Re: Changing the shape of a tie in a chord
On Mon, Oct 7, 2024 at 1:45 AM Thomas Morley wrote: > Am Di., 1. Okt. 2024 um 16:45 Uhr schrieb Knute Snortum < > ksnor...@gmail.com>: > > I created a doc-tagged LSR-snippet to cover this and > https://lists.gnu.org/archive/html/lilypond-user/2024-09/msg00289.html > See https://lsr.di.unimi.it/LSR/Item?u=1&id=1191 That's great, thanks! I saw one very minor problem, the word "accurat" should be "accurate". -- Knute Snortum
Re: Changing the shape of a tie in a chord
Am Di., 1. Okt. 2024 um 16:45 Uhr schrieb Knute Snortum :
>
> On Tue, Oct 1, 2024 at 2:05 AM Thomas Morley wrote:
>>
>>
>> I've to run for my regular job, no time for explanations.
>> Please study:
>>
>>
>>
>> \relative {
>> 4 q2.
>> 4 \once \override TieColumn.positioning-done = ##t q2.
>> 4 \once \override TieColumn.positioning-done = ##t q2.
>> <
>> c
>> -\shape #'((0 . 0) (0 . -15) (0 . -1) (0 . 0))
>> ~
>> g'
>> -\shape #'((0 . 0) (0 . -10) (0 . -1) (0 . 0))
>> ~
>> c
>> -\shape #'((0 . 0) (0 . 5) (0 . 1) (0 . 0))
>> ^~
>> >4
>> \once \override TieColumn.positioning-done = ##t
>> q2.
>> }
>
>
> Thanks, that works perfectly!
>
>
> --
> Knute Snortum
>
>
I created a doc-tagged LSR-snippet to cover this and
https://lists.gnu.org/archive/html/lilypond-user/2024-09/msg00289.html
See https://lsr.di.unimi.it/LSR/Item?u=1&id=1191
Cheers,
Harm
Re: Changing the shape of a tie in a chord
Am Mo., 30. Sept. 2024 um 22:57 Uhr schrieb Knute Snortum :
>
> How do you change the shape of a tie that's in a chord? In the following
> example, neither \shape command has any effect.
>
> %%%
> \version "2.24.4"
>
> tieShapeA = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) \etc
> tieShapeB = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) Tie
>
> \relative {
> 4 q2.
> 4 q2.
> }
> %%%
>
>
> --
> Knute Snortum
>
I've to run for my regular job, no time for explanations.
Please study:
\relative {
4 q2.
4 \once \override TieColumn.positioning-done = ##t q2.
4 \once \override TieColumn.positioning-done = ##t q2.
<
c
-\shape #'((0 . 0) (0 . -15) (0 . -1) (0 . 0))
~
g'
-\shape #'((0 . 0) (0 . -10) (0 . -1) (0 . 0))
~
c
-\shape #'((0 . 0) (0 . 5) (0 . 1) (0 . 0))
^~
>4
\once \override TieColumn.positioning-done = ##t
q2.
}
Cheers,
Harm
Re: Changing the shape of a tie in a chord
On Tue, Oct 1, 2024 at 2:05 AM Thomas Morley
wrote:
>
> I've to run for my regular job, no time for explanations.
> Please study:
>
>
>
> \relative {
> 4 q2.
> 4 \once \override TieColumn.positioning-done = ##t q2.
> 4 \once \override TieColumn.positioning-done = ##t q2.
> <
> c
> -\shape #'((0 . 0) (0 . -15) (0 . -1) (0 . 0))
> ~
> g'
> -\shape #'((0 . 0) (0 . -10) (0 . -1) (0 . 0))
> ~
> c
> -\shape #'((0 . 0) (0 . 5) (0 . 1) (0 . 0))
> ^~
> >4
> \once \override TieColumn.positioning-done = ##t
> q2.
> }
>
Thanks, that works perfectly!
--
Knute Snortum
Changing the shape of a tie in a chord
How do you change the shape of a tie that's in a chord? In the following
example, neither \shape command has any effect.
%%%
\version "2.24.4"
tieShapeA = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) \etc
tieShapeB = \shape #'((0 . 0) (0 . -1) (0 . -1) (0 . 0)) Tie
\relative {
4 q2.
4 q2.
}
%%%
--
Knute Snortum
How to shape the second tie after tieWaitForNote = ##t?
I am trying to change the shape of two ties after tieWaitForNote is set to
true. If I use the \shape command, the second tie is not affected. Here
is an MWE:
%%%
\version "2.24.4"
tieShapeA = \shape #'((0 . -1) (0 . 0) (0 . 0) (0 . 0)) \etc
tieShapeB = \shape #'((0 . 1) (0 . 0) (0 . 0) (0 . 0)) \etc
\relative {
c'4 \set tieWaitForNote = ##t e-\tieShapeA ~ g-\tieShapeB ~ |
}
%%%
I searched old messages in this group and I found this:
https://www.mail-archive.com/lilypond-user@gnu.org/msg124329.html
It seems to be describing the same behavior. The posted solution is some
scheme code. When I use this code in an MWE (only converting it to 2.24)
it strangely doesn't work right after a line break. Here is the MWE:
%%%
\version "2.24.4"
\language "english"
\paper {
ragged-right = ##t
}
affect-TieColumn =
#(define-music-function (offsets)(list?)
#{
\once
\override TieColumn.after-line-breaking =
#(lambda (grob)
(let* ((ties (ly:grob-array->list (ly:grob-object grob 'ties)))
(c-ps
(map
(lambda (tie) (ly:grob-property tie 'control-points))
ties)))
(define (offset-control-points coords offsets)
(if (null? offsets)
(car c-ps)
(map
(lambda (x y) (coord-translate x y))
coords offsets)))
(define (help offs pts new-pts)
(if (null? offs)
(reverse new-pts)
(help (cdr offs) (cdr pts)
(cons (offset-control-points (car pts) (car offs))
new-pts
(for-each
(lambda (tie cpts) (ly:grob-set-property! tie 'control-points
cpts))
ties
(help offsets c-ps '()
#})
\relative {
c'1 | \break % remove this break and the affect-TieColumn works
c4 \set tieWaitForNote = ##t e~ g~
\affect-TieColumn #'(
((0 . 0) (0 . -1) (0 . -1) (0 . 0)) ;; bottom
((0 . 0) (0 . 0) (0 . 0) (0 . -1)) ;; top
)
|
}
%%%
So my question is, how do I change the shape of the second tie after a
tieWaitForNote = ##t?
--
Knute Snortum
Re: TabStaff String Bend + Tie/Ghost Notes
;; the staff-symbol, controlled by 'details-shorten-for-half-note.
(lambda (grob orig)
(let* ((nhds-array (ly:grob-object grob 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) '(
(if (every-cautionary? nhds)
(stem::tab-stem-begin-position grob)
orig)
Beam
#(define tab-beam::positions
(lambda (grob)
;; Looking at Stem.details.out-side-staff-length, ensure same length of
;; stems as for unbeamed stems.
(let* ((stems-array (ly:grob-object grob 'stems #f))
(stems (if stems-array (ly:grob-array->list stems-array) #f))
(stem-details
(if stems
(ly:grob-property (car stems) 'details)
'()))
(beam-thick (ly:grob-property grob 'beam-thickness))
(staff-space (ly:staff-symbol-staff-space grob))
(out-side-staff-length
(assoc-get 'out-side-staff-length stem-details))
(dir (ly:grob-property grob 'direction))
(pos
;; TODO why do we need to reduce `out-side-staff-length` by 1?
(* dir (1- out-side-staff-length
(cons pos pos
#(define tab-beam::stencil
(lambda (grob)
;; While affecting beamed Stem's 'stem-begin-position and 'length we need
;; to recreate the stencil
(let* ((stems-array (ly:grob-object grob 'stems #f))
(stems (if stems-array (ly:grob-array->list stems-array) '(
(for-each
(lambda (stem)
(let* ((nhds-array (ly:grob-object stem 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) #f)))
(when (and nhds (every-cautionary? nhds))
(ly:grob-set-property! stem 'stem-begin-position
(stem::tab-stem-begin-position (car stems))
stems)
(for-each
(lambda (stem)
(let* ((nhds-array (ly:grob-object stem 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) #f)))
(when (and nhds (every-cautionary? nhds))
(ly:grob-set-property! stem 'length
(stem::tab-length stem)
stems)
(ly:beam::print grob
DurationLine
%% bow-stencil for faking Tie
#(define duration-line::bow-stencil
(lambda (grob)
(let* ((vals (duration-line::calc grob))
(left-start (assoc-get 'x-start vals))
(right-end (assoc-get 'x-end vals))
(thick (assoc-get 'thick vals))
(dir (ly:grob-property grob 'direction -1)))
(make-tie-stencil
(cons left-start 0) ;; start
(cons right-end 0) ;; end
thick ;thick
dir ;orientation
0.6 ; height-limit
BendSpanner
#(define bend::target-visibility
;; Set details.target-visibility #t, but keep the target TabNoteHead
;;transparent, i.e. Stem, Flag and Dots become visible, but not the TabNoteHead
;; itself.
(grob-transformer 'details
(lambda (grob orig)
(let ((right-bound (ly:spanner-bound grob RIGHT)))
(if (ly:grob? right-bound)
(begin
(for-each
(lambda (tnhd)
(ly:grob-set-property! tnhd 'transparent #t))
(cdr (get-bound-note-heads grob)))
(acons 'target-visibility #t orig))
orig)
%% Short-cut
printTarget = -\tweak details #bend::target-visibility \etc
Dots
#(define tab-dots::staff-position
(lambda (grob)
(let* ((tnhd (ly:grob-parent grob Y))
(stem (ly:grob-object tnhd 'stem))
(details (ly:grob-property stem 'details))
(out-side-staff-length
(assoc-get 'out-side-staff-length details))
(dir (ly:grob-property stem 'direction 1))
(staff-pos (ly:grob-property tnhd 'staff-position))
(staff-space (ly:staff-symbol-staff-space grob))
(staff-symbol (ly:grob-object grob 'staff-symbol))
(staff-lines (ly:grob-property staff-symbol 'line-positions))
(top-or-bottom-line
(apply (if (positive? dir) max min) staff-lines)))
(if (negative? dir)
(+
(* dir staff-pos)
top-or-bottom-line
(* dir out-side-staff-length))
;; TODO
;; No clue how it should look for \stemUp
0
Helper
#(define (every-cautionary? tab-note-heads)
(every
(lambda (x) (ly:grob-property x 'display-cautionary #f))
tab-note-heads))
layout
guitarProStyleLayout =
\layout {
\context {
\TabStaff
\tabFullNotation
\numericTimeSignature
%% Stem
\override Stem.layer = #-100
\override Stem.details.out-side-staff-length = 7
\override Stem.details.gap-to-staff = 1.5
Re: Inserting an inline Tie/Slur Symbol in LaTeX Documents Using LilyPond or Other Methods
On Wed 21 Aug 2024 at 19:12:04 (-0700), Peter X wrote: > Additionally, if there is a specific glyph that represents a tie/slur > symbol that can be used within LaTeX, I would be interested in learning > about that as well. https://www.cogsci.ed.ac.uk/~richard/utf-8.cgi?input=203f&mode=hex https://www.cogsci.ed.ac.uk/~richard/utf-8.cgi?input=2040&mode=hex depending on which way up. Cheers, David.
Inserting an inline Tie/Slur Symbol in LaTeX Documents Using LilyPond or Other Methods
Dear LilyPond Community, I am currently working on a project where I need to incorporate musical notation symbols directly into a LaTeX document. Specifically, I am looking for a way to insert a tie or slur symbol (the curved line connecting two notes) as an inline element within the text. I understand that it might be possible to achieve this using LilyPond embedded within LaTeX, but I am seeking guidance on the best practices for doing so. If anyone has experience with this or could suggest a reliable method—whether using LilyPond or another LaTeX package—I would greatly appreciate your insights. Additionally, if there is a specific glyph that represents a tie/slur symbol that can be used within LaTeX, I would be interested in learning about that as well. Thank you in advance for your assistance and for any examples or advice you can provide. Best regards, Peter
Re: TabStaff String Bend + Tie/Ghost Notes
Am Do., 15. Aug. 2024 um 16:11 Uhr schrieb Thomas Morley <
thomasmorle...@gmail.com>:
>
>
> Am Di., 13. Aug. 2024 um 18:04 Uhr schrieb Lucas Cavalcanti <
> lucaspi...@gmail.com>:
>
>> Hello! I'm having a bit of trouble trying to replicate this behaviour
>> with string bending and ties:
>> [image: GuitarProStringBends]
>> A bit of context: I'm a long time GuitarPro user and now I am fully
>> migrating to lilypond. For the last 4 to 5 years I was only writing
>> standard sheet music and lead sheets; now I'm rewriting all my
>> tablature-based songs created in GP to Lilypond.
