how to engrave

[Matej Kosik]

Dear all,

I am trying to figure out how to include the so called

Fm(maj7)

chord.

With the standard modifiers:
http://www.lilypond.org/doc/v2.18/Documentation/notation/common-chord-modifiers
I am not able to able to reach it.
The desired ukulele tab (in the standard GCEA tuning) is included.

How can one engrave this kind of thing?

Thank you very much in advance for the help!

--

Matej
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Re: how to engrave

[Michael Hendry]

> On 20 Aug 2015, at 17:43, Matej Kosik 
> <5764c029b688c1c0d24a2e97cd7...@gmail.com> wrote:
> 
> Dear all,
> 
> I am trying to figure out how to include the so called
> 
>   Fm(maj7)
> 
> chord.
> 
> With the standard modifiers:
> http://www.lilypond.org/doc/v2.18/Documentation/notation/common-chord-modifiers
>  
> 

It’s on the page you’ve linked to above as “Minor-major seventh”, and is coded 
as “fm7+”

Michael

> I am not able to able to reach it.
> The desired ukulele tab (in the standard GCEA tuning) is included.
> 
> How can one engrave this kind of thing?
> 
> Thank you very much in advance for the help!
> 
> --
> 
> Matej
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How to engrave lowercase chord symbols

[Todor Vachkov]

Hello,

My goal is to engrave music for accordion and I would like to have my
chords symbols as follows:

Bass tone: allways uppercase: e.g. *A E D*

Chords: allways lower case: e.g. *major* chords *a e d*; *minor* chords *am
em dm*

And together: *A am E e D d7*

In Lilypond you can force the lowercase only for the minors:

\set chordNameLowercaseMinor = ##t

But I would like to have this possibility for the majors, sevens etc. as
well...The bass tone is always uppercase, which is fine.

Can someone please help me? Thanks a lot in advance!
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how to engrave arrow over notehead?

[Bodo]

Hi,
Thanks for this awesome program. I'm new to this, so excuse me if this is
obvious, but extensive search of the docs and mailing list has not yet come
up with anything, so:

I'm trying to engrave little up- or downwards pointing arrows over
noteheads. The reason for this is to indicate tones on the harmonic scale
(overtones) that cannot be directly mapped onto tones in equal temperament.
So if the tone is close to the tempered tone, but a little higher, there
should be a little arrow pointing upwards over the notehead. Conversely, if
the tone is slightly lower than the equal-tempered tone, the arrow over the
notehead should point downwards.

I'm not sure if there is a standard name for this notation, but it has
already been used in the Overtone literature. Can this be done in Lilypond?
If not, how hard would it be to add a new engraver for a little arrow?

As a workaround, I could try to put text over the notehead and find a font
that contains arrows, but maybe there is a better way?

Thanks,
 Tucano






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Re: How to engrave lowercase chord symbols

[Thomas Morley]

2016-10-22 12:43 GMT+02:00 Todor Vachkov :
> Hello,
>
> My goal is to engrave music for accordion and I would like to have my chords
> symbols as follows:
>
> Bass tone: allways uppercase: e.g. A E D
>
> Chords: allways lower case: e.g. major chords a e d; minor chords am em dm
>
> And together: A am E e D d7
>
> In Lilypond you can force the lowercase only for the minors:
>
> \set chordNameLowercaseMinor = ##t
>
> But I would like to have this possibility for the majors, sevens etc. as
> well...The bass tone is always uppercase, which is fine.
>
> Can someone please help me? Thanks a lot in advance!

Which input-syntax do you prefer for entering single bass-notes?
Please give a compiling example even when it does not what you want.

Otherwise, how about:

\layout {
  \context {
\Score
chordNoteNamer = #note-name->markup
chordRootNamer =
  #(lambda (pitch lowercase?) (note-name->markup pitch #t))
  }
}

\new ChordNames \chordmode { c:7 c:m7 c:7/+c c:m7/+c  }

Cheers,
  Harm

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Re: How to engrave lowercase chord symbols

[David Kastrup]

Todor Vachkov  writes:

> Hello,
>
> My goal is to engrave music for accordion and I would like to have my
> chords symbols as follows:
>
> Bass tone: allways uppercase: e.g. *A E D*
>
> Chords: allways lower case: e.g. *major* chords *a e d*; *minor* chords *am
> em dm*
>
> And together: *A am E e D d7*
>
> In Lilypond you can force the lowercase only for the minors:
>
> \set chordNameLowercaseMinor = ##t
>
> But I would like to have this possibility for the majors, sevens etc. as
> well...The bass tone is always uppercase, which is fine.
>
> Can someone please help me? Thanks a lot in advance!

This is not helpful per se, but you'll probably find that the way
LilyPond's ChordName context places the chord names does not work well
for annotating a bass part (it's fine for piano conventions).  You'll
likely be better off using text scripts even though those don't
transpose well (or at all).  Of course assuming that you _are_ going to
produce a whole bass staff.

So accordion standard bass notation has more than one open problem at
the current point of time.

I've been skirting duties here by mostly playing arrangements for free
bass (like  which I should
probably attempt to make a final take of some of these days).

-- 
David Kastrup

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Re: How to engrave lowercase chord symbols

[David Kastrup]

Thomas Morley  writes:

> 2016-10-22 12:43 GMT+02:00 Todor Vachkov :
>> Hello,
>>
>> My goal is to engrave music for accordion and I would like to have my chords
>> symbols as follows:
>>
>> Bass tone: allways uppercase: e.g. A E D
>>
>> Chords: allways lower case: e.g. major chords a e d; minor chords am em dm
>>
>> And together: A am E e D d7
>>
>> In Lilypond you can force the lowercase only for the minors:
>>
>> \set chordNameLowercaseMinor = ##t
>>
>> But I would like to have this possibility for the majors, sevens etc. as
>> well...The bass tone is always uppercase, which is fine.
>>
>> Can someone please help me? Thanks a lot in advance!
>
> Which input-syntax do you prefer for entering single bass-notes?

