Re: Double dashed bar lines

Perfect; thanks to both of you! Evan On Mon, Feb 12, 2024 at 2:20 PM Knute Snortum wrote: > On Mon, Feb 12, 2024 at 11:17 AM Evan Driscoll wrote: > >> Disclaimer: I realize I'm on an older version of Lilypond. If that makes >> things substantially more difficult it's not out

Double dashed bar lines

Disclaimer: I realize I'm on an older version of Lilypond. If that makes things substantially more difficult it's not out of the question I could upgrade, but I'd rather not at this time. I'm trying the following: \version "2.20.0" \relative c'' { c4 c \bar "!" c

Re: Switching between one staff and two

On Mon, Oct 30, 2023 at 1:14 AM Werner LEMBERG wrote: > OK. Please construct an example how it should look like *optically* > (the actual LilyPond code doesn't matter), together with some > explanations why you want this and that. It's not clear to me what > you really want to achieve. > In

Re: Switching between one staff and two

On Sun, Oct 29, 2023 at 2:08 AM Werner LEMBERG wrote: > Look up the documentation of `Keep_alive_together_engraver`, which > explains how to make LilyPond split such divisi parts automatically. > > > https://lilypond.org/doc/v2.24/Documentation/notation/modifying-single-staves#hiding-staves

Switching between one staff and two

Something that I always have trouble with (I'm only an occasional Lilypond user) is writing parts that switch from one staff to two and back, and getting that so it's correct. If there's a relevant section of the manual I have a hard time finding it, and I often find problems when adapting

Re: Double bar notation in middle of measure

Huh, I (obviously) didn't realize that \bar didn't do bar checks; it didn't even occur to me that it might not, so I didn't try it. Thanks! Evan On Fri, Feb 17, 2023 at 12:42 AM Jean Abou Samra wrote: > Le vendredi 17 février 2023 à 07:31 +0100, Jean-Julien Fleck a écrit : > > Have you tried

Re: Custom dynamic text with spanner

On Fri, Feb 17, 2023 at 12:40 AM Jean Abou Samra wrote: > It works like this too: > > \version "2.24.0" > > { > \once \set crescendoText = "molto cresc." > c'1\cresc c' c'\! > } > > This one does *not* work for me. Perhaps it's a version difference. For example, hacklily.org with version

Re: Custom dynamic text with spanner

On Fri, Feb 17, 2023 at 12:17 AM Michael Werner wrote: > Short version: > \set crescendoText = \markup { \italic { molto cresc } } > \set crescendoSpanner = #'text > should be either what you're wanting or pretty close to it. > Oh, I see, thank you very much! I actually saw that and tried to

Custom dynamic text with spanner

The manual describes ( http://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#new-dynamic-marks) how to create new dynamics with custom markup... ...but it doesn't say how to combine that with an indication like "cresc." that gets a spanner attached to it, and my

Double bar notation in middle of measure

I'm trying to re-engrave part of a part that has an admittedly-weird double bar indication in the middle of a measure. You can see what I mean, with context, here: https://imgur.com/BnpooBh (measure 49, aka C). How can I get that in Lilypond? Obviously `\bar "||"` will give a failed barcheck. I

Starting PercentRepeatCounter on first measure

http://lilybin.com/w08zwj/6 for example. In short, I want the effect of the second system without the extra syntax every single group. The docs give examples of using countPercentRepeats to get a measure counter on measures generated by '\repeat percent', but those omit the "1" over the original,

Typesetting some cue notes

I'm reproducing a part where my instrument has a whole measure rest with a fermata, while another one goes off and has a miniature cadenza. There are some cue notes at the end of the measure that I want to write out. I'm having two problems: * The duration of the cue notes is longer than an

Re: Question on multiple markups

Aaron Hill wrote: > On 2022-04-12 12:25 pm, Evan Driscoll wrote: > > http://lilybin.com/vhf35h/5 for example. > > > > I have a note that has two text decorations on it, c^"pizz"_"marc", as > > well > > as a dynamic \f. > >

Question on multiple markups

http://lilybin.com/vhf35h/5 for example. I have a note that has two text decorations on it, c^"pizz"_"marc", as well as a dynamic \f. By default everything gets stacked (http://lilybin.com/vhf35h/6), but that gets really busy -- there's actually a tempo marking and rehearsal mark at that place

