Re: Two adjacent clefs
On Mon, Jun 10, 2024 at 3:25 AM Valentin Petzel wrote: > > and this is the rather hacky one using hidden grace notes - my > > searching skills are sadly lacking evidently :( > > > > Richard > > Trust me, the other one is even more hacky ... It essentially fakes the > appearance of the real clef and draws a new clef glyph into the > TimeSignature > grob. > > Did a draft for implementation in the actual Clef engraver: > > https://gitlab.com/lilypond/lilypond/-/merge_requests/2362 > > Still needs some polishing and design choices, but then this should > essentially boil down to setting > > initialClefChange = ##t > Thank you for this. One question: is the second clef the size of a "change clef" ? The reason I chose LSR 792 over 956 is the size of the second clef. -- Knute Snortum
Re: Two adjacent clefs
On Sun, Jun 9, 2024 at 6:39 AM Richard Shann wrote: I was imagining that this construct was more commonly used than I guess > it actually is (the current case that I have been asked about is not > even what I took to be the common case of pianists so used to having > treble and bass that they don't notice it's two bass clefs), ... > The situation of having an initial clef, then changing it to another clef, is not uncommon in piano music. Recall Chopin's prelude in e flat minor, opus 28, number 14 (attached). -- Knute Snortum
Re: Two adjacent clefs
On Sat, Jun 8, 2024 at 7:03 AM Richard Shann wrote: > I think it's not uncommon for two clefs to appear side by side at the > start of a piece (e.g. when a piano piece starts with both staves in > bass clef so as to alert the pianist that the upper staff is not in > treble clef). > How is this done in LilyPond? > It can be done with some Scheme magic. I'm assuming you want both a treble and bass clef initial and then immediately change to another clef? Someone wrote this (attached) for me (I really need to put the author in the code so I can give credit where due.) All you do is include it in your LilyPond source and write \trebleToBass or \bassToTreble and you have what you want. -- Knute Snortum force-initial-clef.ily Description: Binary data
Re: Creating otvaves with cue notes as the bottom note
I like the addStacc func; I will definitely use that! But I need the top note of the octave normal size and the bottom one cue sized. Your script seems to cue-size both notes in the octaves. Still, thanks for your contribution! It was a way of doing it I hadn't thought of. -- Knute Snortum On Fri, Jun 7, 2024 at 5:01 PM Colin Campbell wrote: > This is butt ugly, Knute, but maybe suggesting a possible way: > >
Creating otvaves with cue notes as the bottom note
I've run across some music that has octaves where the bottom note is the
size of a grace note, a cue note I'm guessing. See attached picture. I
can create what I want with this in LilyPond code:
\version "2.24.3"
{
\clef bass
<\single \override NoteHead.font-size = -2 c, c>4
}
...but repeating that for several dozen octaves is going to be a pain.
There is a scheme function in the LSR that creates octaves (
https://lsr.di.unimi.it/LSR/Snippet?id=445) but I'm not smart enough to put
the "cue sizing" of the bottom note into it. (It relies on recursion, so
is that even possible?)
If anyone has the time to create a function for me that creates octaves
with a cue-sized note as the bottom note, I would be very grateful. If
not, well, copy and paste works!
Thanks,
--
Knute Snortum
Re: Unexpected suffix in chordmode
On Thu, May 30, 2024 at 6:32 AM Pierre-Luc Gauthier <
p.luc.gauth...@gmail.com> wrote:
> Since you wrote : cis
>
> maybe you want :
>
> \new ChordNames \chordmode {
> g1:11+13
> }
>
> which gives picrelated :
>
> Then again, there is an extra 7 which is already implied…
>
You can create chord name exceptions to get rid of the 7 or 9 from the
chord modifiers:
%%%
\version "2.24.3"
% modify 13 and #11 13 chords
% Exception music is chords with markups
chExceptionMusic = {
1-\markup { \super "13" }
1-\markup { \raise #1.8 \teeny \sharp \super "11
13" }
}
% Convert music to list and prepend to existing exceptions.
chExceptions = #(append
(sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
theMusic = \chordmode {
g1:13 g1:11+.13
\set chordNameExceptions = #chExceptions
g1:13 g1:11+.13
}
<<
\new ChordNames \theMusic
\new Voice \theMusic
>>
%%%
--
Knute Snortum
Re: base 4/4 sheet with tab for guitare
On Mon, May 27, 2024 at 6:24 PM Jean-Christophe Énée < jean-christo...@blues-softwares.net> wrote: > > how can i have hightligth syntax on gedit ? > Does it have to be GEdit? There is syntax highlighting in other editors like Frescobaldi, VSCode, vim. -- Knute Snortum
Re: base 4/4 sheet with tab for guitare
On Mon, May 27, 2024 at 5:52 PM Jean-Christophe Énée < jean-christo...@blues-softwares.net> wrote: > hi > > how add tab ? > Use \new TabStaff instead of \new Staff -- Knute Snortum
Re: base 4/4 sheet with tab for guitare
On Mon, May 27, 2024 at 5:11 PM Jean-Christophe Énée < jean-christo...@blues-softwares.net> wrote: > hello, > i create a github but can´t import to hacklily > Hi, (Be sure to reply-all or include the LilyPond users list to your email.) I'm not sure why you're creating a github repository -- if that's what you're doing -- but you don't have to do that. I'm not sure what you mean by "import hacklily". You can type code into hacklily or copy and paste it. -- Knute Snortum
Re: base 4/4 sheet with tab for guitare
On Mon, May 27, 2024 at 4:35 PM Jean-Christophe Énée < jean-christo...@blues-softwares.net> wrote: > hello, > i would like have a schem to create guitar sheet with tab and grille > If I understand you correctly, you want a template for guitar with a tab staff and fretboards. This will get you close: https://lilypond.org/doc/v2.24/Documentation/snippets/templates#templates_003a-single-staff-template-with-notes_002c-lyrics_002c-chords-and-frets Then instead of \new Staff, write \new TabStaff. -- Knute Snortum
Re: Unexpected suffix in chordmode
--
Knute Snortum
On Sat, May 25, 2024 at 2:18 PM Nikita Borisenko wrote:
> Hi Everyone,
>
> Can anyone please advise why the following snippet outputs G9.13 instead
> of just the G13 chord name?
>
I don't know "why", but this is how you would get just a 13 chord:
changes = \chordmode {
| g1:11.13 |
}
You can find the common chord modifiers here:
https://lilypond.org/doc/v2.24/Documentation/notation/common-chord-modifiers
Re: how to remove marks automatically
On Sat, May 25, 2024 at 9:16 AM Stefan Thomas
wrote:
> Dear community,
> I would like to remove automatically all the "\mark \markup { \box {
> LETTER } }" in the below quoted text. Can I do this with regex? Does
> someone know how?
> Thanks,
> Stefan
>
> \version "2.22.2"
>
> violine = {
> \clef "treble" | % 1
> R1*8 | % 9
> \mark \markup { \box { A } } R1*8 -\markup{ \tiny {Lija+Tambor} }
> \mark \markup { \box { B } }
> R1*8
> \mark \markup { \box { C } }
> r4 2. \fermata :32
> }
>
> You could try something like this:
/\\mark\s*\\markup\s*\{\s*\\box\s\{\s*\w+\s*\}\s*\}/gm
--
Knute Snortum
Re: jump to coda inside repeat with alternative
On Thu, May 23, 2024 at 9:16 PM David Wright wrote: > > Sometimes the easiest way of using these repeat constructions is to > copy and paste an example from Notation Reference §1.4 into your > .ly file, and then insert your music in place of the example's. > If you use Frescobaldi as your editor, you can make it a snippet, or several snippets. -- Knute Snortum
Re: jump to coda inside repeat with alternative
On Wed, May 22, 2024 at 10:50 AM Paul Scott wrote:
> I sometimes use \stopStaff and \startStaff before the coda. Can anyone
> tell me how to get a clef sign after a \startStaff?
>
Would Staff.forceClef = ##t work in your situation? If not, can you give
us a MWE?
%%%
\version "2.24.3"
{
c''4 4 4 4 \stopStaff
s1
\once \set Staff.forceClef = ##t
\startStaff c''4 4 4 4
}
%%%
--
Knute Snortum
Re: Centered number of bars of multi-measure rest in piano staff?
On Wed, May 22, 2024 at 10:43 AM Ole V. Villumsen <
ole.villum...@protonmail.ch> wrote:
> Just like in a piano staff we can have centred dynamics between the two
> staves, can Lilypond also centre the number of bars a multi-measure rest
> lasts?
>
This is how I would do it:
%%%
\version "2.24.3"
musicOne = {
\clef bass
\key f \major
\time 3/8
\partial 8
\omit MultiMeasureRestNumber
r8 | R4.*7 |
}
musicTwo = {
\clef bass
\key f \major
\time 3/8
\partial 8
r8 | \offset MultiMeasureRestNumber.Y-offset 1 R4.*7 |
}
\new PianoStaff <<
\new Staff \compressMMRests \musicOne
\new Staff \compressMMRests \musicTwo
>>
%%%
The key points are omitting the multi measure rest number in the right hand
and moving the number up in the left.
--
Knute Snortum
Re: Removing the change clef in a first ending (volta 1)
On Tue, May 21, 2024 at 11:28 AM Xavier Scheuer wrote: > On Tue, 21 May 2024 at 19:42, Knute Snortum wrote: > > > > It's probably easier to see in the MWE and screen shot I've attached. > So is there a way to get rid of the bass change clef indicator in the first > ending? > > Hello, > > \once \set Staff.explicitClefVisibility = #end-of-line-invisible > before your \break at the end of volta 1. > That's exactly what I was looking for, thanks! -- Knute Snortum
Re: Moving dynamics onto the staff
On Tue, May 21, 2024 at 7:10 AM Werner LEMBERG wrote: > > You want to position the 'f' sign into the staff lines of the upper > staff? If yes, then it doesn't fit with the concept of a a `Dynamics` > context *between* the staves IMHO. Instead, I would attach the 'f' > sign to the upper staff, since it clearly belongs to that staff. > Yes, you've hit the nail on the head. I ran into the problem because I almost always put my dynamic markings in a Dynamics context, but then moving a mark into the upper or lower staff is impossible. The solution is just to put the dynamic mark in the staff, as you stated. -- Knute Snortum
Removing the change clef in a first ending (volta 1)
I have been engraving more pieces that have volta repeats and it's proving
to be challenging. I have a problem where I want to remove the change clef
in the first ending but not the subsequent staff clef in the second. The
staff starts in treble clef then moves to bass clef. In the first ending
there is a change clef indicator showing that when you repeat, you are
treble clef again, but there is also a bass clef indicator because the
second ending is in bass clef. But that doesn't make sense in the first
ending, where you are going back to treble clef.