>> However, I still cannot find a way to replicate the behaviour mentioned
>> above. All that I can do is this:
>> [image: image.png]
>> I'm accustomed to seeing the stem displayed by the staff. In the way that
>> lilypond is outputting I cannot visualize correctly the beat structure of
>> the measure.
>> Any help on this would be greatly appreciated!
>> I'll be annexing the .ly file and pasting the code.
>>
>> Best regards,
>> Lucas
>>
>> \version "2.24.4"
>> gtbend = {\new TabStaff { \tabFullNotation \relative c''{
>> g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
>> a8\2 f\3\^ fis4\3 d1\3
>> \break
>> g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
>> a8\2 f\3\^ fis4\3 \bendHold \^ d1\3
>> }}}
>> \score { \gtbend }
>>
>
> Hi,
>
> attached you'll find my attempt to create a style-sheet.
> Please holler for all I misunderstood or forgot or for bugs.
>
> Cheers,
> Harm
>
I forgot:
the version-statement is serious, you'll need to wait for that version.
It will not work with 2.24. and 2.25.18. has a show-stopping bug:
https://gitlab.com/lilypond/lilypond/-/merge_requests/2407
Cheers,
Harm
Re: TabStaff String Bend + Tie/Ghost Notes
property grob 'duration-log))
(details (ly:grob-property grob 'details))
(gap-to-staff (assoc-get 'gap-to-staff details))
(shorten-for-half-note
(assoc-get 'shorten-for-half-note details)))
(+ top-or-bottom-line
(* staff-space dir
(if (eqv? 1 dur-log)
(+ gap-to-staff shorten-for-half-note)
gap-to-staff))
#(define stem::change-given-tab-stem-begin-position
(grob-transformer 'stem-begin-position
;; If 'display-cautionary is true let stems begin outside of tab-staff,
;; contolled by 'details.gap-to-staff.
;; For half notes the stem is shortened increasing the gap to
;; the staff-symbol, controlled by 'details-shorten-for-half-note.
(lambda (grob orig)
(let* ((nhds-array (ly:grob-object grob 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) '(
(if (every-cautionary? nhds)
(stem::tab-stem-begin-position grob)
orig)
Beam
#(define tab-beam::positions
(lambda (grob)
;; Looking at Stem.details.out-side-staff-length, ensure same length of
;; stems as for unbeamed stems.
(let* ((stems-array (ly:grob-object grob 'stems #f))
(stems (if stems-array (ly:grob-array->list stems-array) #f))
(stem-details
(if stems
(ly:grob-property (car stems) 'details)
'()))
(beam-thick (ly:grob-property grob 'beam-thickness))
(staff-space (ly:staff-symbol-staff-space grob))
(out-side-staff-length
(assoc-get 'out-side-staff-length stem-details))
(dir (ly:grob-property grob 'direction))
(pos
;; TODO why do we need to reduce `out-side-staff-length` by 1?
(* dir (1- out-side-staff-length
(cons pos pos
#(define tab-beam::stencil
(lambda (grob)
;; While affecting beamed Stem's 'stem-begin-position and 'length we need
;; to recreate the stencil
(let* ((stems-array (ly:grob-object grob 'stems #f))
(stems (if stems-array (ly:grob-array->list stems-array) '(
(for-each
(lambda (stem)
(let* ((nhds-array (ly:grob-object stem 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) #f)))
(when (and nhds (every-cautionary? nhds))
(ly:grob-set-property! stem 'stem-begin-position
(stem::tab-stem-begin-position (car stems))
stems)
(for-each
(lambda (stem)
(let* ((nhds-array (ly:grob-object stem 'note-heads #f))
(nhds (if nhds-array (ly:grob-array->list nhds-array) #f)))
(when (and nhds (every-cautionary? nhds))
(ly:grob-set-property! stem 'length
(stem::tab-length stem)
stems)
(ly:beam::print grob
DurationLine
%% bow-stencil for faking Tie
#(define duration-line::bow-stencil
(lambda (grob)
(let* ((vals (duration-line::calc grob))
(left-start (assoc-get 'x-start vals))
(right-end (assoc-get 'x-end vals))
(thick (assoc-get 'thick vals))
(dir (ly:grob-property grob 'direction -1)))
(make-tie-stencil
(cons left-start 0) ;; start
(cons right-end 0) ;; end
thick ;thick
dir ;orientation
0.6 ; height-limit
BendSpanner
#(define bend::target-visibility
;; Set details.target-visibility #t, but keep the target TabNoteHead
;;transparent, i.e. Stem, Flag and Dots become visible, but not the TabNoteHead
;; itself.
(grob-transformer 'details
(lambda (grob orig)
(let ((right-bound (ly:spanner-bound grob RIGHT)))
(if (ly:grob? right-bound)
(begin
(for-each
(lambda (tnhd)
(ly:grob-set-property! tnhd 'transparent #t))
(cdr (get-bound-note-heads grob)))
(acons 'target-visibility #t orig))
orig)
%% Short-cut
printTarget = -\tweak details #bend::target-visibility \etc
Dots
#(define tab-dots::staff-position
(lambda (grob)
(let* ((tnhd (ly:grob-parent grob Y))
(stem (ly:grob-object tnhd 'stem))
(details (ly:grob-property stem 'details))
(out-side-staff-length
(assoc-get 'out-side-staff-length details))
(dir (ly:grob-property stem 'direction 1))
(staff-pos (ly:grob-property tnhd 'staff-position))
(staff-space (ly:staff-symbol-staff-space grob))
(staff-symbol (ly:grob-object grob 'staff-symbol))
(staff-lines (ly:grob-property staff-symbol 'line-positions))
(top-or-bottom-line
Re: TabStaff String Bend + Tie/Ghost Notes
Hi Lucas,
A simple way would be to use a markup, e.g.:
\version "2.24.4"
gtbend = {\new TabStaff { \tabFullNotation \relative c''{
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2 f\3\^ fis4\3 d1\3
\break
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2
\once\revert TextScript.stencil
f\3\^ -\tweak extra-offset #'(1.2 . 3.5)-\markup\override #'((thickness .
2)) \undertie " "
fis4\3 \bendHold \^ d1\3
}}}
\score { \gtbend }
HTH, cheers,
Pierre
Le mar. 13 août 2024 à 18:04, Lucas Cavalcanti a
écrit :
> Hello! I'm having a bit of trouble trying to replicate this behaviour with
> string bending and ties:
> [image: GuitarProStringBends]
> A bit of context: I'm a long time GuitarPro user and now I am fully
> migrating to lilypond. For the last 4 to 5 years I was only writing
> standard sheet music and lead sheets; now I'm rewriting all my
> tablature-based songs created in GP to Lilypond.
> However, I still cannot find a way to replicate the behaviour mentioned
> above. All that I can do is this:
> [image: image.png]
> I'm accustomed to seeing the stem displayed by the staff. In the way that
> lilypond is outputting I cannot visualize correctly the beat structure of
> the measure.
> Any help on this would be greatly appreciated!
> I'll be annexing the .ly file and pasting the code.
>
> Best regards,
> Lucas
>
> \version "2.24.4"
> gtbend = {\new TabStaff { \tabFullNotation \relative c''{
> g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
> a8\2 f\3\^ fis4\3 d1\3
> \break
> g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
> a8\2 f\3\^ fis4\3 \bendHold \^ d1\3
> }}}
> \score { \gtbend }
>
>
TabStaff String Bend + Tie/Ghost Notes
Hello! I'm having a bit of trouble trying to replicate this behaviour with
string bending and ties:
[image: GuitarProStringBends]
A bit of context: I'm a long time GuitarPro user and now I am fully
migrating to lilypond. For the last 4 to 5 years I was only writing
standard sheet music and lead sheets; now I'm rewriting all my
tablature-based songs created in GP to Lilypond.
However, I still cannot find a way to replicate the behaviour mentioned
above. All that I can do is this:
[image: image.png]
I'm accustomed to seeing the stem displayed by the staff. In the way that
lilypond is outputting I cannot visualize correctly the beat structure of
the measure.
Any help on this would be greatly appreciated!
I'll be annexing the .ly file and pasting the code.
Best regards,
Lucas
\version "2.24.4"
gtbend = {\new TabStaff { \tabFullNotation \relative c''{
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2 f\3\^ fis4\3 d1\3
\break
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2 f\3\^ fis4\3 \bendHold \^ d1\3
}}}
\score { \gtbend }
\version "2.24.4"
gtbend = {\new TabStaff { \tabFullNotation \relative c''{
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2 f\3\^ fis4\3 d1\3
\break
g2..\3\^ \grace a8\3 a8\3~\^ a2\3 %\grace a8\3
a8\2 f\3\^ fis4\3 \bendHold \^ d1\3
}}}
\score { \gtbend }
Re: Tie between staves of a PianoStaff
> Thanks for your contributions. They inspired me to an easy bypass: > ties may not work between staves, but slurs do, and the difference > is not really conspicuous. [...] By the way, the original problem is an ooold bug: https://gitlab.com/lilypond/lilypond/-/issues/555 Werner
Re: Tie between staves of a PianoStaff
On Thu, May 9, 2024 at 6:27 AM Kris Van Bruwaene wrote:
> Thanks for your contributions. They inspired me to an easy bypass: ties
> may not work between staves, but slurs do, and the difference is not really
> conspicuous. Result attached.
>
That's great! I'd change one thing -- not related to cross-staves ties.
In the right-hand set of temporary voices, third voice, I'd start with
\voiceFour instead of \voiceThree. Now the need for \stemDown \slurDown
goes away:
\new Voice { \voiceFour % ties (actually slurs) between staves
s2 b2( \change Staff = "down" \voiceOne b4) \change Staff = "up" s4 %
2
}
Also, just for future reference, if you just have one slur or tie (or other
things like fematas) to change up or down, you can use the direction
indicators:
b2_( % slur down
b2^( % slur up
--
Knute Snortum
Re: Tie between staves of a PianoStaff
Thanks for your contributions. They inspired me to an easy bypass: ties may not
work between staves, but slurs do, and the difference is not really
conspicuous. Result attached.
On Wednesday, 8 May 2024 at 18:44:10 CEST, David Wright
wrote:
On Wed 08 May 2024 at 13:40:23 (+), Kris Van Bruwaene wrote:
> Is there a simple solution for putting a tie between staves of a pianostaff?
> I need to tie a note of the lower voice on the upper staff to a note of the
> upper voice on the lower staff. I found this on StackExchange:
> https://music.stackexchange.com/questions/74383/lilypond-ties-across-staves
> but it's five years old and seems rather difficult to implement.
> I use version 2.24.2 on Debian.
I'd agree with Knute: you have to bite the bullet and learn \shape.
But in the old stackexchange post, I'd be tempted to make the tie
unambiguous. The result is not publishable, but I don't think it
leaves room for doubt, even with no extra work, and it's \break-
able at either barline. (I'm assuming the lower e /is/ restruck
in measure two.)
Cheers,
David.
myTie.pdf
Description: Adobe PDF document
\version "2.24.2"
organUp = \relative c' {
\clef treble
\key e \minor
r2\mf
<<
{ \voiceOne
c4 d | e2( g)
}
\new Voice { \voiceTwo
s2 | s2 e
}
\new Voice { \voiceThree % ties (actually slurs) between staves
s2 \stemDown \slurDown b2( \change Staff = "down" \voiceOne b4) \change Staff = "up" s4 % 2
}
>>
}
organDown = \relative c' {
\clef bass
\key e \minor
<<
{ \voiceOne
r4 b2 a4 | g2 s4 a
}
\new Voice { \voiceTwo
e1 ~ | e4 d c2
}
>>
}
\score {
\new PianoStaff \with { midiInstrument = #"church organ" } <<
\new Staff = "up" \organUp
\new Staff = "down" \organDown
>>
\layout { }
}
Re: Tie between staves of a PianoStaff
On Wed 08 May 2024 at 13:40:23 (+), Kris Van Bruwaene wrote:
> Is there a simple solution for putting a tie between staves of a pianostaff?
> I need to tie a note of the lower voice on the upper staff to a note of the
> upper voice on the lower staff. I found this on StackExchange:
> https://music.stackexchange.com/questions/74383/lilypond-ties-across-staves
> but it's five years old and seems rather difficult to implement.
> I use version 2.24.2 on Debian.
I'd agree with Knute: you have to bite the bullet and learn \shape.