Re: Rehearsal mark questions

got things working well enough. Evan On Tue, Apr 5, 2022 at 11:44 PM Evan Driscoll wrote: > I'm duplicating a part that has a couple of different ways of indicating > locations. > > The first way is boxed measure numbers inline every five bars, kind of > like how rehearsal nu

Temporary div. multiple staffs

Another question, one I've struggled with before. The part splits out temporarily into divisi parts on multiple staffs. I always have trouble getting the correct incantations to get the correct result. A naive attempt results in http://lilybin.com/1l8whf/5. This is enough to keep working, but it

Rehearsal mark questions

I'm duplicating a part that has a couple of different ways of indicating locations. The first way is boxed measure numbers inline every five bars, kind of like how rehearsal numbers are often indicated, but the current measure count rather than a sequentially increasing number or letter. The

Multiple staffs for a div. section

I am probably missing something fundamental in my LilyPond knowledge that would help with the following question, but I'm not sure what it is, and I'm having a lot more difficulty than normal figuring out what to look for in the manual. Anyway, the piece starts off in unison, then has a div.

Re: Aesthetics question -- how would you typeset this?

at 11:48 AM Mark Stephen Mrotek wrote: > Evan, > > > > As to your “bonus” question, <<{….}//{….}>> creates two separate voices, > as in polyphony, > > While <..> creates a chord. > > > > Mark > > > > *From:* lilypond-user [mailto:l

Re: Aesthetics question -- how would you typeset this?

On Wed, Jul 3, 2019 at 12:21 AM Evan Driscoll wrote: > (That obviously *isn't* playable. Answers I'm considering include... > playing open A instead of open D) > Strike that; reverse it. Evan > > ___ lilypond-user mailing lis

Re: Aesthetics question -- how would you typeset this?

On Tue, Jul 2, 2019 at 11:55 PM Malte Meyn wrote: > Am 03.07.19 um 06:36 schrieb Evan Driscoll: > > It's for cello, and just the part, no score. > > Is that playable? I sadly haven’t touched my cello for a few months now > and it’s 350 km away so I can’t try but I thi

Re: Aesthetics question -- how would you typeset this?

On Tue, Jul 2, 2019 at 11:21 PM Malte Meyn wrote: > Important question: What instrument(s) will play this? Is this from a > part or a full score? > Sorry, I should have included that. I edited out a bunch of wordiness in my email and that went with it. It's for cello, and just the part, no

Aesthetics question -- how would you typeset this?

I've got a couple measures that I'm struggling to even figure out what I want the result from Lilypond to be. I've pasted the snippet below. As picky connoisseurs of good notation, I'm wondering what other people would do or like to see. :-) I'm leaning toward the second option but am uncertain.

Re: Spacing of clef change

Perfect, thanks once again! Evan On Wed, Jun 26, 2019 at 11:54 PM Aaron Hill wrote: > On 2019-06-26 9:27 pm, Evan Driscoll wrote: > > I've got the example document below. There's a bit too little space for > > me > > between the last note in the last measure of the f

Spacing of clef change

I've got the example document below. There's a bit too little space for me between the last note in the last measure of the first line and the new clef. I found a mailing list entry that showed how to put some extra space before the clef (the commented-out override) and that looks great -- except

Re: Help with tweaks

Perfect, thanks! Evan On Sun, Jun 23, 2019 at 3:08 PM Pierre Perol-Schneider < pierre.schneider.pa...@gmail.com> wrote: > Hi Evan, > How about: -\tweak X-offset #3 ^\markup{\italic "long"} > Cherrs, > Pierre > > Le dim. 23 juin 2019 à 21:59, Evan Driscoll a é

Help with tweaks

So first, thanks again for the people who replied to my last questions. Now I've got a problem with a measure that is too busy where I want to space some things out. I'm pretty new to this level of fine tuning, and still trying to figure things out. Here's the relevant section: \language

Re: Minor variations on a re-used section

actually define the music, then come back to where it actually is. It also makes point and click worse, because sometimes I want to go to the use (\motif) rather than the definition. Is there a way to define a variable "locally"? Evan > > HTH. > Cheers, > Pierre > >

Minor variations on a re-used section

I've got a couple variants of the same question. Suppose I have a few measures that are reused exactly multiple times. If they are adjacent, I can use '\repeat unfold' and only write it once. If they're not, I can put them into a music variable and use that. But what can I do if they are...

