Re: "D.C. al Fine" best practice
Thanks, Karl, for your real-life example and for showing how to combine
all these documentation fragments and snippets. Well-known to me, but
it's about the combination ;-) Thanks. Looks perfect and is rather simple.
Regards
Stephan
Am 13.05.2019 um 22:29 schrieb k...@aspodata.se:
> To typeset some text at the bar line, see
> http://lilypond.org/doc/v2.18/Documentation/notation/writing-text#text-marks
>
> under "Selected Snippets", there is also an example how to make it
> appear at end of line.
>
> http://lilypond.org/doc/v2.18/Documentation/notation/align
> tells you how to make text "lines".
>
> http://lilypond.org/doc/v2.18/Documentation/notation/direction-and-placement#the-direction-property
> introduces a "direction" property, though is isn't obvious how to use
> it in the da Capo context.
>
> ///
>
> Here is what I use in
> http://aspodata.se/git/musik/JSBach/bwv128/
>
> daCapo = {
> \once \override Score.RehearsalMark #'break-visibility =
> #end-of-line-visible
> \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
> \mark \markup \italic "Da Capo"
> }
>
>
> ...
> \override Score.RehearsalMark #'direction = #DOWN
> \daCapo
> \bar "|."
>
> the result can be seen in the last page of:
> http://aspodata.se/choir/ensemble/_nxt_/bwv128_d.pdf
>
> Regards,
> /Karl Hammar
>
>
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Re: "D.C. al Fine" best practice
I Confirm the Vaughan's opinion. 'Behind bars' is a must have book, very well structured and documented. I paid it around 60€ in 2015. Rémy > Message du 14/05/19 03:11 > De : "Vaughan McAlley" > A : "lilypond-user" > Copie à : > Objet : Re: "D.C. al Fine" best practice > > On Tue, 14 May 2019 at 05:00, mu...@gmx.ch wrote: > Hello Rémy > > Thanks for the background information. Maybe this book might be a > valuable birthday gift in case my wife asks me next time ;-) > > > You won't regret it. There isn't always only one way to do something, but if you're in doubt, Gould's suggestion is always a pretty good bet. My choral scores look much nicer than they used to :-) > > Vaughan > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "D.C. al Fine" best practice
On Tue, 14 May 2019 at 05:00, mu...@gmx.ch wrote: > Hello Rémy > > Thanks for the background information. Maybe this book might be a > valuable birthday gift in case my wife asks me next time ;-) > > You won't regret it. There isn't always only one way to do something, but if you're in doubt, Gould's suggestion is always a pretty good bet. My choral scores look much nicer than they used to :-) Vaughan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: "D.C. al Fine" best practice
Strephan,
How about:
\version "2.19.83"
melody = \relative c' {
c4 d e f^\markup {\center-align \bold "Fine"} \bar "||" |
g8 g a f g g g4\fermata^\markup {\right-align \bold "D.C. al Fine"} \bar
"|." }
\score {
\melody
\layout { }
}
Mark
-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
mu...@gmx.ch
Sent: Monday, May 13, 2019 8:46 AM
To: lilypond-user
Subject: "D.C. al Fine" best practice
Hi folks
I can imagine several ways of displaying / tweaking / formatting "Fine"
and "D.C. al Fine" markups. Probably the simplest might be:
\version "2.19.83"
melody = \relative c' {
c4 d e f \bar "||" \mark \markup {Fine}|
g8 g a f g g g4\fermata \bar "|." \mark \markup { "D.C. al Fine"} }
\score {
\melody
\layout { }
}
According to my score reading and interpreting experience,
* the markups are usually set in bold letters an horizontally right- aligned
to the bar line;
* "Fine" should stay in the first bar on the first line as it is not a
rehearsal mark
As always I'm aiming to make use of Lilypond's great default engraving
capabilities the most possible with as few tweaks, "intransparent" lines of
code, and absolute positionings etc. as possible.