But in the old stackexchange post, I'd be tempted to make the tie
unambiguous. The result is not publishable, but I don't think it
leaves room for doubt, even with no extra work, and it's \break-
able at either barline. (I'm assuming the lower e /is/ restruck
in measure two.)
Cheers,
David.
\version "2.18.2"
\language "deutsch"
\header { tagline = ##f } \layout { indent = 0 ragged-right = ##t }
global = {
\key c \major
\numericTimeSignature
\time 3/4
\set Timing.beamExceptions = #'()
}
right = \relative c'' {
\global
2 (4~~2^~< e cis'>)r4
}
left = {
\global
<< { s2. s2. gis'8_(fis' e' dis' e' fis') } \\
{ \stemUp dis'2( e'4^~e')( \showStaffSwitch \change Staff = "right" \stemDown cis'2_~) cis' } >>
}
\score {
\new PianoStaff <<
\new Staff = "right" \right
\new Staff = "left" { \clef treble \left }
>>
\layout { }
}
tie.pdf
Description: Adobe PDF document
Re: Tie between staves of a PianoStaff
On Wed, May 8, 2024 at 6:41 AM Kris Van Bruwaene wrote:
> Is there a simple solution for putting a tie between staves of a
> pianostaff? I need to tie a note of the lower voice on the upper staff to a
> note of the upper voice on the lower staff. I found this on StackExchange:
> https://music.stackexchange.com/questions/74383/lilypond-ties-across-staves
> but it's five years old and seems rather difficult to implement.
> I use version 2.24.2 on Debian.
>
As far as I know, there is no easy way to do this. The StackExchange
answer is the way I'd do it. It involves two ideas: changing staves and
temporary voices. I use staff changes so much I always have this setup for
my LilyPond code:
%%%
\version "2.24.3"
% Put somewhere near the top of the file, or in an include file
staffUp = \change Staff = "upper"
staffDown = \change Staff = "lower"
% Create rightHand and leftHand variables
rightHand = \relative {
c''2 \staffDown \voiceOne c, \staffUp c'1
}
leftHand = \relative {
\clef bass
c2 \voiceTwo c c1
}
% Label the two staves upper and lower
\score {
\new PianoStaff <<
\new Staff = "upper" \rightHand
\new Staff = "lower" \leftHand
>>
}
%%%
The other part is knowing how to create temporary voices in LilyPond. The
way used in the StackExchange example looks like this:
<<
{
% music here
}
\\
{
% music here
}
>>
The idea is that one voice will overlap the other as the two voices will
render simultaneously. Putting these two ideas together gives you the
ability to tie across staves. If the tie does not look the way you want it
to, you can control its shape with the shape command, which looks like this:
\shape #'((0 . 0) (0 . 0) (0 . 0) (0 . 0)) Tie
So it is complex, but hopefully this has been instructive for you.
--
Knute Snortum
Tie between staves of a PianoStaff
Is there a simple solution for putting a tie between staves of a pianostaff? I need to tie a note of the lower voice on the upper staff to a note of the upper voice on the lower staff. I found this on StackExchange: https://music.stackexchange.com/questions/74383/lilypond-ties-across-staves but it's five years old and seems rather difficult to implement. I use version 2.24.2 on Debian.
Re: Tie an afterGrace note produces warning
On Fri, Mar 22, 2024 at 8:38 AM Aaron Hill wrote:
>
>
> \version "2.25.13"
>
> \relative {
>\afterGrace c''4\trill { b16 \set tieWaitForNote = ##t c~ } c4
> }
>
>
Works great! Thanks.
--
Knute Snortum
Re: Tie an afterGrace note produces warning
On 2024-03-22 8:24 am, Knute Snortum wrote:
Hi all,
I am trying to tie an afterGrace note to the next note and I get a
warning. This code:
\version "2.25.13"
\relative {
\afterGrace c''4\trill { b16 c~ } c4
}
...produces this warning:
/tmp/frescobaldi-ieh3nrny/tmpq4qpjmjp/document.ly:4:33 <0>: warning:
unterminated tie
\afterGrace c''4\trill { b16 c
~ } c4
Is there any way around this, as I need this for my current project?
\version "2.25.13"
\relative {
\afterGrace c''4\trill { b16 \set tieWaitForNote = ##t c~ } c4
}
-- Aaron Hill
Tie an afterGrace note produces warning
Hi all,
I am trying to tie an afterGrace note to the next note and I get a
warning. This code:
\version "2.25.13"
\relative {
\afterGrace c''4\trill { b16 c~ } c4
}
...produces this warning:
/tmp/frescobaldi-ieh3nrny/tmpq4qpjmjp/document.ly:4:33 <0>: warning:
unterminated tie
\afterGrace c''4\trill { b16 c
~ } c4
Is there any way around this, as I need this for my current project?
--
Knute Snortum
Re: "Squished" tie between 2 notes
I often resolve squished ties like that by flipping the tie; e.g., using *fis^~* to force the tie on top, or *fis_~* to force it to the bottom. (In this case, it looks good on top, but this doesn't help if you really want it on the bottom.) Regards, Curt On 2/11/24 09:30, George wrote: bar 78 lily.png
Re: "Squished" tie between 2 notes
Sorry for short answer, I’m on the phone:
Try \tweak Tie.minimum-length #10
And then choose an appropriate number.
> 11 feb. 2024 kl. 18:31 skrev George :
>
>
> At the moment I am having an issue with a tie from the alto part where it is
> automatically "squished" by Lillypond. I didn't find an answer anywhere else
> on how to create some space between or make the tie somewhat noticeable. Also
> using the command \shape on the tie was not the right choice this time (which
> I successfully used on some colliding ties somewhere else in the piece).
>
> This is how it looks in the original source:
>
> and this is how Lilypond engraved it (notice the tie became a very little
> dot):
>
>
> Here is the relevant part of my code (I include one measure before and one
> after to preserve the layout) :
> _
> \version "2.24.3"
>
>
> global = { \time 4/4 \key a \minor }
>
>
> soprano = \relative d'' {
> \voiceOne
> d8 c16 b d c b a b2~ |
> 8 gis a4~ 16 b c8~ 16 a fis! b |
> a gis fis e a8 a~ 16 gis a fis gis8.^\trill a16
>
> }
>
> alto = \relative e' {
> \voiceTwo
>
> e4 a2 gis8. b16 |
> e,4~ 8 dis16 e fis8 r16 fis~ 8 8|
> e4~ 16 e fis! dis e2 |
>
> }
>
>
> tenor = \relative g {
> \voiceOne
> r8 gis a c f, d' b d~|
> 8 b c4~ 8 r8 a b |
> c2 b |
>
> }
>
> bass = \relative c, {
> \voiceTwo
>
> c8 r r f' d16 e f8~ 16 d b d |
> c d e8~ 16 c a c dis,4 r8 dis' |
> e1 |
> }
>
> \score {
> \new PianoStaff <<
>
> \new Staff = "up" <<
> \global
> \clef "treble"
> \new Voice = "soprano" { \soprano }
> \new Voice = "alto" { \alto }
> >>
>
> \new Staff = "down" <<
> \global
> \clef "bass"
> \new Voice = "tenor" { \tenor }
> \new Voice = "bass" { \bass }
> >>
>
> >>
>
> \layout {
> \context {
> \Score
> \override SpacingSpanner.common-shortest-duration = #(ly:make-moment
> 1/8 )
> }
> }
> }
>
> I would really appreciate your help.
>
> Best,
> George
Re: "Squished" tie between 2 notes
Dear George,
I put the following in a style-sheet which I import into every lilypond
file:
\context {
\Voice
\override Tie.springs-and-rods = #ly:spanner::set-spacing-rods
\override Tie.minimum-length = #4
\override Tie.minimum-length-after-break = #4
}
It shouldn't have any impact except that it will extend some of these
squished ties.
Let me know if this works for you.
-William
On 2/11/24 12:30, George wrote:
At the moment I am having an issue with a tie from the alto part where
it is automatically "squished" by Lillypond. I didn't find an answer
anywhere else on how to create some space between or make the tie
somewhat noticeable. Also using the command/\shape/ on the tie was not
the right choice this time (which I successfully used on some colliding
ties somewhere else in the piece).
This is how it looks in the original source:
tie.png
and this is how Lilypond engraved it (notice the tie became a very
little dot):
bar 78 lily.png
Here is the relevant part of my code (I include one measure before and
one after to preserve the layout) :
_
\version "2.24.3"
global = { \time 4/4 \key a \minor }
soprano = \relative d'' {
\voiceOne
d8 c16 b d c b a b2~ |
8 gis a4~ 16 b c8~ 16 a fis! b |
a gis fis e a8 a~ 16 gis a fis gis8.^\trill a16
}
alto = \relative e' {
\voiceTwo
e4 a2 gis8. b16 |
e,4~ 8 dis16 e fis8 r16 fis~ 8 8|
e4~ 16 e fis! dis e2 |
}
tenor = \relative g {
\voiceOne
r8 gis a c f, d' b d~|
8 b c4~ 8 r8 a b |
c2 b |
}
bass = \relative c, {
\voiceTwo
c8 r r f' d16 e f8~ 16 d b d |
c d e8~ 16 c a c dis,4 r8 dis' |
e1 |
}
\score {
\new PianoStaff <<
\new Staff = "up" <<
\global
\clef "treble"
\new Voice = "soprano" { \soprano }
\new Voice = "alto" { \alto }
>>
\new Staff = "down" <<
\global
\clef "bass"
\new Voice = "tenor" { \tenor }
\new Voice = "bass" { \bass }
>>
>>
\layout {
\context {
\Score
\override SpacingSpanner.common-shortest-duration =
#(ly:make-moment 1/8 )
}
}
}
I would really appreciate your help.
Best,
George
--
William Rehwinkel - Oberlin College and Conservatory '24
will...@williamrehwinkel.net
PGP key: https://ftp.williamrehwinkel.net/pubkey.txt
OpenPGP_signature.asc
Description: OpenPGP digital signature
"Squished" tie between 2 notes
At the moment I am having an issue with a tie from the alto part where it
is automatically "squished" by Lillypond. I didn't find an answer anywhere
else on how to create some space between or make the tie somewhat
noticeable. Also using the command* \shape* on the tie was not the right
choice this time (which I successfully used on some colliding ties
somewhere else in the piece).
This is how it looks in the original source:
[image: tie.png]
and this is how Lilypond engraved it (notice the tie became a very little
dot):
[image: bar 78 lily.png]
Here is the relevant part of my code (I include one measure before and one
after to preserve the layout) :
_
\version "2.24.3"
global = { \time 4/4 \key a \minor }
soprano = \relative d'' {
\voiceOne
d8 c16 b d c b a b2~ |
8 gis a4~ 16 b c8~ 16 a fis! b |
a gis fis e a8 a~ 16 gis a fis gis8.^\trill a16
}
alto = \relative e' {
\voiceTwo
e4 a2 gis8. b16 |
e,4~ 8 dis16 e fis8 r16 fis~ 8 8|
e4~ 16 e fis! dis e2 |
}
tenor = \relative g {
\voiceOne
r8 gis a c f, d' b d~|
8 b c4~ 8 r8 a b |
c2 b |
}
bass = \relative c, {
\voiceTwo
c8 r r f' d16 e f8~ 16 d b d |
c d e8~ 16 c a c dis,4 r8 dis' |
e1 |
}
\score {
\new PianoStaff <<
\new Staff = "up" <<
\global
\clef "treble"
\new Voice = "soprano" { \soprano }
\new Voice = "alto" { \alto }
>>
\new Staff = "down" <<
\global
\clef "bass"
\new Voice = "tenor" { \tenor }
\new Voice = "bass" { \bass }
>>
>>
\layout {
\context {
\Score
\override SpacingSpanner.common-shortest-duration = #(ly:make-moment
1/8 )
}
}
}
I would really appreciate your help.
Best,
George
Re: Tie from nowhere
Jean Abou Samra writes: > Check \repeatTie. Thanks Jean, that's it! -David
Re: Tie from nowhere
Check \repeatTie.
Tie from nowhere
I'm trying to re-engrave a single line that occurs in the middle of a piece. The idea is to copy the existing engraving exactly, but with some modifications. The line in question starts with a tie from the last note in the line above, like this: How can I achieve this in isolation, without including the preceding line and the beginning of the tie? I'm also willing to have a blank staff appear on the line above. (I have a series of isolated lines like this, which I am separating with blank staves.) Then I can make the preceding note on the previous line invisible with \hideNotes, but it still shows the beginning of the tie. I can make the tie transparent, but then the continuation on the next line also does not appear. -David
Re: Formatting for a tie
Thank you everyone! I got the slurs formatted correctly.
