Axis_group_engraver"
> \override VerticalAxisGroup.staff-affinity = #DOWN
> \consists "Metronome_mark_engraver"
> \override MetronomeMark.break-align-symbols =
> #'(left-edge staff-bar clef time-signature key-signature)
> \override MetronomeMark.non-break-align-symbols =
> #'(paper-column-interface)
> }
> \context {
> \Score
> \remove "Metronome_mark_engraver"
> \remove "Mark_engraver"
> \accepts ScoreMarks
> }
> }
>
> global = {
> \tempo "Testing"
> \time 2/2
> s1
> }
>
> \markup "No TimeSignature in ScoreMarks = incorrect alignment:"
> \score {
> <<
> \new ScoreMarks \global
> \new Staff << \global c''1 >>
> >>
> }
>
> \markup "TimeSignature in ScoreMarks = correct alignment + unwanted grob +
> error:"
> \score {
> <<
> \new ScoreMarks \global
> \new Staff << \global c''1 >>
> >>
> \layout {
> \context {
> \ScoreMarks
> \consists "Time_signature_engraver"
> }
> }
> }
>
> \markup "TimeSignature included in and then \omit-ed from ScoreMarks =
> correct alignment + error:"
> \score {
> <<
> \new ScoreMarks \global
> \new Staff << \global c''1 >>
> >>
> \layout {
> \context {
> \ScoreMarks
> \consists "Time_signature_engraver"
> \omit TimeSignature
> }
> }
> }
> %%% SNIPPET ENDS
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Re: A notice about \mark when Mark_engraver is moved
> >Try:
> >
> >A = {
> > \mark #3 a'4 a' |
> > \set Staff.rehearsalMark = #6
> > \mark \default a' a'
> >} %etc
> >
> Yes, it does in fact work. I had seen this variable setting in the
> Internal Reference manual, but it was noted "(read)" so i did not test it.
> However, this must be a work around for a bug, isn't it? It should work
> without it, shouldn't it?
Yes, and yes.
I had a similar problem using MarkLine (http://lsr.di.unimi.it/LSR/Item?id=1010)
referred by
http://lilypond.org/doc/v2.19/Documentation/snippets/contexts-and-engravers#contexts-and-engravers-using-marklines-in-a-frenched-score
I used
\set MarkLine.rehearsalMark = #6
in that case.
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Re: A notice about \mark when Mark_engraver is moved
> I had need of printing marks on several staves, so I moved the
> Mark_engraver to the Staff context, all according to LilyPond NR, see
> snippet below. Then I noticed, that I could not control the contents of
> Rehearsal marks any more, except for the first one. All successors were
> follow in sequence from the start id just as were they all defined as
> \default. Hence the hash mark has no influence contrary to when the
> Mark_engraver resides in Score. The only possibility to get another id
> is to define it as a text mark.
Try:
A = {
\mark #3 a'4 a' |
\set Staff.rehearsalMark = #6
\mark \default a' a'
} %etc
> |\version "2.18.2" A = { \mark #3 a'4 a' | \mark #6 a' a' | \mark
> \markup "Z" a' \mark \default a' | a' } \score { << \new Staff \with {
> \consists "Mark_engraver" \consists "Staff_collecting_engraver" } {
> \time 2/4 \new Voice { \A } } >> \layout { indent = #0 \context { \Score
> \remove "Mark_engraver" \remove "Staff_collecting_engraver" } } }|
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Re: Prevent "orphan" markup
> The problem is that *usually* the title of the next movement fits on the
> same page as the end of the previous one but no music, so I have the
> title of the next movement sitting on the bottom of a page.
>
> So: is there a way that a top-level markup block can determine if there
> will be at least one system of music coming on the same page?
What about:
\markup { "Title of second movement" }
\noPageBreak
\score {
% second movement
}
Then at least one system of music follows the title.
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Re: repeat and dynamic
> Have a look to the following code. Please note that each line contain
> the same notes but different dynamic information:
>
> \version "2.19.40"
> {
> a'-4 \p \< g'-3 e'-2 c''-5
> a'-4 g'-3 e'-2 c''-5
> a'-4 g'-3 e'-2 c''-5 \!
> }
>
> Is there any way to write the previous code using a repeat? Something
> like this (that of course does not work):
>
> \p \< \repeat unfold 3 {a'-4 g'-3 e'-2 c''-5} \!
>
<<
\repeat unfold 3 { a'-4 g'-3 e'-2 c''-5 }
{ s1\p\< | s1 | s2. s4\! }
>>
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Re: hide bar lines
Thank you, tried it, but the space is still visible.
{
\repeat unfold 4 { a4 a a a } \bar ||
}
\layout {
\context {
\Score
defaultBarType =
}
}
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Re: Quartet Template with/without trills
I have used the tags 'trills and 'expand to produce scores and midi.
However although the tags work OK when the music files are
compiled individually when using the score file below any music identified
by 'trills or 'expand is skipped. Am I missing a point
here or is this not possible?
