RE: slurs problem with voices

[Mark Stephen Mrotek]

Timothy,

 

Perhaps this?

 

Mark

 

\version "2.24.3"

 

\relative c' {

\time 3/4

 

<<{b'4 c2~ | 8 [q]} \\

  {d4 d2 (| \stemUp e4)}>> r8  r  |

 

}

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Timothy 
Lanfear
Sent: Wednesday, May 1, 2024 2:15 PM
To: Robert Garrigos ; LilyPond Users 

Subject: Re: slurs problem with voices

 

On 01/05/2024 21:57, Robert Garrigos wrote: 

 
Why is not the first example working? I tried with explicit voicing with the 
same results.
 
Thanks.
 
Robert

The slur starts at the d2 so must be placed with that note following the pitch 
and duration, 

{ d4 d2( | \hideNotes ef8)} 

-- 
Timothy Lanfear, Bristol, UK.

RE: Fw: Frescobaldi ... panic alternatives?

[Mark Stephen Mrotek]

Paolo,

 

Thank you.

 

Mark

 

From: Paolo Prete  
Sent: Tuesday, April 30, 2024 1:08 PM
To: Mark Stephen Mrotek ; lilypond-user 

Subject: Re: Fw: Frescobaldi ... panic alternatives?

 

You'll find all you need at the main page:

 

https://github.com/paopre/Spontini

 

Cheers

 

On Tue, Apr 30, 2024 at 10:04 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Paolo,

 

Installation instructions?
Learning/notation manual?

I want to try it.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:ca.rr@gnu.org>  mailto:ca.rr@gnu.org> > On Behalf Of Paolo Prete
Sent: Tuesday, April 30, 2024 12:58 PM
To: Dirck Nagy mailto:dn...@uwlax.edu> >; lilypond-user 
mailto:lilypond-user@gnu.org> >
Subject: Re: Fw: Frescobaldi ... panic alternatives?

 

FYI I just made a new release of Spontini editor, with the most recent changes 
(most notably: support for recent Lilypond versions)

As mentioned before, I don't own a  MacOS, but the HUGE implemented CI/CD 
should avoid bad surprises. When I say "huge", I mean it.

I always hope that someone decides to host the application, so that it provides 
the same service that LilyBin previously offered.

Please note that you don't have to install anything. Nor the editor, nor 
LilyPond, and you can switch between multiple LilyPond versions.

Anyway, I'm currently the only developer and maintainer of the software, and I 
need collaboration (most notably for testing). Without it, I'm forced to mark 
my releases as "alfa"  (but it should work...)

 

https://github.com/paopre/Spontini/releases/tag/1.23_alfa

 

 

On Tue, Apr 30, 2024 at 12:56 PM Paolo Prete mailto:paolopr...@gmail.com> > wrote:

 

 

On Tue, Apr 30, 2024 at 6:45 AM Dirck Nagy mailto:dn...@uwlax.edu> > wrote:

Hi all

 

Reading that last thread about Frescobaldi and its possible disappearance from 
Mac is causing me to panic. Jean, I did not realize that you were the last 
person to seriously work on Frescobaldi / Mac.

 

I use Mac exclusively, and Frescobaldi / Lilypond is very important to me. 

 

FYI, what I like the most about Frescobaldi are:

 

*   Templates and wizards
*   Snippets
*   Point and Click selection
*   Syntax highlighting

 

If Frescobaldi for Mac does indeed vanish, what are my alternatives for a 
Lilypond editor?

 

 

Hi,

 

Although https://github.com/paopre/Spontini is focused on _very different_ 
tasks than Frescobaldi, it has the features you just mentioned (they are 
exposed in a somewhat different way, but they should work), including code 
completion

I could not extensively test it in the past months, nor I own a Mac, but thanks 
to CI/CD it should work on newer versions.

I'm planning to make a new release in the next few weeks.

Also, at the moment there are no active contributors for it. Therefore, any 
help is really appreciated...

 

 

RE: Fw: Frescobaldi ... panic alternatives?

[Mark Stephen Mrotek]

Paolo,

 

Installation instructions?
Learning/notation manual?

I want to try it.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Paolo Prete
Sent: Tuesday, April 30, 2024 12:58 PM
To: Dirck Nagy ; lilypond-user 
Subject: Re: Fw: Frescobaldi ... panic alternatives?

 

FYI I just made a new release of Spontini editor, with the most recent changes 
(most notably: support for recent Lilypond versions)

As mentioned before, I don't own a  MacOS, but the HUGE implemented CI/CD 
should avoid bad surprises. When I say "huge", I mean it.

I always hope that someone decides to host the application, so that it provides 
the same service that LilyBin previously offered.

Please note that you don't have to install anything. Nor the editor, nor 
LilyPond, and you can switch between multiple LilyPond versions.

Anyway, I'm currently the only developer and maintainer of the software, and I 
need collaboration (most notably for testing). Without it, I'm forced to mark 
my releases as "alfa"  (but it should work...)

 

https://github.com/paopre/Spontini/releases/tag/1.23_alfa

 

 

On Tue, Apr 30, 2024 at 12:56 PM Paolo Prete mailto:paolopr...@gmail.com> > wrote:

 

 

On Tue, Apr 30, 2024 at 6:45 AM Dirck Nagy mailto:dn...@uwlax.edu> > wrote:

Hi all

 

Reading that last thread about Frescobaldi and its possible disappearance from 
Mac is causing me to panic. Jean, I did not realize that you were the last 
person to seriously work on Frescobaldi / Mac.

 

I use Mac exclusively, and Frescobaldi / Lilypond is very important to me. 

 

FYI, what I like the most about Frescobaldi are:

 

*   Templates and wizards
*   Snippets
*   Point and Click selection
*   Syntax highlighting

 

If Frescobaldi for Mac does indeed vanish, what are my alternatives for a 
Lilypond editor?

 

 

Hi,

 

Although https://github.com/paopre/Spontini is focused on _very different_ 
tasks than Frescobaldi, it has the features you just mentioned (they are 
exposed in a somewhat different way, but they should work), including code 
completion

I could not extensively test it in the past months, nor I own a Mac, but thanks 
to CI/CD it should work on newer versions.

I'm planning to make a new release in the next few weeks.

Also, at the moment there are no active contributors for it. Therefore, any 
help is really appreciated...

 

 

RE: Ties across voices; tried two methods

[Mark Stephen Mrotek]

Welcome!

 

From: Butter Cream  
Sent: Wednesday, January 24, 2024 4:29 PM
To: Leo Correia de Verdier ; Mark Stephen 
Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: Ties across voices; tried two methods

 

Thank you! I will implement your suggestions.

 

Sent via the Samsung Galaxy S20 FE 5G, an AT 5G smartphone
Get Outlook for Android <https://aka.ms/AAb9ysg> 

  _  

From: Leo Correia de Verdier mailto:leo.correia.de.verd...@gmail.com> >
Sent: Wednesday, January 24, 2024 7:21:29 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Cc: Butter Cream mailto:but...@inversityinc.com> >; 
lilypond-user@gnu.org <mailto:lilypond-user@gnu.org>  mailto:lilypond-user@gnu.org> >
Subject: Re: Ties across voices; tried two methods 

 

Also: your tie needs to end in the same voice it started. \new Voice and the 
<<\\>> construct both create other voices. If you remove \new Voice = “melody” 
from your first attempt it will work, as the last note of the tie is then in 
the same voice as the first. 

 

25 jan. 2024 kl. 00:37 skrev Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >:

 

Butter,

 

Use
\repeatTie

See
https://lilypond.org/doc/v2.22/Documentation/notation/long-repeats#normal-repeats

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org>  
mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org> > On Behalf Of 
Butter Cream
Sent: Wednesday, January 24, 2024 1:29 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Ties across voices; tried two methods

 

Hi ponders, I have a piece of music with alternative ending. The last measure 
prior to the alternative is a single voice has a tied note to both endings. I'v 
e tried two methods but both methods produce similar error: {with no tie} Any 
help would be appreciated.

 

*.ly:100:42: warning: unterminated tie

4 8 ~ 4 r8 bes

 ~ | % m19

 

[16][16]

 

 

I've tried both these methods: 

4 8 ~ 4 r8 bes~ | % m19   <-Last measure single voice

  } <- end of repeat Volta 2

  \alternative {

% method one using \new Voice 

 { \new Voice = "melody" {

<< { \voiceOne bes8 g4 g8~ g2 }

   \new Voice { \voiceTwo 2 2 }

>> \oneVoice

} | 4 r r2 | % m

   }

{ { \new Voice = "melody" {

<< { \voiceOne bes'8 g4 g8~ g2 }

   \new Voice { \voiceTwo 2 2 }

>> \oneVoice

} | % m

   } 4 r r2 | }

  }

  }

 

\alternative {

% method two using \\

  { << { bes8 g4 g8~ g2 } \\ { 2 2 } >> | 4 r r2 | }

  { << { bes8 g4 g8~ g2 } \\ { 2 2 } >> | 4 r r2 | }

 }

 

produces this. with notes not tied.



 

Thank you.

RE: Ties across voices; tried two methods

[Mark Stephen Mrotek]

Butter,

 

Use
\repeatTie

See
https://lilypond.org/doc/v2.22/Documentation/notation/long-repeats#normal-re
peats

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
 On Behalf Of Butter
Cream
Sent: Wednesday, January 24, 2024 1:29 PM
To: lilypond-user@gnu.org
Subject: Ties across voices; tried two methods

 

Hi ponders, I have a piece of music with alternative ending. The last
measure prior to the alternative is a single voice has a tied note to both
endings. I'v e tried two methods but both methods produce similar error:
{with no tie} Any help would be appreciated.

 

*.ly:100:42: warning: unterminated tie

4 8 ~ 4 r8 bes

 ~ | % m19

 

[16][16]

 

 

I've tried both these methods: 

4 8 ~ 4 r8 bes~ | % m19   <-Last measure single
voice

  } <- end of repeat Volta 2

  \alternative {

% method one using \new Voice 

 { \new Voice = "melody" {

<< { \voiceOne bes8 g4 g8~ g2 }

   \new Voice { \voiceTwo 2 2 }

>> \oneVoice

} | 4 r r2 | % m

   }

{ { \new Voice = "melody" {

<< { \voiceOne bes'8 g4 g8~ g2 }

   \new Voice { \voiceTwo 2 2 }

>> \oneVoice

} | % m

   } 4 r r2 | }

  }

  }

 

\alternative {

% method two using \\

  { << { bes8 g4 g8~ g2 } \\ { 2 2 } >> | 4 r r2 | }

  { << { bes8 g4 g8~ g2 } \\ { 2 2 } >> | 4 r r2 | }

 }

 

produces this. with notes not tied.



 

Thank you.



image001.png
Description: Binary data

RE: Cut time/half-time/alle breve & 8/4 time

[Mark Stephen Mrotek]

Stanton,

As far as I know (I use Lilypond 2.22.2) cut C is not available for 4/2.

Mark

-Original Message-
From: Stanton Sanderson  
Sent: Thursday, January 11, 2024 6:12 PM
To: Mark Stephen Mrotek 
Cc: LilyPond Users 
Subject: Re: Cut time/half-time/alle breve & 8/4 time

Mark, 

Thank you for the suggestion, but as stated previously, I’m trying to reproduce 
the original from the Peters edition. The problem, as you point out, is that 
the cut C is used in the original. Whether 8/4 or 4/2 (and I agree that 4/2 is 
the most reasonable time signature), I was looking for a way of declaring the 
cut C. 

The included photo is from the piece (# 67. Vater Unser in Himmelreich by 
Johann Kyieger, from _80 Choral Preludes_, Edition Peters, No. 4440, Copyright 
1947). I think I purchased it some time around 1959. 

Stan

> On Jan 11, 2024, at 7:49 PM, Mark Stephen Mrotek  wrote:
> 
> Stanton,
>  
> I think the piece is in 4/2.
> Do you want a numeric time signature?
> The cut C is used for 2/2.
>  
> Mark
>  
> From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
>  On Behalf Of Stanton 
> Sanderson
> Sent: Thursday, January 11, 2024 3:15 PM
> To: LilyPond Users 
> Cc: Stanton Sanderson 
> Subject: Cut time/half-time/alle breve & 8/4 time
>  
> I’m setting various short organ pieces from an old Peters edition, mostly to 
> prevent my aging brain from forgetting… 
>  
> One piece is in 8/4 time -the first measure has a whole note and 2 half 
> notes. However, the time signature as printed is the cut time symbol. How can 
> I reproduce this? I’m using Lilypond 2.25.11.
>  
>  

RE: Cut time/half-time/alle breve & 8/4 time

[Mark Stephen Mrotek]

Stanton,

 

I think the piece is in 4/2.
Do you want a numeric time signature?
The cut C is used for 2/2.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Stanton 
Sanderson
Sent: Thursday, January 11, 2024 3:15 PM
To: LilyPond Users 
Cc: Stanton Sanderson 
Subject: Cut time/half-time/alle breve & 8/4 time

 

I’m setting various short organ pieces from an old Peters edition, mostly to 
prevent my aging brain from forgetting… 

 

One piece is in 8/4 time -the first measure has a whole note and 2 half notes. 
However, the time signature as printed is the cut time symbol. How can I 
reproduce this? I’m using Lilypond 2.25.11.

 

 



image001.png
Description: Binary data

RE: Slurs within chords, and dotted notes

[Mark Stephen Mrotek]

Joel:

 

Is this better?

 

\fixed c' {

  2

   |

 

  2.

  4 |

 

  2 q |

 

  2. q4 |

}

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Joel C. 
Salomon
Sent: Thursday, January 4, 2024 6:11 PM
To: LilyPond Users 
Subject: Slurs within chords, and dotted notes

 

Somewhat surprising result, tested on 2.24 & 2.25.11:

```
\version "2.24"

\fixed c' {
  2
   |

  2.
  4 |

  2 q |

  2. q4 |
}
``` 

In the second instance, the tie attaches to the bottom of the initial chord, 
presumably to avoid colliding with the dot.  (Interestingly, as in examples 3 & 
4, a tie will happily display overlapping the dot.)