\version "2.22.1"
\header {
title = "Yo sé a Quién he creído"
composer = "James McGranaham"
poet = "Daniel W. Whittle, tr. Samuel L. Sloniker"
copyright = \markup {
\center-column {
"Traducción © 2023 Samuel L. Sloniker"
"Creative Commons Atribución 4.0 Internacional"
\line {
\with-url "https://creativecommons.org/licenses/by/4.0/deed.es";
"https://creativecommons.org/licenses/by/4.0/deed.es";
}
}
}
}
\new GrandStaff <<
\new Staff {
\relative c' {
\time 4/4
\key c \minor
r2. 4
4. 8 << { aes8[( g]) } \\ { ees4 } >> << { f8[( ees]) } \\
{ bes4 } >>
4
4. 8 [( ]) [( ])
2. 4
4. 8 << { aes8[( g]) } \\ { ees4 } >> << { f8[( ees]) } \\
{ bes4 } >>
4
4. 8 << { c'8[( bes]) } \\ { d,4 } >> << { aes'8[( f]) }
\\ { d4 } >>
2. \bar "||" \break \mark "Coro" 8 8
4 4. 8 [ ]
4 4. 8 []
4 4. 8 [ ]
4 2 4
4. 8 [ ]
4 2 4 % in original, 4 is 8 twice
4. 8 4
2.
}
}
\addlyrics {
\set stanza = #"1. "
No | sé por qué _ Dios _ | me ha da -- do | Su gran gra -- ci -- | a,
ni_por | qué Cris -- to _ me _ | re -- di -- mió del_pe -- | ca -- do y _ del _
| mal. Pe -- ro sé a Quién he cre -- i -- do y estoy se -- gu -- ro de que Él
pue -- de guar -- dar lo que le con -- fí -- e pa -- ra a -- quel dí -- a.
}
\addlyrics {
\set stanza = #"2. "
No | sé có -- mo _ la _ | sal -- va -- ción a | mí me im -- par -- | tió,
ni | có -- mo te -- _ ner _ | fe en Él Me_dio | paz en mi _ al -- _ | ma.
}
\addlyrics {
\set stanza = #"3. "
No | sé có -- mo _ el_Es -- _ | pír -- i -- tu me | con -- ven -- ce de |
mal, dán -- | do -- me fe _ en _ | Cris -- to a tra -- | vés de Su _ Ver -- _ |
bo.
}
\addlyrics {
\set stanza = #"4. "
No | sé qué del _ bien _ | o del mal ten -- | dré en mi vi -- | da, de |
prue -- bas o _ fa -- _ | ci -- li -- dad, Antes | de que Lo _ ve -- _ | a.
}
\addlyrics {
\set stanza = #"5. "
No | sé cuan -- do _ ven -- _ drá Cri -- sto, de no -- che o dí -- a, ni si
cru -- zar -- _ é _ el vall -- e, o_ser -- é arr -- e -- ba -- ta -- _ do.
}
\new Staff {
\relative c {
\clef "bass"
\time 4/4
\key c \minor
r2. 4
4. 8 << { c'8[( bes]) } \\ { ees,4 } >> << { aes8[(
g]) } \\ { ees4 } >>
4. 8 4 << { d8[( ees]) } \\ { bes'4 } >>
2. 4
4. 8 << { c'8[( bes]) } \\ { ees,4 } >> << { aes8[(
g]) } \\ { ees4 } >>
4. 8 4 << { f'8[( aes]) } \\ { bes,4 } >>
2. \bar "||" \break 8
4 4. 8 [ ]
4 4. 8 [ ]
4 4. 8 [ ]
4 2 4
4. 8 [ ]
4 2 4 % in original, 4 is
actually 8 twice
4. 8 << { bes8[( c]) } \\ { bes'4 } >>
2.
}
}
>>
\layout {
indent = #0
\context {
\Score
\remove "Bar_number_engraver"
}
}
Re: Formatting for a tie
Jean Abou Samra writes: > Le samedi 28 octobre 2023 à 21:21 -0400, Samuel Sloniker a écrit : >> How can I format this tie in Lilypond? I'm writing a Lilypond file for an >> existing song; this image is from a scan of a hymnal. > > > If you are having trouble finding the answer to this in the > documentation or Web searches, it's because the term for this bow is “ > slur” (not “tie”). A tie is between two notes having the same pitch, > and makes the second silent so that the first one is effectively > prolonged. Not every instrument is purely percussive, and even most percussive instruments have some way of ending a note and/or providing for letting it decay naturally. Your description makes it sound as if there is no difference between a rest and a note continued by a tie. -- David Kastrup
Re: Formatting for a tie
Le samedi 28 octobre 2023 à 21:21 -0400, Samuel Sloniker a écrit : > How can I format this tie in Lilypond? I'm writing a Lilypond file for an > existing song; this image is from a scan of a hymnal. If you are having trouble finding the answer to this in the documentation or Web searches, it's because the term for this bow is “ slur” (not “tie”). A tie is between two notes having the same pitch, and makes the second silent so that the first one is effectively prolonged. signature.asc Description: This is a digitally signed message part
Re: Formatting for a tie
> How can I format this tie in Lilypond? I'm writing a Lilypond file
> for an existing song; this image is from a scan of a hymnal.
```
{
<< { a'8[( g']) } \\
{ e'4 } >>
}
```
Werner
Formatting for a tie
Hello, How can I format this tie in Lilypond? I'm writing a Lilypond file for an existing song; this image is from a scan of a hymnal. -Samuel Sloniker
Re: Seeking something that looks like a dotted tie...
Le dimanche 14 mai 2023 à 17:24 +0100, Graham King a écrit :
> I'm setting a song with multiple verses, one of which starts with a syllable
> spanning two notes. I'd like a dotted tie in the score, but how best to
> achieve that?
Temporarily unset melismaBusyProperties like:
```
\version "2.25.4"
notes = \repeat volta 2 {
\once \tieDotted
\set melismaBusyProperties = #'()
d'2~ d'2
\unset melismaBusyProperties
e'2. 4
}
words = \lyricmode {
<< { Lo -- rem ip -- sum }
\new Lyrics {
\set associatedVoice = "notes"
do _ -- lo -- rit
}
>>
}
\score { <<
\new Voice="sungNotes" \notes
\new Lyrics \lyricsto sungNotes { \words }
>> }
```
See
https://lilypond.org/doc/v2.25/Documentation/notation/multiple-notes-to-one-syllable
signature.asc
Description: This is a digitally signed message part
Seeking something that looks like a dotted tie...
I'm setting a song with multiple verses, one of which starts with a syllable
spanning two notes. I'd like a dotted tie in the score, but how best to
achieve that?
\version "2.25.0"
notes = \repeat volta 2 { d'2 d'2 e'2. 4 }
words = \lyricmode {
<< { Lo -- rem ip -- sum }
\new Lyrics {
\set associatedVoice = "notes"
do _ -- lo -- rit
}
>>
}
\score { <<
\new Voice="sungNotes" \notes
\new Lyrics \lyricsto sungNotes { \words }
>> }
~~~
1. If I use a tie, the alignment of the words for the other verses gets messed
up:
notes = \repeat volta 2 { \tieDotted d'2 ~ d'2 e'2. 4 }
2. If I use a tie + explicit durations in the lyrics, I have to continue
entering them for the entire piece. I can't just do:
Lo2 -- rem2 ip -- sum
and leave lilypond to work out the rest of the durations for the lyrics.
3. If I try to fake it with a dotted phrasing slur, it works but looks ugly
(and is semantically questionable):
notes = \repeat volta 2 { \phrasingSlurDotted d'2\( d'2\) e'2. 4 }
So, what have I missed? Suggestions gratefully received!
-- Graham
Re: How to tie into a bar with split voices
John McWilliam writes:
> I’m trying to get a tie to cross the barline into a split voice
> measure. I have tried with and without the \voiceOne command but
> cannot get this to work. Can any one help me?
First let's point out everything you get "cargo-cult" wrong, having it
resemble working constructs without actual being them. That does not in
itself solve your problem but may help you actually try out suggestions
and ideas.
LilyPond is a way of talking to a computer, and computers are masters at
not just playing but actually being dumb.
>f2.~ | % 3
>
>
> <<
> { %\voiceOne % Voice = "1"
> \stemUp
> f4 g8 a4 bes8 | % 4
> c2.~| % 5
> c4
> }
>
> \\
> { \new Voice
> \voiceTwo % Voice = "2"
> \stemDown
> r4 r8 f,4 f8| % 4
> a2.~| % 5
> a4
> }
>
>>>
So here is the beef. Someone may have told you that you must not create
new voices but rather only create a new voice for the non-tied part.
That's why you have "\new Voice" in the second bunch. But for one
thing, this doesn't help at all since
<< ... \\ ... >>
_will_ for every part inside separated by \\ create a new voice, whether
you want it or not. The only way to avoid this (outside of using
\voices trickery, see below) is not to write \\ at all.
Then "\new Voice" applies to the next music expression, meaning that you
usually form that expression writing "{ ... }". But your "\new Voice"
is followed by "\voiceTwo", meaning that the _only_ thing placed into a
new voice here is "\voiceTwo", making it affect nothing at all.
Presumably this is why you readded "\stemDown" after (presumably)
someone told you you should be using \voiceOne/\voiceTwo instead.
So more likely than not, every advice you got has been incorporated by
you in a manner that doesn't actually work. Which will appear to you
like you got bad advice that you needed to patch up in order to make it
at least do what you already thought you accomplished yourself.
That's frustrating both for you as well as your advisers, and hopefully
I got to make you a bit more acquainted to LilyPond's manner of thinking
such that you have better odds of successfully incorporating advice the
next time round.
Now here is how I would do things personally:
\version "2.24.0"
\score {
\relative c'' {
\clef "treble" \key f \major \time 6/8
c4 r8 f,4. | % 2
f2.~ | % 3
\voices "", 2
<<
{ \voiceOne % Voice = ""
f4 g8 a4 bes8| % 4
c2.~ | % 5
c4
\oneVoice
}
\\
{% Voice = "2"
r4 r8 f,4 f8| % 4
a2.~ | % 5
a4
}
>>
a8 a4 a8
} %end relative
} %end score
Note that I _do_ use << ... \\ ... >> here, but I apply the \voices
construct to it which tells it to use \context Voice = "" for the first
part (and no voice-specific settings which is why I have to follow up
with \voiceOne/\oneVoice) and \context Voice = "2" for the second (with
\voiceTwo specific settings).
If your top Voice is not anonymous but an actually named Voice, instead
of writing \voices "", 2 ... you'd need to write
\voices "MyVoiceName", 2 ... in order to get LilyPond to continue your
voice with the given name, in this case "MyVoiceName".
--
David Kastrup
Re: How to tie into a bar with split voices
John,
Le mercredi 19 avril 2023 à 16:25 +0200, John McWilliam a écrit :
> Hi,
> I’m trying to get a tie to cross the barline into a split
> voice measure. I have tried with and without the \voiceOne command but cannot
> get this to work. Can any one help me?
>
There are several issues with your syntax.
- Outcomment the `\voiceOne` command,
- Remove `\stemUp` and `\stemDown`. They're not useful, as `\voiceOne` and
`\voiceTwo` take care of stem directions automatically.
- Do not put a `\\` separator when using this syntax. The `\\` separator
instructs LilyPond to create the voices (with `\voiceOne`, etc.) implicitly.
Here, you're doing it explicitly.
- It should be `\new Voice { ... }` and not `{ \new Voice ... }`.
- You should put `\oneVoice` after the `<< >>` construct in order to reset the
stem direction to be computed automatically. Otherwise, since your voice
continued from the `{ \voiceOne ... }` part, it's still in `\voiceOne`, which
forces stem to point up.
Here is the complete code:
```
\version "2.24.1"
\score {
\relative c'' {
\clef "treble" \key f \major \time 6/8
c4 r8 f,4. | % 2
f2.~| % 3
<<
{
\voiceOne
f4 g8 a4 bes8 | % 4
c2.~| % 5
c4
}
\new Voice {
\voiceTwo % Voice = "2"
r4 r8 f,4 f8| % 4
a2.~| % 5
a4
}
>>
\oneVoice
a8 a4 a8
} %end relative
} %ens score
```
Best,
Jean
signature.asc
Description: This is a digitally signed message part
How to tie into a bar with split voices
Hi, I’m trying to get a tie to cross the barline into a split voice measure. I have tried with and without the \voiceOne command but cannot get this to work. Can any one help me? John McWilliam Sent from Mail for Windows Voice_with_tie.ly Description: Binary data
Re: Unterminated terminated tie
It took some digesting, but it behaves as desired:
[image: image.png]
Thanks!