These days I'd suggest  rather than c:1 .  A "true" accordion chord
entry mode would likely provide capitalized pitch names like C, Dis,
... for the bass notes.  But for standard \chordmode, this seems
easiest.

> Please give a compiling example even when it does not what you want.
>
> Otherwise, how about:
>
> \layout {
>   \context {
> \Score
> chordNoteNamer = #note-name->markup
> chordRootNamer =
>   #(lambda (pitch lowercase?) (note-name->markup pitch #t))
>   }
> }
>
> \new ChordNames \chordmode { c:7 c:m7 c:7/+c c:m7/+c  }

-- 
David Kastrup

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Re: How to engrave lowercase chord symbols

[Thomas Morley]

2016-10-22 14:32 GMT+02:00 David Kastrup :
> Thomas Morley  writes:
>>
>> Which input-syntax do you prefer for entering single bass-notes?
>
> These days I'd suggest  rather than c:1 .  A "true" accordion chord
> entry mode would likely provide capitalized pitch names like C, Dis,
> ... for the bass notes.  But for standard \chordmode, this seems
> easiest.

Then how about the below? Should work with both  and c:1
Always prints cis and ces not c#/cb, is this ok?
Be aware, it is not tested beyond the given example.

#(define-public (my-note-name->german-markup pitch lowercase?)
  (let* ((name (ly:pitch-notename pitch))
 (alt-semitones (inexact->exact (round (* (ly:pitch-alteration
pitch) 2
 (n-a (if (member (cons name alt-semitones) `((6 . -1) (6 . -2)))
  (cons 7 (+ 1 alt-semitones))
  (cons name alt-semitones)))
 (basic-list '("c" "d" "e" "f" "g" "a" "h" "b"))
 (list-to-use
   (if lowercase?
   basic-list
   (map string-upcase basic-list

(make-line-markup
 (list
  (string-append
   (list-ref list-to-use (car n-a))
   (if (or (equal? (car n-a) 2) (equal? (car n-a) 5))
   (list-ref '( "ses" "s" "" "is" "isis") (+ 2 (cdr n-a)))
   (list-ref '("eses" "es" "" "is" "isis") (+ 2 (cdr n-a)

\layout {
  \context {
\Score
chordNameFunction =
  #(lambda (in-pitches bass inversion context)
(if (= (length in-pitches) 1)
(my-note-name->german-markup (car in-pitches) #f)
(ignatzek-chord-names
  in-pitches bass inversion context)))
chordNoteNamer =
  #(lambda (pitch lowercase?)
  (my-note-name->german-markup pitch #f))
chordRootNamer =
  #(lambda (pitch lowercase?)
  (my-note-name->german-markup pitch #t))
  }
}

\new ChordNames \chordmode { cis:7 cis:m7 c:7/+c c:m7/+c  cis:1 }

Cheers,
  Harm

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Re: how to engrave arrow over notehead?

[Han-Wen Nienhuys]

Bodo wrote:

Hi,
Thanks for this awesome program. I'm new to this, so excuse me if this is
obvious, but extensive search of the docs and mailing list has not yet come
up with anything, so:

I'm trying to engrave little up- or downwards pointing arrows over
noteheads. The reason for this is to indicate tones on the harmonic scale
(overtones) that cannot be directly mapped onto tones in equal temperament.
So if the tone is close to the tempered tone, but a little higher, there
should be a little arrow pointing upwards over the notehead. Conversely, if
the tone is slightly lower than the equal-tempered tone, the arrow over the
notehead should point downwards.

I'm not sure if there is a standard name for this notation, but it has
already been used in the Overtone literature. Can this be done in Lilypond?
If not, how hard would it be to add a new engraver for a little arrow?

As a workaround, I could try to put text over the notehead and find a font
that contains arrows, but maybe there is a better way?


Hi,

I could add this as a sponsored feature. However, I suspect you can 
already typeset this, you just have to find the Unicode entry for 
arrow-up, and use that , eg.



  arrowUp = #(ly:wide-char->utf-8 #x2347)
  c4^\arrowUp

where 2347 is the codepoint for arrow up.

--
 Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen


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RE: how to engrave arrow over notehead?

[Fairchild]

Tucano -

If Han-Wen's suggestion doesn't do what you want, send a graphic.  I'd like
to see if PostScript code will do it.

- Bruce

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Han-Wen Nienhuys
Sent: Thursday, July 28, 2005 3:53 AM
To: Bodo
Cc: lilypond-user@gnu.org
Subject: Re: how to engrave arrow over notehead?


Bodo wrote:
> Hi,
> Thanks for this awesome program. I'm new to this, so excuse me if this 
> is obvious, but extensive search of the docs and mailing list has not 
> yet come up with anything, so:
> 
> I'm trying to engrave little up- or downwards pointing arrows over 
> noteheads. The reason for this is to indicate tones on the harmonic 
> scale
> (overtones) that cannot be directly mapped onto tones in equal
temperament.
> So if the tone is close to the tempered tone, but a little higher, there
> should be a little arrow pointing upwards over the notehead. Conversely,
if
> the tone is slightly lower than the equal-tempered tone, the arrow over
the
> notehead should point downwards.
> 
> I'm not sure if there is a standard name for this notation, but it has 
> already been used in the Overtone literature. Can this be done in 
> Lilypond? If not, how hard would it be to add a new engraver for a 
> little arrow?
> 
> As a workaround, I could try to put text over the notehead and find a 
> font that contains arrows, but maybe there is a better way?

Hi,

I could add this as a sponsored feature. However, I suspect you can 
already typeset this, you just have to find the Unicode entry for 
arrow-up, and use that , eg.


   arrowUp = #(ly:wide-char->utf-8 #x2347)
   c4^\arrowUp

where 2347 is the codepoint for arrow up.

-- 
  Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen


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RE: how to engrave arrow over notehead?

