Re: Score and parts
> "bob" == bobroff@centrum is writes:
bob> For different output in score vs part you can use tags.
bob>
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
You can also create a 'global' music to put in parallel with each
part. E.g.,
\version "2.20.0"
global = {
\key e \minor
\time 3/4
\repeat unfold 2 s2.
\time 4/4
\key e \major
s1
\bar "|."
}
fluteOne = \relative c'' {
c2. c2. cis1
}
fluteTwo = \relative c'' {
a2. a2. a1
}
\score {
\new Staff <<
\global
\fluteOne
>>
}
\score {
\new Staff <<
\global
\fluteTwo
>>
}
\score {
\new StaffGroup <<
\new Staff <<
\global
\fluteOne
>>
\new Staff <<
\global
\fluteTwo
>>
>>
}
Re: Score and parts
For different output in score vs part you can use tags. http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html -David - Jenifer Tribe wrote: > It is often useful to create a score and individual parts. > > Sometimes you need to mark up a point in each part, but not to repeat that in > each part within the score. And perhaps less often, vice versa. (eg where a > change of key or time signature appears at different points in the parts). > The easiest approach seems to be to rewrite the overall code for each part > separately. Although this is mainly just a matter of preparing the score and > then making copies and re-editing, it's not neat! And any further corrections > have to be done twice. > What do most people do to get round this? > And by the way, was it possible to send a duration into a function in 2.18? > Regards > Jonathan >
Re: Score and parts with global variable
Andrew Bernard wrote > I am unable to understand why the \global information does not print four > times. How does this work? The template by the way does not give example > code for the \global variable. Hi Andrew, Whether the \global information is printed four times or not solely depends on the actual contents of the \global variable. Being used to single-instrument music, you might not be fully aware of the difference between \Score and \Staff level (if you only have one \Staff, you won't notice a difference). TimeSignature, MetronomeMark, RehearsalMark, etc., are defined on \Score level and that's the reason why they are not being printed four times: they just go on top of the score. Nevertheless they should be included in all the staves because they are needed in the individual parts and it is easy to find errors (if these events do not happen simultaneously, you will be able to immediately recognize it in the score). If, however, the \global variable contains TextScripts, just to name an example, these TextScripts will actually be printed four times, because TextScript is defined on \Staff level. BTW: I usually specify instrumentName/shortInstrumentName in the \score block. They often need some markup tweaking, the appropriate indent value of the score plays a role, I don't have to hassle with too many \tags and, finally, they are not needed at all in the parts. In the parts, the instrument will go into the instrument header property instead. But, as always, there are many ways to go... HTH, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts with global variable
At 21:37 on 04 Nov 2018, Andrew Bernard wrote:
>After a long time using lilypond, for solo instrumental music
>exclusively, now setting a string quartet for the first time and
>needing score and parts. I confess that I am confused about using a
>global variable for tempo indications and so on and so forth. Two
>newbie questions.
>
>1.
>
>In the NR template for a SQ with part this is given:
>
>music = {
> <<
>\tag #'score \tag #'vn1
>\new Staff \with { instrumentName = "Violin 1" }
><< \global \Violinone >>
>
>\tag #'score \tag #'vn2
>\new Staff \with { instrumentName = "Violin 2" }
><< \global \Violintwo>>
>
>\tag #'score \tag #'vla
>\new Staff \with { instrumentName = "Viola" }
><< \global \Viola>>
>
>\tag #'score \tag #'vlc
>\new Staff \with { instrumentName = "Cello" }
><< \global \Cello >>
> >>
>}
>
>I am unable to understand why the \global information does not print
>four times. How does this work? The template by the way does not give
>example code for the \global variable.
Yes, it does somewhat depend on what you put in global. I do something like
this:
global = {
\time 4/4
\tempo 4=72
s1*4
\bar "||"
\time 3/4
\tempo 4=96
s1*3/4*12
\bar "|."