\version 2.18.2
\include piece.ly
#(set-global-staff-size 14)
\score {
\new StaffGroup \keepWithTag #'score
\removeWithTag #'expand \music
\layout { }
}
\score {
\new StaffGroup \keepWithTag #'score
\removeWithTag #'trills \music
\midi{ }
}
keepWithTag #'score keeps untagged and score-tagged sections and removes all
other tagged sections. So you will loose #'trills and #'expand.
What about:
score {
\new StaffGroup \keepWithTag #'(score trills expand)
\removeWithTag #'expand \music
layout { }
}
\score {
\new StaffGroup \keepWithTag #'(score trills expand)
\removeWithTag #'trills \music
\midi{ }
}
or even:
score {
\new StaffGroup \keepWithTag #'(score trills)
\music
layout { }
}
\score {
\new StaffGroup \keepWithTag #'(score expand)
\music
\midi{ }
}
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Re: Controlling the order of articulations and text markup
Well, I am getting an unexpected order in this case:
\version 2.18.0
{
a'4
-\tweak script-priority 0 ^\markup\tiny\sharp
-\tweak script-priority -5 ^\turn
-\tweak script-priority -10 ^\markup\tiny\flat a'4
}
with the priority getting lower for each symbol I expect the sharp to be
above the turn and the flat below. Instead the turn is the highest.
Any ideas?
^\turn is a Script object
^\markup\tiny\sharp is TextScript
TextScript uses outside-staff-priority, Script does not.
According to the docs (v2.19) 4.4.1:
First, LilyPond places all the within-staff objects. Then it sorts the
outside-staff objects according to their outside-staff-priority. The
outside-staff objects are taken one by one, beginning with the object
with the lowest outside-staff-priority, and placed so that they do not
collide with any objects that have already been placed. That is, if
two outside-staff grobs are competing for the same space, the one with
the lower outside-staff-priority will be placed closer to the
staff. If two objects have the same outside-staff-priority the one
encountered first will be placed closer to the staff.
You can remove the outside-staff-priority for TextScript:
\version 2.18.0
{
\once \override TextScript.outside-staff-priority = ##f
a'4
-\tweak script-priority 0 ^\markup\tiny\sharp
-\tweak script-priority -5 ^\turn
-\tweak script-priority -10 ^\markup\tiny\flat a'4
}
From the internal documentation, I get the impression that script-priority
specifies a number, which will be added to 'something else'.
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Re: Make every n'th barline different?
On Thu, May 08, 2014 at 04:35:40PM +0100, Graham King wrote:
Thanks Gilberto, that's simpler and better than anything I would have
cooked up. And by simply using:
\version 2.19.2
barlines = {
\set Timing.defaultBarType = ;
\repeat unfold 3 { s1 }
\bar |
}
\relative c' {
\repeat unfold 12 {c d e f}
\\
\repeat unfold 4 \barlines
}
I would leave out the \\ in this case. The music will otherwise
appear in voiceOne.
Toine Schreurs
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Re: Skip to Specific Bar
The only problem is I'm now left with a part (the one that contained all the
\time information) that refuses to auto hide when it just contains whole bar
rests. All the other parts are hiding fine, just not this one. I've removed
all the \time tags so what else do you think could be stopping it from
hiding? I've attached the contents of just that part plus the \staff parts
that reference it. If someone could be lovely and have a quick scan through
them to see what I'm missing, I'd be very grateful :) extract.txt
http://lilypond.1069038.n5.nabble.com/file/n150759/extract.txt
Perhaps?:
\context {
\RhythmicStaff
\RemoveEmptyStaves
}
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Re: Lyrics interfere with volta?
I'm setting a vocal piece containing a simple repeat. The code below shows
problems with prematurely ending a volta, but only if the Lyrics block is
included. I've trimmed the live version down to this:
The lyrics are 'connected' to the sop Voice. You only have to specify the
lyrics.
\new Lyrics { \lyricsto sop {
gu.
Mun --
Mun --
gu.
}
}
Toine Schreurs
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chordnames, fontsize and raise
The size of ChordNames can be changed with
\override ChordName #'font-size = #1.5
In the resulting score, the chordmodifier is raised with respect to
the root. The amount of raising is apparantly independent of the
font-size.
\version 2.14.2
notes = \chordmode {
\override ChordName #'font-size = #6
c:7
\override ChordName #'font-size = #0
c:7
\override ChordName #'font-size = #-6
c:7
}
\score {
\new ChordNames {
\notes
}
}
According to scm/chord-ignatzek-names.scm this raising is done via
make-super-markup. Is it possible to change the amount of raising or
at least make it dependent on the font-size?
Toine Schreurs
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Re: Half bar line
is there a bar line that spans only the upper half of the staff? I'd like to use it (according to common notation in hymn books) to indicate that the original notation did not have bar lines. What I am looking for is not: \divisioMaxima/Minima/Maior and not \bar '. (At least not untweaked versions), but a line from the middle staff line to the uppermost staff line (spanning half the staff). \override Staff.BarLine #'bar-extent = #'(0 . 2) should do the trick. Toine ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with remove bar number
using version 2.14.1 this is only place I can put the remove
bar_number that will allow the piece to compile however I still have bar
numbers. So what am I doing wrong?
score {
new Staff melody
layout
{
context {
Staff
remove Time_signature_engraver
remove
Bar_engraver
remove Bar_number_engraver
}
}
Try:
\layout {
\context {
\Score
\remove Bar_number_engraver
}
}
Toine
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Re: Problem with remove bar number
using version 2.14.1 this is only place I can put the remove
bar_number that will allow the piece to compile however I still have bar
numbers. So what am I doing wrong?
score {
new Staff melody
layout
{
context {
Staff
remove Time_signature_engraver
remove
Bar_engraver
remove Bar_number_engraver
}
}
Try:
\layout {
\context {
\Score
\remove Bar_number_engraver
}
}
That made things worse now I have all the time signatures and bar lines and
bar numbers - IF it compiles which it didn't if I just used your suggestion.