Mike Dean
On Mon, Apr 17, 2023 at 11:49 PM Jean Abou Samra wrote:
> Le lundi 17 avril 2023 à 16:46 -0700, Mike Dean a écrit :
>
> I am needing to figure out how to best tie a note...
>
> \version "2.24.0"
> \relative c' {
> \key af \major
> \time 2/4
> \tempo "Not fast"
>ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
>\repeat volta 2 {
> c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
> bf'16 (af8) bf16 (af) bf (af) ef!~
> << { ef2}
> \
> { r8 ef,16 (f g af bf b) }
> >>
>
> I am getting an unterminated tie warning: C:/Users/Mike
> Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39
> : warning: unterminated tie bf'16 (af8) bf16 (af) bf (af) ef! ~
> and the tie needs to go from the ef! to the ef2 in the top of the
> simultaneous voice.
> I have a couple of other instances where I need to do likewise, so any
> help will be welcome. Thanks.
>
> Try
>
> \version "2.24.1"
> \language english
>
> \relative c' {
> \key af \major
> \time 2/4
> \tempo "Not fast"
> ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
> \repeat volta 2 {
> c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
> bf'16 (af8) bf16 (af) bf (af) ef!~
> <<
> { \voiceOne ef2}
> \new Voice { \voiceTwo r8 ef,16 (f g af bf b) }
> >>
> \oneVoice
> }
> }
>
> A tie must end in the same voice as the voice it has been created in. The <<
> \\ >> construct creates a new voice for *all* of the inner expressions.
> Instead, you should use the more verbose form with \new Voice, \oneVoice,
> \voiceTwo and \oneVoice. Note that the first expression in the << >>
> construct doesn't have \new Voice, that's the whole point. That means it
> continues the previous voice context.
>
Re: RE: Unterminated terminated tie
On 2023-04-18 15:01, Mark Stephen Mrotek wrote:
Mike,
Try using \stemDown
Mark
First try Jean's suggestion! In general, it's better to use \voiceOne,
\voiceTwo, (which is implicitly done by the <<{...} \\ {...}>>
construct) which sets the direction not only on stems but also on lots
of other details, which mostly gives the desired result according to
standard typesetting practice. Only use \stemDown if you have special
reasons to only set the stem directions, nothing else. See
http://lilypond.org/doc/v2.24/Documentation/learning/explicitly-instantiating-voices
for more explanations.
/Mats
*From:*lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf
Of *Mike Dean
*Sent:* Monday, April 17, 2023 8:03 PM
*To:* Lilypond-User Mailing List
*Subject:* Re: Unterminated terminated tie
Mark: That has helped some
.
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
<< { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
image.png
But with the spacer rests, I want to get the beams pointing downward
<< { _[ bf'16 (af8) bf16] _[ (af) bf (af) ef!~ef2] }
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
The above doesn't seem to be the best way of doing it
Mike Dean
On Mon, Apr 17, 2023 at 7:25 PM Mark Stephen Mrotek
wrote:
Mike,
One way is to start the lower voice one measure earlier and use a
spacer.
See below.
Mark
*From:*lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark
<mailto:lilypond-user-bounces%2Bcarsonmark>=ca.rr@gnu.org] *On
Behalf Of *Mike Dean
*Sent:* Monday, April 17, 2023 4:47 PM
*To:* Lilypond-User Mailing List
*Subject:* Unterminated terminated tie
I am needing to figure out how to best tie a note...
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g
af8 r r4
\repeat volta 2 {
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
<< { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{s2 r8 ef,16 (f g af bf b) }
>>
I am getting an unterminated tie warning:
C:/Users/Mike
Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39
: warning: unterminated tie
bf'16 (af8) bf16 (af) bf (af) ef!
~
and the tie needs to go from the ef! to the ef2 in the top of the
simultaneous voice.
I have a couple of other instances where I need to do likewise, so
any help will be welcome. Thanks.
Mike Dean
RE: Unterminated terminated tie
Mike,
Try using \stemDown
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Mike
Dean
Sent: Monday, April 17, 2023 8:03 PM
To: Lilypond-User Mailing List
Subject: Re: Unterminated terminated tie
Mark: That has helped some
.
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
<< { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
But with the spacer rests, I want to get the beams pointing downward
<< { _[ bf'16 (af8) bf16] _[ (af) bf (af) ef!~ef2] }
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
The above doesn't seem to be the best way of doing it
Mike Dean
On Mon, Apr 17, 2023 at 7:25 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:
Mike,
One way is to start the lower voice one measure earlier and use a spacer.
See below.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
<mailto:ca.rr@gnu.org> [mailto:lilypond-user-bounces+carsonmark
<mailto:lilypond-user-bounces%2Bcarsonmark> =ca.rr@gnu.org
<mailto:ca.rr@gnu.org> ] On Behalf Of Mike Dean
Sent: Monday, April 17, 2023 4:47 PM
To: Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: Unterminated terminated tie
I am needing to figure out how to best tie a note...
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
\repeat volta 2 {
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
<< { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
I am getting an unterminated tie warning:
C:/Users/Mike
Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39: warning:
unterminated tie
bf'16 (af8) bf16 (af) bf (af) ef!
~
and the tie needs to go from the ef! to the ef2 in the top of the simultaneous
voice.
I have a couple of other instances where I need to do likewise, so any help
will be welcome. Thanks.
Mike Dean
Re: Unterminated terminated tie
Le lundi 17 avril 2023 à 16:46 -0700, Mike Dean a écrit :
> I am needing to figure out how to best tie a note...
>
> \version "2.24.0"
> \relative c' {
> \key af \major
> \time 2/4
> \tempo "Not fast"
> ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
> \repeat volta 2 {
> c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
> bf'16 (af8) bf16 (af) bf (af) ef!~
> << { ef2}
> \\
> { r8 ef,16 (f g af bf b) }
> >>
>
> I am getting an unterminated tie warning:
> [C:/Users/Mike
> Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39](0):
> warning: unterminated tie
> bf'16 (af8) bf16 (af) bf (af) ef!
> ~
> and the tie needs to go from the ef! to the ef2 in the top of the
> simultaneous voice.
> I have a couple of other instances where I need to do likewise, so any help
> will be welcome. Thanks.
Try
```
\version "2.24.1"
\language english
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
\repeat volta 2 {
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
bf'16 (af8) bf16 (af) bf (af) ef!~
<<
{ \voiceOne ef2}
\new Voice { \voiceTwo r8 ef,16 (f g af bf b) }
>>
\oneVoice
}
}
```
A tie must end in the same voice as the voice it has been created in. The `<<
\\ >>` construct creates a new voice for *all* of the inner expressions.
Instead, you should use the more verbose form with `\new Voice`, `\oneVoice`,
`\voiceTwo` and `\oneVoice`. Note that the first expression in the `<< >>`
construct doesn't have `\new Voice`, that's the whole point. That means it
continues the previous voice context.
signature.asc
Description: This is a digitally signed message part
Re: Unterminated terminated tie
Mark: That has helped some
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
<< { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
[image: image.png]
But with the spacer rests, I want to get the beams pointing downward
<< { _[ bf'16 (af8) bf16] _[ (af) bf (af) ef!~ef2] }
\\
{ s2 r8 ef,16 (f g af bf b) }
>>
The above doesn't seem to be the best way of doing it
Mike Dean
On Mon, Apr 17, 2023 at 7:25 PM Mark Stephen Mrotek
wrote:
> Mike,
>
> One way is to start the lower voice one measure earlier and use a spacer.
>
> See below.
>
>
>
> Mark
>
>
>
>
>
>
>
> *From:* lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:
> lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf Of *Mike
> Dean
> *Sent:* Monday, April 17, 2023 4:47 PM
> *To:* Lilypond-User Mailing List
> *Subject:* Unterminated terminated tie
>
>
>
> I am needing to figure out how to best tie a note...
>
>
>
> \version "2.24.0"
>
> \relative c' {
> \key af \major
> \time 2/4
> \tempo "Not fast"
>ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
>\repeat volta 2 {
> c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
> << { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
> \\
> { s2 r8 ef,16 (f g af bf b) }
> >>
>
>
>
> I am getting an unterminated tie warning:
>
> C:/Users/Mike
> Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39
> : warning: unterminated tie
>
> bf'16 (af8) bf16 (af) bf (af) ef!
>
> ~
>
> and the tie needs to go from the ef! to the ef2 in the top of the
> simultaneous voice.
>
> I have a couple of other instances where I need to do likewise, so any
> help will be welcome. Thanks.
>
>
>
> Mike Dean
>
Unterminated terminated tie
I am needing to figure out how to best tie a note...
\version "2.24.0"
\relative c' {
\key af \major
\time 2/4
\tempo "Not fast"
ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
\repeat volta 2 {
c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
bf'16 (af8) bf16 (af) bf (af) ef!~
<< { ef2}
\\
{ r8 ef,16 (f g af bf b) }
>>
I am getting an unterminated tie warning:
C:/Users/Mike
Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39 <0>:
warning: unterminated tie
bf'16 (af8) bf16 (af) bf (af) ef!
~
and the tie needs to go from the ef! to the ef2 in the top of the
simultaneous voice.
I have a couple of other instances where I need to do likewise, so any help
will be welcome. Thanks.
Mike Dean
Re: Vertical position of Tie and Script
Thanks a lot. I didn't know outside-staff-priority is available with Tie.
However, a tenuto is distant a bit from a note with this way.
(Script position seems to be calculated closer to tie than note.)
I think modifying the priority is conceptually more appropriate, but forcing
the offset will be fit for desirable output.
Akikazu
On 2023/03/26 21:21, Aaron Hill wrote:
On 2023-03-26 4:45 am, Mark Mathias wrote:
Perhaps try:
\version "2.24.0"
{
\override Tie.outside-staff-priority = #1375
c''1--~ c''
c''1--~ c''
}
%
And, of course, add "\once" for a particular instance.
When you find you are doing \once \override, you should consider \tweak:
{ c''1-- \tweak outside-staff-priority 12345 ~ c'' }
If this is something you need to do a lot, you can define a cheeky shorthand:
veryOutside = \tweak outside-staff-priority 8675309 \etc
{ c''1-- \veryOutside ~ c'' }
-- Aaron Hill
Re: Vertical position of Tie and Script
Thanks. It's an actual tie, so a slur is not suitable.
My example was too simple to represent a real situation, that some objects
interrupt a tie.
{
\override Tie.staff-position = 5
c''1--~
\key des \major
\time 12/8
c''1.
}
Akikazu
On 2023/03/26 4:07, Knute Snortum wrote:
On Sat, Mar 25, 2023 at 9:16 AM Masaki, Akikazu <
masaki-0.56714...@zeus.eonet.ne.jp> wrote:
Hello,
How to set script position closer to its note than ties?
In default, ties are always closer to the note than scripts, but depending
on the case, contrary is better.
e.g.
\version "2.24.0"
{
\override Tie.staff-position = 5
c''1--~ c''
}
In this case, the tenuto should be placed immediately above the note.
Perhaps overriding Script.extra-offset is one of solutions, but is there
another property controlling the priority of Tie and Script?
Does it have to be a tie? It looks more like a slur, in which case you
could write:
\version "2.24.0"
{
\override Script.avoid-slur = #'inside
c''1--( c'')
}
Or else you could force the Y-offset of the tenuto:
\version "2.24.0"
{
\override Tie.staff-position = 5
\override Script.Y-offset = 1.5
c''1--~ c''
}
--
Knute Snortum
Re: Vertical position of Tie and Script
On 2023-03-26 4:45 am, Mark Mathias wrote:
Perhaps try:
\version "2.24.0"
{
\override Tie.outside-staff-priority = #1375
c''1--~ c''
c''1--~ c''
}
%
And, of course, add "\once" for a particular instance.
When you find you are doing \once \override, you should consider \tweak:
{ c''1-- \tweak outside-staff-priority 12345 ~ c'' }
If this is something you need to do a lot, you can define a cheeky
shorthand:
veryOutside = \tweak outside-staff-priority 8675309 \etc
{ c''1-- \veryOutside ~ c'' }
-- Aaron Hill
Re: Vertical position of Tie and Script
On Sat, Mar 25, 2023 at 3:08 PM Knute Snortum wrote:
> On Sat, Mar 25, 2023 at 9:16 AM Masaki, Akikazu <
> masaki-0.56714...@zeus.eonet.ne.jp> wrote:
>
>> Hello,
>>
>> How to set script position closer to its note than ties?