It's probably easier to see in the MWE and screen shot I've attached. So
is there a way to get rid of the bass change clef indicator in the first
ending?
All input is very much appreciated.
--
Knute Snortum
\version "2.24.3"
\relative {
\repeat volta 2 {
\repeat unfold 4 { c'4 c c c }
\clef bass
\repeat unfold 3 { c,4 c c c } {}
\alternative {
\volta 1 {
% I want to omit the change to bass clef here...
c4 c \clef treble c' c \break
}
\volta 2 {
% ...without omitting the staff bass clef here
\clef bass c,4 c c c
}
}
}
\repeat unfold 8 { c4 c c c } \break
\repeat unfold 8 { c4 c c c }
}
Re: Moving dynamics onto the staff
On Mon, May 20, 2024 at 8:58 PM Werner LEMBERG wrote:
> Since version 2.25.13 the NR contains the attached warning box.
>
Thank you, Werner. Interestingly, the following does *not* work, but I can
kind of understand why. The dynamics context doesn't know that there's a
staff above it and/ot the piano staff forbids the dynamics from encroaching
on the staff above.
\version "2.25.16"
rightHand = \relative {
c''1
}
leftHand = \relative {
\clef bass
c1
}
dynamics = {
\once \override DynamicLineSpanner.outside-staff-priority = ##f
\once \override DynamicLineSpanner.Y-offset = 7
s1\f
}
\score {
\new PianoStaff <<
\new Staff \rightHand
\new Dynamics \dynamics
\new Staff \leftHand
>>
}
--
Knute Snortum
Re: Moving dynamics onto the staff
On Mon, May 20, 2024 at 6:33 PM Jean Abou Samra wrote: > > So why would overriding the dynamic line spanner's outside-staff-priority > > change where the forte goes? Isn't it DynamicText? If anyone can clear > this > > up for me, I would be very appreciative. > > When there are consecutive dynamics like \p \< ... \f \> ... \pp, they > need to be all vertically aligned. LilyPond achieves that by grouping > them into a same DynamicLineSpanner, so it's that object which is > responsible > for the vertical placement of dynamics. In this case, there's only > one dynamic in the DynamicLineSpanner, but this still applies. > Thank you for taking the time to explain that to me. -- Knute Snortum
Moving dynamics onto the staff
I am confused. While trying to find a way to move a forte mark up onto the
staff, I came across some very counter-intuitive code:
%%%
\version "2.24.3"
{
% Why does this work...
\once \override DynamicLineSpanner.outside-staff-priority = ##f
\once \override DynamicLineSpanner.Y-offset = -2
c''1\f
% ...and this does not?
\once \override DynamicText.outside-staff-priority = ##f
\once \override DynamicText.Y-offset = -2
c''1\f
% And neither does this:
c''1-\tweak outside-staff-priority ##f -\tweak Y-offset -2 \f
}
%%%
So why would overriding the dynamic line spanner's outside-staff-priority
change where the forte goes? Isn't it DynamicText? If anyone can clear
this up for me, I would be very appreciative.
--
Knute Snortum
Re: Disable all padding and collision around markup
On Sun, May 19, 2024 at 4:22 AM wrote: > Hi William, > > > In the following example, I use a section label and a TextScript on a > > note. I offset the markup text so that it appears inside the staff, but > > it still makes the section text higher up. I would like to know if it > > is possible to disable this padding around the TextScript, so that the > > section label appears directly over the staff without the extra space, > > the same way as it does when there is no text script. > > There are ways to "disable the padding" (a.k.a. have the spacing engine > ignore the TextScript). However, it might be just as easy — or maybe > even easier? — to simply tweak the X-offset and Y-offset rather than > using extra-offset: > The extra-offset happens late in the rendering process, so the other grobs can't adjust to its movement like they do with X- and Y-offset. -- Knute Snortum
Re: Polytempo barlines
On Fri, May 10, 2024 at 2:07 PM Dmitri Volkov
wrote:
> Apologies for all the emails, but I believe I figured it out. Using \set
> Staff.measureBarType = "" as follows seems to do the trick, although
> there still is a bit of gap where the barline would go.
>
> \version "2.24.3"
>
> stuff = \relative {
> \set Staff.measureBarType = ""
> \time 4/4
> c4 d4 e4 f4 | \bar "|"
> g4 f4 e4 d4 | \bar "|"
> c1 | \bar "|"
> }
>
> \score {
> <<
> \new Staff \scaleDurations 1/1 \stuff
> \new Staff \scaleDurations 8/9 \stuff
> >>
> \layout {
> \context {
> \Staff
> \consists "Timing_translator"
> }
> \context {
> \Voice
> \remove "Forbid_line_break_engraver"
> }
> }
> }
>
You may want to add...
\layout {
\enablePolymeter
}
...to your input file. Have a look at:
https://lilypond.org/doc/v2.24/Documentation/notation/displaying-rhythms#polymetric-notation
--
Knute Snortum
Re: Showing fingering on top of slurs
On Thu, May 9, 2024 at 7:05 AM Paul McKay wrote:
> Hi
> I want to show the fingering in front of the slurs. This should keep the
> fingerings evenly spaced vertically over the notes. I have tried the
> following :
>
> \version "2.24.0"
> \language "english"
>
> \relative {
> \override Staff.Fingering.layer = 2 % fingering should overwrite
> slurs
> r4 r8 -1-3( 16-2-4 -1-5-2-4-3-5) }
>
> Fingerings still avoid the slurs.
> What am I missing?
>
I'm not sure what you want to achieve, but try adding the avoid-slur
property to the fingering:
\version "2.24.0"
\language "english"
\relative {
\override Staff.Fingering.layer = 2 % fingering should overwrite
slurs
\override Staff.Fingering.avoid-slur = #'ignore
r4 r8 -1-3( 16-2-4 -1-5-2-4-3-5) }
https://lilypond.org/doc/v2.24/Documentation/internals/slur
--
Knute Snortum
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
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
Re: Re[4]: Frescobaldi?
On Mon, May 6, 2024 at 7:06 AM Steph Phillips wrote: > Well, I'm glad you asked about feedback because I'm curious what other > folks who contribute to Frescobaldi might think. > > After digging around in the codebase, I'm wondering if the application > might benefit from a more object-oriented design. It's definitely in > Python, but with more of C-style approach. You've worked on it, you know > what I'm talking about. Was wondering what your thoughts are. > > Additionally, I was wondering if it might benefit from typehinting > throughout the codebase to allow for easier maintenance and plugin > development. > > Thoughts? ♥ > I'm an intermediate-level python programmer but I might be able to help with busy work like typing and documenting functions, with some feedback. Anything to give back to a project that I use all the time! -- Knute Snortum
Re: aftergrace consistently close to the next bar line
On Sun, May 5, 2024 at 1:19 AM wrote:
> Good day,
>
>
>
> I use afterGrace notes to mark the end of a glissando. At the moment
> lilypond places these afterGrace notes somehow depending on the note's
> length.
> I want the glissando to be played over the entire length of the time unit,
> so the afterGrace notes should be placed as close as possible to the
> following bar line (or time unit), consistently.
>
> How can I achieve this?
>
> For example: In the bar (image) above I would like to have the afterGrace
> notes eih'' of the violins at the same x-position (close to the bar line)
> as the fis' of the third voice.
>
> %%%
> % violin 1
> \time 3/2 cis'2.\p^"col legno" \glissando \afterGrace gis' \glissando
> {\once \hide Stem \parenthesize eih4} |
>
> % violin 2
> \time 3/2 cis'2.\p^"col legno" \glissando \afterGrace disih \glissando
> {\once \hide Stem \parenthesize eih4} |
>
> % viola
> \time 3/2 \afterGrace cis''1.\p^"col legno" \glissando {\once \hide Stem
> \parenthesize fis,4} |
> %%%
>
You can put a fraction right after the \afterGrace command to indicate how
far the afterGrace notes should be from the base note. The closer the
fraction is to 1, the farther the grace note. So try something like:
\afterGrace 15/16 gis' \glissando {\once \hide Stem \parenthesize eih4}
--
Knute Snortum
Re: \after … \beforeLast?
On Fri, May 3, 2024 at 3:04 AM Mats Bengtsson
wrote:
>
> If you want the (de-)crescendo to stop at the barline, then you
> shouldn't need such solutions, since \< and \> have the to-barline
> property set by default, which means that even if the \! is placed after
> the bar line, the hairpin will stop nicely just at the end of the bar:
>
> \version "2.24.0"
>
> {
><>\< \repeat unfold 8 {e''16 d''} <>\! |
>c'1 |
>% Strangely enough, to-barline isn't the default for textual
> de(crescendi):
>\override DynamicTextSpanner.to-barline = ##t
><>\cresc \repeat unfold 8 {e''16 d''} <>\! |
>c'1 |
> }
>
That works well with dynamics, but it doesn't work well with something like
sustain pedalling. There is no to-barline property (that I'm aware of) so
a construction like this:
\version "2.24.3"
\relative {
c''4\sustainOn c c c <>\sustainOff |
c4\sustainOn c c c <>\sustainOff | \break
c4\sustainOn c c c <>\sustainOff |
}
... means you will get a combined sustainOff/sustainOn at the first beat of
the second and third measures and an error from the last <>sustainOff in
the code.
--
Knute Snortum
Re: \after … \beforeLast?