Sorry.
I only gave a solution to the barnumber problem.
This is the complete layout block:
\layout {
\context {
\Score
\remove Bar_number_engraver
\context {
\Staff
\remove Time_signature_engraver
\remove Bar_engraver
}
}
Toine
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Re: Attaca markup
This is how I've defined it in the past:
attacca =
{
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'direction = #DOWN
\once \override Score.RehearsalMark #'font-size = 1
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark \markup{\bold Attacca}
}
I would add one more line to this definition:
\noPageTurn
Toine
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Re: Beaming regression 2.15.39 compared to 2.14.2
On Thu, May 24, 2012 at 05:13:55PM +1000, Nick Payne wrote:
In 2.14.2, the output for the second bar beams all five eighth notes
together, as I would expect. In 2.15.39, the first eighth note is not
beamed with the others:
\relative c'' {
\time 3/4
c8 c c c c c
r c c c c c
}
It apparently is different from 2.14.2, but I would not call this a
regression.
In 3/4, I would like to have 6 eights beamed together, but if any
rests are involved, the beaming should be per quarter in order to
preserve the 3-beat character. In:
\relative c'' {
\time 3/4
r4 r8 c c c
}
the default beaming in 2.14.2 gives an impression of a 2-beat, which should
be avoided.
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Re: Hiding MultiMeasureRest
On Sat, Mar 03, 2012 at 08:31:54AM +0100, Stjepan Horvat wrote:
Yes..i do it also as that.. \repeat unfold 8 {s1} in marks and R1*8 in
voices but when i want to print a separate voice instead of a full
score the bars wont compress..so instead of a bar with number 8 i get
8 bars..and if i use R1*8 in the marks i get good output on the rests
(compressed) but wrong output on the music (music as voice one and
rests as secend voice)..is my problem clear..?! So i tried hideNotes
couse i hoped that the rests as secend voice would wanish..:)
Use s1*8 in the marks instead \repeat unfold 8 {s1}.
Toine
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Re: Hiding MultiMeasureRest
marks = {
\set Score.markFormatter = #format-mark-box-barnumbers
\compressFullBarRests
\hideNotes
\partial 8 s8
R1*8 \mark \default \bar || %9
R1*8 \mark \default %17
R1*8 \mark \default %25
R1*8 \mark \default %33
.
R1*12 \mark \default
R1*7 %kraj
R1
\unHideNotes
\bar |.
}
marks variable as sheme for bar lines and makrs.
Then after i combine voices as \tenorSax \marks .
The problem is that if i would use \repeat unfold 8 { s1 } i wouldn't
get compressFullBarRests in separate voices. And \hideNotes does not
work either. I tryed the new patch for ly/property-init.ly but it
didn't help. It's like R1 is acting difrenet then r1.
Change R1 into s1
You can also remove \hideNotes and \unHideNotes
Toine
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Re: Making invisible the barline that extends between staff groups
It's just that barline that appears between the percussion parts (not between the two staves that comprise their parts) I want to make invisible. 1 Change the first '\new StaffGroup' into '\new ChoirStaff' 2 Remove all '\override Staff.BarLine #'transparent = ##t' Toine Schreurs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trouble with acciaccatura at the beginning of a piece
The trick, as you can see, is to put invisible acciaccaturas in voices that do not start with one, and make \global a part of a sequence rather than a simultaneous voice. If you append the silent grace note to global, and leave \global as a simultaneous voice (for all staffs) , you don't need to insert the silent graces notes to the staffs which have none. Toine ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Breaking up project into smaller files
I'm trying to break up a project into smaller files. I have global
definitions in one file (global.ily), the main \score block in
main.ly, and each part of the score in separate files. When I had
everything in a single file, I had no issues compiling, but putting
the definitions in their own files has created a problem I can't
explain. Here is a link to program input and output:
http://www.pastie.org/2115133
global.ily is included from three-stroke-ruff.ily, and
three-stroke-ruff.ily is included from main.ly, but within
a DrumStaff.
If you move \include global.ily in main.ly up before the \score it works.
\include global.ily
\score {
\new DrumStaff \drummode {
% drags
\include three-stroke-ruff.ily
%\include single-drag.ily
Toine Schreurs
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autobeam in 3/4 with rests
In 3/4, the default autobeam setting combines 6 eighth notes
under one beam. But if some of the notes are replaced by eighth rests,
the result can be confusing.
By clearing beamExceptions, this can be solved, but now the 6 notes
are not beamed together anymore.
Is there any way to change the default behaviour if eighth rests are
involved?