}
% define violinone. violintwo, viola, cello
\book {
\bookOutputName "score"
\score {
\new Score {
<<
\new Dynamics \global
\new Staff \violinone
\new Staff \violintwo
\new Staff \viola
\new Staff \cello
>>
}
}
}
\book {
\bookOutputName "violinone"
\score {
\new Score {
<<
\new Dynamics \global
\new Staff \violinone
>>
}
}
}
--
Mark Knoop
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Re: Score and parts with global variable
Pardon me. Ignore question 2. I had failed to write the correct code as per the template example. Apologies for that particular noise. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
Phil Holmes philholmes.net> writes: > I believe that, as a tutorial template, it would be more useful to > illustrate how to accommodate key signature indications with transposing > instruments, since this remains the norm for most music. Ah, OK -- that makes perfect sense. It sounded at first like you were criticizing my notation, when in fact it was about pedagogy. I'll update that before adding the snippet. I'll also see what I can do about the headers. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
On Sun, Jan 11, 2015 at 5:29 AM, Phil Holmes-2 [via Lilypond] wrote: > I believe that, as a tutorial template, it would be more useful to > illustrate how to accommodate key signature indications with > transposing > instruments, since this remains the norm for most music. +1! That's exactly what I thought as I looked at this closely (Don't get me wrong, James. What you've done is a great example). Also, since header information is important to the parts as well as the full ensemble scores, shouldn't the "Bassoon Part", etc. markups be moved to the individual score headers? And shouldn't they be in their own PDFs? I guess they don't HAVE to, but I feel like that is also "the norm for most music." -Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-tp170276p170337.html Sent from the User mailing list archive at Nabble.com.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
- Original Message - From: "James Harkins" To: "Phil Holmes" ; Sent: Sunday, January 11, 2015 12:18 PM Subject: Re: Score and parts template On January 11, 2015 8:06:55 PM "Phil Holmes" wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet, and concert C# on the A clarinet. Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? The lack of a key signature is fairly standard practice for contemporary music that is not organized around common practice tonality. E.g., the opening section of The Rite of Spring has no key signatures for any instruments, including the transposing ones. (The score is transposed, and later sections that do have key signatures display transposed key signatures in the transposing instruments. So the absence of key signatures in the first section must be deliberate.) hjh I believe that, as a tutorial template, it would be more useful to illustrate how to accommodate key signature indications with transposing instruments, since this remains the norm for most music. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
On January 11, 2015 8:06:55 PM "Phil Holmes" wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet, and concert C# on the A clarinet. Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? The lack of a key signature is fairly standard practice for contemporary music that is not organized around common practice tonality. E.g., the opening section of The Rite of Spring has no key signatures for any instruments, including the transposing ones. (The score is transposed, and later sections that do have key signatures display transposed key signatures in the transposing instruments. So the absence of key signatures in the first section must be deliberate.) hjh Sent with AquaMail for Android http://www.aqua-mail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
- Original Message - From: "James Harkins" To: ; Sent: Sunday, January 11, 2015 6:37 AM Subject: Re: Score and parts template From: Phil Holmes > Since the question came up about organizing LilyPond code for score and > parts, I thought I would make a quick demo of what I believe to be the > standard way to do it. Somehow I pieced these ideas together from LP > code > that I found online (Mozart Horn Concerto, as I recall), but I don't > remember finding a compact example. I think this is potentially very useful. Is the clarinet part an octave low? No, it's in the correct octave. There's nothing in the clarinet part that goes any lower than Brahms went in bar 13 of the clarinet quintet. If you can confirm that the clarinet is correct, then I think adding it to the LSR, with a tag of docs and templates would be an excellent idea. OK! Thanks for the feedback. I'll do that later. hjh So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
From: Phil Holmes > > Since the question came up about organizing LilyPond code for score and > > parts, I thought I would make a quick demo of what I believe to be the > > standard way to do it. Somehow I pieced these ideas together from LP code > > that I found online (Mozart Horn Concerto, as I recall), but I don't > > remember finding a compact example. > > I think this is potentially very useful. Is the clarinet part an octave > low? No, it's in the correct octave. There's nothing in the clarinet part that goes any lower than Brahms went in bar 13 of the clarinet quintet. > If you can confirm that the clarinet is correct, then I think adding it to > the LSR, with a tag of docs and templates would be an excellent idea. OK! Thanks for the feedback. I'll do that later. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
- Original Message -
From: "James Harkins"
To: "lily-users"
Sent: Saturday, January 10, 2015 3:12 AM
Subject: Demo: Score and parts template
Hi,
Since the question came up about organizing LilyPond code for score and
parts, I thought I would make a quick demo of what I believe to be the
standard way to do it. Somehow I pieced these ideas together from LP code
that I found online (Mozart Horn Concerto, as I recall), but I don't
remember finding a compact example.
I used a few bars from a recent woodwind trio, because it uses some
notational features that you would like to be handled automatically -- and
which *are* handled automatically using these techniques:
- Multi-measure rests
- Meter changes
- Tempo markings (at the top of the score only, and in all parts)
- Clef changes in one part, independent of the others
- Transposing instruments
Comments are in the file, but to summarize briefly:
- A "global" variable holds any elements that need to be shared across all
parts. Spacer ("s") rests set the number of bars between tempo changes,
meter or key changes, rehearsal marks, double barlines etc.
- Each instrument has a variable containing notes, rests, dynamics etc.
Clef changes go into these variables (because they are specific to each
part).
- The score creates staves for each instrument and fills them with
simultaneous music expressions: << \global \instrumentNotes >>.
- A part is a "\score" containing one staff, using only the instrument's
notes. If the part is for a multi-staff instrument, like piano, the \score
would hold a PianoStaff or StaffGroup.
- \compressFullBarRests in the parts does what you think it should do.
Multi-measure rests should get broken by rehearsal marks etc. (the
"global" things), and that's exactly what happens. I also use the
\override because I don't like Kirchenpausen.
In the real piece, I have a score.ly file that \include's the global and
instrument variables, and separate oboe.ly, clarinet.ly etc. files that
\include only what's needed for each part. For the demo, it's easier to
send just one ly file but you wouldn't do it that way in real life.
/Theme and Variations/ is released under CC-BY-NC-SA 4.0; please don't
steal the notes :)
Comments welcome. Hope this is helpful.
hjh
I think this is potentially very useful. Is the clarinet part an octave
low?
If you can confirm that the clarinet is correct, then I think adding it to
the LSR, with a tag of docs and templates would be an excellent idea.
--
Phil Holmes
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