Which is your recommended "good" way? What's your experience?
TIA
Stephan
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Re: "D.C. al Fine" best practice
Friedhelm Stümke: > @Karl > > the result can be seen in the last page of: > > http://aspodata.se/choir/ensemble/_nxt_/bwv128_d.pdf > may I suggest an additional "s" in "Menche"? It should be "Mensche". Yes, you may! Thank you very much, I didn't see it myself. Regards, /Karl Hammar ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "D.C. al Fine" best practice
@Karl the result can be seen in the last page of: http://aspodata.se/choir/ensemble/_nxt_/bwv128_d.pdf may I suggest an additional "s" in "Menche"? It should be "Mensche". greetings ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "D.C. al Fine" best practice
To typeset some text at the bar line, see
http://lilypond.org/doc/v2.18/Documentation/notation/writing-text#text-marks
under "Selected Snippets", there is also an example how to make it
appear at end of line.
http://lilypond.org/doc/v2.18/Documentation/notation/align
tells you how to make text "lines".
http://lilypond.org/doc/v2.18/Documentation/notation/direction-and-placement#the-direction-property
introduces a "direction" property, though is isn't obvious how to use
it in the da Capo context.
///
Here is what I use in
http://aspodata.se/git/musik/JSBach/bwv128/
daCapo = {
\once \override Score.RehearsalMark #'break-visibility = #end-of-line-visible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\mark \markup \italic "Da Capo"
}
...
\override Score.RehearsalMark #'direction = #DOWN
\daCapo
\bar "|."
the result can be seen in the last page of:
http://aspodata.se/choir/ensemble/_nxt_/bwv128_d.pdf
Regards,
/Karl Hammar
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Re: "D.C. al Fine" best practice
Hello Rémy
Thanks for the background information. Maybe this book might be a
valuable birthday gift in case my wife asks me next time ;-)
Based on this:
- How do you typeset Fine / D.C. al Fine in your editions
(https://imslp.org/wiki/Category:Claverie,_R%C3%A9my ?)
- How would you typset it with lilypond as simple and clear as possible
(but not necessarily perfect)?
Regards
Stephan
Am 13.05.2019 um 20:09 schrieb Remy CLAVERIE:
> Hi Stephan,
>
>
>
> Elaine Gould (Behind bars - Ed. Faber Music) wrote 2 pages on Da Capo
> and Dal Segno layouts.
>
> Her recommandation is to add the term 'al Fine ' below the 'D.C' term.
> No more...
>
>
>
> But from the example, we can see (page 238) that this markup is written
> below the staff, in italic and is aligned at the right of the end bar.
>
>
>
> HTH
>
>
>
> The best,
>
>
>
> Rémy
>
>
>
>
>
>
>
> > Message du 13/05/19 17:57
> > De : "mu...@gmx.ch"
> > A : "lilypond-user"
> > Copie à :
> > Objet : "D.C. al Fine" best practice
> >
> > Hi folks
> >
> > I can imagine several ways of displaying / tweaking / formatting
> "Fine"
> > and "D.C. al Fine" markups. Probably the simplest might be:
> >
> > \version "2.19.83"
> >
> > melody = \relative c' {
> > c4 d e f \bar "||" \mark \markup {Fine}|
> > g8 g a f g g g4\fermata \bar "|." \mark \markup { "D.C. al Fine"}
> > }
> >
> > \score {
> > \melody
> > \layout { }
> > }
> >
> > According to my score reading and interpreting experience,
> > * the markups are usually set in bold letters an horizontally right-
> > aligned to the bar line;
> > * "Fine" should stay in the first bar on the first line as it is not a
> > rehearsal mark
> >
> > As always I'm aiming to make use of Lilypond's great default engraving
> > capabilities the most possible with as few tweaks, "intransparent"
> lines
> > of code, and absolute positionings etc. as possible.