\version 2.13.61
music = \relative c' {
f8 f f f f f |
r f f r f f |
}
\score {
\new Staff {
\time 3/4
\music
\set Timing.beamExceptions = #'()
\music
}
}
Toine Schreurs
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Re: length of stems of sextuplets is too short
As you can see on this snippet the length of stems of sextuplets is too
short. The length of the stems extend for 32th but not for the 8th notes.
Is there anything i should do or is there something wrong is the default
values?
%% the sextuplets look compressed. The stems are too short.
\version 2.13.60
\language english
\paper{ ragged-right=##t }
\relative g' {
\key a \major
\times 2/3 {e'8 gs a} \times 2/3 {b a gs}
\times 4/6 {e16 gs a b a gs}
\times 4/12 {e32 gs a b a gs e32 gs a b a gs}
}
Is that normal behavior or a bug?
See http://lsr.dsi.unimi.it/LSR/Item?id=681
If you use \override Stem #'(details beamed-lengths) = #'(3 4 5)
the 8th notes remain unchanged, the 16th will be extended, and the 32th even
more.
Toine Schreurs
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Re: Multiple LilyPond Versions
.sh installer installs LilyPond either in your home directory (if you launch it as a normal user) or in /usr/local (if you launch it as a superuser). I *think* there's not a way to set different paths (of course, you can if you compile from source). sh lilypond-2xx.sh --help tells how to set a different install directory sh --prefix= lilypond-2xx.sh Toine Schreurs ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom drum notes
\version 2.12.3
\drums {
% note that ^3 doesn't work with drums
sn4 tomh^\markup { \small 3 } sn sn
}
I'd like to make it so EVERY time I do tomh the 3 is printed in the
fingering above the note. (Or, we can call it something new if I shouldn't
or can't change the definition of tomh). Can someone point me in the right
direction?
Just create and use a new variable:
th=\drummode { tomh^3 }
\drums {
sn4 \th sn sn
}
Toine Schreurs
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Re: Custom drum notes
Please (group) reply to the list.
On Sat, Nov 20, 2010 at 08:45:22AM -0500, Mike J. Bell wrote:
Thanks, that seems to do the trick.
What if I need to specify the note duration though?
\th8 doesn't work. Tried \th8 too...no go. Sorry, I'm a newbie...not
very comfortable with lilypond syntax yet.
A simple and crude method:
th=\drummode { tomh^3 }
thh=\drummode { tomh2^3 }
thq=\drummode { tomh4^3 }
the=\drummode { tomh8^3 }
ths=\drummode { tomh16^3 }
(with h,q,e,s abreviations for half, quarter, eight and sixteenth)
Toine
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Re: Resizing accidental in a chord
I looked into the internals and tried \key b \major \override Voice.AccidentalSuggestion #'font-size = #-5 fis ais cis!4 but this didn't work as expected and I don't know why. What about making cautinary accidentals fis ais cis? and: \override Voice.AccidentalCautionary #'font-size = #-5 \override Voice.AccidentalCautionary #'parenthesized = ##f Toine ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custom drumstuff, positions of noteheads
Ok, I see. But why do values as 1.4, -1.2 and -3.8 result in 0? Toine The values following the dots are ignored, so it's equivalent to this: #(define fourtoms '((hightom default #t 4) (himidtom default #t 1) (lowmidtom default #t -1) (lowtom default #t -3))) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custom drumstuff, positions of noteheads
I don't know why it works, but changing, within your fourtoms definition,
the float-numbers syntax by surrounding the dots with spaces helps.
\version 2.12.2
%%% four Toms
#(define fourtoms '((hightom default #t 4)
(himidtom default #t 1 . 4)
(lowmidtom default #t -1 . 2)
(lowtom default #t -3 . 8)
))
fourtomStaff = {
\set DrumStaff.drumStyleTable = #(alist-hash-table fourtoms)
\override Staff.StaffSymbol #'line-positions = #'(4 1.4 -1.2 -3.8)
\override Staff.BarLine #'bar-size = #4
}
musik = \drummode { tomh 4 tommh tomml toml }
\score {
\new DrumStaff { \fourtomStaff \musik }
}
Only integers are allowed for 'line-positions in a DrumStaff. This
can be easily fixed, though I'm not sure what to suggest for the
stable version.
Perhaps you could try refactoring the line positions then scaling down
the staff-space to compensate (untested).
Toine Schreurs
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Re: Info about TabStaff
See (the first part) of http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00797.html This was an answer for RemoveEmptyDrumStaffContext, but you will be able to adapt it to RemoveEmptyTabStaffContext. Toine Schreurs My problem is about the TabStaff. In my scores, I always use the \RemoveEmptyStaffContext, but it seems to not work with the TabStaff. I would like to know if it's normal or if it's a bug? I have already search in the documentation, wiki, snippet repository and the google bug tracker. If you need more information you can contact me. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing empty (drum) staff in a score, instrument name placement
1. You would need (the nonexisting) RemoveEmptyDrumStaffContext. But
inspection of engraver-init.ly points to the solution:
\layout {
\context {
\RemoveEmptyStaffContext
}
\context {
\DrumStaff
\remove Axis_group_engraver
\override VerticalAxisGroup #'remove-empty = ##t
\consists Hara_kiri_engraver
}
}
2. Do not specify the instrumentname in the flt,sax, definitions.
For the full score, add the instrumentname to the score, as in
\new StaffGroup = ww
\new Staff = flt {
\set Staff.instrumentName = #Flute
\set Staff.shortInstrumentName = #Fl.
