Re: Chord names starting right after the anacrusis
On 2019-07-03 4:03 pm, Vicente Sanches wrote:
Hi everyone,
I want to write a song in which the melody begins in upbeat (anacrusis)
and
the chords begins on the next bar. I have tried a lot but i can't make
the
chord names appear after the anacrustic bar.
It often helps to provide an example of what you have tried, so we can
best advise.
You should only need to insert a suitable skip:
\version "2.19.82"
<< \new ChordNames \chordmode { s4 | c1 }
\new Staff { \partial 4 g'8 e' | c'1 \bar "|." } >>
-- Aaron Hill
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Chord names starting right after the anacrusis
Hi everyone, I want to write a song in which the melody begins in upbeat (anacrusis) and the chords begins on the next bar. I have tried a lot but i can't make the chord names appear after the anacrustic bar. Can you help me? P.s. Sorry for my english. Regards, Vicente Sanches ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Anacrusis in multiple tunes on page
Patrick or Cynthia Karl pckarl at mac.com writes:
Recently you posted:
What I am trying to do is is to put multiple tunes on a single page
as for a set of tunes for a dance. The problem that I'm having is
that many of these tunes start both the A part and the B part
with an anacrusis and end the part with a shorter measure to
make the number of beats work out.
and Keith OHara responded:
From what you wrote I see no problem,
I think what he means is that your more or less minimal example.
doesn't throw any warning or error messages in LilyPond 2.18.0.
I also meant that I saw no problem for LilyPond 2.18 to handle what
he described in text. In traditional music, all the measures are the
same length, but sometimes the logical A and B parts begin a
fraction of a measure early, or repeats happen in the middle of a
measure.
music = \relative b' {
\partial 4 c4
c1
\break
\partial 4 d4
d1 }
This looks like it has five beats in a measure. We don't want to dance
to that. We want to finish the first tune in time to start the pickup
for the next tune in rhythm, so the tunes fit into a set.
\relative b' {
\partial 4 c4
c2. \bar! \break
d4 d1 }
Maybe new LilyPond will allow you to put \partial in the middle of a
piece, but we do not want to use \partial in the middle of a piece.
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Re: Anacrusis in multiple tunes on page
Recently you posted:
It seems clear to me that I am mis-formatting something.
What I am trying to do is is to put multiple tunes on a single page
as for a set of tunes for a dance. The problem that I'm having is
that many of these tunes start both the A part and the B part
with an anacrusis and end the part with a shorter measure to
make the number of beats work out.
Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.
I've tried just leaving them out, but the programmer in me does not
like the warning messages that result.
I've noticed that I can account for the missing beats with s and the
missing time, but this results in unnecessary whitespace and throws
the overall note spacing out.
Is there an alternative to s that would allow Lilypond to account for
the missing beats without adding space that I do not want?
More or less minimal example follows -- I've left in the directive blocks
on the off chance that there's something there or missing from there
that would influence the problem.
Thanks,
-Don
and Keith Ohara responded:
From what you wrote I see no problem,
I think what he means is that your more or less minimal example doesn't throw
any warning or error messages in LilyPond 2.18.0. Here is a minimal example:
\version 2.18.0
\paper { ragged-right = ##t }
music = \relative b' {
\partial 4 c4
c1
\break
\partial 4 d4
d1
}
\score {
\music
\layout {}
}
which does throw the warning:
Interpreting music...
SpuriousPartialWarning.ly:11:3: warning: trying to use \partial after the start
of a piece
\partial 4 d4
I think the difference is that your anacruces(?) are in different scores, while
mine are in the same score.
The good news is that the above snippet doesn't throw any warning messages at
2.19.15. So you could upgrade to that or wait for 2.20 to be released.
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Anacrusis in multiple tunes on page
It seems clear to me that I am mis-formatting something.
What I am trying to do is is to put multiple tunes on a single page
as for a set of tunes for a dance. The problem that I'm having is
that many of these tunes start both the A part and the B part
with an anacrusis and end the part with a shorter measure to
make the number of beats work out.
Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.
I've tried just leaving them out, but the programmer in me does not
like the warning messages that result.