> >
> > Which is your recommended "good" way? What's your experience?
> >
> > TIA
> > Stephan
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
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re: "D.C. al Fine" best practice
Hi Stephan,
Elaine Gould (Behind bars - Ed. Faber Music) wrote 2 pages on Da Capo and Dal
Segno layouts.
Her recommandation is to add the term 'al Fine ' below the 'D.C' term. No
more...
But from the example, we can see (page 238) that this markup is written below
the staff, in italic and is aligned at the right of the end bar.
HTH
The best,
Rémy
> Message du 13/05/19 17:57
> De : "mu...@gmx.ch"
> A : "lilypond-user"
> Copie à :
> Objet : "D.C. al Fine" best practice
>
> Hi folks
>
> I can imagine several ways of displaying / tweaking / formatting "Fine"
> and "D.C. al Fine" markups. Probably the simplest might be:
>
> \version "2.19.83"
>
> melody = \relative c' {
> c4 d e f \bar "||" \mark \markup {Fine}|
> g8 g a f g g g4\fermata \bar "|." \mark \markup { "D.C. al Fine"}
> }
>
> \score {
> \melody
> \layout { }
> }
>
> According to my score reading and interpreting experience,
> * the markups are usually set in bold letters an horizontally right-
> aligned to the bar line;
> * "Fine" should stay in the first bar on the first line as it is not a
> rehearsal mark
>
> As always I'm aiming to make use of Lilypond's great default engraving
> capabilities the most possible with as few tweaks, "intransparent" lines
> of code, and absolute positionings etc. as possible.
>
> Which is your recommended "good" way? What's your experience?
>
> TIA
> Stephan
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
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"D.C. al Fine" best practice
Hi folks
I can imagine several ways of displaying / tweaking / formatting "Fine"
and "D.C. al Fine" markups. Probably the simplest might be:
\version "2.19.83"
melody = \relative c' {
c4 d e f \bar "||" \mark \markup {Fine}|
g8 g a f g g g4\fermata \bar "|." \mark \markup { "D.C. al Fine"}
}
\score {
\melody
\layout { }
}
According to my score reading and interpreting experience,
* the markups are usually set in bold letters an horizontally right-
aligned to the bar line;
* "Fine" should stay in the first bar on the first line as it is not a
rehearsal mark
As always I'm aiming to make use of Lilypond's great default engraving
capabilities the most possible with as few tweaks, "intransparent" lines
of code, and absolute positionings etc. as possible.
Which is your recommended "good" way? What's your experience?
TIA
Stephan
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Re: D.C. al fine, and "volta spanner" errors
On Wed, 2016-03-16 at 10:33 -0700, tisimst wrote: > \omit Score.VoltaBracket Many thanks Abraham. Not sure how I missed this in the docs, but it does the job beautifully. The real-life score is now giving "programming error: bounds of spanner are invalid" but that might be an entirely different issue. I'll look inot it. -- Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: D.C. al fine, and "volta spanner" errors
Graham,
On Wed, Mar 16, 2016 at 11:19 AM, Graham King-4 [via Lilypond] <
ml-node+s1069038n188622...@n5.nabble.com> wrote:
> Following on from an earlier thread[1], I have a snippet, below, that uses
> a repeat to create a "D.C. al fine" structure.
>
> The snippet throws two warnings: "cannot end volta spanner" that appear to
> be caused by the "\set Score.repeatCommands" line.
>
> Whilst I could just bludgeon these unwelcome messages with
> ly:expect-warning, the conscientious bit of me is asking the list whether
> they can be eliminated without hurting lilypond's feelings...
>
> \version "2.19.35"
>
> \repeat volta 2 {
> c''1
> \bar "|."
> \mark "Fine"
> }
> \alternative {
> {
> % Treat the "B" section as a first-time bar, but
> % suppress the "|1." label:
> \set Score.repeatCommands = #'((volta #f))
> c''1
> \bar "||"
> \mark "D.C."