\flt
}
\new Staff = sax {
\set Staff.instrumentName = #Soprano Saxophone
\set Staff.shortInstrumentName = #Sop. Sax.
\sax
}
For the parts, specify the instrumentname with a markup
\book {
\markup Flute
\score {
\new Staff {
\flt
}
\layout { \indent = 0.0 }
}
}
Toine Schreurs
1) Despite RemoveEmptyStaffContext being used (line 298), the congas
part still persists in each system (from page 5 to the end), even
though it contains only rests. \RemoveEmptyRhythmicStaffContext doesn't
work either. If I can get that staff hidden, I think I will be able to
shave four pages off of the score.
2) How can I place instrument names above and to the left the first
system on the individual parts? See example (flute part):
http://ross.uber.name/comparsa-lecuona-1.pdf I already have \remove
Instrument_name_engraver in all the parts' books (line 306, etc.)
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Re: Drum writing...is there a way to save and recall custom commands?
You have to add drummode.
snflam = \drummode {
\override Stem #'length = #4
\acciaccatura {sn8}
\revert Stem #'length
sn4
}
Thanks, I've tried using these variables, but the file won't build, I get a
C:/Users/Master/Desktop/Drum Scores/test.ly:14:15: error: syntax error,
unexpected STRING
\acciaccatura {
sn8}
C:/Users/Master/Desktop/Drum Scores/test.ly:16:0: error: syntax error,
unexpected STRING
Toine Schreurs
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Re: unfold and tremolo have different math
See section 1.4.2 Short Repeats:
The \repeat tremolo syntax expects exactly two notes within the
braces, and the number of repetitions must correspond to a note
value that can be expressed with plain or dotted notes. Thus,
\repeat tremolo 7 is valid and produces a double dotted note, but
\repeat tremolo 9 is not.
There are two ways to put tremolo marks on a single note. The
\repeat tremolo syntax is also used here, in which case the note
should not be surrounded by braces
The only difference between these two is the unfold/tremolo, so why
do they render differently?
\version 2.11.65
\relative c' {
\scaleDurations #'(2 . 3) {
\repeat tremolo 9 c e g8 \repeat tremolo 3 c e fis8
\repeat unfold 4 { \repeat tremolo 3 c d fis8 }
}
}
\relative c' {
\scaleDurations #'(2 . 3) {
\repeat unfold 9 c e g8 \repeat unfold 3 c e fis8
\repeat unfold 4 { \repeat unfold 3 c d fis8 }
}
}
Toine Schreurs
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Re: unfold and tremolo have different math
Sorry, cut off. How does this apply \times 2/3 { c8 c c} \times 2/3
{c c c} \times 2/3 {c c c} is 9 repetitions of the note c, expressed
as a tremolo, this should be \repeat tremolo 9 \times 2/3 {c8}
As I understand it, there is no way to make a single tremolo note
with a duration of 9/8, because this (single) note cannot be expressed
with plain and dottes notes.
What kind of musical notation do you expect to get from this 9/8 note?
\repeat tremolo 2 c8 prints a quarter note
\repeat tremolo 3 c8 prints a dotted quarter note
\repeat tremolo 4 c8 prints a half note
\repeat tremolo 5 c8 is illegal
\repeat tremolo 6 c8 prints a dotted half note
\repeat tremolo 7 c8 prints a double dotted quarter note
\repeat tremolo 8 c8 prints a whole note
\repeat tremolo 9 c8 is illegal
\repeat tremolo 10 c8 is illegal
\repeat tremolo 11 c8 is illegal
\repeat tremolo 12 c8 prints a dotted whole note
\repeat tremolo 13 c8 is illegal
\repeat tremolo 14 c8 prints a double dotted whole note
\repeat tremolo 15 c8 prints a triple dotted whole note
The illegal notes are accepted, but the rendering is at least peculiar.
Toine
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Re: Why do so many newcomers post to bug-lilypond?
Redundancy is not the solution. Yes, in general, repetition is a good technique to become familiar with something unknown. The first read gives questionmarks, the second one gives the Aha's. But it is almost impossible to maintain documentation if the information is somehow duplicated over different locations. The adagium Single Point Of Information is much more important than Redundancy, especially for rapid-changing programs like Lilypond. Toine Schreurs On a completely unrelated note, I disagree completely with you that the solution to people aren't reading the documentation in NOT to add more documentation what is clearly understandable on a first read by you, is not clearly understandable on a first read by everyone. I think that having documentation that explains everything is very good. I also think having the documentation explained using different words and examples is also good. I have the impression that you have a personal vendetta against redundancy, maybe your job was made redundant, I don't know, but I think redundancy, especially when it comes to explanation, as long as the explanations are all accurate, can only be beneficial. Perhaps you would rather that someone who will take the time to occasionally add something to a wiki-like tutorial devote that time to another existing project. It's nice to want things. I'd like to be able to upload a snippet to the LSR. I've not reached enlightenment in my zen buddhism, but I'm learning more and more that wanting things is a really easy to be disappointed. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
insert blanc first page with page-turn-breaking
The page-turn-breaking does a marvellous job. If necessary, the output starts at page 2. Is it possible to insert a blanc first page in that case? I want to print the results with a duplex printer, and without the first blanc page, all page turns turn out to be wrong. Toine Schreurs ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
stopStaff combined with StaffGroup extents barlines
I am typesetting a score, where one of the staffs contains an ossia section.