I've noticed that I can account for the missing beats with s and the
missing time, but this results in unnecessary whitespace and throws
the overall note spacing out.
Is there an alternative to s that would allow Lilypond to account for
the missing beats without adding space that I do not want?
More or less minimal example follows -- I've left in the directive blocks
on the off chance that there's something there or missing from there
that would influence the problem.
Thanks,
-Don
\version 2.18.0
\header {
title = Margaret's Waltz Set
% Remove default LilyPond tagline
tagline = ##f
}
\paper {
#(set-paper-size a4)
indent = 0 \mm
}
\layout {
\context {
\Score
\remove Bar_number_engraver
}
}
global = {
% \key a \major
}
chordNames = \chordmode {
\global
% Chords follow here.
s4 a2.*3
}
melody = \relative c' {
\global
\tempo 4=50
\repeat volta 2 {
%barkeysig:
\key a \major
%bartimesig:
\time 3/4
\partial 4*1\mark\markup { \box A }
cis'4
e,4. fis8 a b | %1
cis2 cis4 | %2
a2 s4 \bar'|.'| %8
}
}
\score {
\time 4/4
\partial 4
\new ChordNames \chordNames
\new Staff { \melody }
\set Score.skipBars = ##t
#(set-accidental-style 'modern-cautionary)
\set Score.markFormatter = #format-mark-box-letters %%boxed rehearsal-
marks
%% make spanners comprise the note it end on, so that there is no doubt
that this note is included.
\override Score.TrillSpanner #'(bound-details right padding) = #-2
\override Score.TextSpanner #'(bound-details right padding) = #-1
%% Lilypond's normal textspanners are too weak:
\override Score.TextSpanner #'dash-period = #1
\override Score.TextSpanner #'dash-fraction = #0.5
%% lilypond chordname font, like mscore jazzfont, is both far too big and
extremely ugly (olagu...@start.no):
\override Score.ChordName #'font-family = #'roman
\override Score.ChordName #'font-size =#1
%% In my experience the normal thing in printed scores is maj7 and not the
triangle. (olagunde):
\set Score.majorSevenSymbol = \markup {maj7}
\header {
piece = \markup {\upright \large \bold Margaret's Waltz AAB x 2 }
composer = Pat Shaw
}
\layout {
%\context {
% \piece
%fontSize = #3
%}
}
\midi { }
}
chordNames = \chordmode {
\global
% Chords follow here.
s4 a2.*2 d2. a2. s2
}
melody = \relative c'' {
\global
\tempo 4=50
\time 3/4
\key a \major
\partial 4
\mark\markup { \box A }
e8( d)
% Music follows here.
cis4. b8 a4 | % 1
a cis e | % 2
a4. b8 a4 | % 15
a2 s4 \bar |.| % 16
}
\score {
\time 2/2
\partial 2
\new ChordNames \chordNames
\new Staff { \melody }
\set Score.markFormatter = #format-mark-box-letters %%boxed rehearsal-
marks
\set Score.pedalSustainStyle = #'mixed
%% make spanners comprise the note it end on, so that there is no doubt
that this note is included.
\override Score.TrillSpanner #'(bound-details right padding) = #-2
\override Score.TextSpanner #'(bound-details right padding) = #-1
%% Lilypond's normal textspanners are too weak:
\override Score.TextSpanner #'dash-period = #1
\override Score.TextSpanner #'dash-fraction = #0.5
%% lilypond chordname font, like mscore jazzfont, is both far too big and
extremely ugly (olagu...@start.no):
\override Score.ChordName #'font-family = #'roman
\override Score.ChordName #'font-size =#1
%% In my experience the normal thing in printed scores is maj7 and not the
triangle. (olagunde):
\set Score.majorSevenSymbol = \markup {maj7}
\header {
piece = \markup {\upright \large \bold My Home ABx2}
}
\layout { }
\midi { }
}
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Re: Anacrusis in multiple tunes on page
Don Gingrich gingrich at internode.on.net writes:
Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.
I've tried just leaving them out, but the programmer in me does not
like the warning messages that result.
From what you wrote I see no problem, and in traditional music,
I would expect you need only the \partial at the beginning of each tune,
because the meter continues unbroken within the peice.