Obvious searches (like [lilypond chord slur dotted note] 
 ) do not turn 
up mention of this, or of any tweak to avoid this.  Any hints?

—Joel C. Salomon

RE: Aligning offset quintuplets and triplets

[Mark Stephen Mrotek]

Knute,

 

Sort of off topic, yet if a rhythmic structure cannot be “felt” why is it 
written?

 

Mark

 

From: Knute Snortum  
Sent: Tuesday, December 26, 2023 6:56 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: 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 mailto:carsonm...@ca.rr.com> > 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 
<mailto:ca.rr@gnu.org>  mailto:ca.rr@gnu.org> > On Behalf Of Knute Snortum
Sent: Tuesday, December 26, 2023 4:06 PM
To: lilypond-user@gnu.org <mailto: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

 

RE: Aligning offset quintuplets and triplets

[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.

 

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

 

RE: Hold a note the length of a cadenza

[Mark Stephen Mrotek]

John,

 

Look at
https://lilypond.org/doc/v2.22/Documentation/notation/special-rhythmic-concerns#aligning-to-cadenzas

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of John Burt
Sent: Tuesday, December 26, 2023 12:21 PM
To: lilypond-user 
Subject: Hold a note the length of a cadenza

 

Dear list,

While one part is singing a cadenza another part is holding a long note. I know 
how to make a rest or a skip the length of a cadenza bu not how to make a held 
note the length of the cadenza.

thanks

John Burt

RE: Voices, shifting and stem direction

[Mark Stephen Mrotek]

Jakob,

 

As I see it you have 5 voices in the music yet only 4 voices in your code.
Is this piece for organ? 

You might consider putting the “pedal” into a separate staff.

Frescobaldi has a “wizard” under “file”, “score wizard”, “keyboard”, “organ”.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Jakob Pedersen
Sent: Saturday, December 16, 2023 5:05 PM
To: Lilypond mailing list 
Subject: Voices, shifting and stem direction

 

Greetings!

I've always struggled with multiple voice and getting things to align 
correctly. I assume there's some basic truth I'm missing.

I'm attempting to transcribe an organ chorale and have run into a problem with 
these three bars:



I have tried all sorts of combination of \Voice and \StemDown and \ShiftOff and 
whatnot, and I just can't get it to look right.

In my MWE (below), everything is in the right horizontal position, but if I 
flip the stems of the bottom voice down, the notes shift left. I'm sure this is 
by design, but I can't figure out how to change the behaviour.

Maybe it's the \voiceThree bit that makes it not work, but it looks worse 
without it.


\version "2.25.11"
\language "deutsch"

global = {
  \key c \major
  \time 4/4
}

rightOne = \relative c'' {
  \global c8 d e fis g d e fis | g d g4. f16 e d8 f~| f e16 d e8 r r2 |
}

rightTwo = \relative c'' {
  \global g4. a8 h4 c | h4. h8 a4. g8 | c2 r2 |
}

leftOne = \relative c' {
  \global \voiceOne e4 r d c | d2 c4 d | g, f'\rest r2 |
}

leftTwo = \relative c {
  \global << { \voiceTwo c4 c' h a | h g a h | \shiftOn c a8\rest c h a h g }
 \new Voice { \voiceThree 
  % \stemDown here moves the notes left
  c,2 h4 a | h g a h | \stemDown c2 g\rest } >>
}

\score {
\new PianoStaff  <<
  \new Staff = "right" << \rightOne \\ \rightTwo >>
  \new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }
>>
}


Can anyone help? (And apart from the stems, how do I shift things into position 
for the chord on the first beat af the third measure without the stems of the 
upper and lower parts combining?)


Best wishes,

Jakob



image001.png
Description: Binary data

RE: what is the musical ornament called that looks like a mordent but has curl in front of it?

[Mark Stephen Mrotek]

Ben,

 

Lilypond command is

\downprall

 

See:
https://lilypond.org/doc/v2.22/Documentation/notation/list-of-articulations#ornament-scripts

 

Ma

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Ben Bradshaw
Sent: Thursday, October 26, 2023 9:36 PM
To: Kenneth Wolcott 
Cc: Lily Pond 
Subject: Re: what is the musical ornament called that looks like a mordent but 
has curl in front of it?

 

Hmm Google failed me and didn't bring that page up. That's way better!

 

On Thu, Oct 26, 2023, 10:33 PM Kenneth Wolcott mailto:kennethwolc...@gmail.com> > wrote:

Ah! a \downmordent :-) I was looking right at it on the Lilypond list
of ornaments...

On Thu, Oct 26, 2023 at 8:28 PM Kenneth Wolcott
mailto:kennethwolc...@gmail.com> > wrote:
>
> Hi;
>
> what is the musical ornament called that looks like a mordent but has
> curl in front of it?
>
> I'm engraving a 8notes.com   Tuba+Piano arrangement of the 
> Aria from the
> Goldberg Variations.
>
> Attached is a screenshot.
>
> Thanks,
> Ken Wolcott

RE: slur at end of repeat on start?

[Mark Stephen Mrotek]

Bevan:

Look up

\repeatTie
in the documentation for your version of Lilypond.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Bevan Broun
Sent: Friday, October 20, 2023 5:48 PM
To: lilypond-user@gnu.org
Subject: slur at end of repeat on start?

 

Hi

 

I have a slur at the end of a repeat that needs to go on the the start of the 
repeat. In the source document, the slur at the end extends to the repeat bar 
line - not just the last note of the repeat.

 

any ideas?

 

Thanks

 

Bevan

 

 

RE: slurs

[Mark Stephen Mrotek]

David,

Wow, so simple. 
Thank you for the remedy.

Mark

-Original Message-
From: David Kastrup  
Sent: Saturday, September 16, 2023 2:44 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: slurs

"Mark Stephen Mrotek"  writes:

> Hello All:
>
>  
>
> \version "2.22.2"
>
> \relative c'' {
>
>   \slurDown 4
>
> (bes16) (a c bes d c ees d)
>
> }

Good example why it is a bad idea to use non-standard input formatting for
aesthetic reasons: you lose a proper idea about what you are actually doing.
Both ( and ) are post-events following a note and can have a direction
prescribed using _ and ^ (ok, it is only heeded for the opening brace).

So you can just write:

\version "2.22.2"

\relative c'' {
   4_(
   bes16)( a c bes d c ees d)

}


--
David Kastrup

slurs

[Mark Stephen Mrotek]

Hello All:

 

\version "2.22.2"

\relative c'' {

  \slurDown 4

(bes16) (a c bes d c ees d)

}

 

Produces this



 

What must be done to produce this?

 



 

Thank you for your assistance.

 

Mark

RE: 2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Paul,

 

Yes, Jean gave explicit instructions. 

Thank you for the background.

 

Mark

 

From: Paul Hodges [mailto:p...@cassland.org] 
Sent: Saturday, September 9, 2023 10:32 AM
To: Mark Stephen Mrotek ; 'Jean Abou Samra' 

Cc: lilypond-user@gnu.org
Subject: Re: 2.22.2 and 2.24.2

 

Jean has already answered your question.  But perhaps it should be made 
explicit that the Windows installation procedure has changed between 2.22 and 
2.24.  Version 2.22 (and all earlier) are 32 bit programs and have install 
programs which place the program in Program Files (x86); 2.24 and later is 64 
bit, and has no install program - you just unzip the directory and its contents 
from the zip file.  You can put it wherever suits you - desktop, home 
directory, whatever (I put it in Program Files, but that might cause access 
problems for some people).

 

Paul



From: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > 
To: 'Paul Hodges' mailto:p...@cassland.org> >, 'Jean Abou 
Samra' mailto:j...@abou-samra.fr> > 
Cc: mailto:lilypond-user@gnu.org> > 
Sent: 09/09/2023 16:16 
Subject: RE: 2.22.2 and 2.24.2 

Paul, 

 

Thank you for the reassurance based on your experience.

Please bear with me and clarify some procedures.

I opened:

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

to read the process. 

My current Frescobaldi is 3.3.0. So good there.

Then further down is the direction:

Click on the folder icon and navigate to the lilypond-x.y.z-mingw-x86_64 folder 
you previously created. Inside this folder, open ‘lilypond-x.y.z’, then ‘bin’, 
and finally select ‘lilypond’.

When was that done?

 

Your assistance is appreciated.

 

Mark

 

 

From: Paul Hodges [mailto:p...@cassland.org] 
Sent: Saturday, September 9, 2023 1:20 AM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >; 
'Jean Abou Samra' mailto:j...@abou-samra.fr> >
Cc: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Re: 2.22.2 and 2.24.2

 

Yes you can - they install by default into separate directories.  I have 
installed in Windows the final version of every stable release from 2.6, and 
the current (and one other) development version so that I can compile and 
update any lilypond code I come across.  Frescobaldi has them all linked in so 
the correct one is used automatically.

 

Paul

From: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > 
To: 'Jean Abou Samra' mailto:j...@abou-samra.fr> > 
Cc: mailto:lilypond-user@gnu.org> > 
Sent: 09/09/2023 2:20 
Subject: RE: 2.22.2 and 2.24.2 

Jean,

 

Thank you.

My error in not being precise.

I am installing under Windows 10.

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Friday, September 8, 2023 5:08 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Cc: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Re: 2.22.2 and 2.24.2

 

 

 

Le 9 sept. 2023 à 02:05, Mark Stephen Mrotek < <mailto:carsonm...@ca.rr.com> 
carsonm...@ca.rr.com> a écrit :
Hello All.

 

Can I keep an operational 2.22.2 while I attempt to download and install 2.24.2?

 

Depends on the installation method. With a package manager on Linux or macOS, 
usually no, but if you're just downloading the official binaries from 
lilypond.org, then yes, no problem at all.

 

RE: 2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Jean,

 

Thank you. That is exactly what I needed. 
Might it be included in the referenced “graphical-setup-under-windows”?

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Saturday, September 9, 2023 9:04 AM
To: Mark Stephen Mrotek ; 'Paul Hodges' 

Cc: lilypond-user@gnu.org
Subject: Re: 2.22.2 and 2.24.2

 

Le samedi 09 septembre 2023 à 08:51 -0700, Mark Stephen Mrotek a écrit :

Jean,

 

I could not find instruction in

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

as to how and when I created a folder in placed Lilypond 2.24.

I am sure that I am missing something.

 

 

This is what the first paragraph of the page tries to explain:

 

 

Download LilyPond for Windows from Download 
<https://lilypond.org/doc/v2.24/Documentation/web/download> . The file will a 
ZIP archive called ‘lilypond-x.y.z-mingw-x86_64.zip’ (where “mingw” means it’s 
for Windows). Extract this in the file explorer. Place the resulting directory 
lilypond-x.y.z-mingw-x86_64 in a permanent location; the actual folder doesn’t 
matter, you just need to put it somewhere you won’t move it afterwards. For 
example, you could choose your home folder. 

 

 

In short, the folder is "created" by unpacking the zip archive that you 
downloaded.

RE: 2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Jean,

 

I could not find instruction in

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

as to how and when I created a folder in placed Lilypond 2.24.
I am sure that I am missing something.

 

Thank you.

 

Mark



 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Saturday, September 9, 2023 8:23 AM
To: Mark Stephen Mrotek ; 'Paul Hodges' 

Cc: lilypond-user@gnu.org
Subject: Re: 2.22.2 and 2.24.2

 

Le samedi 09 septembre 2023 à 08:16 -0700, Mark Stephen Mrotek a écrit :

When was that done?

 

 

What do you mean by that?

 

RE: 2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Paul, 

 

Thank you for the reassurance based on your experience.

Please bear with me and clarify some procedures.

I opened:

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

to read the process. 

My current Frescobaldi is 3.3.0. So good there.

Then further down is the direction:

Click on the folder icon and navigate to the lilypond-x.y.z-mingw-x86_64 folder 
you previously created. Inside this folder, open ‘lilypond-x.y.z’, then ‘bin’, 
and finally select ‘lilypond’.

When was that done?

 

Your assistance is appreciated.

 

Mark

 

 

From: Paul Hodges [mailto:p...@cassland.org] 
Sent: Saturday, September 9, 2023 1:20 AM
To: Mark Stephen Mrotek ; 'Jean Abou Samra' 

Cc: lilypond-user@gnu.org
Subject: Re: 2.22.2 and 2.24.2

 

Yes you can - they install by default into separate directories.  I have 
installed in Windows the final version of every stable release from 2.6, and 
the current (and one other) development version so that I can compile and 
update any lilypond code I come across.  Frescobaldi has them all linked in so 
the correct one is used automatically.

 

Paul



From: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > 
To: 'Jean Abou Samra' mailto:j...@abou-samra.fr> > 
Cc: mailto:lilypond-user@gnu.org> > 
Sent: 09/09/2023 2:20 
Subject: RE: 2.22.2 and 2.24.2 

Jean,

 

Thank you.

My error in not being precise.

I am installing under Windows 10.

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Friday, September 8, 2023 5:08 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Cc: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Re: 2.22.2 and 2.24.2

 

 

 

Le 9 sept. 2023 à 02:05, Mark Stephen Mrotek < <mailto:carsonm...@ca.rr.com> 
carsonm...@ca.rr.com> a écrit :
Hello All.

 

Can I keep an operational 2.22.2 while I attempt to download and install 2.24.2?

 

Depends on the installation method. With a package manager on Linux or macOS, 
usually no, but if you're just downloading the official binaries from 
lilypond.org, then yes, no problem at all.

 

RE: 2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Jean,

 

Thank you.

My error in not being precise.

I am installing under Windows 10.