[Fairchild]

Tucano -

Here is a way using \markup.  Is the arrow OK?

%

\version "2.4.6"
\paper { raggedright = ##t }
pOn = \override TextScript #'font-name = #"msam10"
pOff = \revert TextScript #'font-name
up = \markup { \hspace #-0.35 \char #24 \hspace #-2 \char #22 }
dp = \markup { \hspace #-0.35 \char #25 \hspace #-2 \char #23 }
{\relative c'' { \pOn c_\up d^\up e_\dp f^\dp \pOff
c1_\markup { " A B C D " } } }

%

   - Bruce

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Fairchild
Sent: Thursday, July 28, 2005 6:42 AM
To: 'Han-Wen Nienhuys'; 'Bodo'
Cc: lilypond-user@gnu.org
Subject: RE: how to engrave arrow over notehead?


Tucano -

If Han-Wen's suggestion doesn't do what you want, send a graphic.  I'd like
to see if PostScript code will do it.

- Bruce

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Han-Wen Nienhuys
Sent: Thursday, July 28, 2005 3:53 AM
To: Bodo
Cc: lilypond-user@gnu.org
Subject: Re: how to engrave arrow over notehead?


Bodo wrote:
> Hi,
> Thanks for this awesome program. I'm new to this, so excuse me if this
> is obvious, but extensive search of the docs and mailing list has not 
> yet come up with anything, so:
> 
> I'm trying to engrave little up- or downwards pointing arrows over
> noteheads. The reason for this is to indicate tones on the harmonic 
> scale
> (overtones) that cannot be directly mapped onto tones in equal
temperament.
> So if the tone is close to the tempered tone, but a little higher, 
> there should be a little arrow pointing upwards over the notehead. 
> Conversely,
if
> the tone is slightly lower than the equal-tempered tone, the arrow 
> over
the
> notehead should point downwards.
> 
> I'm not sure if there is a standard name for this notation, but it has
> already been used in the Overtone literature. Can this be done in 
> Lilypond? If not, how hard would it be to add a new engraver for a 
> little arrow?
> 
> As a workaround, I could try to put text over the notehead and find a
> font that contains arrows, but maybe there is a better way?

Hi,

I could add this as a sponsored feature. However, I suspect you can 
already typeset this, you just have to find the Unicode entry for 
arrow-up, and use that , eg.


   arrowUp = #(ly:wide-char->utf-8 #x2347)
   c4^\arrowUp

where 2347 is the codepoint for arrow up.

-- 
  Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen


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RE: how to engrave arrow over notehead?

[Fairchild]

Bodo -

Don't know why it doesn't work for you.

Maybe if you post the error message file, someone will help.

   - Bruce

-Original Message-
From: Bodo [mailto:[EMAIL PROTECTED] 
Sent: Thursday, July 28, 2005 4:10 PM
To: 'Fairchild'
Subject: AW: how to engrave arrow over notehead?



Hi Bruce,

Thanks for this. Unfortunately it doesn't generate a .pdf for me. I'm
running lilypond 2.7.3 on windows. I also tried the cygwin version, but that
is too old to run this file. Any suggestions?

Cheers,
 Bodo


[EMAIL PROTECTED]
 

> -Ursprüngliche Nachricht-
> Von: Fairchild [mailto:[EMAIL PROTECTED]
> Gesendet: Donnerstag, 28. Juli 2005 19:44
> An: 'Bodo'
> Cc: lilypond-user@gnu.org
> Betreff: RE: how to engrave arrow over notehead?
> 
> Tucano -
> 
> Here is a way using \markup.  Is the arrow OK?
> 
> %
> 
> \version "2.4.6"
> \paper { raggedright = ##t }
> pOn = \override TextScript #'font-name = #"msam10"
> pOff = \revert TextScript #'font-name
> up = \markup { \hspace #-0.35 \char #24 \hspace #-2 \char #22 } dp = 
> \markup { \hspace #-0.35 \char #25 \hspace #-2 \char #23 } {\relative 
> c'' { \pOn c_\up d^\up e_\dp f^\dp \pOff c1_\markup { " A B C D " } } 
> }
> 
> %
> 
>- Bruce
> 
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]
> On Behalf Of
> Fairchild
> Sent: Thursday, July 28, 2005 6:42 AM
> To: 'Han-Wen Nienhuys'; 'Bodo'
> Cc: lilypond-user@gnu.org
> Subject: RE: how to engrave arrow over notehead?
> 
> 
> Tucano -
> 
> If Han-Wen's suggestion doesn't do what you want, send a
> graphic.  I'd like
> to see if PostScript code will do it.
> 
> - Bruce
> 
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]
> On Behalf Of
> Han-Wen Nienhuys
> Sent: Thursday, July 28, 2005 3:53 AM
> To: Bodo
> Cc: lilypond-user@gnu.org
> Subject: Re: how to engrave arrow over notehead?
> 
> 
> Bodo wrote:
> > Hi,
> > Thanks for this awesome program. I'm new to this, so excuse
> me if this
> > is obvious, but extensive search of the docs and mailing
> list has not
> > yet come up with anything, so:
> > 
> > I'm trying to engrave little up- or downwards pointing arrows over 
> > noteheads. The reason for this is to indicate tones on the harmonic 
> > scale
> > (overtones) that cannot be directly mapped onto tones in equal
> temperament.
> > So if the tone is close to the tempered tone, but a little higher,
> > there should be a little arrow pointing upwards over the notehead. 
> > Conversely,
> if
> > the tone is slightly lower than the equal-tempered tone, the arrow
> > over
> the
> > notehead should point downwards.
> > 
> > I'm not sure if there is a standard name for this notation,
> but it has
> > already been used in the Overtone literature. Can this be done in
> > Lilypond? If not, how hard would it be to add a new engraver for a 
> > little arrow?
> > 
> > As a workaround, I could try to put text over the notehead
> and find a
> > font that contains arrows, but maybe there is a better way?
> 
> Hi,
> 
> I could add this as a sponsored feature. However, I suspect you can
> already typeset this, you just have to find the Unicode entry for 
> arrow-up, and use that , eg.
> 
> 
>arrowUp = #(ly:wide-char->utf-8 #x2347)
>c4^\arrowUp
> 
> where 2347 is the codepoint for arrow up.
> 
> -- 
>   Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
> 
> 
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> 
> 
> 
> 
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> 
> 
> 






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Re: how to engrave arrow over notehead?