I started from the example in section 1.6.1 of the NR. The second staff
will contain the ossia section. In the resulting score it is not obvious
to which staff this ossia belongs.
To connect the staff with the ossia section, I combined them into a StaffGroup.
Now it is clear to which staff the ossia belongs. But, all barlines are
(wrongly) extended also.
This behaviour started with version 2.11.35
Any hints?
Toine Schreurs
%=== start =
\version 2.11.38
musicOne = \relative c' {
\time 2/4
d4 d |
a' a |
b b |
f2
}
musicTwo = \relative c' {
e4 e |
b' b |
c c |
g2
}
ossia = \relative c' {
\stopStaff
s2*2 |
\startStaff
bes'8^ossia g bes g |
\stopStaff
s2 |
}
\score {
\new Staff \musicOne
\new StaffGroup
\new Staff \with
{
\remove Time_signature_engraver
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
firstClef = ##f
}
\ossia
\new Staff \musicTwo
}
% end ==
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Re: RemoveEmptyStaffContext and Nr of Pages
I tried it in 2.11.37, but alas.
Toine
I tried your example in 2.11.34 and it -does- reduce to
a single page with RemoveEmptyStaffContext enabled in
that release. This may be related to the reintroduction
of minimum-Y-extent in 2.1.35 (see comment to bug 496).
If so, the workaround mentioned there says:
This can be fixed by adding
\layout {
\context {
\Staff
\override VerticalAxisGroup #'minimum-Y-extent = ##f
}
}
Worth a try.
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Re: RemoveEmptyStaffContext and Nr of Pages
Thanks, I will wait. (and I'm sorry, I should have checked the open issues first) Toine This is most likely related to bug #562, which will be fixed very soon now. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RemoveEmptyStaffContext and Nr of Pages
The following example results in 2 pages of output. But
if I enable the RemoveEmptyStaffContext, the number of pages
should obviously reduce to 1, but remains 2.
Is there a method to reduce the number of pages?
%= start
\version 2.11.37
\paper {
ragged-last-bottom = ##t
ragged-bottom = ##t
}
\layout {
\context {
%\RemoveEmptyStaffContext
}
}
testmusicA = \relative c'' {
\repeat unfold 60 { c1 }
}
testmusicB = \relative c'' {
\repeat unfold 20 { c1 }
\repeat unfold 40 { R1 }
}
\score {
\new StaffGroup
\new Staff {
\testmusicA
}
\new Staff {
\testmusicB
}
\new Staff {
\testmusicB
}
\new Staff {
\testmusicB
}
}
%= end
I am trying to typeset a (French) score from the percussion parts of on opera.
Every instrument on its own staff. Bassdrum, snare, cymbals, triangle,
Bells, Tamtam With lots and lots of rests, this results in a
60 page score, where every page is only half filled.
Toine Schreurs
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PitchedTrill somehow remembers pitch of 2nd note across bars
Somehow, the pitch of the second note in a PitchedTrill is remembered
across bars. In the example below 6 bars with c trills are printed,
c-des c-des c-d c-d c-dis c-dis
bar 1 : d-flat as expected
bar 2 : d where a d-flat is expected
bar 3 : d natural where d is expected
bar 4 : d natural where d is expected
bar 5 : d where d-sharp is expected
bar 6 : d where d-sharp is expected
Is there a way to correct this?
\version 2.11.32
\layout {
indent = 0.0\cm
ragged-right = ##f
}
\relative c' {
\pitchedTrill c2\startTrillSpan des c\stopTrillSpan
\pitchedTrill c\startTrillSpan des c\stopTrillSpan
\pitchedTrill c\startTrillSpan d c\stopTrillSpan
\pitchedTrill c\startTrillSpan d c\stopTrillSpan
\pitchedTrill c\startTrillSpan dis c\stopTrillSpan
\pitchedTrill c\startTrillSpan dis c\stopTrillSpan
}
Toine Schreurs
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TrillSpanner inside slur
In the next example, the first two bars have trills outside the slur.
The \trill can be moved inside with \override Script..., shown in
bar three.
Is it possible to move the trillspanner also inside a slur?
I tried \override TrillSpanner... but without success.