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Friday, September 8, 2023 5:08 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: 2.22.2 and 2.24.2

 

 





Le 9 sept. 2023 à 02:05, Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > a écrit :
Hello All.

 

Can I keep an operational 2.22.2 while I attempt to download and install 2.24.2?

 

Depends on the installation method. With a package manager on Linux or macOS, 
usually no, but if you're just downloading the official binaries from 
lilypond.org, then yes, no problem at all.

 

2.22.2 and 2.24.2

[Mark Stephen Mrotek]

Hello All.

 

Can I keep an operational 2.22.2 while I attempt to download and install
2.24.2?

 

Thank you for your kind attention.

 

Mark Stephen Mrotek

RE: search terms

[Mark Stephen Mrotek]

Paul, 

 

Thank you for the command and the recommendation from and experienced eye.

 

Mark

 

From: Paul Hodges [mailto:p...@cassland.org] 
Sent: Monday, September 4, 2023 1:46 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: search terms

 

I think the "errant" dot is in the right place (in line with the one above).  
The issue I see is that the e above it is too far to the right.  I'd move that 
back and then adjust the tie with \shape to miss the dot on the c (also to miss 
the b at the other end).

 

To hide the flags, try "\once \hide Flag" before the note.  But sometimes I 
write e4*1/2 to write a crotchet (i.e.no flag) but with the timing of a quaver.

 

Paul



From: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > 
To: mailto:lilypond-user@gnu.org> > 
Sent: 03/09/2023 23:42 
Subject: search terms 

Hello!

 

Two items for which I request search terms to locate solution/commands.

 



The first is the errant dot on the c4. This has been 
presented/discussed/resolved in a previous thread. Please provide a search term 
to locate that thread.

 

The second is a search term for the command to eliminate two flags, one on the 
e8 the other on the e16. I am using version 2.22,

 

Thank you for your kind attention.

 

Mark Stephen Mrotek

RE: search terms

[Mark Stephen Mrotek]

Knute,

 

Thank you for the two indices. 

 

Mark

 

From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Monday, September 4, 2023 7:07 AM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: search terms

 

 

On Sun, Sep 3, 2023 at 3:43 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

Two items for which I request search terms to locate solution/commands.

 

Just a couple of notes on "adding search terms".   LilyPond uses Google to 
search its manuals and this is sometimes incomplete.  This has to do with 
Google and not LilyPond.

 

If you want to search for a command you can go to the Lilypond Command Iindex 
in the Notation manual (this is 2.24):

 

https://lilypond.org/doc/v2.24/Documentation/notation/lilypond-command-index

 

Press the Ctrl-F key combo to search the page.  Or you can use the more general 
Command Index here:

 

https://lilypond.org/doc/v2.24/Documentation/notation/lilypond-index

 

Hope that helps.

search terms

[Mark Stephen Mrotek]

Hello!

 

Two items for which I request search terms to locate solution/commands.

 



The first is the errant dot on the c4. This has been
presented/discussed/resolved in a previous thread. Please provide a search
term to locate that thread.

 

The second is a search term for the command to eliminate two flags, one on
the e8 the other on the e16. I am using version 2.22,

 

Thank you for your kind attention.

 

Mark Stephen Mrotek

RE: cross-staff stems

[Mark Stephen Mrotek]

Thank you Werner!

Mark

-Original Message-
From: Werner LEMBERG [mailto:w...@gnu.org] 
Sent: Friday, June 30, 2023 9:18 PM
To: ksnor...@gmail.com
Cc: carsonm...@ca.rr.com; will...@williamrehwinkel.net; j...@abou-samra.fr;
lilypond-user@gnu.org
Subject: Re: cross-staff stems


In March we had the following discussion about cross-staff stems.

> The documentation does not explicitly relate stem direction with 
> location of command.  So I am very fortunate to have your 
> expertise.

 Can you please suggest a better wording that I can add to the 
 documentation?
>>>
>>> Well, this is the first time I've heard that the \crossStaff 
>>> shouldn't be applied to the lower notes.  [...]
>>
>> 'Lower notes' is the wrong term.  AFAICS, it's rather that it should 
>> applied to the voice where the stem ends.
> 
> Okay, that good information.  How about we put that into the example 
> at least?  (What's posted below might be made "prettier".)  [...]

I've now updated LSR #933 accordingly, thanks.


Werner

RE: Liszt's accents

[Mark Stephen Mrotek]

Knute,

 

I don’t know if that can be done.

 

Mark 

 

From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Thursday, June 1, 2023 8:36 AM
To: Mark Stephen Mrotek 
Cc: cadenza ; lilypond-user@gnu.org
Subject: Re: Liszt's accents

 

I'm interested in how you apply a marcato articulation to a group of notes.  
For example, this doesn't work:

 

\version "2.24.1"

{ c''8 8 {8 8  8}-^ 8 8 8 }


 

--

Knute Snortum

 

 

 

On Wed, May 31, 2023 at 2:29 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Cadenza,

It is a "marcato."
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#articulations-and-ornamentations

Mar3k

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:ca.rr@gnu.org>  [mailto:lilypond-user-bounces+carsonmark 
<mailto:lilypond-user-bounces%2Bcarsonmark> =ca.rr@gnu.org 
<mailto:ca.rr@gnu.org> ] On Behalf Of cadenza
Sent: Wednesday, May 31, 2023 8:37 AM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Liszt's accents

Hello all,

How do I enter the large accent marks that Liszt favored, which spread to 
multiple notes, as shown in the attached file?
In an attempt to address some of the examples in the attachment, I tried to 
match the second and third control points of the slur as shown below, but this 
does not seem to be a realistic solution.


\version "2.23.2"
{
   \shape #'((0 . 0) (2 . 1) (-1.4 . -1) (0 . 0)) Slur
   \repeat tremolo 8 {c'32_( c'')}
}

RE: Liszt's accents

[Mark Stephen Mrotek]

Cadenza,

It is a "marcato."
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#articulations-and-ornamentations

Mar3k

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of cadenza
Sent: Wednesday, May 31, 2023 8:37 AM
To: lilypond-user@gnu.org
Subject: Liszt's accents

Hello all,

How do I enter the large accent marks that Liszt favored, which spread to 
multiple notes, as shown in the attached file?
In an attempt to address some of the examples in the attachment, I tried to 
match the second and third control points of the slur as shown below, but this 
does not seem to be a realistic solution.


\version "2.23.2"
{
   \shape #'((0 . 0) (2 . 1) (-1.4 . -1) (0 . 0)) Slur
   \repeat tremolo 8 {c'32_( c'')}
}

RE: How to unsubscribe?

[Mark Stephen Mrotek]

David,

Your response assumes that all readers of mailing lists know what full
headers are, where the full headers are, and where in the full headers to
find the "unsubscribe".

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
David Kastrup
Sent: Friday, May 5, 2023 9:34 AM
To: Samuel Sloniker 
Cc: lilypond-user@gnu.org
Subject: Re: How to unsubscribe?

"Samuel Sloniker"  writes:

> Hello!
>
> How can I unsubscribe from this list?

Like with most bonafide mailing lists, looking at the full headers of any
mail from the list will contain the necessary info for unsubscribing.

--
David Kastrup

RE: Unterminated terminated tie

[Mark Stephen Mrotek]

Mike,

 

Try using \stemDown

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Mike 
Dean
Sent: Monday, April 17, 2023 8:03 PM
To: Lilypond-User Mailing List 
Subject: Re: Unterminated terminated tie

 

Mark: That has helped some

.

 

\version "2.24.0"

  \relative c' {
  \key af \major
  \time 2/4
  \tempo "Not fast"
   ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4
 c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8)
  << { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
 >>



But with the spacer rests, I want to get the beams pointing downward

 

 << { _[ bf'16 (af8) bf16] _[ (af) bf (af) ef!~ef2] }
\\
{ s2 r8 ef,16 (f g af bf b) }
 >>

The above doesn't seem to be the best way of doing it

Mike Dean

 

 

On Mon, Apr 17, 2023 at 7:25 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Mike,

One way is to start the lower voice one measure earlier and use a spacer.

See below.

 

Mark

 

 

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:ca.rr@gnu.org>  [mailto:lilypond-user-bounces+carsonmark 
<mailto:lilypond-user-bounces%2Bcarsonmark> =ca.rr@gnu.org 
<mailto:ca.rr@gnu.org> ] On Behalf Of Mike Dean
Sent: Monday, April 17, 2023 4:47 PM
To: Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: Unterminated terminated tie

 

I am needing to figure out how to best tie a note...

 

\version "2.24.0"

  \relative c' {
  \key af \major
  \time 2/4
  \tempo "Not fast"
   ef8 c' ~c16 bf af g f ef8 df16 c8 bf16 af g af bf c df ef f g af8 r r4 
   \repeat volta 2 {
 c8 c4 ef8 f16 (ef8) f16 (ef) f16 (ef8) 
  << { bf'16 (af8) bf16 (af) bf (af) ef!~ ef2}
\\
{ s2 r8 ef,16 (f g af bf b) }
 >>

 

I am getting an unterminated tie warning:

  C:/Users/Mike 
Dean/Documents/musicwork/Lilypond/The-Easy-Winners-melody.ly:19:39: warning: 
unterminated tie

bf'16 (af8) bf16 (af) bf (af) ef!

~

and the tie needs to go from the ef! to the ef2 in the top of the simultaneous 
voice.

I have a couple of other instances where I need to do likewise, so any help 
will be welcome. Thanks.

 

Mike Dean

RE: cross-staff stems

[Mark Stephen Mrotek]

Werner,

Knute has provided a visual that cannot be improved.

Mark

-Original Message-
From: Werner LEMBERG [mailto:w...@gnu.org] 
Sent: Thursday, March 23, 2023 8:37 AM
To: carsonm...@ca.rr.com
Cc: will...@williamrehwinkel.net; j...@abou-samra.fr; lilypond-user@gnu.org
Subject: Re: cross-staff stems


> > Can you please suggest a better wording that I can add to the 
> > documentation?
>
> May I have the day to ruminate?

Please take your time, and thanks for working on this!


Werner

RE: cross-staff stems

[Mark Stephen Mrotek]

Carl,

 

The location of the command seems dependent on whether the stem is extending 
down or extending up. At the present it seems, to me, that the command is 
attached to the pitch(es) from which the stem is extended. As you noted in my 
the stem was extended down from voice two in the upped staff and therefore the 
command had to be there.

 

Mark

 

From: Carl Sorensen [mailto:carl.d.soren...@gmail.com] 
Sent: Thursday, March 23, 2023 8:41 AM
To: Werner LEMBERG 
Cc: carsonm...@ca.rr.com; will...@williamrehwinkel.net; j...@abou-samra.fr; 
lilypond-user@gnu.org
Subject: Re: cross-staff stems

 

 

 

On Thu, Mar 23, 2023 at 9:37 AM Werner LEMBERG mailto:w...@gnu.org> > wrote:


> > Can you please suggest a better wording that I can add to the
> > documentation?
>
> May I have the day to ruminate?

Please take your time, and thanks for working on this!

 

Didn't the problem occur because the crossStaff request was in a voiceTwo 
context in the lower staff (i.e. a stem down context in the lower staff) which 
is not conducive to cross-staff stems)?

Carl

RE: cross-staff stems

[Mark Stephen Mrotek]

Werner,

Got your request.
Have discarded several possible.
May I have the day to ruminate?

Mark

-Original Message-
From: Werner LEMBERG [mailto:w...@gnu.org] 
Sent: Wednesday, March 22, 2023 10:32 PM
To: carsonm...@ca.rr.com
Cc: will...@williamrehwinkel.net; j...@abou-samra.fr; lilypond-user@gnu.org
Subject: Re: cross-staff stems


> The documentation does not explicitly relate stem direction with 
> location of command.  So I am very fortunate to have your expertise.

Can you please suggest a better wording that I can add to the documentation?


Werner

RE: cross-staff stems

[Mark Stephen Mrotek]

Knute,

 

IMHO it is not that it cannot, rather it is that placement depends on whether 
the stem is extended up or extended down.

The documentation has the stem extended from the bass, therefore the command is 
in the bass.

In my MWE the stem was to extend down from the treble to the bass. And 
therefore, as William and Jean noted, the command needs to be in the treble 
voice.

 

Mark

 

From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Thursday, March 23, 2023 7:08 AM
To: Werner LEMBERG 
Cc: carsonm...@ca.rr.com; will...@williamrehwinkel.net; j...@abou-samra.fr; 
lilypond-user@gnu.org
Subject: Re: cross-staff stems

 

 

On Wed, Mar 22, 2023 at 10:33 PM Werner LEMBERG mailto:w...@gnu.org> > wrote:


> The documentation does not explicitly relate stem direction with
> location of command.  So I am very fortunate to have your expertise.

Can you please suggest a better wording that I can add to the
documentation?

 

Well, this is the first time I've heard that the \crossStaff shouldn't be 
applied to the lower notes.  The documentation ( 
https://lilypond.org/doc/v2.24/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems
 ) shows an example with the \crossStaff in the bass clef staff:

 

\layout {
  \context {
\PianoStaff
\consists "Span_stem_engraver"
  }
}
 
{
  \new PianoStaff <<
\new Staff {
  4 r d'16\> e'8. g8 r\!
  e'8 f' g'4 e'2
}
\new Staff {
  \clef bass
  \voiceOne
  \autoBeamOff
  \crossStaff { 4 e, g16 a8. c8} d
  \autoBeamOn
  g8 f g4 c2
}
  >>
}
 
--
Knute Snortum
 
 

RE: cross-staff stems

[Mark Stephen Mrotek]

Leo,

Thanks for the code and the advice.

Mark

-Original Message-
From: Leo Correia de Verdier [mailto:leo.correia.de.verd...@gmail.com] 
Sent: Wednesday, March 22, 2023 5:43 PM
To: Mark Stephen Mrotek 
Cc: Jean Abou Samra ; lilypond-user 
Subject: Re: cross-staff stems

Like this?