>> In default, ties are always closer to the note than scripts, but
>> depending on the case, contrary is better.
>>
>> e.g.
>>
>> \version "2.24.0"
>> {
>>\override Tie.staff-position = 5
>>c''1--~ c''
>> }
>>
>>
>> In this case, the tenuto should be placed immediately above the note.
>> Perhaps overriding Script.extra-offset is one of solutions, but is there
>> another property controlling the priority of Tie and Script?
>>
>
> Does it have to be a tie? It looks more like a slur, in which case you
> could write:
>
> \version "2.24.0"
> {
>\override Script.avoid-slur = #'inside
>c''1--( c'')
> }
>
> Or else you could force the Y-offset of the tenuto:
>
> \version "2.24.0"
> {
>\override Tie.staff-position = 5
>\override Script.Y-offset = 1.5
>c''1--~ c''
> }
>
> --
> Knute Snortum
>
>
>
Perhaps try:
\version "2.24.0"
{
\override Tie.outside-staff-priority = #1375
c''1--~ c''
c''1--~ c''
}
%
And, of course, add "\once" for a particular instance.
HTH,
Mark
Re: Vertical position of Tie and Script
On Sat, Mar 25, 2023 at 9:16 AM Masaki, Akikazu <
masaki-0.56714...@zeus.eonet.ne.jp> wrote:
> Hello,
>
> How to set script position closer to its note than ties?
> In default, ties are always closer to the note than scripts, but depending
> on the case, contrary is better.
>
> e.g.
>
> \version "2.24.0"
> {
>\override Tie.staff-position = 5
>c''1--~ c''
> }
>
>
> In this case, the tenuto should be placed immediately above the note.
> Perhaps overriding Script.extra-offset is one of solutions, but is there
> another property controlling the priority of Tie and Script?
>
Does it have to be a tie? It looks more like a slur, in which case you
could write:
\version "2.24.0"
{
\override Script.avoid-slur = #'inside
c''1--( c'')
}
Or else you could force the Y-offset of the tenuto:
\version "2.24.0"
{
\override Tie.staff-position = 5
\override Script.Y-offset = 1.5
c''1--~ c''
}
--
Knute Snortum
Vertical position of Tie and Script
Hello,
How to set script position closer to its note than ties?
In default, ties are always closer to the note than scripts, but depending on
the case, contrary is better.
e.g.
\version "2.24.0"
{
\override Tie.staff-position = 5
c''1--~ c''
}
In this case, the tenuto should be placed immediately above the note.
Perhaps overriding Script.extra-offset is one of solutions, but is there
another property controlling the priority of Tie and Script?
Akikazu
Re: Tie not working as expected
On 31/01/2023 23:06, Steve Carlock wrote: > Jean, > > Thank you for approving my email - I did subscribe using the website and > confirmed the email (and have logged into my account page successfully) prior > to sending my email to the list. Maybe I was impatient and needed to wait a > day for the account setup to completely process. Now I realize that your post wasn't held for "Post by non-members to a members-only list", as usual for spam on the list, but for "Post to moderated list", which means that you were indeed subscribed but I just had to approve your membership on your first post. Should be OK now, sorry. Best, Jean OpenPGP_signature Description: OpenPGP digital signature
Re: Tie not working as expected
Jean,
Thank you for approving my email - I did subscribe using the website and
confirmed the email (and have logged into my account page successfully)
prior to sending my email to the list. Maybe I was impatient and needed to
wait a day for the account setup to completely process.
Thank you all for catching my silly typo - it frequently takes a second set
of eyes to catch those types of errors.
The reason I was using the ties inside the chord instead of on the chord as
a whole is that, in the piece I am working on, there are frequently chords
where not all notes are tied, so I was trying to be consistent in my coding
pattern for all tied chords. I may rethink that decision.
Thanks again.
On Tue, Jan 31, 2023 at 1:13 PM Jean Abou Samra wrote:
> Hello,
>
> Welcome to this list. I had to approve your message manually
> because you are not subscribed to the list yet. Please fix this
> by subscribing on https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
> On 31/01/2023 22:04, Steve Carlock wrote:
> > New Lilypond user here. The following code is not working as I expect:
> >
> > \version "2.24.0"
> > \language "english"
> >
> > \score {
> > <<
> > \new Staff {
> > \key d \major
> > \time 4/4
> > \relative c' {
> > 1 | 1 | g~1 | g2 2 |
> > }
> > }
> > >>
> > \layout { }
> > }
> >
> >
> > I expect to see 4 measures with ties between measures 1 and 2, and then
> 3 and 4. Instead I am seeing 5 measures with an extra whole note in
> measure 4 tied to measure 3. (Image attached).
> >
> > What am I doing wrong?
>
>
>
> The order of elements for a note is
>
>
>
>
> In "g~1", you have
>
>
>
> Thus the "g~" part is understood as a g note that implicitly
> inherits the duration of the previous note, with a tie, and
> the "1" part is the duration of a new note, which inherits
> the pitch of the previous note. You want "g1~" instead.
>
> By the way, you can simplify
>
> 1
>
> into
>
> 1~
>
> Jean
>
>
Re: Tie not working as expected
The tie ~ and number 1 in measure 3 are in the wrong order, the tie should
come after the number.
What happens is that Lilypond, when it sees a pitch or duration alone
interprets it as a new note, with the missing pitch or duration carried over
from the previous note. So g~1 becomes a g with the duration 1 carried over
from the chord before, then a tie and then a whole note (1) with the pitch g
carried over from the note before the tie.
HTH
/Leo
> 31 jan. 2023 kl. 22:07 skrev Steve Carlock :
>
> New Lilypond user here. The following code is not working as I expect:
>
> \version "2.24.0"
> \language "english"
>
> \score {
> <<
> \new Staff {
> \key d \major
> \time 4/4
> \relative c' {
> 1 | 1 | g~1 | g2 2 |
> }
> }
> >>
> \layout { }
> }
>
> I expect to see 4 measures with ties between measures 1 and 2, and then 3 and
> 4. Instead I am seeing 5 measures with an extra whole note in measure 4 tied
> to measure 3. (Image attached).
>
> What am I doing wrong?
>
> Version info:
> LilyPond 2.24.0 (running Guile 2.2)
> Frescobaldi Version 3.0.0
> Linux Mint 20.3 (in a virtual machine if it matters).
>
> Thanks!
>
>
>
Re: Tie not working as expected
Hi Steve,
welcome to the group!
In your third measure, Instead of
g~1
you should write
g1~
Your sequence means the following:
- g without a duration uses the last duration specified, i.e. whole note
from the measure before.
- ~ produces a tie to the following note.
- 1 without a pitch produces a new note with the length specified and
the pitch repeated from the note before.
Cheers,
Klaus
Am 31.01.2023 um 22:06 schrieb lilypond-user-requ...@gnu.org:
New Lilypond user here. The following code is not working as I expect:
\version "2.24.0"
\language "english"
\score {
<<
\new Staff {
\key d \major
\time 4/4
\relative c' {
1 | 1 | g~1 | g2 2 |
}
}
>>
\layout { }
}
I expect to see 4 measures with ties between measures 1 and 2, and then 3
and 4. Instead I am seeing 5 measures with an extra whole note in measure
4 tied to measure 3. (Image attached).
What am I doing wrong?
Version info:
LilyPond 2.24.0 (running Guile 2.2)
Frescobaldi Version 3.0.0
Linux Mint 20.3 (in a virtual machine if it matters).
Thanks!
Re: Tie not working as expected
Hello,
Welcome to this list. I had to approve your message manually
because you are not subscribed to the list yet. Please fix this
by subscribing on https://lists.gnu.org/mailman/listinfo/lilypond-user
On 31/01/2023 22:04, Steve Carlock wrote:
> New Lilypond user here. The following code is not working as I expect:
>
> \version "2.24.0"
> \language "english"
>
> \score {
> <<
> \new Staff {
> \key d \major
> \time 4/4
> \relative c' {
> 1 | 1 | g~1 | g2 2 |
> }
> }
> >>
> \layout { }
> }
>
>
> I expect to see 4 measures with ties between measures 1 and 2, and then 3 and
> 4. Instead I am seeing 5 measures with an extra whole note in measure 4 tied
> to measure 3. (Image attached).
>
> What am I doing wrong?
The order of elements for a note is
In "g~1", you have
Thus the "g~" part is understood as a g note that implicitly
inherits the duration of the previous note, with a tie, and
the "1" part is the duration of a new note, which inherits
the pitch of the previous note. You want "g1~" instead.
By the way, you can simplify
1
into
1~
Jean
OpenPGP_signature
Description: OpenPGP digital signature
Tie not working as expected
New Lilypond user here. The following code is not working as I expect:
\version "2.24.0"
\language "english"
\score {
<<
\new Staff {
\key d \major
\time 4/4
\relative c' {
1 | 1 | g~1 | g2 2 |
}
}
>>
\layout { }
}
I expect to see 4 measures with ties between measures 1 and 2, and then 3
and 4. Instead I am seeing 5 measures with an extra whole note in measure
4 tied to measure 3. (Image attached).
What am I doing wrong?
Version info:
LilyPond 2.24.0 (running Guile 2.2)
Frescobaldi Version 3.0.0
Linux Mint 20.3 (in a virtual machine if it matters).
Thanks!
Re: Tie in markup (lyrics)
You may try:
\markup \concat {
\tied-lyric "he~yo"
}
El mié, 18 ene 2023 a las 17:50, David Kastrup () escribió:
> Stephan Schöll writes:
>
> > Hi everybody
> >
> > I have stanzas 2..n put as markup below the score. In one stanza there
> > are two syllables on one note. In lyricmode I'd write the ~, but this
> > doesn't work in regular markup. Is there a way to add that kind of text
> > syllable tie to markup as well? Or should I simply look for some
> > tie-like unicode character?
> >
> > \version "2.24.0"
> > \relative c' {
> > c d e f
> > }
> > \addlyrics {
> > he~yo he -- yo hey
> > }
> > \markup {
> > "he~yo"
> > }
>
> Try
>
> \markup \concat {
>h \undertie "e y" o
> }
>
> --
> David Kastrup
>
>
Re: Tie in markup (lyrics)
Stephan Schöll writes:
> Hi everybody
>
> I have stanzas 2..n put as markup below the score. In one stanza there
> are two syllables on one note. In lyricmode I'd write the ~, but this
> doesn't work in regular markup. Is there a way to add that kind of text
> syllable tie to markup as well? Or should I simply look for some
> tie-like unicode character?
>
> \version "2.24.0"
> \relative c' {
> c d e f
> }
> \addlyrics {
> he~yo he -- yo hey
> }
> \markup {
> "he~yo"
> }
Try
\markup \concat {
h \undertie "e y" o
}
--
David Kastrup
Tie in markup (lyrics)
Hi everybody
I have stanzas 2..n put as markup below the score. In one stanza there
are two syllables on one note. In lyricmode I'd write the ~, but this
doesn't work in regular markup. Is there a way to add that kind of text
syllable tie to markup as well? Or should I simply look for some
tie-like unicode character?
\version "2.24.0"
\relative c' {
c d e f
}
\addlyrics {
he~yo he -- yo hey
}
\markup {
"he~yo"
}
TIA Stephan
Re: Tie with slash (caesura) on the curve
Hi Jean, Le jeu. 10 nov. 2022 à 11:23, Jean Abou Samra a écrit : ... > This is nice! Just a thought: why use after-line-breaking > here? ... Bad habit? Respond without thinking long enough? Too proud it'd worked? Missing knowledge? All?... Yeah, probably all... > This is the sort of thing that can cause mysterious bugs > if something else reads the stencil property before your > after-line-breaking callback is executed. In general, it's > good practice to stick with normal callbacks in most cases, > and only use after-line-breaking if you really need it. > Also, you can use grob-transformer to get the default value. > This way, if the default changes in a future version, the code > will still work. (grob-transformer is documented here: > https://lilypond.org/doc/v2.22/Documentation/extending/callback-functions) > Thanks for the tip Jean, I'll keep that in mind ;) Cheers, Pierre
Re: Tie with slash (caesura) on the curve
Le 10/11/2022 à 04:31, Pierre Perol-Schneider a écrit :
How about:
\version "2.22.0"
oldTie = \once \override Tie.after-line-breaking =
#(lambda (grob)
(let*
((stencil (ly:tie::print grob))
(dir (ly:grob-property grob 'direction))
(markup-stencil
(grob-interpret-markup grob
(markup #:scale (cons .8 0.5)
(#:musicglyph "scripts.caesura.straight"
(shift (- (interval-center (ly:stencil-extent stencil X))
(interval-center (ly:stencil-extent markup-stencil
X
(new-stencil
(ly:stencil-combine-at-edge stencil
Y dir
(ly:stencil-translate-axis markup-stencil shift X)
-.63)))
(ly:grob-set-property! grob 'stencil new-stencil)))
{
\clef"G_8"
f'16 16
\oldTie
8~ 16 16 8
}
Hi Pierre,
This is nice! Just a thought: why use after-line-breaking
here? This is the sort of thing that can cause mysterious bugs
if something else reads the stencil property before your
after-line-breaking callback is executed. In general, it's
good practice to stick with normal callbacks in most cases,
and only use after-line-breaking if you really need it.