So I am guessing that you might think that you need to use partial
whenever a visible measure is incomplete. You can end repeats
and place barlines mid-measure whenever you like.
\new ChordNames { s4 g2.*3 d2. s2 }
\new Voice \transpose c c' {
\time 3/4 \partial 4
\repeat volta 2 { c'4 g2. g2.
g2 }
b4 d2. d2 \bar |. }
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Re: Anacrusis
On Sat, Sep 07, 2013 at 08:28:52PM -0700, Mark Stephen Mrotek wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command \partial?
Thank you.
Mark
You say 1 and 1/16 *beat*, but I suspect you mean one quarter
*note* and one 16th *note*, correct? In 4/4 time, one 16th of a
beat would be a 64th note.
Assuming that you mean five 16th notes (one and one-quarter
beats), the way to do it with partial is
\partial note-duration * multiplier
or
\partial 16*5
Jim
\version 2.16.2
\score {
\new Staff \relative e' {
\partial 16*5
e16 e e e e
a4 a a2
}
}
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RE: Anacrusis
Jim:
Thank you for your reply and the second way to accomplish the partial
measure.
Mark
-Original Message-
From: Jim Long [mailto:lilyp...@umpquanet.com]
Sent: Saturday, September 07, 2013 11:30 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: Anacrusis
On Sat, Sep 07, 2013 at 08:28:52PM -0700, Mark Stephen Mrotek wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command \partial?
Thank you.
Mark
You say 1 and 1/16 *beat*, but I suspect you mean one quarter
*note* and one 16th *note*, correct? In 4/4 time, one 16th of a beat would
be a 64th note.
Assuming that you mean five 16th notes (one and one-quarter beats), the way
to do it with partial is
\partial note-duration * multiplier
or
\partial 16*5
Jim
\version 2.16.2
\score {
\new Staff \relative e' {
\partial 16*5
e16 e e e e
a4 a a2
}
}
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RE: Anacrusis
Mr. Payne: Read the documentation. It is an addition to 2.17 that is not in 2.16.2 which is the one that I regularly use. Mark From: Nick Payne [mailto:nick.pa...@internode.on.net] Sent: Saturday, September 07, 2013 10:56 PM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: Anacrusis On 08/09/13 15:02, Mark Stephen Mrotek wrote: Mr. Payne, Perfect! Thank you. I assume that the -5/16 means that the measure starts 5/16 before the end. Correct? See the NR section on upbeats: http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms# upbeats ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Anacrusis
Hello: A partial measure contains 1 and 1/16 beat. How is that notated in the command \partial? Thank you. Mark ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Anacrusis
On Sat, Sep 7, 2013 at 11:28 PM, Mark Stephen Mrotek carsonm...@ca.rr.comwrote: Hello: ** ** A partial measure contains 1 and 1/16 beat. How is that notated in the command “\partial?” ** Try \partial 16*17 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Anacrusis
On Sat, Sep 7, 2013 at 11:35 PM, Carl Peterson carlopeter...@gmail.comwrote: On Sat, Sep 7, 2013 at 11:28 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Hello: ** ** A partial measure contains 1 and 1/16 beat. How is that notated in the command “\partial?” ** Try \partial 16*17 *sigh*. Disregard my nonsense. I was thinking of something else. You're probably going to have to look at tweaking the time administration properties to trigger a bar when you want it. See http://lilypond.org/doc/v2.16/Documentation/notation/special-rhythmic-concerns#time-administration. There might be a more direct way, but that's what comes to mind now that I've actually thought about it. Cadenza might also work here. Basically, declare a partial measure (\partial 4), then before you get to the end of the quarter note anacrusis, tell LilyPond to back up the measure position a 16th note using the commands in the linked section. Cheers, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Anacrusis
Carl: Thank you for your reply and the reference. I shall read it. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Carl Peterson Sent: Saturday, September 07, 2013 8:43 PM To: Mailinglist lilypond-user Subject: Re: Anacrusis On Sat, Sep 7, 2013 at 11:35 PM, Carl Peterson carlopeter...@gmail.com wrote: On Sat, Sep 7, 2013 at 11:28 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Hello: A partial measure contains 1 and 1/16 beat. How is that notated in the command \partial? Try \partial 16*17 *sigh*. Disregard my nonsense. I was thinking of something else. You're probably going to have to look at tweaking the time administration properties to trigger a bar when you want it. See http://lilypond.org/doc/v2.16/Documentation/notation/special-rhythmic-concer ns#time-administration. There might be a more direct way, but that's what comes to mind now that I've actually thought about it. Cadenza might also work here. Basically, declare a partial measure (\partial 4), then before you get to the end of the quarter note anacrusis, tell LilyPond to back up the measure position a 16th note using the commands in the linked section. Cheers, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Anacrusis
On 08/09/13 13:28, Mark Stephen Mrotek wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command \partial?