Re: Rehearsal mark font in \markup

On Wed, Apr 25, 2018 at 9:38 PM, Andrew Bernard wrote: > Is that what you are after? I'm not really clear what you want. A MWE > would always be good. > Your reply was actually helpful, because I went back to try to illustrate what I meant... and saw that it's

Rehearsal mark font in \markup

Suppose in a \markup block where I'm writing some text, I want to say "blah blah at rehearsal A" where "A" is formatted with the same font and style (maybe using the current font size? but I can deal with that probably) as it is in the score. How can I get that? For example, enhancing this MWE:

Re: Typesetting tweak with percent repeat

On Wed, Apr 25, 2018 at 5:49 PM, Aaron Hill wrote: > There is a simple workaround, however, which is to attach the articulation > to an empty chord before the percent repeat: > Brilliant! > The resulting alignment might not be to your taste, as the articulation >

Re: Slurs do not work with Larsen articulations

On Wed, Apr 25, 2018 at 6:26 AM, Carl Sorensen wrote: > Thanks for your feedback. Feedback from new users is important for > improving the Learning Manual. > Just so we're on the same page, I've been an occasional LilyPond user for many many years now; I was just saying

Re: Slurs do not work with Larsen articulations

Sorry to jump in here as someone who just (re-)signed up for the list, but I actually find +Note that @code{[} and @code{]} do not enclose the notes to be +slurred. potentially confusing. I would say something like either "Note that the first note of the slur appears before the opening @code{(}"

Typesetting tweak with percent repeat

Suppose I have a percent repeat. I'd like to place a bowing mark above it. (I realize this isn't strictly "correct" perhaps.) Is there a way to do that? My guess to the most promising approach is to use the \makePercent isolated repeat from

Re: mea máxima culpa

The main reason I'm responding to this is to point out that if you use digests, it's possible to configure it so that it sends each message as an attachment instead of just dumping them all into the message body. If you see something you want to respond to, you can just open up the corresponding

Re: Re: frescobaldi on mac

On 08/16/2013 05:00 AM, Christian Andersson wrote: I work most efficiently with quite large orchestral scores using Lilypond, vi(1), sed(1), Bourne shell and GNU make (and a PDF viewer). ... [I]n my experience it is quite hard to get MacOS users well accustomed to working in the terminal.

Re: Re: SMuFL

As a fairly outside observer who is only an occasional user of Lilypond On 08/09/2013 11:43 PM, Carl Peterson wrote: The concern I have on SMuFL is that it is an as-of-yet immature standard without broad support outside of Steinberg. ... Will it be a futile effort because the SMuFL

Re: Re: multi measure rests

On 05/03/2013 03:11 PM, Wim van Dommelen wrote: I remember and use it this way: R length times so many so: R1*3 is three times the length of one whole note. Always calculate the total length you need and that it gets there. FWIW, the general form of what I do is R1*time

Re: Request for feedback on 'lobbying' paper

On 4/19/2013 4:17 PM, Urs Liska wrote: What I would prefer being commented on (of course I'll happily consider *any* comments) is something like: - Did I miss crucial aspects ('selling points')? - Will it be (given the mentioned revision) convincing for 'not-yet-converts'? Would they

Re: Re: R shorthand

On 03/19/2013 04:21 PM, Shane Brandes wrote: I see now, but one would think that might cause more difficult programming necessitating the keeping tracking of various R values through out the piece as defined by a time signature as opposed to us setting the value, which probably would also slow

Re: Proposed new available and recommended behavior of \relative

On 03/10/2013 03:50 AM, David Kastrup wrote: The problem I have with talking much about \relative f is that f seems arbitrary. However, maybe an explanation linking both of these concepts and explaining how f is arrived at will allow both views to coexist. That's what I was trying to get at

Re: Re: Proposed new available and recommended behavior of \relative

On 3/9/2013 7:31 PM, Jim Long wrote: So if somehow I've made two consecutive correct postulates, wouldn't a user who used the mnemonic: If no reference pitch is given, then the first pitch after \relative is relative to f ... So, addressing those who are put off by a perceived mixing