[Mats Bengtsson]

Fairchild wrote:

Bodo -

Don't know why it doesn't work for you.


Since the most significant change to LilyPond between versions 2.4 and
2.6 was the handling of fonts. Version 2.6 (and 2.7) doesn't use LaTeX
as an intermediate step anymore.

As an alternative, find out how to enter the desired arrow symbol in
your text editor (one solution is to lookup the Unicode representation
for different kinds of arrows at
http://www.unicode.org/charts/symbols.html)
Then, you can simply enter the symbol as a text script.

   /Mats



Maybe if you post the error message file, someone will help.

   - Bruce

-Original Message-
From: Bodo [mailto:[EMAIL PROTECTED] 
Sent: Thursday, July 28, 2005 4:10 PM

To: 'Fairchild'
Subject: AW: how to engrave arrow over notehead?



Hi Bruce,

Thanks for this. Unfortunately it doesn't generate a .pdf for me. I'm
running lilypond 2.7.3 on windows. I also tried the cygwin version, but that
is too old to run this file. Any suggestions?

Cheers,
 Bodo


[EMAIL PROTECTED]
 




-Ursprüngliche Nachricht-
Von: Fairchild [mailto:[EMAIL PROTECTED]
Gesendet: Donnerstag, 28. Juli 2005 19:44
An: 'Bodo'
Cc: lilypond-user@gnu.org
Betreff: RE: how to engrave arrow over notehead?

Tucano -

Here is a way using \markup.  Is the arrow OK?

%

\version "2.4.6"
\paper { raggedright = ##t }
pOn = \override TextScript #'font-name = #"msam10"
pOff = \revert TextScript #'font-name
up = \markup { \hspace #-0.35 \char #24 \hspace #-2 \char #22 } dp = 
\markup { \hspace #-0.35 \char #25 \hspace #-2 \char #23 } {\relative 
c'' { \pOn c_\up d^\up e_\dp f^\dp \pOff c1_\markup { " A B C D " } } 
}


%

  - Bruce

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
On Behalf Of
Fairchild
Sent: Thursday, July 28, 2005 6:42 AM
To: 'Han-Wen Nienhuys'; 'Bodo'
Cc: lilypond-user@gnu.org
Subject: RE: how to engrave arrow over notehead?


Tucano -

If Han-Wen's suggestion doesn't do what you want, send a
graphic.  I'd like
to see if PostScript code will do it.

   - Bruce

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
On Behalf Of
Han-Wen Nienhuys
Sent: Thursday, July 28, 2005 3:53 AM
To: Bodo
Cc: lilypond-user@gnu.org
Subject: Re: how to engrave arrow over notehead?


Bodo wrote:


Hi,
Thanks for this awesome program. I'm new to this, so excuse


me if this


is obvious, but extensive search of the docs and mailing


list has not


yet come up with anything, so:

I'm trying to engrave little up- or downwards pointing arrows over 
noteheads. The reason for this is to indicate tones on the harmonic 
scale

(overtones) that cannot be directly mapped onto tones in equal


temperament.


So if the tone is close to the tempered tone, but a little higher,
there should be a little arrow pointing upwards over the notehead. 
Conversely,


if


the tone is slightly lower than the equal-tempered tone, the arrow
over


the


notehead should point downwards.

I'm not sure if there is a standard name for this notation,


but it has


already been used in the Overtone literature. Can this be done in
Lilypond? If not, how hard would it be to add a new engraver for a 
little arrow?


As a workaround, I could try to put text over the notehead


and find a


font that contains arrows, but maybe there is a better way?


Hi,

I could add this as a sponsored feature. However, I suspect you can
already typeset this, you just have to find the Unicode entry for 
arrow-up, and use that , eg.



  arrowUp = #(ly:wide-char->utf-8 #x2347)
  c4^\arrowUp

where 2347 is the codepoint for arrow up.

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=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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AW: how to engrave arrow over notehead?

[Bodo]

> As an alternative, find out how to enter the desired arrow 
> symbol in your text editor (one solution is to lookup the 
> Unicode representation for different kinds of arrows at
> http://www.unicode.org/charts/symbols.html)
> Then, you can simply enter the symbol as a text script.
> 
> /Mats 


Hi Mats,

Thanks, this works.
I'm using unicode symbol 2191 for the up arrow, and 2193 for the down arrow.
Now how can I get the symbol to be displayed directly above the notehead?
Using something like c_"arrow" or c^"arrow" displays the symbol at the
bottom or top of the line, but I want it closer to the notehead.
Is this possible?
 
 Bodo




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Re: AW: how to engrave arrow over notehead?

[Mats Bengtsson]

Bodo wrote:
As an alternative, find out how to enter the desired arrow 
symbol in your text editor (one solution is to lookup the 
Unicode representation for different kinds of arrows at

http://www.unicode.org/charts/symbols.html)
Then, you can simply enter the symbol as a text script.

   /Mats 




Hi Mats,

Thanks, this works.
I'm using unicode symbol 2191 for the up arrow, and 2193 for the down arrow.
Now how can I get the symbol to be displayed directly above the notehead?
Using something like c_"arrow" or c^"arrow" displays the symbol at the
bottom or top of the line, but I want it closer to the notehead.
Is this possible?


Of course it's possible, it's LilyPond, right?

Please read the section "9.2 The \override command" of the manual.