\version "2.22.2"

ArightOne = \relative c'' {
  f4 (e8) s8
}

ArightTwo = \relative c'' {
  \crossStaff { a4 g16 }
}

AleftOne = \relative c' {
  s4.
}

AleftTwo = \relative c' {
  c4~ c16   
}

\score {
  \new PianoStaff
  <<
\new Staff = "right" << \ArightOne \\ \ArightTwo >>
\new Staff = "left" { \clef bass << \AleftOne \\ \AleftTwo >> }
>>
  \layout {
indent = 0
\context {
\PianoStaff
\consists #Span_stem_engraver
  }
  }
  }
%

I moved the \crossStaff to the right hand two, the voice whose stems are 
actually crossing over into the other staff. Otherwise take care that the stems 
to be connected point in the same direction, they don’t do automatically and 
don’t work unless they do.

HTH
/Leo

> 23 mars 2023 kl. 01:24 skrev Mark Stephen Mrotek :
> 
> Jean,
>  
> Attached is a MWE
> Want stem to connect c and a, also c an g.
> Thank you for your kind attention.
>  
> Mark
>  
> From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
> Sent: Wednesday, March 22, 2023 4:41 PM
> To: Mark Stephen Mrotek ; 'lilypond-user' 
> 
> Subject: Re: cross-staff stems
>  
> Le mercredi 22 mars 2023 à 14:28 -0700, Mark Stephen Mrotek a écrit :
> 
>> Hello!
>>  
>> My piano score has four voices each coded as a variable.
>> At a single place I want a cross stem between the tenor and alto voice.
>> The directions at
>> https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems
>> were followed  yet the stems were not created.
>>  
>> The snippet for the above directions does not use variables yet imbeds the 
>> notation within the \PianoStaff.
>> Does imply that cross-staff stem is available only in that format?
>>  
>> Thank you for your kind attention,
>> 
> First, the documentation page you link to is for LilyPond 2.16, which is an 
> ooold version (more than 10 years old). Google search results can be 
> problematic in that regard; it often works to replace the version number with 
> your version number in the URL, in this case replacing 2.16 with 2.24, the 
> current stable version. That said, this snippet does still work in 2.24 
> unchanged.
> 
> Do you have an example allowing to reproduce your problem? (No, whether you 
> structure your input with variables won't make a difference.)
> 

RE: cross-staff stems

[Mark Stephen Mrotek]

Jean and William,

Thank you. 
The documentation does not explicitly relate stem direction with location of 
command.
So I am very fortunate to have your expertise.

Mark

-Original Message-
From: William Rehwinkel [mailto:will...@williamrehwinkel.net] 
Sent: Wednesday, March 22, 2023 5:30 PM
To: Mark Stephen Mrotek ; 'Jean Abou Samra' 
; 'lilypond-user' 
Subject: Re: cross-staff stems

Dear Mark,

I found that the error was applying "\crossStaff" to the lower notes instead of 
the higher ones, applying them to the upper notes (whos stems will extend 
further below the stem) seems to have fixed the issue.

Thanks,
-William

On 3/22/23 20:24, Mark Stephen Mrotek wrote:
> Jean,
> 
> Attached is a MWE
> 
> Want stem to connect c and a, also c an g.
> 
> Thank you for your kind attention.
> 
> Mark
> 
> *From:*Jean Abou Samra [mailto:j...@abou-samra.fr]
> *Sent:* Wednesday, March 22, 2023 4:41 PM
> *To:* Mark Stephen Mrotek ; 'lilypond-user' 
> 
> *Subject:* Re: cross-staff stems
> 
> Le mercredi 22 mars 2023 à 14:28 -0700, Mark Stephen Mrotek a écrit :
> 
> Hello!
> 
> My piano score has four voices each coded as a variable.
> At a single place I want a cross stem between the tenor and alto voice.
> The directions at
> 
> https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems
>  
> <https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems>
> were followed  yet the stems were not created.
> 
> The snippet for the above directions does not use variables yet
> imbeds the notation within the \PianoStaff.
> Does imply that cross-staff stem is available only in that format?
> 
> Thank you for your kind attention,
> 
> First, the documentation page you link to is for LilyPond 2.16, which 
> is an ooold version (more than 10 years old). Google search results 
> can be problematic in that regard; it often works to replace the 
> version number with your version number in the URL, in this case 
> replacing 2.16 with 2.24, the current stable version. That said, this 
> snippet does still work in 2.24 unchanged.
> 
> Do you have an example allowing to reproduce your problem? (No, 
> whether you structure your input with variables won't make a 
> difference.)
> 

-- 
+ -- +
|William Rehwinkel - Oberlin College and |
|   Conservatory '24 |
|  will...@williamrehwinkel.net  |
| PGP key:   |
| https://williamrehwinkel.net/static/pubkey.txt |
+ -- +

RE: cross-staff stems

[Mark Stephen Mrotek]

Jean,

 

Attached is a MWE

Want stem to connect c and a, also c an g.

Thank you for your kind attention.

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Wednesday, March 22, 2023 4:41 PM
To: Mark Stephen Mrotek ; 'lilypond-user' 

Subject: Re: cross-staff stems

 

Le mercredi 22 mars 2023 à 14:28 -0700, Mark Stephen Mrotek a écrit :

Hello!
 
My piano score has four voices each coded as a variable.
At a single place I want a cross stem between the tenor and alto voice.
The directions at
https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems
were followed  yet the stems were not created.
 
The snippet for the above directions does not use variables yet imbeds the 
notation within the \PianoStaff.
Does imply that cross-staff stem is available only in that format?
 
Thank you for your kind attention,

First, the documentation page you link to is for LilyPond 2.16, which is an 
ooold version (more than 10 years old). Google search results can be 
problematic in that regard; it often works to replace the version number with 
your version number in the URL, in this case replacing 2.16 with 2.24, the 
current stable version. That said, this snippet does still work in 2.24 
unchanged.

Do you have an example allowing to reproduce your problem? (No, whether you 
structure your input with variables won't make a difference.)

\version "2.22.2"

ArightOne = \relative c'' {
  f4 (e8) s8 
}

ArightTwo = \relative c'' {
  a4 g16
}

AleftOne = \relative c' {
  s4.
}

AleftTwo = \relative c' {
  \crossStaff {
  c4~ c16}
}

\score {
  \new PianoStaff
  <<
\new Staff = "right" << \ArightOne \\ \ArightTwo >>
\new Staff = "left" { \clef bass << \AleftOne \\ \AleftTwo >> }
>>
  \layout {
indent = 0
\context {
\PianoStaff
\consists #Span_stem_engraver
  }
  }
  }

cross-staff stems

[Mark Stephen Mrotek]

Hello!

 

My piano score has four voices each coded as a variable. 

At a single place I want a cross stem between the tenor and alto voice.

The directions at
https://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-ke
yboards#cross_002dstaff-stems

were followed  yet the stems were not created.

 

The snippet for the above directions does not use variables yet imbeds the
notation within the \PianoStaff.

Does imply that cross-staff stem is available only in that format?

 

Thank you for your kind attention,

 

Mark

RE: coloring edits

[Mark Stephen Mrotek]

Knute,

 

Thanks.

 

Mark

 

From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Sunday, March 19, 2023 7:32 AM
To: William Rehwinkel 
Cc: Mark Stephen Mrotek ; lilypond-user 

Subject: Re: coloring edits

 

 

On Sat, Mar 18, 2023 at 9:37 PM William Rehwinkel mailto:will...@williamrehwinkel.net> > wrote:

Dear Mark,

Once you know how to apply colors to things like noteheads, applying 
that to the rest of the symbols is not difficult. It's just a matter of 
knowing the internal name (such as Slur, Tie, etc.). These can be found 
by looking up the symbols in the internals reference. For example, the 
following link 
https://lilypond.org/doc/v2.24/Documentation/internals/phrasingslur

 

I find Joram berger's visual grob index very helpful for this:

 

https://joramberger.de/files/lilypond_visualindex.pdf

 

--

Knute Snortum

 

 

coloring edits

[Mark Stephen Mrotek]

Hello,

 

The documentation has examples of coloring note heads, stems, and staves.

Where would I look for instructions to color slurs and/or ties?

 

Thank you.

 

Mark

RE: [OT] help about some questions

[Mark Stephen Mrotek]

Dario,

 

While I would never discourage anyone from using Lilypond, what you want has 
been done by Hal Leonard Publications in its Music Minus One series.
https://www.halleonard.com/series/MMONE?dt=item#products

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Dario 
Marrini
Sent: Thursday, March 16, 2023 3:09 AM
To: lilypond-user 
Subject: [OT] help about some questions

 

Hi lilypond friends, 

I'd like to create an orchestral midi collection, for playing piano concertos 
with a MIDI accompaniment. 

 

The first difficulty is transcribing orchestral scores, then, I wonder if 
someone could suggest me a pdf2midi or pdf2score app or online service that 
could help; at this moment I'd be interested in Prokofiev Piano Concerto n. 1 
and Beethoven Piano Concerto n. 3; I tried the online service of MuseScore but 
I got a 'score not compatible' message (I'm using the imslp.org 
  score)

 

Second difficulty will be getting an interactive mode about playing midi 
orchestral score, even without thinking to a 'follow me' mode, listening to 
audio solo part (I think it'd be very difficult to implement), I thought I 
could create and additional track, with just a few notes to play, and then 
finding a way to concatenate other midi events to those special notes, to get a 
synchronous mode with solo part (played by human) and midi orchestral part; 
even in this case (I'm not a such good code programmer) I have no idea if it 
could be possible and how.

 

I'm a pianist and piano teacher, this kind of solution could improve very much 
the teaching level and the final piano and orchestra exam; indeed, it could be 
a development idea, creating a web site to offer this service

 

Hoping this idea could be interesting for someone, I wait for your help or even 
thoughts

 

regards

 

dario m. 

RE: RE: Installing 2.24.1

[Mark Stephen Mrotek]

Jeff,

 

Thank you for the detailed instructions suited for a non-programmer!

Shall work on it in the morning.

 

Mark

 

From: Jeff Olson [mailto:jjoca...@gmail.com] 
Sent: Sunday, March 12, 2023 7:57 PM
To: Mark Stephen Mrotek 
Cc: Jean Abou Samra ; lilypond-user@gnu.org
Subject: Re: RE: Installing 2.24.1

 

On 3/11/2023 10:37 PM, Mark Stephen Mrotek wrote: 

My experience installing Lilypond is with the Windows Installer.
 
I know what a Zip file is yet I have never used one to install a 
program.  Is there some more detailed instructions than what is 
provided in The Graphical Setup for Windows?

Quoting the Graphical setup under Windows:
http://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows
 
  "The file will a ZIP archive called ‘lilypond-x.y.z-mingw-x86_64.zip’ 
  (where “mingw” means it’s for Windows). Extract this in the file explorer. 
  Place the resulting directory lilypond-x.y.z-mingw-x86_64 in a permanent 
  location; the actual folder doesn’t matter, you just need to put it somewhere 
  you won’t move it afterwards. For example, you could choose your home folder."
 
Actually, on Windows the folder *does* matter.
 
Depending upon where you want the installed location to be, you may
need to do some extra steps to overtly "run as administrator".  Previous
releases of LilyPond used the Windows installer to handle this aspect
for you (the familiar "Do you want to allow this program to make changes
on your computer?").  But the extract step in the 2.24 instructions fails
if you choose the typical (protected) Windows place under Program Files.  
 
Here are "some more detailed instructions" (Win 10) for that case:
 
1) Download lilypond-2.24.1-mingw-x86_64.zip from 
https://lilypond.org/download.html
2) Click the Windows "Start" icon in lower left
3) Scroll way down to see WinZip (alternatively File Manager)
4) Right click WinZip and select More > Run as administrator
5) Answer "Yes" to allow this program to make changes
6) Select the icon for Open WinZip File
7) Browse to where you put the download in step 1)
8) See prompt "Would you like to unzip the contents of this Zip file now?"
9) Select "Yes, unzip the files to a folder I choose"
10) Navigate to e.g. C:\Program Files\LilyPond and unzip
 
This produces C:\Program Files\LilyPond\lilypond-2.24.1 with the .exe
at C:\Program Files\LilyPond\lilypond-2.24.1\bin\lilypond.exe
This .exe location is what you specify in Frescobaldi.
 
If you're a tinkerer and might make changes to some of the LilyPond
script files, you would be better off choosing a location under your
home directory, as the instructions suggest.  The complication of
running as administrator is only needed if you want to protect the
installed files from inadvertent modification.
 
HTH
Jeff
 

RE: Variables and Bookpart

[Mark Stephen Mrotek]

Jean,

 

Shall follow you explicit structure printed at the bottom. 

Please consider including it in the Learning Manual.

Thank you is inadequate for your efforts.

 

Mark

 

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Sunday, March 12, 2023 5:10 PM
To: Mark Stephen Mrotek ; 'Hans Aikema' 

Cc: 'lilypond-user mailinglist' 
Subject: Re: Variables and Bookpart

 

Le dimanche 12 mars 2023 à 16:54 -0700, Mark Stephen Mrotek a écrit :

Hans,
 
Thank you for your advice.
That format is not what is given in the manual.
 
\bookpart {
  \header { … }
  \score { … }
}.

I find this fascinating, because the user who asked this question on -user-fr 
yesterday also thought the documentation was wrong. But it's not! Or I haven't 
seen a proof yet.

There is nothing contradicting the reality in the structure sketch you wrote 
above. You just have to understand that lilypon makes a distinction between 
assignments, which don't have a value but execute an action, and values. The 
"..." in this code are placeholders for values, not for other things. Does it 
surprise you that you cannot write

music = \relative c'' {
  var = { c d e }
  \var \var
}

but instead must write

var = { c d e }
 
music = \relative c'' {
  \var \var
}

?