Use Timing.measurePosition instead:
\version 2.17.25
\relative c'' {
\set Timing.measurePosition = #(ly:make-moment -5/16)
c4 c16 |
c1 c c
}
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RE: Anacrusis
Mr. Payne,
Perfect! Thank you. I assume that the -5/16 means that the measure starts
5/16 before the end. Correct?
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent: Saturday, September 07, 2013 9:41 PM
To: lilypond-user@gnu.org
Subject: Re: Anacrusis
On 08/09/13 13:28, Mark Stephen Mrotek wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command \partial?
Use Timing.measurePosition instead:
\version 2.17.25
\relative c'' {
\set Timing.measurePosition = #(ly:make-moment -5/16)
c4 c16 |
c1 c c
}
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Re: Anacrusis
On 08/09/13 15:02, Mark Stephen Mrotek wrote: Mr. Payne, Perfect! Thank you. I assume that the -5/16 means that the measure starts 5/16 before the end. Correct? See the NR section on upbeats: http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#upbeats ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Appoggiatura in Anacrusis
Good Day!
A piece begins with an anacrusis - see attached file without.ly. When the
g is notated as an appoggiatura to the f - see attached file with.ly -
some dreck appears.
http://lsr.dsi.unimi.it/LSR/Item?id=183 states that the grace should appear
after the \partial. Placing the appoggiatura before or after the
\partial produces the same dreck.
Where did I go wrong?
Thank you for your kind attention.
Mark
'
\version 2.16.2
global = {
\key bes \major
\time 4/4
}
right = \relative c'' {
\global
\partial 4
g'16 f ees d |
}
left = \relative c' {
\global
\partial 4
r4 \clef treble |
}
\score {
\new PianoStaff
\new Staff = right \right
\new Staff = left { \clef bass \left }
\layout { }
}
\version 2.16.2
global = {
\key bes \major
\time 4/4
}
right = \relative c'' {
\global
\appoggiatura g'16
\partial 4 f8 ees16 d |
}
left = \relative c' {
\global
r4 \clef treble |
}
\score {
\new PianoStaff
\new Staff = right \right
\new Staff = left { \clef bass \left }
\layout { }
}
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Re: Appoggiatura in Anacrusis
Le 03/06/2013 17:32, Mark Stephen Mrotek disait : Good Day! A piece begins with an anacrusis – see attached file “without.ly.” When the “g” is notated as an appoggiatura to the “f” – see attached file “with.ly” – some dreck appears. Both hands don't have the same duration since one of them (RH) begins before in order to give a grace note. Just have a \grace s16 in the left hand. Cheers, Jean-Charles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Absolute Beginners - Anacrusis
This is to invite criticism for the anacrusis part of the chapter,
which I added towards the end.
Manuel
( ... )
As a last thing in our little first beginners' chapter, we'll give
you the tool for beginning your melodies with an anacrusis or
upbeat. This is the
\partial
command. If you need, say, a quarter-note anacrusis, you type
quarter note - asterisk - one after the commad, in this way:
\partial 4*1
For example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 4*1
b c d e f g a b c }
(insert graphic here)
For an anacrusis of five 16th. notes, or semiquavers, type:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
d16 b c d b c4 d e f g a b c }
These commands will work right for any equivalent rhythmic value,
e.g. in this last case:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
d16 b4 c d e f g a b c }
(insert graphic here)
You just have to set the rhythmic value of the whole anacrusis in
this way:
\partial x * y
where x stands for a rhythmic value - like 4 for a quarter note -
and y stands for the quantity of those, like 1 . Thus
\partial 4*1
will give you an anacrusis of a quarter note, or two eighth notes,
etc.