On Thu, May 2, 2024 at 1:10 PM Pierre-Luc Gauthier
wrote:
> > {
> > s2...\< s16\! |
> > }
> > ...that I do it almost automatically.
>
> Try that in 12/8 :-)
>
{
\time 12/8
s1*23/16\< s16\! | % ??
}
Yeah, I see your point. ;)
--
Knute Snortum
Re: \after … \beforeLast?
On Thu, May 2, 2024 at 10:31 AM Pierre-Luc Gauthier <
p.luc.gauth...@gmail.com> wrote:
> Le jeu. 2 mai 2024, à 13 h 08, Knute Snortum a écrit
> :
> > Perhaps I'm not getting the need for this command as you could using an
> empty chord at the end of the repeat to do the same thing:
> >
> > {
> > <>(\<
> > \after 2 \>
> > \repeat unfold 8 {e''16 d''} <>)\!|
> > }
>
> The above example would not work if I add another note :
>
> {
> \repeat unfold 8 {e''16 d''} <>\f |
> c'1 |
> }
>
> The "empty chord" syntax (which probably has a name? (and is not a
> chord in my understanding)) pushes the expression to the next event.
>
Yes, you're right that the empty chord (this is what I've heard others call
it) does not actually put the event at the end of the measure, but the
beginning of the next measure. I use a different context for all my
dynamics and I've gotten so used to typing...
{
s2...\< s16\! |
}
...that I do it almost automatically. But I can see now that a "fromEnd"
command would be useful.
--
Knute Snortum
Re: \after … \beforeLast?
On Thu, May 2, 2024 at 8:04 AM Pierre-Luc Gauthier
wrote:
> Rambling here :
>
> So, I *love* the simplicity and elegance of the \after command and I
> am using it pretty much everywhere.
>
> {
> <>(
> <>\<
> \after 2 \>
> \after 16*15 )
> \after 16*15 \!
> \repeat unfold 8 {e''16 d''} |
> }
>
> and since then I often end up doing head math to figure out what I
> must add to \after for it to end up e.g. an 8th *before* the end of
> the expression. In the above example it is quite easy :
> a 16th before the end is... 16*#(- 16 1).
>
> So what about a \beforeLast command that would do sort of the \after
> job but starting from the end of the expression rather from the start
> ?
> e.g. :
> \beforeLast 16 \!
>
Perhaps I'm not getting the need for this command as you could using an
empty chord at the end of the repeat to do the same thing:
{
<>(\<
\after 2 \>
\repeat unfold 8 {e''16 d''} <>)\!|
}
Maybe there are other situations where \beforeLast would be useful?
--
Knute Snortum
Re: slurs problem with voices
On Wed, May 1, 2024 at 10:55 PM Robert Garrigos wrote: > Oh this is a bit embarrassing, such a basic error….. sorry, I never > realized that the parenthesis needs to be right after the first note. > Nothing to be embarrassed about. It takes some getting used to. -- Knute Snortum
Re: slurs problem with voices
On Wed, May 1, 2024 at 1:59 PM Robert Garrigos wrote: > I have this music to engrave, note the slur: > [...] > Why is not the first example working? I tried with explicit voicing with > the same results. > Slurs in LilyPond are "post events", meaning they always go *after* the note. So if you want to slur from note a to note b, you write: a( b) The above slur will start on the note a and end on the note b. -- Knute Snortum
Re: Frescobaldi?
On Sun, Apr 28, 2024 at 4:15 AM Jean Abou Samra wrote: > Doing some system updates today, I see that frescobaldi is the only > program that requires PyQtWebEngine:5, which in turn requires > qtwebengine:5. Looking at the frescobaldi page, I see a somewhat concerning > note that the project is on the verge of being unmaintained, due to this > dependency on a deprecated version of qtwebengine. > > Is there any further information on this? I don't see any other IDE that > works as well as frescobaldi for editing lilypond files, and I'm a bit > worried that there hasn't been an update to the program in over a year. Any > news would be appreciated. > > > > You've basically nailed the problem. I was the last person to work on > making Frescobaldi actually work on macOS, and I gave up by lack of time > (NB: I don't own a macOS machine, which of course makes all testing very > difficult). Currently, there is close to no activity on the project. > > I doubt Linux distributions are going to remove Qt 5 really soon, and the > Flatpak package can always provide it, but like every toolkit that's > end-of-life, it's only going to be a source of trouble going forward. For > example, Frescobaldi has some problems on Wayland (which is increasingly > becoming the default on the Linux desktop, for good reason) that are caused > by Qt 5 bugs fixed in Qt 6. I don't recall that anybody even attempted the > Qt 6 migration. > > Yes, if the current state continues, Frescobaldi will ultimately die a > natural death. Sorry that I cannot exactly bring an optimistic message > here. > If there is busy work that needs to be done on the project, I can do that, but I also don't own a Mac. -- Knute Snortum
Re: slur cross staves
On Fri, Apr 26, 2024 at 2:57 PM Robert Garrigos wrote:
> This is the original music to copy:
>
>
>
> I have this:
>
> <<
> {
> \change Staff = "upper" \set tieWaitForNote = ##t
> \grace {cs'4_~ fs_~ cs'~ s4} 1^\fermata
> }
> \\
> {
> \set tieWaitForNote = ##t
> \grace { fs,,4~^\pp\sustainOn cs'~ as'^~ s4*4} as'>1_\fermata
> }
> >>
>
Thanks for including some example code, however, what you posted doesn't
produce the output you show. So I went back to my original code. I put a
slur in the upper grace notes, then used the \shape command to manipulate
the slur. I wasn't able to get the end of the slur to go into the lower
staff, but it's close. Maybe someone else can improve on it.
\version "2.24.3"
rightHand = \relative {
\set tieWaitForNote = ##t
\shape #'((-5 . -7.5) (-4 . 0) (0 . 0) (0 . 0)) Slur
\grace { c'4~^( g'~ c~) } 1
}
leftHand = \relative {
\clef bass
\set tieWaitForNote = ##t
\grace { f,4~ c'~ a'~ s4 * 3 } 1
}
\score {
\new PianoStaff <<
\new Staff = "upper" \rightHand
\new Staff = "lower" \leftHand
>>
}
--
Knute Snortum
Re: GraceSpacing on Staff
On Fri, Apr 26, 2024 at 10:02 AM Leo Correia de Verdier < leo.correia.de.verd...@gmail.com> wrote: > s4*3 after the grace notes (within the grace group) in the lower staff. > This is probably better than what I posted. -- Knute Snortum
Re: explicit arpeggio
On Fri, Apr 26, 2024 at 7:07 AM Robert Garrigos wrote:
> How about moving the grace notes of the lower staff to the left? I’m
> trying with GraceSpacing but cannot make it work just for the lower staff.
> It is applied to the Score, not the Staff.
>
It's nice to show what you have tried, so people have a starting point on
which to proceed. Here's what I did; there may be other ways to do it:
\version "2.24.3"
staffUp = \change Staff = "upper"
staffDown = \change Staff = "lower"
rightHand = \relative {
\set tieWaitForNote = ##t
\grace { c'4~ g'~ c~ } 1
}
leftHand = \relative {
\clef bass
\set tieWaitForNote = ##t
\grace { f,4~ c'~ a'~ \staffUp \hideNotes \shiftOff c g' c }
\unHideNotes \staffDown 1
}
\score {
\new PianoStaff <<
\new Staff = "upper" \rightHand
\new Staff = "lower" \leftHand
>>
}
--
Knute Snortum
Re: Lyrics and Barchecks
On Thu, Apr 25, 2024 at 8:06 PM David Wright wrote: > [...] > Alternatively, you can leave the bar and bar number checks in place, > as you suggest above, but use the tersely documented¹ expect-warning > feature to silence just these warnings. (check3.ly, attached.) That > will prevent their spam from obscuring other, significant warnings > amd errors. > If you go this route, it can become tiresome to write the same warning several times. Someone on this list wrote me a little Scheme function that is like expect-warnings but takes a "number of times" argument: #(define ly:expect-warning-times (lambda args (for-each (lambda _ (apply ly:expect-warning (cdr args))) (iota (car args) You might use it like this: #(ly:expect-warning-times 4 "bar check failed") -- Knute Snortum
Re: Force LilyPond to show same time signature again
On Mon, Apr 22, 2024 at 3:32 AM Hajo Baess wrote:
> > Is there a reason you are writing...
>
> Yes there is.
[...]
> The question is only: will it work as well in my score. I still
> have to try and see, and I will report what will happen...
>
I think this does what you want:
\version "2.24.3"
rightHand = \relative c' {
\time 3/4
\repeat unfold 6 { c8 }
\set Staff.timeSignatureFraction = 9/8
\scaleDurations 2/3 {
\repeat unfold 9 { c8 }
}
\set Staff.timeSignatureFraction = 3/4
\repeat unfold 6 { c8 }
}
leftHand = \relative c {
\clef bass
\time 3/4
\repeat unfold 6 { c8 }
\time 3/4
\repeat unfold 6 { c8 }
\time 3/4
\repeat unfold 6 { c8 }
}
\score {
\new GrandStaff <<
\new Staff = "upper" \rightHand
\new Staff = "lower" \leftHand
>>
}
--
Knute Snortum
Re: Force LilyPond to show same time signature again
On Sat, Apr 20, 2024 at 3:02 PM Hajo Baess wrote:
> I have messed around with this little lab specimen here, and I have
> found a solution, but it is weird. You obviously (after having scaled
> some rhythm just once) have to explicitly unscale the rhythm e v e r y
> time you want it to appear in the staff. I have extended the example
> with a short quote from the piece I am typesetting. this is what
> obviously works:
>
> > \version "2.24.2"
> > \language "deutsch"
> >
> > \relative c'' {
> > \time 3/4 c4 c c c2 c4
> > \time 3/4 c4 c c c2 c4
> > \omit Score.TimeSignature
> > \time 3/4 c4 c c c2 c4
> > \undo \omit Score.TimeSignature
> > \time 3/4 c4 c c c2 c4
> > \time 3/4 \set Staff.timeSignatureFraction = 9/8
> > \scaleDurations 2/3 {
> > \repeat unfold 3 { f8 ( d a ) } \repeat unfold 3 {
> > e' ( cis a ) } \repeat unfold 3 { f'8 ( d a ) }
> > \repeat unfold 3 { g' ( e c ) } \repeat unfold 3 {
> > a' ( f c ) } \repeat unfold 3 { g' ( e c ) }
> > \repeat unfold 3 { f8 ( d a ) }
> > } %\override Score.TimeSignature.stencil = ##f
> > \time 3/4 \set Staff.timeSignatureFraction = 3/4
> > \scaleDurations 1/1
> > {
> > cis4\trill cis2 d4 d4. c16 d e2 e4 f4 f4. g8 e2 e4 f
> > d d ~ d8 cis d4 d4
> > }
> > \time 3/4 \set Staff.timeSignatureFraction = 3/4
> > \scaleDurations 1/1
> > { d2 d4\fermata}
> > \bar "|."