> }
> { } % There is no "second-time bar".
> }
>
>
Some quick testing showed that using
\omit Score.VoltaBracket
instead of
\set Score.repeatCommands = #'((volta #f))
did the same thing without the warnings. I can't speak for how this would
affect scores outside your specific example, though.
HTH,
Abraham
--
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D.C. al fine, and "volta spanner" errors
Following on from an earlier thread[1], I have a snippet, below, that
uses a repeat to create a "D.C. al fine" structure.
The snippet throws two warnings: "cannot end volta spanner" that appear
to be caused by the "\set Score.repeatCommands" line.
Whilst I could just bludgeon these unwelcome messages with
ly:expect-warning, the conscientious bit of me is asking the list
whether they can be eliminated without hurting lilypond's feelings...
\version "2.19.35"
\repeat volta 2 {
c''1
\bar "|."
\mark "Fine"
}
\alternative {
{
% Treat the "B" section as a first-time bar, but
% suppress the "|1." label:
\set Score.repeatCommands = #'((volta #f))
c''1
\bar "||"
\mark "D.C."
}
{ } % There is no "second-time bar".
}
[1]
https://lists.gnu.org/archive/html/lilypond-user/2016-02/msg00014.html
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Re: D.C. al fine
Noeck writes:
> Dear Graham, David, all,
>
> I never used a real repeat structure for D.C. al Fine pieces. But your
> example, Graham, does it very nicely. I put it into a little function
> below which makes it easy to reuse. A \repeatsegno follows the same
> lines. I would consider these four versions to be standard structures:
> - D.C. al Fine: A F| B -> A B A
> - D.S. al Fine: A |S B F| D -> A B D B
> - D.C. al Coda: A C| B |C D -> A B A D
> - D.S. al Coda: A |S B C| D |C E -> A B D B E
> (|S = Segno, F| = Fine, C = Coda)
>
> I know this has been discussed before [1] and found too hard to
> implement for all cases as a general repeat structure interface.
It was more of the "nobody bothered implementing it yet" variety. The
varieties presented by Ian Hulin would all be mappable to a form of
\repeat coda #n { ... } \alternative { ... }
on the input side. One "just" needs to make it do something useful, but
the \unfoldrepeats could be quite the same as for \repeat volta.
> [1]:
> http://lilypond.1069038.n5.nabble.com/Da-Capos-Codas-and-Segnos-td112830.html
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Re: D.C. al fine
Joram, I'm glad you found the snippet useful. Maybe it will find its way into the repository, although I don't know how to make that happen. Thanks for the reference to the previous thread[1]. It's not hard to see how the technique in the current thread can be extended to the various DC/DS/Fine/Coda variants, although I confess that I might code the harder examples in the previous thread by simply putting the A, B, C, etc. sections into their own variables and then ordering these appropriately (and explicitly) in the MIDI score. We shouldn't forget, either, that hand-engraved music sometimes produces structures the resolution of which is ambiguous, or hideously complicated, just to save paper and engraving costs. Pitfalls for the performer. Hosanna ut supra -- Graham On Tue, 2016-02-02 at 15:54 +0100, Noeck wrote: > [1]: > http://lilypond.1069038.n5.nabble.com/Da-Capos-Codas-and-Segnos-td112830.html > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: D.C. al fine
Dear Graham, David, all,
I never used a real repeat structure for D.C. al Fine pieces. But your
example, Graham, does it very nicely. I put it into a little function
below which makes it easy to reuse. A \repeatsegno follows the same
lines. I would consider these four versions to be standard structures:
- D.C. al Fine: A F| B -> A B A
- D.S. al Fine: A |S B F| D -> A B D B
- D.C. al Coda: A C| B |C D -> A B A D
- D.S. al Coda: A |S B C| D |C E -> A B D B E
(|S = Segno, F| = Fine, C = Coda)
I know this has been discussed before [1] and found too hard to
implement for all cases as a general repeat structure interface.