If not, I'm not exactly sure why it is surprising to you, although I see that 
it's not surprising just to you, that

\bookpart {
  var = { c' }
  \score { \var }
}

does not work, but

var = { c' }
\bookpart {
  \score { \var }
}

does.

An what is the advantage of being able to code separate files (for individual 
movements) if the variables for each must be copied into the book part?

Instead of

% movement1.ly
variable = \relative c'' { ... }
\bookpart { \score { \variable } }
 
% movement2.ly
variableII = \relative c'' { ... }
\bookpart { \score { \variableII } }
 
% main.ly
% \book { % whoops, does not work
\include "movement1.ly"
\include "movement2.ly"
% }

use:

% movement1.ly
variable = \relative c'' { ... }
bookpartI = \bookpart { \score { \variable } }
 
% movement2.ly
variableII = \relative c'' { ... }
bookpartII = \bookpart { \score { \variableII } }
 
% main.ly
\include "movement1.ly"
\include "movement2.ly"
\book {
  \bookpart { \bookpartI }
  \bookpart { \bookpartII }
}

RE: Variables and Bookpart

[Mark Stephen Mrotek]

Valentin,

Thank you for your input.
Note that my knowledge of programming and programming language does not exceed 
what I learned In FORTRAN as the foreign language requirement of my Master's 
degree.
My question then is, what file structure is used by others to combine multiple 
movements into one "book" without having to retype something that is already in 
each movement?

Your efforts on my behave are greatly appreciated.

Mark

-Original Message-
From: Valentin Petzel [mailto:valen...@petzel.at] 
Sent: Sunday, March 12, 2023 4:25 PM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org; Hans 
Aikema 
Cc: j...@abou-samra.fr
Subject: Re: Variables and Bookpart

If I’m thinking correctly what Mark attempts to do is to have multiple files 
containing scores and then to

\bookpart {
  \include ...
}

to combine these scores. The problem here is quite simple: The notation

name = value

is something that is evalutated by the parser and will generally evaluate 
differently depending on which context this is used in. Only on top level this 
will be valuated to "define a music macro". In the context of an output def 
such as \paper of \layout and in \header this is interpreted as "set this 
particular property". In other cases this will only be allowed in conjuction 
with the reserved keywords \override and \set.

Anyway the point is that the parser will not allow you to do this kind of 
syntax if you are not at toplevel.

But that does not mean you cannot set such values, it just means you cannot use 
this syntax for it. By directly setting the scheme binding we can still do
this:

\bookpart {
  #(define ArightOne #{ \relative c'' { c b a b } #})
  \score { \ArightOne }
}

(by the way this also allows us to define bindings the parser does not handle 
well such as e.g. \c: c = ... will not be allowed, as c is a note name, but 
#(define c ...) works).

Cheers,
Valentin

Am Sonntag, 12. März 2023, 23:51:28 CET schrieb Hans Aikema:
> > On 12 Mar 2023, at 20:38, Mark Stephen Mrotek 
> > wrote:
> > 
> > Jean Abou Samra,
> > 
> > Thank you.
> > Yes variables must (and are) placed before the \score in each 
> > individual movement. That is why each complies perfectly when done 
> > individually. The error appears when the code for the movement (that 
> > compiles) is copied and pasted into the \bookpart.
> > 
> > Your kind attention is appreciated.’
> > 
> > Mark
> 
> […]
> 
> Mark,
> 
> Based on your response I think you did not get the nuances of what 
> Jean tried to tell you.
> 
> The copying/pasting of your working score INSIDE \bookpart means that 
> you are copying your variable definition (which is already properly 
> outside the
> \score) INSIDE the \bookpart, while it should be outside both the 
> \bookpart and the \score
> 
> So you should
> 
> {copy variables to here}
> \bookpart {
>   {copy rest of the score here}
> }
> 
> When using copy/paste of your score into a file with a \bookpart
> 
> 
> HTH
> Hans

RE: Variables and Bookpart

[Mark Stephen Mrotek]

Hans,

 

Thank you for your advice.

That format is not what is given in the manual.

 

\bookpart {

  \header { … }

  \score { … }

}.

 

An what is the advantage of being able to code separate files (for individual 
movements) if the variables for each must be copied into the book part?

If in the future I wanted to change anything in an individual movement I would 
need to compile all of the bookparts. 

The only option, that I can see, is to not use variables and insert all pitches 
within \score.

 

Your guidance is appreciated.

 

M

 

From: Hans Aikema [mailto:hans.aik...@aikebah.net] 
Sent: Sunday, March 12, 2023 3:51 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user mailinglist 
Subject: Re: Variables and Bookpart

 





On 12 Mar 2023, at 20:38, Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

Jean Abou Samra,

 

Thank you.

Yes variables must (and are) placed before the \score in each individual 
movement. That is why each complies perfectly when done individually.

The error appears when the code for the movement (that compiles) is copied and 
pasted into the \bookpart.

 

Your kind attention is appreciated.’

 

Mark

[…]

 

Mark,

 

Based on your response I think you did not get the nuances of what Jean tried 
to tell you.

 

The copying/pasting of your working score INSIDE \bookpart means that you are 
copying your variable definition (which is already properly outside the \score) 
INSIDE the \bookpart, while it should be outside both the \bookpart and the 
\score

 

So you should 

 

{copy variables to here}

\bookpart {

{copy rest of the score here}

}

 

When using copy/paste of your score into a file with a \bookpart

 

 

HTH

Hans

\version "2.22.2"


  ArightOne = \relative c'' {c1}
  ArightTwo = \relative c'' {c,1}
  AleftOne = \relative c' {c1}
  AleftTwo = \relative c' {c,1}
  
  \score {
  \new PianoStaff
  <<
\new Staff = "right" << \ArightOne \\ \ArightTwo >>
\new Staff = "left" { \clef bass << \AleftOne \\ \AleftTwo >> }
  >>
}
  
  
  
  
  
  
  
  
  
\version "2.22.2"

\bookpart {
  ArightOne = \relative c'' {c'1}
  ArightTwo = \relative c'' {c,1}
  AleftOne = \relative c' {c'1}
  AleftTwo = \relative c' {c,1}
  
  \score {
  \new PianoStaff
  <<
\new Staff = "right" << \ArightOne \\ \ArightTwo >>
\new Staff = "left" { \clef bass << \AleftOne \\ \AleftTwo >> }
  >>
}
  
  
  
  
  
  
  
  
  
}

RE: Variables and Bookpart

[Mark Stephen Mrotek]

Jean Abou Samra,

 

Thank you.

Yes variables must (and are) placed before the \score in each individual 
movement. That is why each complies perfectly when done individually.

The error appears when the code for the movement (that compiles) is copied and 
pasted into the \bookpart.

 

Your kind attention is appreciated.’

 

Mark

 

From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Sunday, March 12, 2023 11:23 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Variables and Bookpart

 

Le dimanche 12 mars 2023 à 11:16 -0700, Mark Stephen Mrotek a écrit :

Hello,
 
Each movement of a piano piece has a separate file. In each movement the 
various voices are identified by a variable, e.g., ArightOne, BleftTwo. Each 
file compiles perfectly individually.
When the file is copied into
\bookpart {
  \header {
}
  Copied here
}
It does not compile correctly and the error:
syntax error, unexpected SYMBOL
appears repeatedly followed by one of the variable names, e.g. ArightOne = 
\relative c'' {
 
What is my error?

Amusingly, the same question was asked on the French-speaking list 
(lilypond-user-fr) yesterday. (OK, not exact same question since it was about 
\book. Still.)

You apparently have assignments inside your \bookpart, like

\bookpart {
  ArightOne = \relative c'' { c }
  \score { \ArightOne }
}

which is not valid. Just like you cannot do

\score {
  ArightOne = \relative c'' { c }
  \ArightOne
}

but need to do

ArightOne = \relative c'' { c }
\score {
  \ArightOne
}

you cannot do

\bookpart {
  ArightOne = \relative c'' { c }
  \score { \ArightOne }
}

but you can do

ArightOne = \relative c'' { c }
\bookpart {
  \score { \ArightOne }
}

Syntactically, \bookpart encloses several elements and those are grouped into a 
book part. An assignment is not an "element" (it does not have a value), so it 
cannot be placed inside \bookpart, but must be outside.

Variables and Bookpart

[Mark Stephen Mrotek]

Hello,

 

Each movement of a piano piece has a separate file. In each movement the
various voices are identified by a variable, e.g., ArightOne, BleftTwo. Each
file compiles perfectly individually.

When the file is copied into
\bookpart {

  \header {

}

  Copied here

}

It does not compile correctly and the error: 

syntax error, unexpected SYMBOL
appears repeatedly followed by one of the variable names, e.g. ArightOne =
\relative c'' {

 

What is my error?

 

Thank you for your kind attention.

 

Mark

RE: Installing 2.24.1

[Mark Stephen Mrotek]

Jean Abou Samra,

Thank you.

Mark


-Original Message-
From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Saturday, March 11, 2023 10:47 PM,
To: Mark Stephen Mrotek 
Cc: Werner LEMBERG ; lilypond-user@gnu.org
Subject: Re: Installing 2.24.1



> Le 12 mars 2023 à 06:39, Mark Stephen Mrotek  a écrit :
> 
> What does "Register this Lilypond binary" tell me to do?


It means doing exactly what is shown in the tutorial “Graphical setup for 
Windows”. Namely, tell Frescobaldi where you have put your LilyPond executable 
in the Preferences.

Have you tried following that tutorial, even if you don’t fully understand what 
it makes you do?

RE: Installing 2.24.1

[Mark Stephen Mrotek]

Werner,

Thank you for your prompt and instructive reply.
Please bear with my inexperience.
What does "Register this Lilypond binary" tell me to do?

Mark

-Original Message-
From: Werner LEMBERG [mailto:w...@gnu.org] 
Sent: Saturday, March 11, 2023 8:44 PM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: Re: Installing 2.24.1


> My experience installing Lilypond is with the Windows Installer.
> 
> I know what a Zip file is yet I have never used one to install a 
> program.  Is there some more detailed instructions than what is 
> provided in The Graphical Setup for Windows?

What exactly is your problem?

The basic procedure is simple, assuming that you are using
Frescobaldi:

* Unpack the ZIP file in a directory of your liking.  Let's assume you
  do this in directory `C:\Users\me\`.  After unpacking, the LilyPond
  binary is `C:\Users\me\lilypond-2.24.1\bin\lilypond.exe`.

* Register this LilyPond binary (and probably other binaries; I use
  neither Windows nor Frescobaldi :-) in the Frescobaldi setup and you
  are done.

If you are working on the command line instead, you might have a look at the
PDF that comes with a current merge request

  https://gitlab.com/lilypond/lilypond/-/merge_requests/1860#note_1307976050


 Werner

Installing 2.24.1

[Mark Stephen Mrotek]

Hello,

 

My experience installing Lilypond is with the Windows Installer.

I know what a Zip file is yet I have never used one to install a program.

Is there some more detailed instructions than what is provided in

The Graphical Setup for Windows?

 

Thank you for your kind attention.

 

Mark

RE: Printing Chordnames as Roman Numbers

[Mark Stephen Mrotek]

Johan:

 

Does this work for yoy?

 

https://lsr.di.unimi.it/LSR/Item?id=907

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Johan 
Smolinski
Sent: Wednesday, March 1, 2023 12:54 AM
To: lilypond-user@gnu.org
Subject: Printing Chordnames as Roman Numbers

 

I asked this in the facebook group, but was rdirected to this mailing list, 
so... Here I am. :)

 

How can I print chordnames as roman numbers relative to given key? For 
instance, in key of C (given by \key c \major), I want the chord c:7 printed as 
I7 while in key of F, I want c:7 printed as V7.

 

Bonus:

 

I asked ChatGPT, and it suggested me to use the \degree command, with an 
example that looks really sane. The only problem is that there is no such 
command, but I will anyway show the example here, because it is just how I want 
it to work:

 

\version "2.22.1"

 

\score {

  \new ChordNames {

\chordmode {

  \degree

{c:maj}

{d:min}

{e:min}

{f:maj}

{g:maj}

{a:min}

{b:dim}

}

  }

 

  \layout { }

}

 

In this example, we use the \chordmode command to specify that we want to 
display chord names in roman numeral format. Then we use the \degree command to 
specify the degree of each chord relative to the key.

In this case, we're using the key of C major, so we specify the chords as 
follows:

c:maj represents a C major chord, which is the I chord in the key of C major.
d:min represents a D minor chord, which is the ii chord in the key of C major.
e:min represents an E minor chord, which is the iii chord in the key of C major.
f:maj represents an F major chord, which is the IV chord in the key of C major.
g:maj represents a G major chord, which is the V chord in the key of C major.
a:min represents an A minor chord, which is the vi chord in the key of C major.
b:dim represents a B diminished chord, which is the vii° chord in the key of C 
major.
When you compile this code in Lilypond, you'll get a score with the chord names 
displayed as roman numerals relative to the key of C major.

RE: Policy for posts from non-members

[Mark Stephen Mrotek]

Jean Abou Samra,

 

Why am I mentioned in your e-mail?

Thank you for your kind attention.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Jean 
Abou Samra
Sent: Tuesday, February 21, 2023 2:36 PM
To: lilypond-user 
Cc: mark 
Subject: Policy for posts from non-members

 

Hi,

I've not been an admin of this list for very long, yet I'm already weary of 
telling people who post without being subscribed to the list that they should 
subscribe in order to avoid each of their messages being manually approved. I 
wonder what you (meaning everyone, but especially Mark, the other admin) would 
think about changing the list configuration to reject post from non-members 
instead of holding them on moderation, with a message such as

“Welcome to the lilypond-user mailing list. We apologize, but in order to 
prevent spam, we need you to subscribe to the list before you post. Please fill 
out the subscription form on 
https://lists.gnu.org/mailman/listinfo/lilypond-user.