> > }
>
> If you just type "\time 3/4" at the end for instance, you won't get
> your time signature shown. At least this prodecure is completely
> unintuitive, I think.
>
A couple of points:
* Is there a reason you are writing " \time 3/4 \set
Staff.timeSignatureFraction = 9/8" and then scaling by 2/3 rather than just
writing "\time 9/8"?
* Why are you writing "\time 3/4 \set Staff.timeSignatureFraction = 3/4"
instead of just "\time 3/4"?
* "\scaleDuractions 1/1 {}" is doing nothing and can be removed.
Applying my suggestions to your music, you get this, which seems to work as
you want it to:
\version "2.24.2"
\language "deutsch"
\relative c'' {
\time 3/4 c4 c c c2 c4
\time 3/4 c4 c c c2 c4
\omit Score.TimeSignature
\time 3/4 c4 c c c2 c4
\undo \omit Score.TimeSignature
\time 3/4 c4 c c c2 c4
\time 9/8
\repeat unfold 3 { f8 ( d a ) }
\repeat unfold 3 {e' ( cis a ) }
\repeat unfold 3 { f'8 ( d a ) }
\repeat unfold 3 { g' ( e c ) }
\repeat unfold 3 {a' ( f c ) }
\repeat unfold 3 { g' ( e c ) }
\repeat unfold 3 { f8 ( d a ) }
\time 3/4
cis4\trill cis2 d4 d4. c16 d e2 e4 f4 f4. g8 e2 e4 f d d ~ d8 cis d4 d4
\time 3/4
d2 d4\fermata
\bar "|."
}
Re: Force LilyPond to show same time signature again
On Sat, Apr 20, 2024 at 1:32 PM Hajo Baess wrote:
> What you suggest sounds all so common-sense, but LilyPond still does
> not get it...
> If I implant "\omit Score.TimeSignature" and "\undo \omit
> Score.TimeSignature" into my code instead of the previous commands, I
> get this - see screenshot.
>
> But if I do something really basic like:
>
> \version "2.24.2"
> \language "deutsch"
>
> \relative c'' {
> \time 3/4 c4 c c c2 c4
> \time 3/4 c4 c c c2 c4
> \omit Score.TimeSignature
> \time 3/4 c4 c c c2 c4
> \undo \omit Score.TimeSignature
> \time 3/4 c4 c c c2 c4
> \bar "|."
> }
>
> it works as expected. It really seems to have something to do with the
> scaled rhythms - that is my guess.
>
This is where tiny examples (https://lilypond.org/tiny-examples.html) are
important. Build an example of the problem with as little other stuff as
possible. It's difficult sometimes, but it will sometimes lead you to an
answer, and it certainly helps anyone trying to assist you.
--
Knute Snortum
--
Knute Snortum
--
Knute Snortum
--
Knute Snortum
Re: Force LilyPond to show same time signature again
On Sat, Apr 20, 2024 at 4:17 AM Hajo Baess wrote: > If I do this, I get other unwanted results - see screenshot. The > problem is that I am switching back and forth between scaled and non- > scaled rhythm. And as you will notice, the 6/4 only appears in the > piano staff and n o t in the top parts. And the 3/4 also does not > appear (although I think it should) in the top part like in bars 195 > and 197... > > Is there no simple way to just toggle "\override > Score.TimeSignature.stencil = ##f " ? > > Simpler than \override Score.TimeSignature.stencil = ##f \override Score.TimeSignature.stencil = ##t ? You could use \omit Score.TimeSignature instead of \override Score.TimeSignature.stencil = ##f and use \undo \omit Score.TimeSignature for \override Score.TimeSignature.stencil = ##t If you wanted to shorten it more, you could put this at the top of your file: stopTimeSignature = \omit Score.TimeSignature startTimeSignature = \undo \omit Score.TimeSignature Then you could use \stopTimeSignature \startTimeSignature in your file. -- Knute Snortum
Re: Force LilyPond to show same time signature again
On Fri, Apr 19, 2024 at 4:31 PM Hajo Baess wrote:
> Hello all,
>
> I look for a way to force LilyPond to show the same time signature
> again, although there is no change - just as a reminder. I could not
> find anything in the NR and in the Snippet Repository.
>
>
Unless I'm misunderstanding, just repeating the \time should do it:
\version "2.24.3"
\score {
\new Staff {
\relative {
\time 4/4
\repeat unfold 8 { c'8 } |
\time 4/4
\repeat unfold 8 { c8 } |
}
}
}
--
Knute Snortum
Re: Delayed turns etc
Here are my answers. Other people may have better suggestions.
On Tue, Apr 16, 2024 at 2:27 PM Peter Mayes wrote:
> 1. I would like the \trill in bar 2 and the ten(uto) in bar 6 to be below
> the slurs, and not above.
>
Getting the trill under (inside) the slur is easy:
% Trill under slur with tweak avoid slur
fis[ \afterGrace g-\tweak avoid-slur #'inside \trill {fis16 g} gis8)] |
Getting the "ten." under the slur is a little harder:
% "ten." under slur with shape shape and tweak outside staff priority
ais,8\turn-\shape #'((0 . 0) (0 . 0) (0 . 2) (0 . 0)) ( fis e'! ~ |
e4-\tweak outside-staff-priority ##f ^\markup{\italic ten.} dis8) |
> 2. In the score I am trying to engrave, the three \turn's have an
> accidental underneath - First has a sharp, second and third a double sharp.
> I have seen the section "Creating a delayed turn" in notation.pdf, but
> nothing I try achieves what I want. I *DO* want the turn to be directly
> above the first note of the bar, rather than between the first and second.
>
This is tricky. Here's what I came up with:
\once \override TextScript.outside-staff-priority = 0
\once \override Script.outside-staff-priority = 100
\shape #'((1 . 2) (1 . 2) (0 . 0) (0 . 0)) Slur
gis'8^\markup \teeny \sharp -\tweak avoid-slur #'inside \turn (bis cis |
> 3. How to stop the second line being justified out to the right? In the
> fuller score, something like this is followed by a page break and more
> music, but there is a natural break at this double bar, and it looks very
> "stretched out". I tried various "ragged" keywords, but none of them just
> operated on the one line.
>
Is this not what you want?
\paper {
ragged-last = ##t
}
Re: Multiple parts on the same stems
On Tue, Apr 16, 2024 at 1:01 PM Gerardo Ballabio
wrote:
> Hello all,
> I'm trying to typeset a percussion score with several instruments on
> the same staff. When they play simultaneous notes I want to line them
> up all on the same stem, like this (output attached, percussion1.pdf):
>
> [...]
>
> But I'd like to write down each part separately, so that I may also
> print the single parts without redoing everything. And I also want to
> use different note heads for each instrument.
>
> [...]
>
> But as you can see (output attached, percussion2.pdf) the three notes
> aren't aligned on the same stem, only two of them are.
>
> I tried \partCombine, it works nicely with two parts, but if there's a
> way to combine three or more I didn't find it.
>
>
The way I'd do it is to explicitly write the voices you wanted in each
part. If you want them all to be stemDown and on one stem, try voiceTwo
for them all:
bassDrum = \relative {
\voiceTwo
s1 |
s2 b2-> |
s1 |
s2 b2-> |
}
cymbals = \relative {
\voiceTwo
\override NoteHead.style = #'xcircle \stemDown
s1 |
s2 f'2 |
s1 |
s2 f2 |
}
tamTam = \relative {
\voiceTwo
\override NoteHead.style = #'cross \stemDown
s1 |
s2 e2 |
s1 |
s2 e2 |
}
--
Knute Snortum
Re: Vertically Repositioning \tempo Output
On Tue, Apr 16, 2024 at 8:05 AM PMA wrote:
> Hi Knute --
>
> Although my system ignored this "...MetronomeMark..." line, your "\tweak"
> made me think in a new direction.
>
> Once I managed to increase the vertical space *above* my \tempo command,
> the overcrowding disappeared.
>
> Thank you for the inspiration!
>
> Peter A
>
>
> On 4/14/24 21:16, Knute Snortum wrote:
>
> On Sun, Apr 14, 2024 at 2:37 PM PMA
> wrote:
>
>
> Hi List --
>
> One of my several \tempo commands is printing its line too far above the
> staff.
>
> My attempts to affect its Y-offset (with \markup, \offset or \tweak) have
> failed.
>
> Could someone please point me in the right direction?
>
>
> It's hard to know how to help you if you don't have a tiny example
> (https://lilypond.org/tiny-examples.html). For instance, I was able to
> affect the Y-offset of a metronome mark with this code:
>
> \version "2.24.3"
>
> {
> \tweak MetronomeMark.Y-offset 5
> \tempo "Allegro"
> c''1
> }
>
> --
> Knute Snortum
>
>
Glad I could be an inspiration to you!
In the future, be sure to Reply All or add the LilyPond users list in the
CC to post back to the list. Thanks.
--
Knute Snortum
Re: Vertically Repositioning \tempo Output
On Sun, Apr 14, 2024 at 2:37 PM PMA wrote:
> Hi List --
>
> One of my several \tempo commands is printing its line too far above the
> staff.
>
> My attempts to affect its Y-offset (with \markup, \offset or \tweak) have
> failed.