   /Mats


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How to engrave a simple three-voice song in a single staff

[Jakob Schöttl]

Hello everyone,

I'd like to have a simple three-voice traditional song in a single staff.

- same notes should be merged to one note
- the upper two voice should be merged to chords

This is how it should look like:

\new Staff \relative c'' <<
  \new Voice { \voiceOne   \partial 4 g4   }
  \new Voice { \voiceTwo   \partial 4 g4  e }
>>



This is how I would like to write the music: in three separate voices.

\new Staff \relative c'' <<
  \new Voice { \voiceOne   \partial 4 g4  c }
  \new Voice { \voiceThree \partial 4 g4  g }
  \new Voice { \voiceTwo   \partial 4 g4  e }
>>



Is it possible to get the above result while writing each voice
indepentently?

Best Regards, Jakob

PS: \version "2.19.82"

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how to engrave an arpeggio based on a chord of differing length notes?

[Kenneth Wolcott]

Hello;

  I have an interesting engraving problem I haven't seen before
(example png file attached).

  I understand how to handle the tuplet, the crescendo, the
decrescendo and the general polyphony, even the arpeggio.

  However, the arpeggio is based on a half note and a dotted half
note.  How to handle that?

  I'm using Lilypond 2.22.0.

Thanks,
Ken Wolcott

how to engrave an arpeggio based on a chord of differing length notes?

[Jean Louis THIRY]

Not an arpeggio here. This extract looks like a three voices guitar arrangement 
and I suppose the dotted half note being for a laissez-vibrer effect
I tried to reproduce it :

\version "2.23.2"
\fixed c'
{   \time 4/4
  <<
{2. }
\\  {c2  c!2 }
\\  {\once \teeny \override Rest.extra-offset= #'(1.7 . 0) e4\rest \tuplet 
3/2 { e8 e e } e4   } 
  >>
} 

Re: How to engrave a simple three-voice song in a single staff

[Lukas-Fabian Moser]

Hi Jakob,


I'd like to have a simple three-voice traditional song in a single staff.

- same notes should be merged to one note
- the upper two voice should be merged to chords



Maybe something like:

\version "2.19.80"


\new Staff \with { printPartCombineTexts = ##f }
  <<
    \partcombine
    \relative g' {
  \partial 4 g4
  g4 c8 b c4
    }
    \relative g' {
  \partial 4 g4
  e4. f8 g4
    }
  \\
   \relative g' {
 \partial 4 g4
 c,4. d8 e4
   }
  >>


But expect trouble if rhythms start to become independent.

Best
Lukas

PS. I left the \partial in each voice - while it's unneccesary here, it 
might be useful to have it in each voice if you want to extract parts.


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Re: How to engrave a simple three-voice song in a single staff

[ArnoldTheresius]

Jakob Schöttl wrote
> Hello everyone,
> 
> I'd like to have a simple three-voice traditional song in a single staff.
> 
> - same notes should be merged to one note
> - the upper two voice should be merged to chords
> ...

I would try to join the first two voices into one voice, displaying in style
'voiceOne',
and the third voice is going to be displayed in style 'voiceTwo'.

e.g.:
MyFirstVoice  = \relative { \partial 4 g'4 c1 }
MySecondVoice = \relative { \partial 4 g'4 g1 }
MyThirdVoice  = \relative { \partial 4 g'4 e1 }

\new Staff <<
  \new Voice { \voiceOne 
\set Staff.aDueText = #""
\partcombine \MyFirstVoice \MySecondVoice
  }
  \new Voice { \voiceTwo
\MyThirdVoice
  } >>

ArnoldTheresius





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Re: How to engrave a simple three-voice song in a single staff

[Jakob Schöttl]

Hi Lukas,

Thank you, that was exactly what I was looking for!

Best, Jakob

Am 10.08.2018 um 16:20 schrieb Lukas-Fabian Moser:
> Hi Jakob,
>
>> I'd like to have a simple three-voice traditional song in a single
>> staff.
>>
>> - same notes should be merged to one note
>> - the upper two voice should be merged to chords
>>
>
> Maybe something like:
>
> \version "2.19.80"
>
>
> \new Staff \with { printPartCombineTexts = ##f }
>   <<
>     \partcombine
>     \relative g' {
>   \partial 4 g4
>   g4 c8 b c4
>     }
>     \relative g' {
>   \partial 4 g4
>   e4. f8 g4
>     }
>   \\
>    \relative g' {
>  \partial 4 g4
>  c,4. d8 e4
>    }
>   >>
>
>
> But expect trouble if rhythms start to become independent.
>
> Best
> Lukas
>
> PS. I left the \partial in each voice - while it's unneccesary here,
> it might be useful to have it in each voice if you want to extract parts.

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Re: how to engrave an arpeggio based on a chord of differing length notes?

[Fr. Samuel Springuel]

> On 15 May, 2021, at 7:39 PM, Kenneth Wolcott  wrote:
> 
> Hello;
> 
>  I have an interesting engraving problem I haven't seen before
> (example png file attached).
> 
>  I understand how to handle the tuplet, the crescendo, the
> decrescendo and the general polyphony, even the arpeggio.
> 
>  However, the arpeggio is based on a half note and a dotted half
> note.  How to handle that?

Are you sure it’s an appregio and not a quarter rest?

✝✝
Fr. Samuel, OSB
(R. Padraic Springuel)
St. Anselm’s Abbey
4501 South Dakota Ave, NE
Washington, DC, 20017
202-269-2300
(c) 202-853-7036

PAX ☧ ΧΡΙΣΤΟΣ

Re: how to engrave an arpeggio based on a chord of differing length notes?

[Kenneth Wolcott]

Well, that certainly makes it a lot simpler! :-)

Thanks for helping with the obvious that I just did not see.

Awesome!