Once you are subscribed, you will receive all posts to the list, so you can 
help out other people as well. However, if you only wish to interact with this 
list infrequently, you may disable mail subscription in your membership 
preferences after you have subscribed.

If you believe you are already subscribed to the list, it probably means that 
you accidentally posted from a different email address than the one you are 
subscribed with.

If you have any question or encounter problems, feel free to contact the list 
admins at lilypond-user-ow...@gnu.org  ”

On the plus side, this means that instead of delaying the message until Mark or 
me looks at it, the feedback will come instantly.

Jean

RE: spurious second treble clef sign, what did I do wrong this time?

[Mark Stephen Mrotek]

Kenneth,

1) Move Tempo to rh_one;
2) Change all "grace" to "acciaccatura".
See attachment.

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
Kenneth Wolcott
Sent: Tuesday, February 21, 2023 12:34 PM
To: Leo Correia de Verdier 
Cc: Lily Pond 
Subject: Re: spurious second treble clef sign, what did I do wrong this time?

Hi Leo;

  Thanks again for your help.

  I have the "\grace s8." now in all three of the voices that do not have the 
"\acciaccatura", yet the problem persists.

  I'm not sure how I would insert the "\grace s8." into my \global variable.  
I'm sure that is obvious, but I don't grok it.

  I have attached my current Lilypond source, pdf output from Lilypond and the 
original pdf file.

Thanks,
Ken

On Tue, Feb 21, 2023 at 1:36 AM Leo Correia de Verdier 
 wrote:
>
> Now that I am at the computer and have seen the .ly file I would recommend 
> having them in the \global variable. (As you inferred, but just to be clear 
> for anyone else reading this thread, it should be \grace s8. in my first mail 
> in this thread).
>
> > 21 feb. 2023 kl. 10:03 skrev Leo Correia de Verdier 
> > :
> >
> > It’s needed in any voice that contains a \clef \time , \mark or anything 
> > such.
> >
> >> 21 feb. 2023 kl. 08:58 skrev Kenneth Wolcott :
> >>
> >> Thank you, Leo.
> >>
> >> I already had "\grace {s16*3} s1" in the second lh voice, 
> >> apparently needed in the the second rh voice?
> >>
> >> Thanks,
> >> Ken
> >>
> >>> On Mon, Feb 20, 2023 at 11:42 PM Leo Correia de Verdier 
> >>>  wrote:
> >>>
> >>> I haven’t been able to open your  .ly file since   I’m on the telephone, 
> >>> but that should be an issue 34. Add s8. right after the clef and time 
> >>> signature in the right hand, so that the grace note timing matches 
> >>> between the different staves and voices and the extra clefs and time 
> >>> signatures will disappear.
> >>>
> >>> HTH
> >>> /Leo
> >>>
> > 21 feb. 2023 kl. 08:33 skrev Kenneth Wolcott :
> 
>  Hi;
> 
>  I'm engraving a piece of music arranged for Piano that (later) 
>  has polyphony in the right hand and left hand.
> 
>  This is Lilypond 2.24.1 on MacOS.
> 
>  There is a spurious second treble clef (and spurious time 
>  signature) in the first bar of the right hand (upper) staff.
> 
>  What am I doing wrong that causes this?
> 
>  I am attaching the example pdf which I am engraving from, my 
>  Lilypond source and the pdf Lilypond creates.
> 
>  Thanks,
>  Ken Wolcott
>  
>  
>  
>
\version "2.24.1"

% Tchaikovsky: Marche Slave

\header {
  title = "Marche Slave"
  composer = "Tchaikovsky"
  arranger = "from 8notes.com"
}

global = {
  \language "english"
  \time 4/4
  \key c \major
  
}

\paper {
  ragged-last-bottom = ##f
  markup-system-spacing.padding = 3
}

\layout {
  system-count = 4
}

% mBreak = { \break }
mBreak = { }

rh_one = {
  \global
  \clef treble
  \tempo "Moderato in modo di marcia funebre"
  \acciaccatura { s8. } R1  | % m01
  R1  | % m02
  R1  | % m03
  R1  | % m04
  e'2 ds'4(c'8 b)| % m05

  \bar "|."
}

rh_two = {
  \global
  \clef treble
  \acciaccatura { s8. } s1  | % m01
  s1  | % m02
  s1  | % m03

  \bar "|."
}

piano_dynamics = {
  \global
  s8\pp s2. s8  | % m01
  s1| % m02
  s1| % m03
  s1| % m04
  s1| % m05

}

lh_one = {
  \global
  \clef bass
  \acciaccatura { e,16 fs, gs, } \repeat tremolo 8 { a,32 a,, }  a,8 r r4  | % m01
  \acciaccatura { e,16 fs, gs, } \repeat tremolo 8 { a,32 a,, }  a,8 r r4  | % m02
  \acciaccatura { e,16 fs, gs, } 4 q q q   | % m03
  \acciaccatura { e,16 fs, gs, } 4 q q q   | % m04
  4 q | % m05

  \bar "|."
}

lh_two = {
  \global
  \clef bass
  \acciaccatura { s8. } s1  | % m01
  s1  | % m02
  s1  | % m03
  s1  | % m04
  s1 | % m05

  \bar "|."
}

\score {
  \new PianoStaff \with { instrumentName = "Piano" } <<
\new Staff <<
  \new Voice = "1" { \voiceOne \rh_one }
  \new Voice = "2" { \voiceTwo \rh_two }
>>
\new Dynamics \piano_dynamics
\new Staff <<
  \new Voice = "1" { \voiceOne \lh_one }
  \new Voice = "2" { \voiceTwo \lh_two }
>>
  >>
  \layout {}
}

\score {
  <<
\new Staff <<
  \set Staff.midiInstrument = "acoustic grand"
  \set Staff.midiExpression=#0.6
  \new Voice = "1" { \voiceOne \rh_one }
  \new Voice = "2" { \voiceTwo \rh_two }
>>
\new Dynamics \piano_dynamics
\new Staff <<
  \set Staff.midiInstrument = "acoustic grand"
  \set Staff.midiExpression=#0.6
  \new Voice = "1" { \voiceOne \lh_one }
  \new Voice = "2" { \voiceTwo \lh_two }
>>
  >>
  \midi {
\tempo 4=110
  }
}

RE: Programming error with change staff

[Mark Stephen Mrotek]

Knute,

 

Running your MWE under 2.22.2 it complies without a hitch.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Knute 
Snortum
Sent: Thursday, February 16, 2023 10:09 AM
To: lilypond-user@gnu.org
Subject: Programming error with change staff

 

I have run into a situation where LilyPond produces a programming error.  It 
involves changing staff, voice one, accent fingering and avoid-slur.  It's best 
to just look at the MWE:

 

\version "2.25.1"

staffUp = \change Staff = "upper"
staffDown = \change Staff = "lower"

rightHand = { 
  \new Voice { 
\voiceOne \staffDown g16->-1( \staffUp c' c' \staffDown g)
  }
}

leftHand = { \new Voice { \clef bass s4 } }

\score {
  \new PianoStaff \with { \override Fingering.avoid-slur = #'inside } <<
\new Staff = "upper" \rightHand
\new Staff = "lower" \leftHand
  >>
}

There may be a way to get this smaller, but I couldn't find it.  Is there a way 
around this bug as it is affecting my current project?

--
Knute Snortum

RE: Clef change after end-repeat before break -- how?

[Mark Stephen Mrotek]

Ole,

Under 2.22 I do not get extra space.

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Ole V. 
Villumsen
Sent: Friday, January 27, 2023 1:35 PM
To: lilypond-user@gnu.org
Subject: Clef change after end-repeat before break -- how?

Hi, I am typesetting a movement with a repeat and a clef change right after the 
repeat. I have a suitable line break where the repeat ends and the clef change 
happens. Default Lilypond sets the new clef within the repeat, before the 
end-repeat sign, which I don’t want and find meaningless in my case since there 
is no clef change when repeating from the beginning, only when continuing after 
the repeated section. Instead I want the clef after the end-repeat and before 
the line break. I can do that by setting the clef change off from the repeated 
section by a small space. Only the space comes out much larger than expected.

Tiny example:

\version "2.24.0"

\relative c' {
  \repeat volta 2 {
g'4 4 4 4 | 4 4 4 4 | 4 4 4 4 | 4 4 4 8 8 |
  }
  s1024
  \clef bass
  \break
  \set Timing.measurePosition = #(ly:make-moment 0/4)
  c,,4 4 4 4 | 4 4 4 4 | 4 4 4 4 | 4 4 4 4 | }

I enclose the output as png. My 1024th spacer rest is broader than the two 
preceding quavers (8th notes) combined.

 * Curious question: why is that?
 * Constructive question: how to avoid it?
 * Real question: How do I set the clef nicely immediately
   after the end-repeat with minimal space between?

Cheers, Ole

Sent with Proton Mail secure email.


repeat-clef.pdf
Description: Adobe PDF document

RE: Clef change after end-repeat before break -- how?

[Mark Stephen Mrotek]

Ole,

Maybe
\override Score.BreakAlignment?

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Ole V. 
Villumsen
Sent: Friday, January 27, 2023 1:35 PM
To: lilypond-user@gnu.org
Subject: Clef change after end-repeat before break -- how?

Hi, I am typesetting a movement with a repeat and a clef change right after the 
repeat. I have a suitable line break where the repeat ends and the clef change 
happens. Default Lilypond sets the new clef within the repeat, before the 
end-repeat sign, which I don’t want and find meaningless in my case since there 
is no clef change when repeating from the beginning, only when continuing after 
the repeated section. Instead I want the clef after the end-repeat and before 
the line break. I can do that by setting the clef change off from the repeated 
section by a small space. Only the space comes out much larger than expected.

Tiny example:

\version "2.24.0"

\relative c' {
  \repeat volta 2 {
g'4 4 4 4 | 4 4 4 4 | 4 4 4 4 | 4 4 4 8 8 |
  }
  s1024
  \clef bass
  \break
  \set Timing.measurePosition = #(ly:make-moment 0/4)
  c,,4 4 4 4 | 4 4 4 4 | 4 4 4 4 | 4 4 4 4 | }

I enclose the output as png. My 1024th spacer rest is broader than the two 
preceding quavers (8th notes) combined.

 * Curious question: why is that?
 * Constructive question: how to avoid it?
 * Real question: How do I set the clef nicely immediately
   after the end-repeat with minimal space between?

Cheers, Ole

Sent with Proton Mail secure email.

RE: Crossstaff and second voice in the piano part

[Mark Stephen Mrotek]

Bernhard

Go to
https://lilypond.org/doc/v2.23/Documentation/notation/common-notation-for-keyboards
Scroll down to "Cross staff stems"

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
bernhard kleine
Sent: Friday, December 23, 2022 5:53 AM
To: lilypond-user 
Subject: Crossstaff and second voice in the piano part

In the orgue part of Saint-Saens Oratorio de noel I encountered a combination 
of crossstaff and second voice in the left hand. How to code?

thank you in advance

--
www.urseetal.net

GPG Fingerabdruck: C76F A02E D525 7409.

RE: Reduce extra space at end of stave

[Mark Stephen Mrotek]

Nick,

 

Include

\ragged-right = ##f

In the layout block.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of NickS
Sent: Wednesday, December 21, 2022 6:09 AM
To: lilypond-user@gnu.org
Subject: Reduce extra space at end of stave

 

In the below minimal example, please how do I reduce the extra space at the end 
of the stave (between the last chord and the barline)? I'm happy with the 
proportional, uniform and strict spacing between the chords, and the space 
between the clef and first chord - these all match up with external graphics - 
it's just that the space at the end of the stave extends further than I need. 
Thanks.

Nick

 

\version "2.20.0"

\new Staff
{
\new Voice
{
\time 3/4 4   |
}
}

\layout
{
\context { \ScoreproportionalNotationDuration = #(ly:make-moment 1/20) }
\context { \Staff \remove Separating_line_group_engraver }
\override Score.SpacingSpanner.uniform-stretching = ##t
\override Score.SpacingSpanner.strict-note-spacing = ##t
\override Staff.TimeSignature #'stencil = ##f
\override Score.Clef.extra-spacing-width = #'(0 . 4.5)
}

 

 

 

RE: search term

[Mark Stephen Mrotek]

Jean,

Thank you.
Didn't think of slurs as "expressive marks".
Shall make a note of it in my "cheat sheet",

Mark

-Original Message-
From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Sunday, December 4, 2022 6:02 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: search term

Le 04/12/2022 à 14:57, Mark Stephen Mrotek a écrit :
>
> Hello,
>
> What term should I use to search for multiple slurs in chords?
>
> Thank you
>
> Mark Stephen Mrote
>



Just read the section about slurs in the notation manual.

https://lilypond.org/doc/v2.22/Documentation/notation/expressive-marks-as-curves.html

The second example shows multiple slurs in chords, there is a snippet too.

Best,
Jean

search term

[Mark Stephen Mrotek]

Hello,

 

What term should I use to search for multiple slurs in chords?

 

Thank you

 

Mark Stephen Mrote

RE: Appoggiatura in bass clef at start of piece

[Mark Stephen Mrotek]

Peter,

 

The treble clef and the C are the cause.

Are they necessary?

Might some pitches be between them and the bass clef and 6/8?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-boun...@gnu.org] On Behalf Of Peter 
Mitton
Sent: Thursday, October 27, 2022 2:18 AM
To: Thomas Morley 
Cc: lilypond-user@gnu.org
Subject: Re: Appoggiatura in bass clef at start of piece

 

Thanks, Harm,

 

Sorry, I seemed to have missed out the most important part of the challenge! 
Apologies. This is a simplified extract of the lower staff from the start of a 
two staff piano arrangement that requires 4 voices.