>
> Could someone please point me in the right direction?
>
It's hard to know how to help you if you don't have a tiny example (
https://lilypond.org/tiny-examples.html). For instance, I was able to
affect the Y-offset of a metronome mark with this code:
\version "2.24.3"
{
\tweak MetronomeMark.Y-offset 5
\tempo "Allegro"
c''1
}
--
Knute Snortum
Re: Installing 2.24.1
On Sat, Apr 6, 2024 at 2:23 PM Wol wrote: > > > The basic procedure is simple, assuming that you are using > > Frescobaldi: > > What if this assumption is wrong? I've NEVER used Frescobaldi (or > rather, the one time I tried I didn't see the point). > > Will it work if I "install as administrator" and then tell Windows to > run lilypond when I click on a .ly file? > > Is there any reason for expecting me to install an unwanted program, in > order to get a program I do want? Or are you trying to force everybody > to use Frescobaldi? Why? > There is a web page that deals with command-line installation, if that's what you want: https://lilypond.org/doc/v2.24/Documentation/learning/command-line-setup -- Knute Snortum
Re: Conflicting \section and \grace?
On Fri, Mar 29, 2024 at 1:25 PM Stephan Schöll wrote:
> Hi all
>
> I'm adding an ossia staff during specific bars only. This works fine in
> general.
>
> Interestingly / strangely, as soon as the \section (double barline)
> falls into a \grace (or \appoggiatura or \acciaccatura) in the ossia
> staff a regular barline is added at the position where I'd expect the
> double barline to appear. Without either \section or \grace, everything
> looks fine.
>
> Toggle the comment marks in order to reproduce. The issue is not related
> to the ossia Staff type (DrumStaff). It occurs with regular Staves as well.
>
This looks like a very old bug that LilyPond has. Basically, if you have a
grace note starting a measure in one staff, you have to have one on all
staves, even if it's just a spacer. So adding this to the melody will fix
the problem:
melody = \relative c' {
c1
\section % play with (un)commenting
\grace { s8 } R1
c
}
--
Knute Snortum
Cyclic dependency error with change staff and trillSpan
Hi again,
I am getting a cyclic dependency error with code that uses change staff and
trillSpan. Here is as minimal an example as I could create:
%%%
\version "2.24.3"
\language "english"
staffUp = \change Staff = "upper"
staffDown = \change Staff = "lower"
rightHand = \relative {
c''4\noBeam \staffDown \voiceOne \afterGrace g,4\startTrillSpan {
fs16\stopTrillSpan g } \staffUp \oneVoice c'2
}
\score {
\new PianoStaff <<
\new Staff = "upper" \rightHand
\new Staff = "lower" { \clef bass s1 }
>>
}
%%%
This produces two errors of the same type:
programming error: cyclic dependency: calculation-in-progress encountered
for VerticalAxisGroup.adjacent-pure-heights
continuing, cross fingers
>From what I can see, the PDF output is fine. The MWE needs notes before and
after the afterGrace, plus the trillSpan for the error to show. Any ideas
on how to fix this?
--
Knute Snortum
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
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: repeating chords with just the duration
On Sun, Mar 17, 2024 at 1:43 PM Carl Sorensen wrote: > Use q to repeat chords. > Of course. Thanks. -- Knute Snortum
repeating chords with just the duration
I don't use chordmode much, but this snippet doesn't do what I thought it
would:
\version "2.25.13"
{
\new ChordNames \chordmode { a1:7 4 }
}
It produces an "A7sus4 3" instead of two A7's. Is this a bug, or is that
syntax just not supported?
--
Knute Snortum
Re: Repeat D.S. al fine, but the Fine is in a nested volta
On Fri, Mar 8, 2024 at 2:57 PM Knute Snortum wrote: > I'm trying to get a Fine on the first ending of a repeat volta nested in a > repeat segno. > ... > I am new to the repeat segno syntax, so I'm hoping I just haven't found > the right magic. I'd like the MIDI to be correct -- I can always fake a > "Fine" if I need to. > To answer my own question, I just moved the x-offset of the Fine from the second ending to the first. The MIDI is wrong of course, so if there is a better way, I'd love to hear it. -- Knute Snortum
Re: French Horn - transposing
On Fri, Mar 8, 2024 at 3:49 PM TJ Kolev wrote: > Greetings! > > So I've been notating a piece for my son's school band (junior high). > Copying the music from paper into LilyPond using Frescobaldi. And now I hit > a wall. The music piece is written for french horns in E flat pitch. But > the band's horns are in F pitch. I need to transpose the score > appropriately. The band director expects staff with three flats (E flat > major). I hope there's some easier way to do this than me manually > re-writing the score. And I am not even sure how to do that. I would > appreciate any help. > I've never used it myself, but there is a whole section on transposing music in the manual: https://lilypond.org/doc/v2.24/Documentation/notation/displaying-pitches#instrument-transpositions -- Knute Snortum
Repeat D.S. al fine, but the Fine is in a nested volta
I'm trying to get a Fine on the first ending of a repeat volta nested in a
repeat segno. An MWE will probably be clearer:
\version "2.24.3"
music = \relative {
\time 3/4
\partial 4 c''4 |
c c c |
\repeat segno 2 {
\bar "||"
d d d |
e e
\repeat volta 2 {
e |
f f f |
\alternative {
\volta 1 { g g } % I need the Fine here...
\volta 2 { a a a | }
}
}
\volta 2 \fine % ... not here
\volta 1 {
f f f |
g g g |
\bar "|."
}
}
}
\new Staff \music
\new Staff \unfoldRepeats \music
I am new to the repeat segno syntax, so I'm hoping I just haven't found the
right magic. I'd like the MIDI to be correct -- I can always fake a "Fine"
if I need to.
--
Knute Snortum
Re: installation
-- Knute Snortum On Fri, Mar 1, 2024 at 4:43 PM wrote: > Jean, > > > > In my \users\Mark\lilypond-2.24.4 there are six folders: > > Bin, etc, lib, libexec, licences, share. > > None contain \lilypond [with or without the .exe] > > > > Should I be looking somewhere else? > > > > Thank you for your kind attention. > It should be in the bin folder. If it's not there, try re-installing LilyPond.
Re: installation
On Fri, Mar 1, 2024 at 4:28 PM Knute Snortum wrote: > > I don't think you're supposed to highlight "gs". I think it's > "lilypond". "gs" is probably the GhostScript executable. > "lilypond" should be in \users\Mark\lilypond 2.24.3\bin. -- Knute Snortum
Re: installation
On Fri, Mar 1, 2024 at 4:24 PM wrote:
> Hello:
>
> What has been done:
>
> 2.24.3 downloaded
>
> 2.24.3 extracted \users\Mark
>
> Opened Frescobaldi 3.30
>
> Opened preferences
>
> Removed previous version of Lilypond
>
> Clicked Add
>
> Clicked file opener
>
> Went to \users\Mark\lilypond 2.24.3\gs
>
> Highlighted “gs”
>
> Clicked open
>
>
>
>
>
> Notice the “9.56.1”.
> This seems to prevent Frescobaldi from opening the {c’1} test as indicated
> in the manual.
>
>
>
> My error?
>
I don't think you're supposed to highlight "gs". I think it's "lilypond".
"gs" is probably the GhostScript executable.
--
Knute Snortum
Re: installation
It looks like your Preferences window is too small. I would click and hold the lower right corner of the window and drag to the right and down to resize it. -- Knute Snortum On Thu, Feb 29, 2024 at 3:42 AM wrote: > Hello, > > > > I am installing Lilypond 2.24. It has been unzipped to my folder under > \users. > > Frescobaldi 3.30 has been installed and opened to connect to Lilypond. > > Going to preferences this appears: > > > > > > This is not what is shown on the installation page > > https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows > > > > How should I proceed? > > > > Thank you for your kind attention. > > > > Mark >
Re: Cue clefs
On Sun, Feb 25, 2024 at 12:36 PM Gerardo Ballabio <
gerardo.balla...@gmail.com> wrote:
> It does, thank you.
> Any ideas for the other question (how to move the cue clef after the bar
> line)?
>
Try this:
\version "2.24.1"
\new Staff {
\clef "bass"
R1
<<
\new CueVoice \relative {
\once \override Score.CueClef.X-offset = 3
\once \override Score.BarLine.X-offset = -2
\cueClef "treble"
c''8 d e f
\cueClefUnset
}
\\
R1
>>
c1
}
--
Knute Snortum
Re: slur into a repeat volta 2 section
On Sat, Feb 24, 2024 at 11:32 AM Jean Abou Samra wrote: > Just replace 4\repeatTie with 4? > Works like a charm, thanks! -- Knute Snortum
slur into a repeat volta 2 section
(There was just recently a discussion around this problem but I can't find
it for the life of me. Sorry.)
I'm having a problem with a slur going into a repeat volta two section.
Normally I would use a \repeatTie but in this case, the slur is to an
octave and so the \repeatTie "knows" to tie the lower and upper parts of
the chord, when I just want the upper note slurred. Here is a MWE and I've
attached it's output:
\version "2.24.3"
\relative {
\repeat volta 2 {
d''4( e f g
\alternative {
\volta 1 { 4) d d d }
\volta 2 { 4\repeatTie r r2 }
}
}
}
--
Knute Snortum
Re: \after syntax?
On Wed, Feb 21, 2024 at 7:53 AM Matthew Pierce
wrote:
> Hello all,
>
> For hairpin positioning within a whole note, the Manual gives the syntax
>
> \relative {
> \after 2 \< c'1
> }
>
> Is there an effective \after syntax for hairpin positioning within
> NON-whole notes, such as the second note in this (intuitive but)
> nonviable expression?
>
> \relative {
> \after 2 \< c'4 2.
> }
>
> CONTEXT: I need to place an \espressivo-shaped, double-hairpin swell
> underneath a dotted half note. Also, I need it to be stretchable, so that I
> can horizontally align it with the other, more active parts/staffs in my
> orchestral score.
>
Well, neither of those snippets compile without an error because the
hairpin is not terminated, but I don't see why you couldn't put the "after"
before the dotted half note and terminate it:
\relative {
c'4 \after 2 \< 2. c4\!