\version 2.11.32
\relative c'' {
c4( d^\trill d^\trill e)
c( d\startTrillSpan d\stopTrillSpan e)
\override Script #'avoid-slur = #'inside
\override TrillSpanner #'avoid-slur = #'inside
c( d^\trill d^\trill e)
c( d\startTrillSpan d\stopTrillSpan e)
}
Toine Schreurs
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Re: TrillSpanner inside slur
Before, I tried \override TrillSpanner #'outside-staff-priority = #20 without success, but I did not set \override Slur #'outside-staff-priority = #50 because there is no mention of outside-staff-priority in the program reference for Slur. But specifying both overrides does the trick. Thanks, Toine Trevor Bača wrote: Have you tried setting the TrillSpanner's outside-staff-priority to a small number (meaning close to the staff) and setting the Slur's outside-staff-priority to a larger number (meaning further away from the staff)? Trevor. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Double-flats used by Lilypond after transpose
The transposition of the instrument does not depend on the key of the
music. On a B-flat sax a written C sounds as a B-flat. That's all the
information
you need.
So use \transpose bf c' {the music}
And indeed, key E-major goes to F-sharp-major. The original transposition
from E-major to G-flat-major implies an A-sharp saxophone.
Toine Schreurs
I've been writing out a part for B-flat sax. I've written out the music in
concert pitch and so am using \transpose to display it in the right key for
the
B-flat sax. The part I'm writing is in E-major when in concert pitch, so
this
becomes G-flat-major when transposed for the B-flat instrument.
The problem I'm having is that Lilypond is choosing to use double flats for
a
number of particular notes when it prints out the B-flat part. For example,
if
I write a G or an F in the concert part (which is in E-major) these get
written
out as B-doubleflat and A-doubleflat respectively, in the B-flat instrument
part, instead of as A-natural and G-natural, which would be easier to read
in
my opinion.
The other option would be to transpose the piece into F-sharp major, which
would (I presume) get rid of the double accidentals and be more
(technically) correct.
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Re: missing repeat barline
in the following code the first repeat bar line of the second last repeat
block is missing.
I don't think I made a mistake, but I thought I'd ask here first before I
report it to the bug-list.
If one of you is sure that it is a bug, could he/she please forward it to the
bug-list for me then?
I tried to replace the repeat-block by a manual repeat but this resolved in
having the bracket line from the previous alternative block continued.
hope someone knows another workaround maybe.
remove the \bar || just before the \repeat volta 2
.
\repeat volta 2 { R1*15^Mambo }
\alternative { { R1 } { R1*4 | r2 c } } \bar || \break
%^^
\repeat volta 2
..
Toine Schreurs
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slurs at breaks are wrongly influenced by rehearsal marks
The last part of a broken slur (at a line break) is wrong if at
the same time a long rehearsalmark is printed. The slurdirection
is reversed, and the slur is drawn at the right side of the
note, instead of the left side. The slur is extended to the full
length of the rehearsal mark.
snippet:
%
\version 2.9.25
\layout {
ragged-right = ##t
ragged-last = ##t
indent = 0.0\cm
\context {
\Score
\override RehearsalMark #'self-alignment-X = #left
}
}
{
c'1( \break
\mark \markup { long rehearsal mark }
c')
}
%
A solution could be to disable breaks at rehearsalmarks with simultaneous
slurs, but that's something you want to avoid in a more complex score.
Is there another solution for this problem, or is it a bug?
Greetings,
Toine Schreurs
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Re: \transpose weird staffs
You don't have to split the parts if you \tranpose direct from es to g
hornpartInG = \relative c' {
notes in G
\transpose g ees \relative c' {
notes in Es
}
}
\score {
\new Staff \transpose f g {
\hornpartInG
}
}
Or even bring the notes to C first (no more need for \transposition
for midi output)
hornpartInC = \transpose c g \relative c' {
notes in G ...
\transpose g ees \relative c' {
notes in Es
}
}
\score {
\new Staff \transpose f c {
\hornpartInC
}
}
Toine
AFAICS, the easiest way is to split your horn part into two seperate ones:
hornpartG = \relative c' {
\transposition g
... many notes ...
}
hornpartEES = \relative c' {
\transposition ees
... many notes ...
}
Then use \transpose as usual on each of them.
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Re: \RemoveEmptyRhythmicStaffContext
\drums creates a DrumStaff, not a RhythmicStaff. There is no definition
for \RemoveEmptyDrumStaffContext, but an inspection of the definition
of RemoveEmptyRhythmicStaffContext in engraver-init.ly leads to:
\layout {
\context {
\DrumStaff
\remove Axis_group_engraver
\override VerticalAxisGroup #'remove-empty = ##t
\consists Hara_kiri_engraver
}
}
{
\relative c'
\drums { hh4 hh hh hh \break hh1 }
\drums { hh4 hh hh hh \break R1 }
}
i'm trying to use \RemoveEmptyRhythmicStaffContext for a drums, but it
doesn't work(disappear).
can anybody tell me what i'm doing wrong?
i'm using lilyond 2.8.4.
Toine Schreurs
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Re: How to print the date and time in the footer of a score?
See (the thread of) http://lists.gnu.org/archive/html/lilypond-user/2006-04/msg00141.html and http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00272.html Toine Schreurs I would like to print the date and time in the footer of the score so I can tell which of two printed copies is the most recent. I searched the Lilypond documentation (PDF) (I used version 2.8.3) for the word date and could not find any mention. Printing dates and times in Word processing documents is a standard feature and I would like to do the same with Lilypond. By the way, I started using SubVersion to manage my scores under version control. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Include date?