 

It’s the addition of the second voice that causes the additional treble clef to 
appear,  with a single voice there is no problem. But when you add a second… 

 

\version "2.22.2"

 

\new Staff {

  <<

\time 6/8

\clef bass

\new Voice = "a" {

  \voiceFour   

%\time 6/8 \clef bass

  \appoggiatura c,8 c2. \appoggiatura c,8 c2.

}

\new Voice = "b" {

  \voiceThree

  \grace s8  e2. \grace s8 e2.

}

  >>

}

 

It renders as the attached file.

 



 

Which is not what I expect or want. Even an empty second voice with no notes 
also displays the extra clef and ledger lines and misplaces the grace note 
before the time signature. 

 

The documentation on Grace notes 

  says "Grace note synchronization can also lead to surprises. Staff notation, 
such as key signatures, bar lines, etc., are also synchronized. “ which I take 
as developer-speak for “Here be dragons”.

 

Thanks for any assistance,

 

Pete

 

On 26 Oct 2022, at 22:53, Thomas Morley mailto:thomasmorle...@gmail.com> > wrote:

 

Am Mi., 26. Okt. 2022 um 19:27 Uhr schrieb Peter Mitton mailto:petemit...@me.com> >:




Hi,

I’m wondering if there is a better way of writing this code:

\version "2.22.2"

\new Staff {
 <<
   % \time 6/8
   % \clef bass
   \new Voice = "a" {
 \voiceFour
 \time 6/8 \clef bass \appoggiatura c,8 c1 \appoggiatura c,8 c1
   }
   \new Voice = "b" {
 \voiceThree
 \grace s8  e1 \grace s8 e1
   }



 

}

This is the only place I’ve found where I can place the bass clef without an 
additional treble clef appearing before the first appoggiatura (with multiple 
ledger lines).

Similarly this is the only place I’ve found where I can place the time 
signature where it doesn’t appear after the first appoggiatura.

The second appogggiatura works without problem wherever I declare the rhythm or 
clef (e.g. in the above commented section or in a global)

I’m sure I’m missing something simple, but any suggested improvements would be 
most appreciated.

Many thanks,

Pete


Well, you could do:

\new Staff {
 \time 6/8
 \clef bass
 <<
   \new Voice = "a" {
 \voiceFour
 \appoggiatura c,8 c1 \appoggiatura c,8 c1
   }
   \new Voice = "b" {
 \voiceThree
 \grace s8  e1 \grace s8 e1
   }



 

}

Why two Voices, though? Below works as well:

\new Voice = "a" {
 \voiceFour
 \time 6/8 \clef bass
 \appoggiatura c,8 1 \appoggiatura c,8 1
}

Btw, you're aware c1 exceeds 6/8-time?

Cheers,
 Harm

 

RE: location in docs

[Mark Stephen Mrotek]

Jean,

Thank you.

Mark

-Original Message-
From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Thursday, October 27, 2022 8:15 AM
To: Mark Stephen Mrotek ; 'lilypond-user' 

Subject: Re: location in docs

Le 27/10/2022 à 17:02, Mark Stephen Mrotek a écrit :
>
> Good Day!
>
> A search for /Score.BreakAlignment/ in 2.22 documentation got nowhere.
>
> Has the terminology changed?
>
> Thank you for your kind attention.
>


The documentation search bar uses Google, which unfortunately is often far from 
complete.

However, Score.BreakAlignment is the name of a grob, and you can always find 
info about all grobs in the Internals Reference.

https://lilypond.org/doc/v2.22/Documentation/internals/breakalignment

Best,
Jean

location in docs

[Mark Stephen Mrotek]

Good Day!

 

A search for Score.BreakAlignment in 2.22 documentation got nowhere.

Has the terminology changed?

 

Thank you for your kind attention.

 

Mark

RE: Limit the scope of baseMoment and beatStructure to a single Staff within a PianoStaff

[Mark Stephen Mrotek]

Volodymyr,

Did you set them differently in each of the two staves?

Mark

 

From: lilypond-user [mailto:lilypond-user-boun...@gnu.org] On Behalf Of 
Volodymyr Prokopyuk
Sent: Monday, October 24, 2022 1:11 PM
To: lilypond-user 
Subject: Limit the scope of baseMoment and beatStructure to a single Staff 
within a PianoStaff

 

Hello,

 

I'd like to ask a question about the scope of the baseMoment and beatStructure 
configuration to set automatic beam behavior in two-staves PianoStaff.

 

Problem

 

When baseMoment = 1/4 and beatStructure = 1,1 the output is



When baseMoment = 1/2 and beatStructure = #'(1) the output is



Question

 

Is it possible to limit the scope of the baseMoment and beatStructure to a 
single Staff within the PianoStaff to get the below output without using the 
manual beaming with [...]?



Thank you,

Vlad

 

RE: Too high measure numbers with ossia staff

[Mark Stephen Mrotek]

Erika,

 

Is the \break necessary?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-boun...@gnu.org] On Behalf Of
Erika Pirnes
Sent: Friday, October 21, 2022 12:54 PM
To: lilypond-user@gnu.org
Subject: Too high measure numbers with ossia staff

 

Hi,

 

I just learned how to use the ossia staff. And I'm quite happy with the
results, except it seems that the measure numbers follow the hidden ossia
staff instead of the first visible staff. Can anyone think of a nice way to
move the measure numbers down? Below is a modified version of the example in
the documentation.

 

\version "2.18.2" 

 

oss = \markup {\raise #1 "ossia" }

 

music = \relative c' {

<<

  { c4 b c2 }

  \context Staff = "ossia" {

\stopStaff s1

  }

>>



<<

  { e4 f e2 }

  \context Staff = "ossia" {

\startStaff e4^\oss g8 f e2 \stopStaff

  }

>>

g4 a g2 \break

c4 b c2

<<

  { g4 a g2 }

  \context Staff = "ossia" {

\startStaff g4^\oss e8 f g2 \stopStaff

  }

>>

e4 d c2

  }

 

\score{

<< 

  \new Staff = "ossia" \with {

\remove "Time_signature_engraver"

\hide Clef

fontSize = #-3

\override StaffSymbol.staff-space = #(magstep -3)

\override StaffSymbol.thickness = #(magstep -3)

  }

  \new Staff <<\music>>

>> 

}

 

 

Thanks in advance!

Erika

 

 

RE: is this a slashed grace?

[Mark Stephen Mrotek]

Kenneth,

Are you referring to the ornaments is measures 3, 11, and 25?

 

MArk

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Kenneth Wolcott
Sent: Thursday, September 15, 2022 7:58 PM
To: Andrew Bernard 
Cc: lilypond-user@gnu.org
Subject: Re: is this a slashed grace?

 

Hi Andrew;

 

  I asked this question regarding a different piece that I was engraving.  It 
looks like the slashed grace as shown in the Lilypond documentation is not the 
same as what I have engraved (there is no slash).

 

  Now another piece has come up with the same question.

 

  Maybe these aren't slashed grace notes?  Maybe (as usual) I'm doing something 
wrong?

 

  My input, my engraving and the origin I'm reading from are attached.

 

Thanks,

Ken Wolcott

  

 

On Wed, Aug 24, 2022 at 8:44 PM Kenneth Wolcott mailto:kennethwolc...@gmail.com> > wrote:

That's all I want to know, thanks!

 

On Wed, Aug 24, 2022 at 8:36 PM Andrew Bernard mailto:andrew.bern...@mailbox.org> > wrote:

Yes.

What is the problem?

On 25/08/2022 12:35 pm, Kenneth Wolcott wrote:
> Is this a slashed grace? See attached screenshot.
>

RE: change Staff =

[Mark Stephen Mrotek]

Ming,

 

Bar 4 in both are identical. What is “wrong” in the second score?

What is wrong with bar 6? There is only one example.

What adjustment do you want to the beam in bar 5?

 

Mark

 

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of ming tsang
Sent: Monday, August 29, 2022 3:51 PM
To: lilypond-user 
Subject: Fwd: change Staff =

 

Sorry forgot to include the .ly file.

 

-- Forwarded message -
From: ming tsang mailto:ming.tsan...@gmail.com> >
Date: Mon, Aug 29, 2022 at 4:18 PM
Subject: change Staff =
To: lilypond-user mailto:lilypond-user@gnu.org> >

 

Dear lilyponders,

When I run my full score I got the following warning message.



warning: cannot find context to change to: Staff = right

 

Then I copy few measure ( just the piano staff), there is no warning message, 
but (see below) bar #4 bar #6 are wrong.




How to adjust the beam on bar #5?

ming (lyndon) tsang

 




 

-- 

ming (lyndon) tsang

RE: Help with Rhythm Notation

[Mark Stephen Mrotek]

Greg

 

How about this?

\version "2.22.1"

\relative c' {

  \time 5/4

  c32 [c c c] \times 2/3 {c32 [c c]} c64 [c c c] c2. |

}

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Greg Lindstrom
Sent: Sunday, August 21, 2022 7:29 PM
To: lilypond-user@gnu.org
Subject: Help with Rhythm Notation

 

I am working on transcribing a euphonium solo and have come across a rhythm 
that I cannot figure out how to notate. As an aside, I am loving lilypond and 
am impressed with the level of detail that has gone into it. It makes engraving 
scores fun!

 

Here is the figure; it is a single beat in 5/4 time (so it's duration is 1 
quarter beat):

 

4-32nd notes

a triplet consisting of 3-32 notes

4-64th notes

 

I'm not even sure of how to divide this up, as the 4-32nd notes would take 
twice as long as the 4-64th notes. I'm note sure what the composer is going for 
or how the performer will interpret it, but I want to be faithful to the part 
(there isn't a full score -- only a piano reduction -- so I'm engraving the 
parts to make it). Normally, I would have the 32nd and 64th note beams with an 
8th note beam between each of the 3 groups, but the 3 groups are not of equal 
duration.

 

Any help on this would be greatly appreciated.

 

--greg

 

RE: How to get cross-staff beaming? Should be automatic; it's not. Why?

[Mark Stephen Mrotek]

Kenneth,

The auto beaming can be overridden using   [..]. Look up "manual beaming" 
in the docs.
Stem direction can be changed with \stemUp and \stemDown.
Attached is a start.

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Kenneth Wolcott
Sent: Sunday, July 31, 2022 7:10 PM
To: Lily Pond 
Subject: How to get cross-staff beaming? Should be automatic; it's not. Why?

Hi;

  Making progress on the \change Staff Lilypond feature now.

  However, the current incarnation of my Swan Lake harp part (one bar so far), 
does not have a complete beam (only each triplet has a beam).
I thought that this would be automatic.

  Please see attachments.

Thanks,
Ken Wolcott
\version "2.22.2"

% Swan Lake

global = {
  \language "english"
  \time 4/4
  \key d \major
  \tempo "Moderato"
}

\header {
  title = "Swan Lake"
  composer = "Tchaikovsky"
}

\score {
  \new PianoStaff <<
\new Staff = "upper" {
  \clef treble
  <>
  \change Staff = "lower"
  \tuplet 3/2 { b,8\mf([d b }
  \change Staff = "upper"
  \tuplet 3/2 { \stemDown d'8 fs' b'] }
  \tuplet 3/2 { d''8 [b' fs' }
  \change Staff = "lower"
  \tuplet 3/2 { \stemUp d'8 b fs]) }   | % m01
}
\new Staff = "lower" {
  \clef bass
  s1
}
  >>
}

RE: Learning how to use "\change Staff"; don't get it yet, obviously

[Mark Stephen Mrotek]

Kenneth,

If you want, send your code to me and I shall try to achieve what you want with 
an explanation.

Mark

-Original Message-
From: Kenneth Wolcott [mailto:kennethwolc...@gmail.com] 
Sent: Saturday, July 30, 2022 6:45 PM
To: Mark Stephen Mrotek 
Cc: Lily Pond 
Subject: Re: Learning how to use "\change Staff"; don't get it yet, obviously

Hi Mark;

  Thank you for the help.

  I'm still having trouble wrapping my head around this.

  I think that the problem (in general) with my being able to apply examples 
from the documentation to my engraving attempts is that the example is not 
large enough (not enough notes, too minimal) to require its own variable to 
contain the notes, so that gets in the way of the Lilypond feature that I want 
to use.

  I will try removing the variables and just place the notes for the first 
measure only to see if I can finally make this work, and generalize it later.

Thanks,
Ken

On Sat, Jul 30, 2022 at 3:04 PM Mark Stephen Mrotek  
wrote:
>
> Kenneth,
>
> Not dense at all.
> Change staff works within a single voice. You split it between rh and lh. 
> Might suggest you use "upper" and "lower" for staff designation if you use rh 
> and lh as variable names.
>
> Assuming you start in "lower" with lh.
> Then
> \tuplet 3/2 { b,8(d b }
>   \change Staff = "upper"   %% now continue with what you want in "upper"
> { d'8 fs' b' } \tuplet 3/2 { d''8 b' fs' }
>   \change Staff = "lower"   %% and so on.
>
> Note: that rh must contain spacers all the while so that the voice can move 
> back and forth without collisions.
>
> Mark
>
> -Original Message-
> From: lilypond-user 
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf 
> Of Kenneth Wolcott
> Sent: Saturday, July 30, 2022 2:49 PM
> To: Lily Pond 
> Subject: Learning how to use "\change Staff"; don't get it yet, 
> obviously
>
> Hi;
>
>   I'm learning how to engrave music that changes from one staff to another.
>
>   I, obviously, do not understand yet how to do this, even after reading the 
> pertinent section in the Notation Reference.
>
>   My attempt to engrave the first three bars of the harp score of Swan Lake 
> fails with the following:
>
> Swan_Lake.ly:40:3: warning: cannot find context to change to: Staff = 
> RH
>
>   \change Staff = "RH"
> Swan_Lake.ly:22:3: warning: cannot find context to change to: Staff = 
> LH
>
>   \change Staff = "LH" <> s4| % m01
>
>   I have attached a screenshot of the first three bars of the harp score of 
> Swan Lake, my LIlypond source code and the result of my engraving attempt.
>
>   I don't think that there's anything wrong with Lilypond, and there's 
> nothing wrong with the documentation, but this Lilypond user is a bit dense.
>
>   If I can just get the first bar engraving correctly, I think I can 
> make it the rest of the way :-)
>
> Thanks,
> Ken Wolcott
>

RE: Learning how to use "\change Staff"; don't get it yet, obviously

[Mark Stephen Mrotek]

Kenneth,

Not dense at all.
Change staff works within a single voice. You split it between rh and lh. Might 
suggest you use "upper" and "lower" for staff designation if you use rh and lh 
as variable names.