On Sat, May 15, 2021 at 5:20 PM Fr. Samuel Springuel
 wrote:
>
> > On 15 May, 2021, at 7:39 PM, Kenneth Wolcott  
> > wrote:
> >
> > Hello;
> >
> >  I have an interesting engraving problem I haven't seen before
> > (example png file attached).
> >
> >  I understand how to handle the tuplet, the crescendo, the
> > decrescendo and the general polyphony, even the arpeggio.
> >
> >  However, the arpeggio is based on a half note and a dotted half
> > note.  How to handle that?
>
> Are you sure it’s an appregio and not a quarter rest?
>
> ✝✝
> Fr. Samuel, OSB
> (R. Padraic Springuel)
> St. Anselm’s Abbey
> 4501 South Dakota Ave, NE
> Washington, DC, 20017
> 202-269-2300
> (c) 202-853-7036
>
> PAX ☧ ΧΡΙΣΤΟΣ
>

Re: how to engrave an arpeggio based on a chord of differing length notes?

[Kenneth Wolcott]

What I ended up doing was very similar, although your solution is more tidy.

Thanks,
Ken

On Sun, May 16, 2021 at 3:25 AM Jean Louis THIRY  wrote:
>
> Not an arpeggio here. This extract looks like a three voices guitar 
> arrangement and I suppose the dotted half note being for a laissez-vibrer 
> effect
> I tried to reproduce it :
>
> \version "2.23.2"
> \fixed c'
> {   \time 4/4
>   <<
> {2. }
> \\  {c2  c!2 }
> \\  {\once \teeny \override Rest.extra-offset= #'(1.7 . 0) e4\rest 
> \tuplet 3/2 { e8 e e } e4   }
>   >>
> }

Re: How to engrave this (screenshot attached) 12/8 time (looks like an arpeggio with ties)

[Werner LEMBERG]

> How to engrave this (screenshot attached) 12/8 time (looks like an
> arpeggio with ties)

Exactly.  Look up the Notation Reference Index under 'arpeggio and
ties'...


Werner

Re: How to engrave this (screenshot attached) 12/8 time (looks like an arpeggio with ties)

[Kenneth Wolcott]

Thank you!

On Fri, Sep 16, 2022 at 10:12 PM Werner LEMBERG  wrote:
>
>
> > How to engrave this (screenshot attached) 12/8 time (looks like an
> > arpeggio with ties)
>
> Exactly.  Look up the Notation Reference Index under 'arpeggio and
> ties'...
>
>
> Werner

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Hwaen Ch'uqi]

Greetings Ken,

I wonder if this isn't a place for \laissezVibrer

Hwaen Ch'uqi


On 7/28/22, Kenneth Wolcott  wrote:
> Hi;
>
>   I must be missing something obvious here.
>
>   The last note of a first alternative is a tie to the first note in the
> repeat.
>
>   Lilypond 2.22.2 complains:
>
> La_Bamba.ly:67:40: warning: unterminated tie
>   r8 f'' f'' f'' f''4^. f''8^. e''
>~  | % m26
>
> Thanks in advance for pointing out what I missed in the documentation...
>
> My engraving, my Lilypond source and the 8notes.com's Brass Quartet
> arrangement of "La Bamba" are attached.
>
>   The problem occurs at bar 26 in the first trumpet part.
>
> Thanks,
> Ken Wolcott
>

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Wright]

On Wed 27 Jul 2022 at 21:27:53 (-0700), Kenneth Wolcott wrote:
> 
>   I must be missing something obvious here.
> 
>   The last note of a first alternative is a tie to the first note in the 
> repeat.
> 
>   Lilypond 2.22.2 complains:
> 
> La_Bamba.ly:67:40: warning: unterminated tie
>   r8 f'' f'' f'' f''4^. f''8^. e''
>~  | % m26
> 
> Thanks in advance for pointing out what I missed in the documentation...

Replace that tie with \laissezVibrer. It's on the second page of
Ties in NR, around p59 (I'm using 2.23 docs). It's the complement
of \repeatTie, and the difficulty with looking up these terms has
been commented on here quite recently.

> My engraving, my Lilypond source and the 8notes.com's Brass Quartet
> arrangement of "La Bamba" are attached.
> 
>   The problem occurs at bar 26 in the first trumpet part.

The 8notes's tie is far too long.

Cheers,
David.

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Kenneth Wolcott]

Hi Hwaen and David;

  Thank you very much for your replies.

  It does solve the problem.

  I saw that command but, for some reason I did not think it applied
to my situation.

  I will try to make a note of this so I don't ask this question
again; I'll just have to consult my "gotcha" list.

Ken


On Wed, Jul 27, 2022 at 9:55 PM David Wright  wrote:
>
> On Wed 27 Jul 2022 at 21:27:53 (-0700), Kenneth Wolcott wrote:
> >
> >   I must be missing something obvious here.
> >
> >   The last note of a first alternative is a tie to the first note in the 
> > repeat.
> >
> >   Lilypond 2.22.2 complains:
> >
> > La_Bamba.ly:67:40: warning: unterminated tie
> >   r8 f'' f'' f'' f''4^. f''8^. e''
> >~  | % m26
> >
> > Thanks in advance for pointing out what I missed in the documentation...
>
> Replace that tie with \laissezVibrer. It's on the second page of
> Ties in NR, around p59 (I'm using 2.23 docs). It's the complement
> of \repeatTie, and the difficulty with looking up these terms has
> been commented on here quite recently.
>
> > My engraving, my Lilypond source and the 8notes.com's Brass Quartet
> > arrangement of "La Bamba" are attached.
> >
> >   The problem occurs at bar 26 in the first trumpet part.
>
> The 8notes's tie is far too long.
>
> Cheers,
> David.

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Kastrup]

Kenneth Wolcott  writes:

> Hi Hwaen and David;
>
>   Thank you very much for your replies.
>
>   It does solve the problem.
>
>   I saw that command but, for some reason I did not think it applied
> to my situation.

The current naming is a drag.

"\repeatTie" and "\laissezvibrer" are a stupid combination of terms for
the two different half ties you need to deal with in the context of
repeats or other visual non-linearities.