Re: Proposed new available and recommended behavior of \relative

On 3/7/2013 9:57 PM, David Kastrup wrote: That's a real tough test... Asking someone who has just managed to get along with one convention to move to the next one. Perhaps you should take this opportunity for asking someone who has not yet started working with LilyPond. Well I don't quite

Simultaneous rests in multiple voices

Suppose I have the following simple code: { r4 r4 } \\ { r4 s4 } There are two rests printed on beat 1, and as expected they are offset vertically. But what if I want the rest in the second beat set as normal? For instance, if both voices have notes at the start and end of the

Re: Simultaneous rests in multiple voices

On 3/7/2013 12:22 AM, Evan Driscoll wrote: (See, e.g., http://javanese.imslp.info/files/imglnks/usimg/0/0e/IMSLP53306-PMLP33488-Holst-Planets.Organ.pdf starting in the second system for the sort of thing I want.) Oh, also and on an unrelated note, how can I engrave measure 98 of the lower

Re: Dealing with almost-repetitive stuff

On 3/1/2013 11:54 PM, Evan Driscoll wrote: How do you deal with music where there is a lot of repetition of a group of measures, but where the dynamics or other instructions (e.g. pizz/arco) differs between repetitions? Sorry, I think I didn't explain myself very well in the last email, and I

Re: Dealing with almost-repetitive stuff

On 03/02/2013 02:59 AM, Felix Janda wrote: Something like the following? Looks like we both came up with the same solution at a similar time. Thanks very much nonetheless; with David Kastrup's earlier post saying that it should work out fine, this idea rocks. Evan

Re: Dealing with almost-repetitive stuff

On 03/02/2013 03:05 AM, David Kastrup wrote: This is _not_ another voice. It is simultaneous music in the _same_ voice. Where is the difference? Things not just end up in the same column, but actually share the same stems, are _composed_ rather than just aggregated (both in Midi as well as

Re: Re: Text spanner placement

On 03/01/2013 11:39 PM, Nick Payne wrote: On 02/03/13 16:16, Evan Driscoll wrote: Can I get a text spanner (e.g. for rit.) below the staff? \relative c' { \override TextSpanner #'(bound-details left text) = rit. \override TextSpanner #'direction = #DOWN b''1\startTextSpan

Text spanner placement

Can I get a text spanner (e.g. for rit.) below the staff? For example, modify the following (adapted from the reference manual 1.8.1): \relative c' { \override TextSpanner #'(bound-details left text) = rit. b''1\startTextSpan e,\stopTextSpan } I'm using Lilypond 2.16.2. Evan

Dealing with almost-repetitive stuff

How do you deal with music where there is a lot of repetition of a group of measures, but where the dynamics or other instructions (e.g. pizz/arco) differs between repetitions? For instance, take Holst's Mars (*cough*). The LilyPond docs have a nice snippet for being able to generate the

Holst's Mars?

I was surprised to look on IMSLP not find a download of The Planets score that is better than a somewhat mediocre scan. I also checked the Mutopia project and did a quick search. I'm interested enough in having a nicer version that I plan on typesetting it (probably just Mars, unfortunately),

Re: Holst's Mars?

will want to modify it (if I do it myself, after I create the faithful version), so would want the source. Evan Shane On Sat, Jan 26, 2013 at 9:52 PM, Evan Driscoll edrisc...@wisc.edu mailto:edrisc...@wisc.edu wrote: I was surprised to look on IMSLP not find a download

Bow lift/Breath mark placement

Hi, I'm a newbie at Lilypond. How can I get a bow lift/breath mark placement above the staff, a la [1], instead of crossing the top line [2]? (I also like the more pronounced comma look of [1], but that matters less.) [1] http://www.music.vt.edu/musicdictionary/textb/images/Breathmark.jpg [2]

Re: Bow lift/Breath mark placement

On 01/11/2013 11:24 PM, Nick Payne wrote: \version 2.17.9 \relative c'' { \override BreathingSign.text = \markup { \fontsize #5 { \musicglyph #comma } } \override BreathingSign.Y-offset = #4 c2. \breathe d4 e8 d e f g4 \breathe g } I had to do \override BreathingSign #'text