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Re: Absolute Beginners - Anacrusis
Manuel wrote: This is to invite criticism for the anacrusis part of the chapter, which I added towards the end. Manuel ( ... ) As a last thing in our little first beginners' chapter, we'll give you the tool for beginning your melodies with an anacrusis or upbeat. or pickup (common American name) This is the \partial command. If you need, say, a quarter-note anacrusis, you type quarter note - asterisk - one after the commad, in this way: \partial 4*1 No need for the *1. We don't say c4*1 or s4*1. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? This is the \partial command. If you need, say, a quarter-note anacrusis, you type quarter note - asterisk - one after the commad, in this way: \partial 4*1 No need for the *1. We don't say c4*1 or s4*1. Paul Scott Right you are, I'll change that. Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Manuel wrote: Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? Yes. There are probably some musicians who are not familiar with anacrusis. Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Absolute Beginners - Anacrusis
Paul, I have now changed this part. What do you think?
( ... )
And last but not least in our little first beginners' chapter, we'll
give you the tool for beginning your melodies with an anacrusis, also
known as upbeat or pickup. This is the
\partial
command. If you need, say, an eight-note anacrusis, you type
\partial 8
For example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 8
b8 c4 d e f g a b c
\bar |.
}
(insert graphic here)
Just state the rhythmic value you need, including dots:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 4.
d8 b d c4 d e f g a b c
\bar |.
}
(insert graphic here)
Now consider the following example:
\relative
{
\clef treble
\key c \major
\time 4/4
\partial 16*5
c16 d c b d c4 d e f g a b c
\bar |.
}
(insert graphic here)
There is no rhythmic value equivalent to that anacrusis, so we used a
formula:
\partial x * y
where x stands for a rhythmic value - like 16 for a sixteenth
note or semiquaver and y stands for the quantity of those, like
5 . The sign in between is an asterisk. Thus
\partial 16*5
will give you the preceding example's result. Change the values of
this formula to suit your needs. Remember that it doesn't matter how
the rhythmic value of the anacrusis is distributed among several notes:
\partial 2
is good for a half note, or two quarter notes, or two eighth notes
and a quarter note, or any other combination of rhythmic values
adding up to a half note.
Am 27/12/2006 um 19:17 schrieb Paul Scott:
Manuel wrote:
This is to invite criticism for the anacrusis part of the
chapter, which I added towards the end.
Manuel
( ... )
As a last thing in our little first beginners' chapter, we'll give
you the tool for beginning your melodies with an anacrusis or
upbeat.
or pickup (common American name)
This is the
\partial
command. If you need, say, a quarter-note anacrusis, you type
quarter note - asterisk - one after the commad, in this way:
\partial 4*1
No need for the *1. We don't say c4*1 or s4*1.
Paul Scott
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Re: Absolute Beginners - Anacrusis
Manuel wrote: Paul, I have now changed this part. What do you think? That all seems great! You might consider adding to the following the explanation about the reversal of the numbers from the way we normally think, e.g. 16*5 instead of 5*16 (or 5/16). (insert graphic here) There is no rhythmic value equivalent to that anacrusis, so we used a formula: \partial x * y where x stands for a rhythmic value - like 16 for a sixteenth note or semiquaver and y stands for the quantity of those, like 5 . The sign in between is an asterisk. Thus \partial 16*5 will give you the preceding example's result. Change the values of this formula to suit your needs. Remember that it doesn't matter how the rhythmic value of the anacrusis is distributed among several notes: \partial 2 is good for a half note, or two quarter notes, or two eighth notes and a quarter note, or any other combination of rhythmic values adding up to a half note. Thanks for all your work on this! Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: anacrusis
Manuel wrote: Paul, are anacrusis upbeat pickup all commonly understood terms in english speaking countries? FWIW, as an American musician, I've never come across anacrusis, but I'm not a professional musician or a composer. Tim Reeves ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