\startTie and \stopTie would make a lot more sense (even though they
don't need to be matched at all).  \laissezvibrer might be an alias,
though I am not sure whether it would not, in that function, be
deserving of some tweaks giving it a longer minimal visual length.

It could also be complemented by \startSlur and \stopSlur that have
similar problems but actually differing visuals, and tend to reach
closer to the respective bar line.

Possibly \startSlur  and \stopSlur  in
order to get sensible/matching curvature.

-- 
David Kastrup

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Carl Sorensen]

On Thu, Jul 28, 2022 at 7:30 AM David Kastrup  wrote:

>
> The current naming is a drag.
>
> "\repeatTie" and "\laissezvibrer" are a stupid combination of terms for
> the two different half ties you need to deal with in the context of
> repeats or other visual non-linearities.
>

I completely agree.  Since there are other applications for a half tie, the
name shouldn't be \laissezvibrer.

>
> \startTie and \stopTie would make a lot more sense (even though they
> don't need to be matched at all).  \laissezvibrer might be an alias,
> though I am not sure whether it would not, in that function, be
> deserving of some tweaks giving it a longer minimal visual length.
>

I might prefer \beginTie and \endTie or \tieBegin and \tieEnd.   \startTie
and \stopTie don't seem to match the current usage of \startStaff and
\stopStaff, although I think it's not that big a deal.

>
> It could also be complemented by \startSlur and \stopSlur that have
> similar problems but actually differing visuals, and tend to reach
> closer to the respective bar line.
>
> Possibly \startSlur  and \stopSlur  in
> order to get sensible/matching curvature.
>

This sounds like a good proposal to me.  But maybe \slurBegin and \slurEnd?

Carl

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Kastrup]

Carl Sorensen  writes:

> On Thu, Jul 28, 2022 at 7:30 AM David Kastrup  wrote:
>
>>
>> The current naming is a drag.
>>
>> "\repeatTie" and "\laissezvibrer" are a stupid combination of terms for
>> the two different half ties you need to deal with in the context of
>> repeats or other visual non-linearities.
>>
>
> I completely agree.  Since there are other applications for a half tie, the
> name shouldn't be \laissezvibrer.
>
>>
>> \startTie and \stopTie would make a lot more sense (even though they
>> don't need to be matched at all).  \laissezvibrer might be an alias,
>> though I am not sure whether it would not, in that function, be
>> deserving of some tweaks giving it a longer minimal visual length.
>>
>
> I might prefer \beginTie and \endTie or \tieBegin and \tieEnd.   \startTie
> and \stopTie don't seem to match the current usage of \startStaff and
> \stopStaff, although I think it's not that big a deal.

There is also \startTrillSpan/\stopTrillSpan, \startGroup/\stopGroup,
\startGraceSlur/\stopGraceSlur, \startTextSpan/\stopTextSpan,
\startMeasureCount/\stopMeasureCount,
\startMeasureSpanner/\stopMeasureSpanner .  On the opposite side, there
is \endSpanners.

All of these strictly imply the beginning/end of typesetting, but then
the problem of halfties is that the usual connection of beginning/end of
typesetting with the flow of time is not there.

I was thinking of \leftTie/\rightTie instead, but then is the tie
pointing to the left, or is it supposed to be at the left end of a
repeat section?  I thought start/stop would be less ambiguous even if
somewhat uglier.

>> It could also be complemented by \startSlur and \stopSlur that have
>> similar problems but actually differing visuals, and tend to reach
>> closer to the respective bar line.
>>
>> Possibly \startSlur  and \stopSlur  in
>> order to get sensible/matching curvature.
>>
>
> This sounds like a good proposal to me.  But maybe \slurBegin and \slurEnd?

See above.

-- 
David Kastrup

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Jean Abou Samra]

> Le 28 juil. 2022 à 16:06, Carl Sorensen  a écrit :
> 
> 
> 
> 
>> On Thu, Jul 28, 2022 at 7:30 AM David Kastrup  wrote:
>> 
>> The current naming is a drag.
>> 
>> "\repeatTie" and "\laissezvibrer" are a stupid combination of terms for
>> the two different half ties you need to deal with in the context of
>> repeats or other visual non-linearities.
> 
> I completely agree.  Since there are other applications for a half tie, the 
> name shouldn't be \laissezvibrer. 
>> 
>> \startTie and \stopTie would make a lot more sense (even though they
>> don't need to be matched at all).  \laissezvibrer might be an alias,
>> though I am not sure whether it would not, in that function, be
>> deserving of some tweaks giving it a longer minimal visual length.
> 
> I might prefer \beginTie and \endTie or \tieBegin and \tieEnd.   \startTie 
> and \stopTie don't seem to match the current usage of \startStaff and 
> \stopStaff, although I think it's not that big a deal. 



I think LilyPond’s overwhelming convention is start/end, isn’t it?

\startStaff \stopStaff
\startTextSpan \stopTextSpan
\startMeasureCount \stopMeasureCount
\startGroup \stopGroup
\startMeasureSpanner \stopMeasureSpanner

I can only think of \melismaEnd that uses "end" (and the start command is just 
\melisma), although I didn’t try hard.



>> It could also be complemented by \startSlur and \stopSlur that have
>> similar problems but actually differing visuals, and tend to reach
>> closer to the respective bar line.
>> 
>> Possibly \startSlur  and \stopSlur  in
>> order to get sensible/matching curvature.
> 
> This sounds like a good proposal to me.  But maybe \slurBegin and \slurEnd?
> 
> Carl 

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Simon Albrecht]

On 28/07/2022 16:25, David Kastrup wrote:

There is also \startTrillSpan/\stopTrillSpan, \startGroup/\stopGroup,
\startGraceSlur/\stopGraceSlur, \startTextSpan/\stopTextSpan,
\startMeasureCount/\stopMeasureCount,
\startMeasureSpanner/\stopMeasureSpanner .  On the opposite side, there
is \endSpanners.

