Re: Anacrusis in multiple tunes on page
Patrick or Cynthia Karl 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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Re: Anacrusis in multiple tunes on page
Don Gingrich 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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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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