Also, you can use grob-transformer to get the default value.
This way, if the default changes in a future version, the code
will still work. (grob-transformer is documented here:
https://lilypond.org/doc/v2.22/Documentation/extending/callback-functions)
So, I'd do:
\version "2.22.2"
oldTie =
\once \override Tie.stencil =
#(grob-transformer
'stencil
(lambda (grob default-stencil)
(let* ((dir (ly:grob-property grob 'direction))
(caesura-stencil
(grob-interpret-markup grob
(markup #:scale (cons .8 0.5)
(#:musicglyph "scripts.caesura.straight"
(shift (- (interval-center (ly:stencil-extent
default-stencil X))
(interval-center (ly:stencil-extent
caesura-stencil X)
(ly:stencil-combine-at-edge
default-stencil
Y dir
(ly:stencil-translate-axis caesura-stencil shift X)
-.63
{
\clef"G_8"
f'16 16
\oldTie
8~ 16 16 8
}
Best,
Jean
OpenPGP_signature
Description: OpenPGP digital signature
Re: Tie with slash (caesura) on the curve
Hi Pierre
It works!
Thank you SO much! I would never have been able to do that on my own.
Good to see you are still around Lilypond!
Andrew, yes it is for guitar
Thanks again!
dirck
From: lilypond-user-bounces+dnagy=uwlax@gnu.org
on behalf of Pierre
Perol-Schneider
Sent: Wednesday, November 9, 2022 9:31 PM
To: Andrew Bernard
Cc: lilypond-user@gnu.org
Subject: Re: Tie with slash (caesura) on the curve
Hi Andrew, Hi Dirck,
Le jeu. 10 nov. 2022 à 02:40, Andrew Bernard
mailto:andrew.bern...@mailbox.org>> a écrit :
Never say anything is technically unplayable for pianists. Some of the
technical ability of contemporary players leaves me breathless.
...
Actually it's for guitarists ;)
On 10/11/2022 12:02 pm, Dirck Nagy wrote:
...
I am trying to notate ties with a double-slash (caesura) along the curve.
...
How about:
\version "2.22.0"
oldTie = \once \override Tie.after-line-breaking =
#(lambda (grob)
(let*
((stencil (ly:tie::print grob))
(dir (ly:grob-property grob 'direction))
(markup-stencil
(grob-interpret-markup grob
(markup #:scale (cons .8 0.5)
(#:musicglyph "scripts.caesura.straight"
(shift (- (interval-center (ly:stencil-extent stencil X))
(interval-center (ly:stencil-extent markup-stencil X
(new-stencil
(ly:stencil-combine-at-edge stencil
Y dir
(ly:stencil-translate-axis markup-stencil shift X)
-.63)))
(ly:grob-set-property! grob 'stencil new-stencil)))
{
\clef"G_8"
f'16 16
\oldTie
8~ 16 16 8
}
HTH, cheers,
Pierre
Re: Tie with slash (caesura) on the curve
Hi Andrew, Hi Dirck,
Le jeu. 10 nov. 2022 à 02:40, Andrew Bernard a
écrit :
> Never say anything is technically unplayable for pianists. Some of the
> technical ability of contemporary players leaves me breathless.
>
...
Actually it's for guitarists ;)
On 10/11/2022 12:02 pm, Dirck Nagy wrote:
>
...
> I am trying to notate ties with a double-slash (caesura) along the curve.
>
> ...
How about:
\version "2.22.0"
oldTie = \once \override Tie.after-line-breaking =
#(lambda (grob)
(let*
((stencil (ly:tie::print grob))
(dir (ly:grob-property grob 'direction))
(markup-stencil
(grob-interpret-markup grob
(markup #:scale (cons .8 0.5)
(#:musicglyph "scripts.caesura.straight"
(shift (- (interval-center (ly:stencil-extent stencil X))
(interval-center (ly:stencil-extent markup-stencil X
(new-stencil
(ly:stencil-combine-at-edge stencil
Y dir
(ly:stencil-translate-axis markup-stencil shift X)
-.63)))
(ly:grob-set-property! grob 'stencil new-stencil)))
{
\clef"G_8"
f'16 16
\oldTie
8~ 16 16 8
}
HTH, cheers,
Pierre
Re: Tie with slash (caesura) on the curve
Never say anything is technically unplayable for pianists. Some of the technical ability of contemporary players leaves me breathless. What you are after perhaps is an editorial tie. Dorico has them, with a single bar through the middle. I know its not exactly the same. I'm sure I have come across editorial ties in Lilypond but just right now I can't find anything, Sorry this does not help much, but searching for editorial tie may help. I'll keep having a look around. Speaking as a player and an engraver, I'd just use a plain tie. If it cant be done, then a player wont do it - fairly straightforward and very common occurrence. Andrew On 10/11/2022 12:02 pm, Dirck Nagy wrote: Hi all I am trying to notate ties with a double-slash (caesura) along the curve. This is to indicate a tie in the original manuscript which is technically unplayable.
Re: Tie almost invisible before line break
On Sat, Sep 17, 2022 at 11:30 AM Jean Abou Samra wrote:
>
>
>
> Le 17/09/2022 à 20:24, Knute Snortum a écrit :
[snip]
> > Is this a bug? Is there a better way to deal with it?
> >
> > --
> > Knute Snortum
>
>
> Yeah, known long-standing issue.
>
> https://gitlab.com/lilypond/lilypond/-/issues/298
>
> The workaround is increasing minimum-length.
>
>
> \version "2.23.12"
>
> \paper {
>ragged-right = ##t
>indent = 0
> }
>
> \relative {
>\voiceOne
>d''8( c4 b a e'8\tweak minimum-length 5 ~ | \break
>e8)
> }
>
> Jean
>
Thanks, Jean, that's exactly what I was hoping for!
--
Knute Snortum
Re: Tie almost invisible before line break
Le 17/09/2022 à 20:24, Knute Snortum a écrit :
I have run into a situation that may be a bug or it may be I'm not
doing something correctly. I have a \voiceOne note at a line break
where the tie becomes nearly invisible.
%%%
\version "2.23.12"
\paper {
ragged-right = ##t
indent = 0
}
\relative {
\voiceOne
d''8( c4 b a e'8~ | \break
e8)
}
%%%
If you zoom way in on the tie of the e note, you can see a tiny bump;
that is the tie. The only way I found to fix this is with
\alterBroken and control-points, but this is a very brittle solution
that will need to change if the measures get realigned.
%%%
createBrokenTie =
\alterBroken control-points #'(
((1.5 . 2) (2 . 2.5) (2.5 . 2.5) (3 . 2))
((4 . 2) (4.5 . 2.5) (5 . 2.5) (5.5 . 2))
) \etc
\relative {
\voiceOne
d''8( c4 b a e'8-\createBrokenTie ~ | \break
e8)
}
%%%
Is this a bug? Is there a better way to deal with it?
--
Knute Snortum
Yeah, known long-standing issue.
https://gitlab.com/lilypond/lilypond/-/issues/298
The workaround is increasing minimum-length.
\version "2.23.12"
\paper {
ragged-right = ##t
indent = 0
}
\relative {
\voiceOne
d''8( c4 b a e'8\tweak minimum-length 5 ~ | \break
e8)
}
Jean
Tie almost invisible before line break
I have run into a situation that may be a bug or it may be I'm not
doing something correctly. I have a \voiceOne note at a line break
where the tie becomes nearly invisible.
%%%
\version "2.23.12"
\paper {
ragged-right = ##t
indent = 0
}
\relative {
\voiceOne
d''8( c4 b a e'8~ | \break
e8)
}
%%%
If you zoom way in on the tie of the e note, you can see a tiny bump;
that is the tie. The only way I found to fix this is with
\alterBroken and control-points, but this is a very brittle solution
that will need to change if the measures get realigned.
%%%
createBrokenTie =
\alterBroken control-points #'(
((1.5 . 2) (2 . 2.5) (2.5 . 2.5) (3 . 2))
((4 . 2) (4.5 . 2.5) (5 . 2.5) (5.5 . 2))
) \etc
\relative {
\voiceOne
d''8( c4 b a e'8-\createBrokenTie ~ | \break
e8)
}
%%%
Is this a bug? Is there a better way to deal with it?
--
Knute Snortum
Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?
> 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
Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?
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?
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?
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?
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?
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?
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?
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?
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?
> 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?
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?
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?
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?
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?
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?
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: Moving a tie in a chord
On Wed, Jul 20, 2022 at 6:06 AM Thomas Morley wrote:
> You could do
>
> \relative a,, {
> \clef bass
> \time 6/8
>
> 4.(~
>
> \once \override TieColumn.tie-configuration = #'((-1 . 1)(-10 . -1))
>
> q8 ) |
> }
>
> Also, see NR about TieColumn.tie-configuration
Thank you, Harm. tie-configuration was what I was missing.
--
Knute Snortum
Re: Moving a tie in a chord
Am Mi., 20. Juli 2022 um 02:17 Uhr schrieb Knute Snortum :
>
> I'm trying to adjust the Y position of a tie in a chord, but I'm
> having trouble. What works for a single tie doesn't seem to work for
> a chord:
>
> %%%
> \version "2.22.2"
>
> moveTie = {
> \once \override Tie.staff-position = -5
> \once \override Tie.direction = #DOWN
> }
>
> \relative a,, {
> \clef bass
> \time 6/8
> \moveTie a4.~ a4. |
> <\single \moveTie a~ a'~>4.( q8 ) |
> }
> %%%
>
> In the snippet, I first test whether the overrides will work on a
> single tie, then try it in a chord.
>
> I saw that there is a layout object called TieColumn, but I couldn't
> figure out which property to use. I tried a few (Y-offset, Y-extent,
> extra-offset) but the tie didn't move.
>
> Can anyone show me how to get the bottom tie of the first chord in the
> second measure to move up?
>
> --
> Knute Snortum
>
You could do
\relative a,, {
\clef bass
\time 6/8
4.(~
\once \override TieColumn.tie-configuration = #'((-1 . 1)(-10 . -1))
q8 ) |
}
Also, see NR about TieColumn.tie-configuration
Cheers,
Harm
RE: Moving a tie in a chord
Knute,
This works for
\version "2.22.1"
\relative a,, {
\clef bass
\time 6/8
a4.~ a4. |
< a~ a'~>4.( q8 ) | }
So maybe it is a version issue?
Mark
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Knute Snortum
Sent: Tuesday, July 19, 2022 5:17 PM
To: lilypond-user@gnu.org
Subject: Moving a tie in a chord
I'm trying to adjust the Y position of a tie in a chord, but I'm having
trouble. What works for a single tie doesn't seem to work for a chord:
%%%
\version "2.22.2"
moveTie = {
\once \override Tie.staff-position = -5
\once \override Tie.direction = #DOWN
}
\relative a,, {
\clef bass
\time 6/8
\moveTie a4.~ a4. |
<\single \moveTie a~ a'~>4.( q8 ) | } %%%
In the snippet, I first test whether the overrides will work on a single tie,
then try it in a chord.
I saw that there is a layout object called TieColumn, but I couldn't figure out
which property to use. I tried a few (Y-offset, Y-extent,
extra-offset) but the tie didn't move.
Can anyone show me how to get the bottom tie of the first chord in the second
measure to move up?
--
Knute Snortum
Moving a tie in a chord
I'm trying to adjust the Y position of a tie in a chord, but I'm
having trouble. What works for a single tie doesn't seem to work for
a chord:
%%%
\version "2.22.2"
moveTie = {
\once \override Tie.staff-position = -5
\once \override Tie.direction = #DOWN
}
\relative a,, {
\clef bass
\time 6/8
\moveTie a4.~ a4. |
<\single \moveTie a~ a'~>4.( q8 ) |
}
%%%
In the snippet, I first test whether the overrides will work on a
single tie, then try it in a chord.
I saw that there is a layout object called TieColumn, but I couldn't
figure out which property to use. I tried a few (Y-offset, Y-extent,
extra-offset) but the tie didn't move.