}
Am I missing what you're trying to accomplish?
Re: Frescobaldi: Keyboard shortcut for toggling between editor and music view?
On Wed, Feb 14, 2024 at 7:59 AM Hajo Baess wrote: > I have (just completely accidentally, with a little help from the > Breeze theme color scheme) discovered a keyboard shortcut for switching > back and forth between the editor and the Music View. I think that it > is undocumented, and strange it is, too. Here it is: > > * from editor to Music View: press CTRL+TAB 5 times or until the Music >View scroll bar is not greyed out any more. In Breeze for example, >it turns light blue. The editor scroll bar turns grey at the same >time. > * from Music View to editor: press CTRL+Shift+TAB 5 times or until the >editor's scroll bar is no longer greyed out, but Music View's is. > > This is a crazy thing, but it seems to work... > > No mouse needed. > It doesn't work for me on Ubuntu Linux. I do see different widgets getting focus but it never seems to go to the Music View. Still, it's an interesting find! -- Knute Snortum
Re: Frescobaldi: Keyboard shortcut for toggling between editor and music view?
On Mon, Feb 12, 2024 at 1:37 PM Hajo Baess wrote: > Hello all, > > Maybe I am missing it alltogether or it does not exist or it is to hard > to find for me: > I am looking for a keyboard shortcut in Frescobaldi enabling me to > toggle between editor and music view, so I do not have to click with > the mouse. > > I just can't find it. I have tried all kinds of possible candidates to > no avail. Is someone here who happens to know? > > Thank you for pointing this out to me... > If it doesn't exist, it might be a nice addition! -- Knute Snortum
Re: Double dashed bar lines
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 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
> c
> }
>
> and this works, it gives me a dashed barline between the second and third
> notes.
>
> However, I can't figure out how to get a double dashed barline. \bar "!!",
> "!|", and "|!", as well as `\bar "!" \bar "!"` are my four guesses, but
> none work -- I get no barline with any of the first three, and just one
> with the doubled-up `\bar`s.
>
> Is this possible? What's the right markup for this?
>
It looks like \defineBarLine works in version 2.20, so:
\version "2.20"
\defineBarLine "!!" #'("!" "!" "")
{
s1 \bar"!!"
s1
}
The version-specific manual for that is:
https://lilypond.org/doc/v2.20/Documentation/notation/bars#bar-lines
--
Knute Snortum
Re: Tempo formatting question.
On Thu, Feb 8, 2024 at 8:26 AM Hwaen Ch'uqi wrote:
> Greetings,
>
> I would like to indicate a metronome mark of "Prestissimo" note tied to dotted quarter note>=96. How may I do this? I am using
> version 22.04. Thank you for any help!
>
Jean A. helped me with this a while back. Here's what I did:
%%%
\version "2.24.2"
tempoMarkupA =
\markup {
\large
"Prestissimo"
\hspace #0.4
\teeny
\rhythm {
\override Score.SpacingSpanner.spacing-increment = 0.5
4~ 4.
}
\small
\normal-text
"= 96"
}
{
\tempo \tempoMarkupA
c'1
}
%%%
--
Knute Snortum
Re: Alternate bars in different time signatures
On Thu, Feb 1, 2024 at 10:50 AM Raphael Mankin wrote: > I have music with alternate bars in 3/4 and 6/8. The usual way to > indicate this is to put both time signatures at the start, but I can > find no way to do this. > > I have tried "\time 3/4 <> \time 6/8", but I only get the last one. > > Note, this is not a compound time of 3/4+6/8, but alternating time > signatures. > I think this is what you are looking for. I'm not sure where I found the code so I can't give credit to its author: %%% #(define ((time-alternate-time upa downa upb downb) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ( (#:center-column (upa downa)) (#:center-column (upb downb))) % and use it like this (5/8, 4/8 in this case): \override Score.TimeSignature.stencil = #(time-alternate-time "5" "8" "4" "8") %%% -- Knute Snortum
Re: broken bar line across staff
On Wed, Jan 31, 2024 at 6:12 AM Robert Garrigos wrote: > Hi all, > > My first post in this list. > > Is there a way to accomplish this? > > > the bar line across the staff is broken to enable the text to be more > visible > The way I do it is to use whiteout and padding in the markup: \markup \whiteout \pad-markup #0.5 "cresc. ed agitato" -- Knute Snortum
Re: 2-up duplex page numbering
I put this in my paper block:
\paper {
two-sided = ##t
inner-margin = 12\mm
outer-margin = 8\mm
}
--
Knute Snortum
On Sun, Jan 28, 2024 at 7:51 AM bobr...@centrum.is
wrote:
> Is there an accepted normal practice for page numbering when music is
> printed 2-up on both sides of a sheet? Are the pages numbered at all? To
> be more specific, if I have four A4 (USletter) pages printed 2-up on A3
> (11x17) are they normally numbered and, if so, what is the first page
> number? It would be on the left which is normally an even number.
>
> Thanks,
>
> David
>
>
Re: Drum notation and style
On Sat, Jan 20, 2024 at 7:35 AM Adrian wrote:
>
> First, how would you create extra spacing between staves, such as the
> first two above?
>
This looks like a job for system-system-spacing (or
maybe staff-staff-spacing):
\paper {
system-system-spacing = #'((basic-distance . 12)
(minimum-distance . 8)
(padding . 1)
(stretchability . 60))
}
Try twiddling with the values to get what you want. The values written are
the defaults. Here is some documentation:
https://lilypond.org/doc/v2.24/Documentation/learning/vertical-spacing
--
Knute Snortum
Re: Two novice questions
On Wed, Jan 17, 2024 at 2:04 PM Colin Campbell wrote: > In Frescobaldi, make sure the quick insert panel is visible: Tools | > Coding | Quick Insert > > Select your range of notes, then click on the articulation you want. > > HTH, > > Colin > > On 2024-01-17 13:13, Aaron Hill via LilyPond user discussion wrote: > > On 2024-01-17 10:00 am, Knute Snortum wrote: > >> On Wed, Jan 17, 2024 at 9:48 AM Peter Mayes > >> wrote: > >>> 2. I have a lot of consecutive notes all staccato. Marking each one > >>> individually is a bit of pain. Any way to specify that the next *n* > >>> notes > >>> are all staccato? > >>> > >> > >> I'd like to know the answer to that one too! It may be something that > >> could go in Frescobaldi, if you use that editor. > > > > > > What about LSR 82? > > https://lsr.di.unimi.it/LSR/Item?id=82 > > > > > > -- Aaron Hill > Those are both good answers, thanks!
Re: Two novice questions
On Wed, Jan 17, 2024 at 9:48 AM Peter Mayes wrote: > I have two probably simple questions. > > I know the documentation is superb, but it's sometimes hard to find > something if you don't know how to frame your question! > > 1. How to change the direction of the beams chosen automatically for a > group from up to down and vice versa? > Is \stemUp and \stemDown what you need? > 2. I have a lot of consecutive notes all staccato. Marking each one > individually is a bit of pain. Any way to specify that the next *n* notes > are all staccato? > I'd like to know the answer to that one too! It may be something that could go in Frescobaldi, if you use that editor. -- Knute Snortum
Re: Error/warning when creating a piano reduction with lilypond 2.25.7 and frescobaldi 3.3.0
On Mon, Jan 15, 2024 at 10:57 AM Hans Aikema wrote: > > I've created an issue for Frescobaldi and I should be able to start work > on it today. > > https://github.com/frescobaldi/frescobaldi/issues/172 > > > Knute, you've missed a digit while copying the link and without doubt > intended to refer to > https://github.com/frescobaldi/frescobaldi/issues/1728 > Thanks! The Issue is now fixed in the repository.
Re: Error/warning when creating a piano reduction with lilypond 2.25.7 and frescobaldi 3.3.0
On Mon, Jan 15, 2024 at 7:47 AM David Kastrup wrote: > > Calling > > git grep "override[^=]*#'[a-z]" > > in the current Frescobaldi source tree delivers _way_ too many hits. I > don't consider it sane that the current Frescobaldi will pump out > pre-2.18 syntax in droves in its templates. > > And I suspect that it also splits overrides into multiple lines, making > it harder to recognize them. > I've created an issue for Frescobaldi and I should be able to start work on it today. https://github.com/frescobaldi/frescobaldi/issues/172 -- Knute Snortum
Re: Error/warning when creating a piano reduction with lilypond 2.25.7 and frescobaldi 3.3.0
On Mon, Jan 15, 2024 at 5:28 AM David Kastrup wrote: > Bernhard Kleine writes: > > > Dear David, > > > > the file was created this morning from frescobaldi with the > > Partitur-Assistent and the pre-set version of Lilypond was 2.25.7. > > Nothing was done be myself apart from wrinting notes and lyrics. > > If the "Partitur-Assistent" creates those overrides, it needs to get fixed. > It has been: https://github.com/frescobaldi/frescobaldi/commit/fb79df399056ddd8ce2fa2b48ac36fc37bdc0588 -- Knute Snortum
Re: zero-duration s to hold marks
On Fri, Jan 12, 2024 at 6:21 AM Raphael Mankin wrote: > > > On 10/01/2024 10:35, msk...@ansuz.sooke.bc.ca wrote: > > On Wed, 10 Jan 2024, Raphael Mankin wrote: > > > >> That strikes me as being a programmer's response, and I speak as a > programmer > >> for over 50 years. Using <> works, but it is unintuitive. If s0 is more > >> intuitive then that should be considered for future inclusion. > > > > It's intuitive to me that s0 means a spacer rest of infinite duration, > > because it's one whole note divided by zero. And it opens the door > > to using 0 as a duration denominator for other things than "s", as in > "c0" > > and "0", let alone constructions like "s0." which would seem to be > > a spacer of one and one half times infinite duration. I don't think it's > > a good idea to open those doors. There doesn't seem to be any way to > > allow zero as the duration denominator except as a unique exception; it > > cannot be done in a way that's consistent with other syntax. > > > I agree that 0 as a denominator would seem to indicate an infinite > duration, and allow the rest of your argument. However <> still seems > unintuitive. > Well, to my eye, it looks like an empty chord, which makes some sense. > > At least section 1.2.2 of the reference manual ought to be updated to > include <> in the discussion of invisible rests. > Can you share how you would want that section changed? Or I could take a stab at it, but it may not be what you want. Also, <> can be used for a lot of different things that aren't rests, so maybe that section of the Notation manual is not the best place for it.