All of these strictly imply the beginning/end of typesetting, but then
the problem of halfties is that the usual connection of beginning/end of
typesetting with the flow of time is not there.

Exactly, I think this would be very misleading.

I was thinking of \leftTie/\rightTie instead, but then is the tie
pointing to the left, or is it supposed to be at the left end of a
repeat section?  I thought start/stop would be less ambiguous even if
somewhat uglier.


I find it difficult to come up with something succinct— 
\halfTieToTheLeft and \halfTieToTheRight would be clear, but way too 
cumbersome. Actually, I think \halfTieLeft and \halfTieRight would work 
just fine. There’s potential for confusion, but not if it’s clear that 
the direction is from the note head. Does that make sense?


Best, Simon

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Kastrup]

Simon Albrecht  writes:

> On 28/07/2022 16:25, David Kastrup wrote:
>> There is also \startTrillSpan/\stopTrillSpan, \startGroup/\stopGroup,
>> \startGraceSlur/\stopGraceSlur, \startTextSpan/\stopTextSpan,
>> \startMeasureCount/\stopMeasureCount,
>> \startMeasureSpanner/\stopMeasureSpanner .  On the opposite side, there
>> is \endSpanners.
>>
>> All of these strictly imply the beginning/end of typesetting, but then
>> the problem of halfties is that the usual connection of beginning/end of
>> typesetting with the flow of time is not there.

> Exactly, I think this would be very misleading.

I don't see why.  They are halfties.  When there is a discontinuity
between timeflow and typesetting direction, you have to pick one of them
to describe the direction of the tie.  As I wrote, left/right don't work
well on their own, so I picked the timeflow-based one.  Start and stop
of a full tie are quite unambigous referral points.  Note also that I
did not suggest \startHalfTie since indeed a half tie does not "start".

The one problem I see is that this naming might get into conflict with
some possible future interface to cross-voice ties.

But even then one could stipulate that actual cross-voice ties specified
in that manner need a non-empty spanner-id .

>> I was thinking of \leftTie/\rightTie instead, but then is the tie
>> pointing to the left, or is it supposed to be at the left end of a
>> repeat section?  I thought start/stop would be less ambiguous even if
>> somewhat uglier.
>
> I find it difficult to come up with something succinct—
> \halfTieToTheLeft and \halfTieToTheRight would be clear, but way too
> cumbersome. Actually, I think \halfTieLeft and \halfTieRight would
> work just fine. There’s potential for confusion, but not if it’s clear
> that the direction is from the note head. Does that make sense?

Is it clear "that the direction is from the note head"?

-- 
David Kastrup

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Paul Hodges]

From:   David Kastrup  
There is also \startTrillSpan/\stopTrillSpan, \startGroup/\stopGroup, 
\startGraceSlur/\stopGraceSlur, \startTextSpan/\stopTextSpan, 
\startMeasureCount/\stopMeasureCount, 
\startMeasureSpanner/\stopMeasureSpanner . 

So there is a clear pattern of \startItem and \endItem being opposite ends of a 
single thing. 


But the same words used a bit differently might work, so that "the start of a 
tie" could be called \tieStart and so on (\tieEnd, \slurStart, \slurEnd).


Paul

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Kastrup]

Paul Hodges  writes:

> From:   David Kastrup  
> There is also \startTrillSpan/\stopTrillSpan, \startGroup/\stopGroup, 
> \startGraceSlur/\stopGraceSlur, \startTextSpan/\stopTextSpan, 
> \startMeasureCount/\stopMeasureCount, 
> \startMeasureSpanner/\stopMeasureSpanner . 
>
> So there is a clear pattern of \startItem and \endItem being opposite
> ends of a single thing. 
>
>
> But the same words used a bit differently might work, so that "the
> start of a tie" could be called \tieStart and so on (\tieEnd,
> \slurStart, \slurEnd).

start/end is just not a pairing in LilyPond, even if it works perfectly
fine in the English language as such.

-- 
David Kastrup

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Kieren MacMillan]

Hi all,

> I don't see why.  They are halfties.

So why not \halftie #LEFT and \halftie #RIGHT?
(i.e., they're both halfties, so just have a direction parameter)

Just a thought.
Kieren.

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[David Kastrup]

Kieren MacMillan  writes:

> Hi all,
>
>> I don't see why.  They are halfties.
>
> So why not \halftie #LEFT and \halftie #RIGHT?
> (i.e., they're both halfties, so just have a direction parameter)

There isn't much of an incentive to ever have the halftie direction
computed in any manner, so giving the user interface to them another
hoop does not seem to give any return to the user.

-- 
David Kastrup

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Kieren MacMillan]

Hi David,

> There isn't much of an incentive to ever have the halftie direction
> computed in any manner, so giving the user interface to them another
> hoop does not seem to give any return to the user.

Fair point… I guess I was thinking it might be easier/clearer for 
documentation, since people wouldn't have to search for "repeat tie" as opposed 
to "laissez vibrer" to get the two different versions of what is ultimately the 
same thing.

Cheers,
Kieren.

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Aaron Hill]

On 2022-07-28 6:29 am, David Kastrup wrote:

\laissezvibrer might be an alias,
though I am not sure whether it would not, in that function, be
deserving of some tweaks giving it a longer minimal visual length.


Isn't it also conventional to annotate it "l.v."?

If we had a more general semi-tie command, \laissezVibrer could sit on 
top of that and, as you say, tweak it to be more fitting of the original 
function name.



-- Aaron Hill

Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?

[Werner LEMBERG]

 
> I guess I was thinking it might be easier/clearer for documentation,
> since people wouldn't have to search for "repeat tie" as opposed to
> "laissez vibrer" to get the two different versions of what is
> ultimately the same thing.

The current git version of the NR has the index entries

  tie, from nothing
  tie, to nothing

It is straightforward to add more entries to the index, but which one?


Werner