Can anyone show me how to get the bottom tie of the first chord in the
second measure to move up?
--
Knute Snortum
Re: Key and tie questions
I have gotten to where I can do what I intended to do today and now I may
have the patience to read. Thank you for all your help!
On Fri, Jun 3, 2022 at 10:25 AM Carl Sorensen
wrote:
>
>
> On Fri, Jun 3, 2022 at 11:16 AM Andrew Musselman <
> andrew.mussel...@gmail.com> wrote:
>
>> As for the key signature, I am still seeing nothing about key in the pdf
>> when I do this to remove all complexity:
>>
>> \version "2.22.2"
>> \key d \major
>> {
>> a
>> }
>>
>
> put the first brace before \key and it will give you what you want.
>
> Please work your way carefully through the Learning Manual. It is
> annoying to do so, but it will provide you the basis you need to succeed in
> LilyPond.
>
> A score is a single musical expression.
>
> You have two musical expressions in this file:
>
> A) \key d\major
> B) { a }
>
> Each is wrapped in its own score contect by default. Score A creates no
> output. Score B creates the output of a single note, with no explicit key
> signature, so c major is assumed.
>
> If you do
>
> {
> \key d \major
> a
> }
>
> then you will have a single music expression, and you will get a single
> score that includes both the key signature and the note.
>
> HTH,
>
> Carl
>
Re: Key and tie questions
On Fri, Jun 3, 2022 at 11:16 AM Andrew Musselman
wrote:
> As for the key signature, I am still seeing nothing about key in the pdf
> when I do this to remove all complexity:
>
> \version "2.22.2"
> \key d \major
> {
> a
> }
>
put the first brace before \key and it will give you what you want.
Please work your way carefully through the Learning Manual. It is annoying
to do so, but it will provide you the basis you need to succeed in LilyPond.
A score is a single musical expression.
You have two musical expressions in this file:
A) \key d\major
B) { a }
Each is wrapped in its own score contect by default. Score A creates no
output. Score B creates the output of a single note, with no explicit key
signature, so c major is assumed.
If you do
{
\key d \major
a
}
then you will have a single music expression, and you will get a single
score that includes both the key signature and the note.
HTH,
Carl
Re: Key and tie questions
Okay thank you, I did find this example that worked:
\relative {
\key d \major
cis''4 d e fis
}
On Fri, Jun 3, 2022 at 10:21 AM David Santamauro
wrote:
> Like David said earlier, you actually have 2 implicit scores.
>
>
>
> \version "2.22.2"
>
> % score 1 that yields the warning and prints nothing (hence no key
> signature)
>
> \key d \major
>
>
>
> % score 2
>
> { a }
>
>
>
> This works:
>
>
>
> \version "2.22.2"
>
> \relative {
>
> \key d \major a
>
> }
>
>
>
>
>
> *From: *lilypond-user gmail@gnu.org> on behalf of Andrew Musselman <
> andrew.mussel...@gmail.com>
> *Date: *Friday, June 3, 2022 at 1:16 PM
> *To: *lilypond-user@gnu.org
> *Subject: *Re: Key and tie questions
>
> As for the key signature, I am still seeing nothing about key in the pdf
> when I do this to remove all complexity:
>
>
>
> \version "2.22.2"
> \key d \major
> {
> a
> }
>
>
>
> Log says:
>
>
>
> $ lilypond -f pdf the-mountain.ly
> GNU LilyPond 2.22.2 (running Guile 2.2)
> Processing `the-mountain.ly'
> Parsing...
> Interpreting music...
> the-mountain.ly:2:1: warning: skipping zero-duration score
>
> \key d \major
> the-mountain.ly:2:1: warning: to suppress this, consider adding a spacer
> rest
>
> \key d \major
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Converting to `the-mountain.pdf'...
> Success: compilation successfully completed
>
>
>
> On Fri, Jun 3, 2022 at 10:09 AM Andrew Musselman <
> andrew.mussel...@gmail.com> wrote:
>
> Okay subtle but I do see the difference; thank you
>
>
>
> On Fri, Jun 3, 2022 at 10:07 AM David Kastrup wrote:
>
> Andrew Musselman writes:
>
> > I got a beam by adding `\(` and `\)` around the b and c, looks good.
>
> That's not a beam but a phrasing slur, and at that point in the score, a
> phrasing slur seems like an odd choice: it usually extends over whole
> phrases rather than joining two notes. You probably want a straight
> slur, gotten with `(` and `)`. A beam is a straight line substituting
> for flags on a note stem and connecting several notes of length 1/8 or
> shorter.
>
> --
> David Kastrup
>
>
Re: Key and tie questions
Like David said earlier, you actually have 2 implicit scores.
\version "2.22.2"
% score 1 that yields the warning and prints nothing (hence no key signature)
\key d \major
% score 2
{ a }
This works:
\version "2.22.2"
\relative {
\key d \major a
}
From: lilypond-user
on behalf of Andrew Musselman
Date: Friday, June 3, 2022 at 1:16 PM
To: lilypond-user@gnu.org
Subject: Re: Key and tie questions
As for the key signature, I am still seeing nothing about key in the pdf when I
do this to remove all complexity:
\version "2.22.2"
\key d \major
{
a
}
Log says:
$ lilypond -f pdf the-mountain.ly<http://the-mountain.ly>
GNU LilyPond 2.22.2 (running Guile 2.2)
Processing `the-mountain.ly<http://the-mountain.ly>'
Parsing...
Interpreting music...
the-mountain.ly:2:1: warning: skipping zero-duration score
\key d \major
the-mountain.ly:2:1: warning: to suppress this, consider adding a spacer rest
\key d \major
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Converting to `the-mountain.pdf'...
Success: compilation successfully completed
On Fri, Jun 3, 2022 at 10:09 AM Andrew Musselman
mailto:andrew.mussel...@gmail.com>> wrote:
Okay subtle but I do see the difference; thank you
On Fri, Jun 3, 2022 at 10:07 AM David Kastrup
mailto:d...@gnu.org>> wrote:
Andrew Musselman
mailto:andrew.mussel...@gmail.com>> writes:
> I got a beam by adding `\(` and `\)` around the b and c, looks good.
That's not a beam but a phrasing slur, and at that point in the score, a
phrasing slur seems like an odd choice: it usually extends over whole
phrases rather than joining two notes. You probably want a straight
slur, gotten with `(` and `)`. A beam is a straight line substituting
for flags on a note stem and connecting several notes of length 1/8 or
shorter.
--
David Kastrup
Re: Key and tie questions
As for the key signature, I am still seeing nothing about key in the pdf
when I do this to remove all complexity:
\version "2.22.2"
\key d \major
{
a
}
Log says:
$ lilypond -f pdf the-mountain.ly
GNU LilyPond 2.22.2 (running Guile 2.2)
Processing `the-mountain.ly'
Parsing...
Interpreting music...
the-mountain.ly:2:1: warning: skipping zero-duration score
\key d \major
the-mountain.ly:2:1: warning: to suppress this, consider adding a spacer
rest
\key d \major
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Converting to `the-mountain.pdf'...
Success: compilation successfully completed
On Fri, Jun 3, 2022 at 10:09 AM Andrew Musselman
wrote:
> Okay subtle but I do see the difference; thank you
>
> On Fri, Jun 3, 2022 at 10:07 AM David Kastrup wrote:
>
>> Andrew Musselman writes:
>>
>> > I got a beam by adding `\(` and `\)` around the b and c, looks good.
>>
>> That's not a beam but a phrasing slur, and at that point in the score, a
>> phrasing slur seems like an odd choice: it usually extends over whole
>> phrases rather than joining two notes. You probably want a straight
>> slur, gotten with `(` and `)`. A beam is a straight line substituting
>> for flags on a note stem and connecting several notes of length 1/8 or
>> shorter.
>>
>> --
>> David Kastrup
>>
>
Re: Key and tie questions
Okay subtle but I do see the difference; thank you On Fri, Jun 3, 2022 at 10:07 AM David Kastrup wrote: > Andrew Musselman writes: > > > I got a beam by adding `\(` and `\)` around the b and c, looks good. > > That's not a beam but a phrasing slur, and at that point in the score, a > phrasing slur seems like an odd choice: it usually extends over whole > phrases rather than joining two notes. You probably want a straight > slur, gotten with `(` and `)`. A beam is a straight line substituting > for flags on a note stem and connecting several notes of length 1/8 or > shorter. > > -- > David Kastrup >
Re: Key and tie questions
Andrew Musselman writes: > I got a beam by adding `\(` and `\)` around the b and c, looks good. That's not a beam but a phrasing slur, and at that point in the score, a phrasing slur seems like an odd choice: it usually extends over whole phrases rather than joining two notes. You probably want a straight slur, gotten with `(` and `)`. A beam is a straight line substituting for flags on a note stem and connecting several notes of length 1/8 or shorter. -- David Kastrup
Re: Key and tie questions
A tie from the b cannot be terminated because there is no following b!
If you're trying to tie from the c in the middle of the triplet to the c after
it, put the tilde next to it - of course, this will fail by default, but can be
enabled to succeed by using: \set tieWaitForNote = ##t
Paul
From: Andrew Musselman
To:
Sent: 03/06/2022 17:38
Subject: Key and tie questions
Hi all, I'm not seeing a key signature show up when I do this:
```\version "2.22.2"
\relative
\key d \major
{
<<
{
a'8 g'8 \tuplet 3/1 {f' c' b} c'8 c'2
}
>>
}```
and when I try to put a tie between the triplet and the next note and put a
tilde after the `b` in the triplet I get this error:
Interpreting music...
the-mountain.ly:7:45: warning: unterminated tie
a'8 g'8 \tuplet 3/1 {f' c' b
~} c'8 c'2
Any clues how to fix these?
Re: Key and tie questions
Andrew Musselman writes:
> Hi all, I'm not seeing a key signature show up when I do this:
>
> ```\version "2.22.2"
> \relative
> \key d \major
> {
> <<
> {
> a'8 g'8 \tuplet 3/1 {f' c' b} c'8 c'2
> }
> >>
> }```
This consists of _two_ scores. The first score is
```
\relative
\key d \major
```
and LilyPond decides that without any music in it, it is not worth
typesetting. It does warn you about it:
/tmp/baba.ly:2:1: warning: skipping zero-duration score
\relative
/tmp/baba.ly:2:1: warning: to suppress this, consider adding a spacer rest
\relative
Now the second score is what follows within braces.
> and when I try to put a tie between the triplet and the next note and put a
> tilde after the `b` in the triplet I get this error:
>
> Interpreting music...
> the-mountain.ly:7:45: warning: unterminated tie
> a'8 g'8 \tuplet 3/1 {f' c' b
> ~} c'8 c'2
>
> Any clues how to fix these?
You should take a look at the learning manual to understand the
difference between ties (which create longer-duration note values from
several noteheads at the same pitch) and slurs (which indicate a smooth
connection of notes of typically different pitch).
--
David Kastrup
Re: Key and tie questions
I got a beam by adding `\(` and `\)` around the b and c, looks good.
Still curious why key sig is not showing up.
On Fri, Jun 3, 2022 at 9:38 AM Andrew Musselman
wrote:
> Hi all, I'm not seeing a key signature show up when I do this:
>
> ```\version "2.22.2"
> \relative
> \key d \major
> {
> <<
> {
> a'8 g'8 \tuplet 3/1 {f' c' b} c'8 c'2
> }
> >>
> }```
>
> and when I try to put a tie between the triplet and the next note and put
> a tilde after the `b` in the triplet I get this error:
>
> Interpreting music...
> the-mountain.ly:7:45: warning: unterminated tie
> a'8 g'8 \tuplet 3/1 {f' c' b
> ~} c'8 c'2
>
> Any clues how to fix these?
>
Key and tie questions
Hi all, I'm not seeing a key signature show up when I do this:
```\version "2.22.2"
\relative
\key d \major
{
<<
{
a'8 g'8 \tuplet 3/1 {f' c' b} c'8 c'2
}
>>
}```
and when I try to put a tie between the triplet and the next note and put a
tilde after the `b` in the triplet I get this error:
Interpreting music...
the-mountain.ly:7:45: warning: unterminated tie
a'8 g'8 \tuplet 3/1 {f' c' b
~} c'8 c'2
Any clues how to fix these?
Re: Tie in alternate
Hi Christel, > If you think of a way: I'm definitely interested! I do this kind of thing all the time: just use an arrow markup, disconnect it from the spacing engine (there are a number of ways of doing this), and tack it on to the repeat barline! If you need more than that hint, I can whip up a MWE you can adapt. Cheers, Kieren.