But wouldn't it make sense to include some syntactic sugar like the
function below for these standard cases? Of course in general you can do
more with Segno, Coda, Fine than just these cases. But I think it would
help quite often.
If so, could it be done with the repeat command like this?
{ \repeat capofine 2 { a } { b } }
{ a \repeat segnofine 2 { b } { d } }
{ \repeat capocoda 2 { a } { b } { d } }
{ a \repeat segnocoda 2 { b } { d } { e } }
(Names are surely debatable.)
… or alternatively have some \fine, \coda, \segno commands (as such
commands or bar lines) that print the marks and the bar lines – lacking
the possibility to unfold.
Cheers,
Joram
And here the function:
\version "2.19.21"
repeatfine =
#(define-music-function (parser location firstpart secondpart)
(ly:music? ly:music?)
#{
\repeat volta 2 {
$firstpart
\bar "|."
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \bold "Fine" }
}
\alternative {
{
\set Score.repeatCommands = #'((volta #f))
$secondpart
\bar "||"
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark "D.C. al Fine"
}
{ }
}
#})
%% example
\relative {
\repeatfine { a'2 b c d } { d c b c }
}
[1]:
http://lilypond.1069038.n5.nabble.com/Da-Capos-Codas-and-Segnos-td112830.html
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Re: D.C. al fine
thanks Brian. authoritative and helpful. -- Graham On Mon, 2016-02-01 at 18:13 +, Brian Barker wrote: > At 17:38 01/02/2016 +, Graham King wrote: > >... for the first time ever, needed to use Da Capo al Fine. [...] > >If it passes expert inspection, it might make a useful snippet. If > >not, I'd like to know how it should be improved. (In particular, I'm > >not sure about the typographical standards for "fine") > > "Fine" always has an initial capital, doesn't it? > > Elaine Gould says (p. 240): > >_Da Capo_, _Dal Segno_, and _Fine_ instructions are written in a > >conspicuous font, to differentiate them from surrounding text: in a > >vocal score or orchestral part this might be italic, otherwise bold. > >Place them above the top stave of a vocal score; below the stave of > >a single-line part; below the bottom stave of a score or braced part. > > > >A thin double barline, rather than a final double barline, marks the > >written end of the music when this is not the end of the piece. > > > >Only the _Fine_ bar, the actual end of the piece, takes a final > >double barline. This is regardless of whether the _Fine_ is a whole > >or an incomplete bar. > > Her example stacks "_D.C._" above "_al Fine_" - presumably to reduce > the horizontal extent of the text. > > Brian Barker > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: D.C. al fine
Graham King writes: > I've been setting a piece of "modern" (i.e. 19th Century) music and, for > the first time ever, needed to use Da Capo al Fine. Achieving this for > the score and the MIDI output has proved to be surprisingly difficult, > which means I've probably missed something obvious in the manuals! You didn't. It's just an embarrassing omission. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
D.C. al fine
I've been setting a piece of "modern" (i.e. 19th Century) music and, for
the first time ever, needed to use Da Capo al Fine. Achieving this for
the score and the MIDI output has proved to be surprisingly difficult,
which means I've probably missed something obvious in the manuals!
In case it helps others, here's a possible solution (attached). If it
passes expert inspection, it might make a useful snippet. If not, I'd
like to know how it should be improved. (In particular, I'm not sure
about the typographical standards for "fine")
-- Graham
\version "2.19.35"
music = {
\relative {
\repeat volta 2 {
a'2 b c d |
\bar "||"
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \bold \italic "fine" }
}
\alternative {
{
\set Score.repeatCommands = #'((volta #f))
d c b c \bar "||"
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark "D.C. al Fine"
}
{ }
}
}
}
\score {
\music
}
\score {
\unfoldRepeats \music
\midi { }
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