I'm not familiar with Scheme. The strftime code was simply found at http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/Time.html#Time But I could find some code to get the modification time filename = #init.inc mt = #(stat:mtime ( stat filename )) mtstr = #(strftime %d-%m-%Y %T (localtime mt)) See: http://www.gnu.org/software/guile/docs/docs-1.8/guile-ref/File-System.html#File-System But I don't know how to get the current .ly file into filename. Toine Schreurs Also do you know of a way to get the last modified date of the current .ly file from the file system? With the last modified date you can know when the .ly file last changed along with the run date. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Include date?
Try: date = #(strftime %d-%m-%Y (localtime (current-time))) Toine Schreurs I'm using Lilypond 2.8.0 on windows XP. For versioning reasons, I would like to automatically include the date the PDF is generated in one of the title fields. I was thinking of a hack like this one: #(string-append subsubtitle LilyPond version (lilypond-version)) I tried a lot of possibilities, like: #(string-append Generated on: (date)) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: linewidth and header alignment
line-width can be specified in the \layout block (controlling the length of lines) but also in the \page block (controlling the page layout). Toine Schreurs I still don't know how to make the header items to be aligned with the staff when I change its linewidth. I have set the paper to a5, the linewidth is 11.5. Now the composer name remains where it was, before I changed the linewidth. How do I do this? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding staves removes complete system
Perfect. Excellent trick.
Thanks,
Toine
One trick that should solve your problem is to include transparent
notes in one of the staves:
\score {
\new StaffGroup
\new Staff
\new Voice \partA
\new Voice {\hideNotes \repeat unfold 60 { c'1 } }
\new Staff \partB
}
/Mats
--
Antoine M.M. Schreurs, BIJVOET Centre for Biomolecular Research
Laboratorium voor Kristal- en Structuurchemie, Universiteit Utrecht
Padualaan 8, 3584 CH Utrecht, the Netherlands
Telephone: +31-30-2533501 email: [EMAIL PROTECTED]
Fax: +31-30-2533940
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hiding staves removes complete system
From an orchestral score I want to create a score of the percussion
instruments only. Now percussionists are used to large numbers of rests.
\RemoveEmptyStaffContext is very usefull in leaving out staves with
no musical content.
But if all of the staves in one system only contain rests, the whole system
disappears. It would be nice to leave at least one staff visible.
Example:
\version 2.7.28
\layout {
\context { \RemoveEmptyStaffContext }
}
partA = \relative c' {
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
c4 r r2
}
partB = \relative c' {
R1*60
d4 r r2
}
\score {
\new StaffGroup
\new Staff \partA
\new Staff \partB
}
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Re: hiding staves removes complete system
Graham Percival wrote:
Which staff should remain visible, though? (ie Staff.instrument name)
That's arbitrary. There are no notes, only rests, rehearsel signs,
tempi, time changes and these are all the same for the various parts.
I think it's easier to use s1 (possibly in conjunction with R1 --
R1 s1
to keep a staff visible.
I could hack the input, and replace one R1 by a r1, but then the
corresponding staff would also become visible in the complete
orchestral score.
I think it is a layout problem, which should not be tweaked by
changing the musical content. The statement is simple:
do not remove the last (empty) staff, but is the solution also simple?
Following your suggestion, I tried to change one R1 into R1 s1,
but then the second system is still invisible.
\version 2.7.28
\layout { \context { \RemoveEmptyStaffContext } }
partA = \relative c' {
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
R1*10 \mark \default
c4 r r2
}
partB = \relative c' {
R1*30
R1 s1
R1*29
d4 r r2
}
\score {
\new StaffGroup
\new Staff \partA
\new Staff \partB
}
Greetings,
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Re: hiding staves removes complete system
Gilles wrote: But if all of the staves in one system only contain rests, the whole system disappears. It would be nice to leave at least one staff visible. Maybe it is: \set Score.skipBars = ##t That would circumvent the problem of my example. The result will be only one system, so nothing vanishes. I tried to make the example as simple as possible to show the problem, but in reality the various parts contain a lot more information then rests only. For example: \time 4/4 \tempo 4=60 R1*20 \tempo 4=80 R1*30 \time 3/4 R2.*3 \time 5/4 R1*5/4*7 R1^\fermataMarkup . And all this information fills up more than one staff, but no notes, no staff; no staves, no system Actually, in my real score, I use \set Score.skipBars = ##t Greetings -- Toine Schreurs ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fw: again: PDF size
See the documentation: http://lilypond.org/doc/v2.7/Documentation/user/lilypond.html#Point-and-click The point and click links enlarge the output files significantly. For reducing the size of PDF and PS files, point and click may be switched off by issuing #(ly:set-option 'point-and-click #f) in a .ly file. Alternately, you may pass this as an command-line option lilypond -dno-point-and-click file.ly I have noticed that the size of the pdfs produced by lily 2.7.27 on (windows xp) is much bigger than in previous versions. I have tested the same file unchanged with 2.7.18 Win 44 KB 2.7.23 Win 44 KB 2.7.27 Win 1.220 KB -- Toine Schreurs -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