Re: crescendo lines to thin
Do you have a minimum working example you can show us? https://lilypond.org/tiny-examples.html -- Knute Snortum On Thu, Jan 11, 2024 at 5:43 AM Bernhard Kleine wrote: > Dear all, happy new year! > > Ich have a separate dyn line for the dynamics, but the lines there are > to thin. How to change it? > > Bernhard > > >
Re: Tempo marking doesn't avoid cross-staff slur
On Thu, Jan 11, 2024 at 4:40 AM Werner LEMBERG wrote: > > > I found a weird behavior -- I don't know if it's worthy of an issue > > or not, but here it is: > > > > The tempo marking will not avoid a slur that goes from staff to > > staff. Here is a snippet that shows the problem, and I've attached > > an image of it: [...] > > This issue belongs into the group of the many cross-staff problems. > AFAICS, we don't have this particular case covered, so please file an > issue in the LilyPond tracker. > For reference, it's : https://gitlab.com/lilypond/lilypond/-/issues/6688 -- Knute Snortum
Tempo marking doesn't avoid cross-staff slur
I found a weird behavior -- I don't know if it's worthy of an issue or not,
but here it is:
The tempo marking will not avoid a slur that goes from staff to staff.
Here is a snippet that shows the problem, and I've attached an image of it:
\version "2.25.12"
one = \relative {
\tempo "Allegro maestoso"
c'''2( e |
\change Staff = "lower" c,1) |
}
two = \relative {
s1 |
s1 |
}
<<
\new Staff = "upper" \one
\new Staff = "lower" \two
>>
--
Knute Snortum
Re: automatically adds
...and slightly shorter, you can write "\omit Score.TimeSignature" instead
of the override.
--
Knute Snortum
On Wed, Dec 27, 2023 at 1:01 PM billhunker wrote:
> In the layout block.
>
> \layout {
> \override Score.TimeSignature.stencil = ##f
> }
>
> You can add things to this list.
>
>
>
> Sent from my Verizon, Samsung Galaxy smartphone
>
>
> Original message
> From: Tobias Lawrenz
> Date: 12/27/23 11:10 AM (GMT-06:00)
> To: lilypond-user@gnu.org
> Subject: automatically adds
>
> Hello Community,
>
> how can I turn off the automatically adds from notation elements, like
> the time signature?
>
> Because I want to make the whole score by myself without automatically
> adds.
>
> Happy greetings,
> Tobias
>
>
Re: Aligning offset quintuplets and triplets
Lukas-Fabian Moser, This is wonderful! Thanks for taking the time to do this. The mathematics of the "cheat" is complex to me, but it works well. -- Knute Snortum On Wed, Dec 27, 2023 at 4:18 AM Lukas-Fabian Moser wrote: > Hi Knute, hi Mark, > > here's an example of what I mean. The "cheating" system should create what > the original engraving suggests, even if it's wrong mathematically. I > didn't check the difference in MIDI; of course the "conductor" part > (consisting of eigths throughout) shows a significant difference. > > Of course I took advantage of the fact that the original engraving stops > bothering with tuplet brackets/numbers starting from the second bar; it > should be possible to get them back, but this will involve some further > tweaking in the "cheating" version. > > Lukas > Am 27.12.23 um 09:17 schrieb Lukas-Fabian Moser: > > Hi Mark, > Am 27.12.23 um 01:54 schrieb Mark Stephen Mrotek: > > Knute, > > In the original the first beat of the second measure is three against 2. > The 5 against 3 does not start until the second beat. > > Unfortunately, that can't be true, as with this interpretation, the > measure is over-full. Rather, the groups of quintuplets/triplets continue, > with a beaming not in sync with the measure's beat structure. > > This also implies that the original engraving isn't mathematically correct > (as the beginnings of the bems groups look as if they're aligned). > Situations like that are hard to approximate with LilyPond, as Lily has a > strict binary notion of two notes being simultaneous or not. One can try > cheating a bit by engraving the measure according to its visual apperance > (3-vs-2 in the first beat, exact 4-vs-1 in the last quaver of the measure), > but then it will be necessary to compress whatever will be in the measure > to the duration of one whole note, and it's not certain what LilyPond's > spacing algorithm will make of it. > > Sorry for describing the situation verbally; I'll try to cook up an > example as soon as I have time (later today). > > Lukas > >
Re: Aligning offset quintuplets and triplets
Okay, if I code the duration of the first two eighth notes in the left
hand, second measure, as 8 * 1/2, that works. The MIDI will be affected,
but at Alegro, I'm not sure anyone will notice.
--
Knute Snortum
On Tue, Dec 26, 2023 at 4:54 PM Mark Stephen Mrotek
wrote:
> Knute,
>
> In the original the first beat of the second measure is three against 2.
> The 5 against 3 does not start until the second beat.
>
>
>
> Mark
>
>
>
>
>
> *From:* lilypond-user-bounces+carsonmark=ca.rr@gnu.org
> *On Behalf Of *Knute
> Snortum
> *Sent:* Tuesday, December 26, 2023 4:06 PM
> *To:* lilypond-user@gnu.org
> *Subject:* Aligning offset quintuplets and triplets
>
>
>
> I'm having difficulties with a Scriabin etude I'm trying to engrave. I've
> attached an image of the first few bars. The challenge is that the first
> notes of the offset quintuplets and triples should line up at the beginning
> of the beams, but also at the start of a new measure. The snippet below
> alings the notes at the start of the measure and is "mathematically"
> correct, but the notes at the beginning of the beamed quintuplets and
> triplets do not align.
>
>
>
> \version "2.24.3"
>
> rightHand = \relative {
> r2 \tuplet 5/4 4 { r8. e'16[ e e e e] e[ e |
> e e e] e[ e e e e] e[ e e e e] e[ e e e e] e e |
> }
> }
>
> leftHand = \relative {
> \clef bass
> r2 \tuplet 3/2 4 { r8 r c'[ c c] c[ |
> c c] c[ c c] c[ c c] c[ c c] c |
> }
> }
>
> \score {
> \new PianoStaff <<
> \new Staff \rightHand
> \new Staff \leftHand
> >>
> }
>
>
>
> I've attached the output of this snippet. I can adjust the
> NoteColumn.X-offset of the notes, but this offset can change from measure
> to measure. Is there a smarter way to do this?
>
>
>
> --
>
> Knute Snortum
>
>
>
Aligning offset quintuplets and triplets
I'm having difficulties with a Scriabin etude I'm trying to engrave. I've
attached an image of the first few bars. The challenge is that the first
notes of the offset quintuplets and triples should line up at the beginning
of the beams, but also at the start of a new measure. The snippet below
alings the notes at the start of the measure and is "mathematically"
correct, but the notes at the beginning of the beamed quintuplets and
triplets do not align.
\version "2.24.3"
rightHand = \relative {
r2 \tuplet 5/4 4 { r8. e'16[ e e e e] e[ e |
e e e] e[ e e e e] e[ e e e e] e[ e e e e] e e |
}
}
leftHand = \relative {
\clef bass
r2 \tuplet 3/2 4 { r8 r c'[ c c] c[ |
c c] c[ c c] c[ c c] c[ c c] c |
}
}
\score {
\new PianoStaff <<
\new Staff \rightHand
\new Staff \leftHand
>>
}
I've attached the output of this snippet. I can adjust the
NoteColumn.X-offset of the notes, but this offset can change from measure
to measure. Is there a smarter way to do this?
--
Knute Snortum
Re: Continuation slur and key signature with many sharps
On Wed, Dec 13, 2023 at 12:03 PM Jean Abou Samra wrote: > See issue #6639 <https://gitlab.com/lilypond/lilypond/-/issues/6639>. > Thanks. I searched for "continued" but not "broken." I'll know better next time (maybe). -- Knute Snortum
Continuation slur and key signature with many sharps
Hi List,
Here is something that pops up now and then when I'm engraving with
LilyPond: if a key signature has a lot of sharps, like the key of e major,
sometimes a continuation slur will be too close to the key signature. Here
is a snippet:
%%%
\version "2.25.11"
\paper {
ragged-right = ##t
}
\relative {
\key e \major % ugly
% b major is okay
% f sharp major is ugly too
cis''1( | \break
cis1) |
}
%%%
The output is attached. What is your opinion on this? Is it an "ugly"
issue or not a problem?
--
Knute Snortum
Re: Inline attachments Re: Slur within a slur?
On Sun, Dec 3, 2023 at 8:03 AM David Wright wrote: > The problem must be on your side, unless you're subscribed to the > text-only version of the digest that comes with no attachments. > If your MUA doesn't display the image inline, you should be able > to display or save it just like any normal attachment. > I do see the attachment, it's just not displayed in the text of the message. I'm using GMail and I'm not in Plain Text mode. I see images inline with other emails, just not David Kastrup's. It's not a big deal. I just need to remember it when I'm replying. -- Knute Snortum
Re: Slur within a slur?
On Sun, Dec 3, 2023 at 2:10 AM David Kastrup wrote:
> Knute Snortum writes:
>
> > On Sat, Dec 2, 2023 at 6:44 AM Peter Mayes wrote:
> >
> >> Here is a fragment of something I am engraving.
> >>
> >> e( dis e ais, b g |
> >> e8) r \afterGrace d'!(\trill { cis32 d } |
> >> c'!16) b^. a^. g^. fis^. e^. |
> >>
> >> The D following the \afterGrace is slurred up to the C at the beginning
> of
> >> the following bar.
> >>
> >> I would also like the "{ cis32 d }" grace notes to be slurred, but if I
> >> put "{ cis32( d) }", I get a "Warning: already have slur".
> >>
> >> Is there a way to get a "slur within a slur"?
> >>
> > When we ask for a MWE, the "w" stands for "working". That is, you should
> > be able to copy and paste the LilyPond source and get it to engrave. You
> > can't do that with your code, thus David Kastrup's reply.
>
> It was probably easy to overlook, but my reply did contain the requested
> functionality.
>
Ah, yes, I see it now! There is some problem between your email reader to
mine where I don't see inline attachments. So I only saw:
"gives me
and a bar check warning."
Which I wrongly interpreted as "gives me a bar check warning."
--
Knute Snortum
Re: Slur within a slur?
On Sat, Dec 2, 2023 at 7:57 AM Peter Mayes wrote: > On 02/12/2023 15:49, Knute Snortum wrote: > > When we ask for a MWE, the "w" stands for "working". > > My apologies - I'm a relative newbie here! I'll know next time. > > And thanks David and Knute for the pointers. Once I knew what I was > looking for, I found the relevant section in the documentation. > Sorry if I sounded harsh. We certainly don't want to put people off. The idea of a Minimal Working Example (MWE) is that it's as short as it can be and still demonstrates the problem. Making them can be hard, but it shows good-faith effort on your part to solve the problem yourself, and you often discover the solution in doing so. https://lilypond.org/tiny-examples.html
Re: Slur within a slur?
On Sat, Dec 2, 2023 at 6:44 AM Peter Mayes wrote:
> Here is a fragment of something I am engraving.
>
> e( dis e ais, b g |
> e8) r \afterGrace d'!(\trill { cis32 d } |
> c'!16) b^. a^. g^. fis^. e^. |
>
> The D following the \afterGrace is slurred up to the C at the beginning of
> the following bar.
>
> I would also like the "{ cis32 d }" grace notes to be slurred, but if I
> put "{ cis32( d) }", I get a "Warning: already have slur".
>
> Is there a way to get a "slur within a slur"?
>
When we ask for a MWE, the "w" stands for "working". That is, you should
be able to copy and paste the LilyPond source and get it to engrave. You
can't do that with your code, thus David Kastrup's reply.
So here is a MWE for you this time:
\version "2.24.3"
\relative {
\time 3/8
\key g \major
e''16( dis e ais, b g |
e8) r \afterGrace d'!(\trill { cis32 d } |
c'!16) b^. a^. g^. fis^. e^. |
}
What you probably want is a "phrasing slur", which you get by writing \(
\). So:
\version "2.24.3"
\relative {
\time 3/8
\key g \major
e''16( dis e ais, b g |
e8) r \afterGrace d'!\(\trill { cis32( d) } |
c'!16\) b^. a^. g^. fis^. e^. |
}
--
Knute Snortum
Re: How do I shift notes in one voice w/o shifting the other?
On Wed, Nov 29, 2023 at 11:54 AM Kevin Cole wrote:
> On Wed, Nov 29, 2023 at 10:04 AM Knute Snortum wrote:
>
> Thanks.
>
> > I'm not sure what you want to do makes musical sense, that is, the d'>2 and the d'8 should be on the same beat, so why do you want the half
> note to the right?
>
> I'm simply copying what's written in the original.
>
The original is odd. It has a half note where a quarter note should be.
But if you want to reproduce it exactly, see my code below. No need for
temporary voices.
>
> > (BTW, it's better to provide a working example as the above does not
> compile without the language statement):
>
> I often err on the side of providing too much. So, I tried to provide
> as little as possible that I thought would get the problem across.
> I'll try to remember to include at least version, language, and maybe
> time signature next time.
>
Well, the code you provide should at least compile, or produce the error
you're talking about. Otherwise, yes, pare it down as much as you can.
\version "2.24.3"
\language "english"
upper = \relative {
d''8 b 2*1/2~ | % or just 4
q4\fermata d' |
}
lower = \relative {
\clef bass
b8 b16 cs d8 a |
d,4\fermata r |
}
\score {
\new PianoStaff <<
\time 2/4
\new Staff \upper
\new Staff \lower
>>
}
--
Knute Snortum
Re: How do I shift notes in one voice w/o shifting the other?
--
Knute Snortum
On Tue, Nov 28, 2023 at 6:32 PM Kevin Cole wrote:
> I searched for a way to shift notes horizontally but when I shift the
> half-note chord in the first voice below, it shifts the second eighth-note
> in the second voice, forcing it to stay to the right of the half-note. When
> I tried adding something to shift the beamed eight-notes to the left, it
> shifted only the first eighth-note, continuing to anchor the second to the
> right of the half-note.
>
> What I want is for the two eighth-notes to stay to the left, and for the
> half-note to appear to the right of it.
>
> This is what I have at the moment, with the shift commented out. (The
> "#10" is just an experiment, not necessarily the final value.)
>
> %%%
> <<
> {
> % \once \override NoteColumn.force-hshift = #10
> 2~|
> 4\fermata s4 |
> }
> \\
> {
> d'8[ b8] s4 |
> s4 d4 |
> }
> >>
> \bar "|."
> %%%
>
I'm not sure what you want to do makes musical sense, that is, the 2
and the d'8 should be on the same beat, so why do you want the half note to
the right? But if you really want to do that, you could try the below
(BTW, it's better to provide a working example as the above does not
compile without the language statement):
\version "2.24.3"
\language "english"
\relative c'' {
\time 2/4
<<
{
s8 2*3/4~|
4\fermata s4 |
}
\\
{
d'8[ b8] s4 |
s4 d4 |
}
>>
\bar "|."
}
Re: How do I arpeggiate across voices?
On Sun, Nov 26, 2023 at 4:38 PM Kevin Cole wrote:
> I'm looking at a pice of music that shows an arpeggio between two
> dotted half-notes in one voice and a quarter-note in the other voice.
> Specifically, in the wee snippet below, the first e4 in the first
> voice is at the top of the arpeggio above the 2 in the second
> voice.
>
> %%
> <<
> {
> e4 e4 b4 | % 1
> e2 b8[ b8] | % 2
> }
> \\
> {
> 2.\arpeggio | % 1
> \stemUp gs2 \stemNeutral s4| % 2
> }
> >>
> %%
>
The way I do it is to fiddle with the arpeggio positions property:
\version "2.24.3"
\language "english"
\relative c' {
\time 3/4
<<
{
e4 e4 b4 | % 1
e2 b8[ b8] | % 2
}
\\
{
\once \override Arpeggio.positions = #'(-5 . -1) 2.\arpeggio | % 1
\stemUp gs2 \stemNeutral s4| % 2
}
>>
}
--
Knute Snortum
Re: LilyPond 2.24.3 and Norton 360
On Fri, Nov 24, 2023 at 9:51 AM Karlin High wrote: > On 11/24/2023 9:38 AM, Knute Snortum wrote: > > My hope is this will help others in the same situation. > > To further that hope, Norton has a website for reporting false-positives. > > Hub page: > > < > https://support.norton.com/sp/en/us/home/current/solutions/kb20090602171902EN > > > > File submission: > > <https://submit.norton.com/?type=FP> > Thanks! Great information. -- Knute Snortum
LilyPond 2.24.3 and Norton 360
I found that Norton 360 thought the LilyPond executable was a virus on Windows 11. The symptom was that Lilypond exits with a code of 1 and no PDF is created. In case this happens to anyone else, here are the steps to exclude LIlyPond from Norton's real time protection: 1) Open Norton 360 app 2) Click on Open next to Device Security 3) Click on Settings 4) Click on Antivirus 5) Click on Data Protector 6) Click on Configure next to Process Exclusions 7) Click on Add 8) Navigate to where you installed LilyPond and in the bin folder, choose lilypond.exe My hope is this will help others in the same situation. -- Knute Snortum
Re: Articulate has trouble with grace note at time signature change
On Wed, Nov 22, 2023 at 12:09 PM Werner LEMBERG wrote:
>
> > This fails in 2.24.1 with messages about mid-measure time signature
> > change and failed barcheck:
> >
> > \include "articulate.ly"
> > \articulate
> > {
> > \time 4/4
> > c'1 |
> > \time 3/2
> > \grace d'8 c'1. |
> > }
> >
> > Succeeds if \articulate is not used. I can work around it by
> > tagging MIDI and non-MIDI versions of the music, with the time
> > signature change moved somewhere else in the MIDI version, but this
> > becomes complicated given that my actual score has eight parallel
> > variables at the point where it bites, all of which will need
> > alternate versions.
>
> Please check the looong list of bugs related to `\articulate` whether
> it has already been reported.
>
>
> https://gitlab.com/lilypond/lilypond/-/issues/?sort=created_asc=opened=articulate_page_size=100
It looks like this issue:
https://gitlab.com/lilypond/lilypond/-/issues/3696
For some reason, it's been changed from a defect to a warning issue, but
I'm not sure the logic for that is correct.
--
Knute Snortum
Re: Parenthesizing multiple events
On Mon, Nov 20, 2023 at 6:34 AM Luca Fascione wrote:
> Did this change between 22 and 24?
> Is there somewhere I can go to see the implementation for the LSR that
> used 2.22?
>
> L
>
> On Mon, 20 Nov 2023, 15:07 Knute Snortum, wrote:
>
>> On Mon, Nov 20, 2023 at 4:35 AM Luca Fascione
>> wrote:
>>
>>> Also,
>>> it doesn't seem to actually work on 2.22 (see below)
>>>
>>> How does this even compile on the LSR?
>>>
>>
>> The LSR uses LilyPond 2.24.2, which compiles the source without error.
>>
>
I searched for the original post for the LSR and upgraded it only to 2.22.
If you're not going to upgrade LilyPond to 2.24.3, then try this:
\version "2.22.0"
startParenthesis = {
\once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob))
(right-par (grob-interpret-markup grob (markup #:null
(list (car par-list)right-par )))
}
endParenthesis = {
\once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob))
(left-par (grob-interpret-markup grob (markup #:null
(list left-par (cadr par-list
}
{
\new ChordNames {
\chordmode {
\startParenthesis \parenthesize a:m7 \endParenthesis \parenthesize
d:7
}
}
}
--
Knute Snortum