Assuming you start in "lower" with lh.
Then 
\tuplet 3/2 { b,8(d b }
  \change Staff = "upper"   %% now continue with what you want in "upper"
{ d'8 fs' b' } \tuplet 3/2 { d''8 b' fs' }
  \change Staff = "lower"   %% and so on.

Note: that rh must contain spacers all the while so that the voice can move 
back and forth without collisions.

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Kenneth Wolcott
Sent: Saturday, July 30, 2022 2:49 PM
To: Lily Pond 
Subject: Learning how to use "\change Staff"; don't get it yet, obviously

Hi;

  I'm learning how to engrave music that changes from one staff to another.

  I, obviously, do not understand yet how to do this, even after reading the 
pertinent section in the Notation Reference.

  My attempt to engrave the first three bars of the harp score of Swan Lake 
fails with the following:

Swan_Lake.ly:40:3: warning: cannot find context to change to: Staff = RH

  \change Staff = "RH"
Swan_Lake.ly:22:3: warning: cannot find context to change to: Staff = LH

  \change Staff = "LH" <> s4| % m01

  I have attached a screenshot of the first three bars of the harp score of 
Swan Lake, my LIlypond source code and the result of my engraving attempt.

  I don't think that there's anything wrong with Lilypond, and there's nothing 
wrong with the documentation, but this Lilypond user is a bit dense.

  If I can just get the first bar engraving correctly, I think I can make it 
the rest of the way :-)

Thanks,
Ken Wolcott

RE: Moving a tie in a chord

[Mark Stephen Mrotek]

Knute,

This works for 

\version "2.22.1"
\relative a,, {
  \clef bass
  \time 6/8
  a4.~ a4. |
  < a~ a'~>4.( q8  ) | }

So maybe it is a version issue?

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Knute Snortum
Sent: Tuesday, July 19, 2022 5:17 PM
To: lilypond-user@gnu.org
Subject: Moving a tie in a chord

I'm trying to adjust the Y position of a tie in a chord, but I'm having 
trouble.  What works for a single tie doesn't seem to work for a chord:

%%%
\version "2.22.2"

moveTie = {
  \once \override Tie.staff-position = -5
  \once \override Tie.direction = #DOWN
}

\relative a,, {
  \clef bass
  \time 6/8
  \moveTie a4.~ a4. |
  <\single \moveTie a~ a'~>4.( q8  ) | } %%%

In the snippet, I first test whether the overrides will work on a single tie, 
then try it in a chord.

I saw that there is a layout object called TieColumn, but I couldn't figure out 
which property to use.  I tried a few (Y-offset, Y-extent,
extra-offset) but the tie didn't move.

Can anyone show me how to get the bottom tie of the first chord in the second 
measure to move up?

--
Knute Snortum

RE: TupletNumber placement with fingering

[Mark Stephen Mrotek]

Anahu,

 

Is this acceptable?

 

\version "2.22.2"

\relative c

{\tuplet 3/2 { g''8_4 g g } \tuplet 3/2 { c^4 c c } }

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Ahanu Banerjee
Sent: Wednesday, May 18, 2022 8:54 PM
To: Lily Pond 
Subject: TupletNumber placement with fingering

 

Hello,

 

When I have a beamed tuplet (without a bracket) and a fingering on one note, 
the TupletNumber moves outward from the staff despite there being no 
possibility of a collison. In normal usage, TupletNumber should stay as close 
as possible to the beam.

 

Example: 

 

\version "2.22.2"

\relative c

{\tuplet 3/2 { g''8-4 g g } \tuplet 3/2 { c_4 c c } }

 

Is this the expected behaviour? The fix I have found is increasing the value of 
Fingering.outside-staff-priority. Is that the best solution?

 

Thank you!

RE: Getting voices to merge in a complex measure

[Mark Stephen Mrotek]

Knute,

I did also.
Could it be the result of the scaling? That is the notes, by Lilypond's view, 
are in different columns and therefore cannot be merged.

Mark

-Original Message-
From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Friday, May 6, 2022 4:29 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: Getting voices to merge in a complex measure

On Fri, May 6, 2022 at 4:22 PM Mark Stephen Mrotek  wrote:
>
> Knute,
>
> In an older version of Lilypond two merge commands were present: 
> "different dotted" (that you used) and "different headed" (which might 
> be helpful)

Thanks Mark.  I did try \mergeDifferentlyHeadedOn but it didn't seem to affect 
anything.

--
Knute Snortum

RE: Getting voices to merge in a complex measure

[Mark Stephen Mrotek]

Knute,

In an older version of Lilypond two merge commands were present: "different 
dotted" (that you used) and "different headed" (which might be helpful)

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Knute Snortum
Sent: Friday, May 6, 2022 "1:57 PM
To: lilypond-user@gnu.org
Subject: Getting voices to merge in a complex measure

Hello everyone,

I'm engraving Chopin's Prelude No. 1 in C and I'm having trouble getting two 
voices to merge.  It's the two lower d's in the last 16th of the measure.  I've 
attached the source code and a picture of what it looks like.  The second 
picture is how I would like it to look.  I have notes in the source code that 
document some of what I discovered fooling around with the notes.

Any help would be appreciated.

--
Knute Snortum

RE: Consecutive trills

[Mark Stephen Mrotek]

Hans, 

Without getting into detail, Arnold Dolmetsch contends that
"They (the various indications of a trillo) have no particular shade of 
meaning, being only the consequence of his (Bach's) lack of system."
The Interpretation of the Music of the 17th and 18th Centuries, p. 169.

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Hans Åberg
Sent: Friday, April 29, 2022 11:33 AM
To: Kieren MacMillan 
Cc: Martín Rincón Botero ; Lilypond-User Mailing 
List 
Subject: Re: Consecutive trills


> On 29 Apr 2022, at 19:06, Kieren MacMillan  
> wrote:
> 
>>> As far as I know that's not a notation rule, but I agree that it makes more 
>>> sense to use the trill + wavy line for tied notes.
>> I haven't seen "tr" plus chevron on a single untied note
> 
> When it’s a chain of trills — some tied, others single — I find the 
> consistency [of using the wavy line on *all* trills, and not just the tied 
> notes] is appreciated by conductors and performers.

In BWV 1067, first movement, there is for the flute a long note with several 
ties with a trill span ending somewhere in the middle, indicating the length of 
the trill followed by untrilled part. I do not know if Bach himself write it 
that way, but I found it useful in Balkan music, where it is common to not have 
an alteration on the last 16th of say a trilled dotted 8th note. I decided to 
write that with an 8th having a "tr" tied to a following 16th, otherwise those 
not accustomed with the style would not know how to play it (and I find it is 
hard to remember). Trilled notes can be syncopated in Balkan music, and then it 
may be necessary to use a trill span. Hindemith, "Elementary Training", says 
that on short notes, a trill can have only one alteration. This occurs in 
Balkan music, but I decided to write a prall sign as it is more compact.

RE: Need help with \force-hshift or \shiftO... (off, on, onn, onnn, etc.)

[Mark Stephen Mrotek]

Kevin,

Form what I see, the voices are interchanged.
What is in voiceOne should be voiceTwo and vice versa.
See:
https://lilypond.org/doc/v2.22/Documentation/learning/i_0027m-hearing-voices
 

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Kevin Cole
Sent: Sunday, March 27, 2022 1:01 PM
To: lilypond-user mailinglist 
Subject: Need help with \force-hshift or \shiftO... (off, on, onn, onnn, etc.)

In my more-than-minimal example, the b16 from the first voice gets merged with 
the b8. from the second voice. When I tried to create a minimum (non-working) 
example, the two didn't merge. But, what I want below is for the b8. from the 
first voice to merge with the b8. from the second voice.

In other words, it should look like b16 b8. g16 with the b8. in the middle 
having stems going both directions.  Looking at examples that were over my 
head, I attempted \override \once \force-hshift in various places, but didn't 
accomplish anything.

%
\version "2.20.0"
\language "english"

\layout {
  \autoBeamOff
}

global = {
  \key ef \major
  \time 4/4
}

melody = {
  \relative {
\global
<<
  { \voiceOne b'16 b8. }
  \new Voice
  { \voiceTwo b8. g16 }
>>
\oneVoice
a8 b8 c4 r8 d8
  }
}

\score {
  \new Staff { \melody }
}
%

P.S. I think I'm interpreting the attached image correctly, but I could be 
wrong about that. In any case, that's what I'm trying to achieve in LilyPond.

RE: Help with ties and accidentals

[Mark Stephen Mrotek]

Keith,

 

Been there, done that.

You are welcome. 

Continue to play with Lilypond. It shall reward your efforts.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 7:00 PM
To: Mark Stephen Mrotek ; Lilypond-User Mailing List 

Subject: RE: Help with ties and accidentals

 

Thanks for your help Mark. I think my fundamental problem was I forgot the rule 
that an accidental on a note stays in effect for the whole measure. I really 
appreciate your help. 

On 03/26/2022 9:46 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

 

 

Keith,

 

See the attached.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 6:28 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >; 
Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: RE: Help with ties and accidentals

 

Sorry for the mistake on the links 

 

Original - Music <http://69.246.129.36/002.jpg> 

Lilypond Input - Input <http://69.246.129.36/input1.jpg> 

Ouput - Output <http://69.246.129.36/input2.jpg> 

On 03/26/2022 9:12 PM KEITH LYNN mailto:klyn...@comcast.net> > wrote:

 

 

Mark, 

  I'm trying to reproduce the following sheet music

 

Original <http://69.246.129.36/002.jpg>  

 

 I'm using this code to try to produce it 

 

Lilypond file <http://69.246.129.36/002.jpg>  

 

 And it's producing this result 

 

Output <http://69.246.129.36/002.jpg>  

 

 I can't see how to make the accidentals disappear and also to produce the 
two lines connecting the right edge of the beam to the next two notes. 

On 03/26/2022 6:48 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

 

Keith,

 

Please provide a minimum working code of what you want.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 3:22 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Subject: RE: Help with ties and accidentals

 

Thanks Mark. Is there a way to prevent the natural symbol from being produced? 

On 03/26/2022 6:03 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

 

Keith,

 

Ties ( ~ ) are only between notes of the same pitch.

Might you want you want a slur, i.e.,  (  )?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of KEITH LYNN
Sent: Saturda)y, March 26, 2022 2:53 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Help with ties and accidentals

 

I am having trouble trying to produce a tie between a flat note  and a non flat 
note of the same pitch. 

 

For example, I want to tie a bes to a b, but instead of producing the tie 
symbol, it places a natural symbol in front of the second note.

 

How do I stop that? Thanks.

RE: Help with ties and accidentals

[Mark Stephen Mrotek]

Keith,

 

See the attached.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 6:28 PM
To: Mark Stephen Mrotek ; Lilypond-User Mailing List 

Subject: RE: Help with ties and accidentals

 

Sorry for the mistake on the links 

 

Original - Music <http://69.246.129.36/002.jpg> 

Lilypond Input - Input <http://69.246.129.36/input1.jpg> 

Ouput - Output <http://69.246.129.36/input2.jpg> 

On 03/26/2022 9:12 PM KEITH LYNN mailto:klyn...@comcast.net> > wrote: 

 

 

Mark, 

  I'm trying to reproduce the following sheet music

 

Original <http://69.246.129.36/002.jpg>  

 

 I'm using this code to try to produce it 

 

Lilypond file <http://69.246.129.36/002.jpg>  

 

 And it's producing this result 

 

Output <http://69.246.129.36/002.jpg>  

 

 I can't see how to make the accidentals disappear and also to produce the 
two lines connecting the right edge of the beam to the next two notes. 

On 03/26/2022 6:48 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

 

 

Keith,

 

Please provide a minimum working code of what you want.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 3:22 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Subject: RE: Help with ties and accidentals

 

Thanks Mark. Is there a way to prevent the natural symbol from being produced? 

On 03/26/2022 6:03 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

 

Keith,

 

Ties ( ~ ) are only between notes of the same pitch.

Might you want you want a slur, i.e.,  (  )?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of KEITH LYNN
Sent: Saturda)y, March 26, 2022 2:53 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Help with ties and accidentals

 

I am having trouble trying to produce a tie between a flat note  and a non flat 
note of the same pitch. 

 

For example, I want to tie a bes to a b, but instead of producing the tie 
symbol, it places a natural symbol in front of the second note.

 

How do I stop that? Thanks.

\version "2.22.1"

\relative c'' {
  <<{ c8 ges16 f ges f ges f |
  ges} \\
{8  4 |
 8}>>
}

RE: Help with ties and accidentals

[Mark Stephen Mrotek]

Keith,

 

Piece is in C

Every time you want a bes you must write bes.

The same applies with the ges.

Give me a moment to do a code for you.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 6:28 PM
To: Mark Stephen Mrotek ; Lilypond-User Mailing List 

Subject: RE: Help with ties and accidentals

 

Sorry for the mistake on the links 

 

Original - Music <http://69.246.129.36/002.jpg> 

Lilypond Input - Input <http://69.246.129.36/input1.jpg> 

Ouput - Output <http://69.246.129.36/input2.jpg> 

On 03/26/2022 9:12 PM KEITH LYNN mailto:klyn...@comcast.net> > wrote: 

 

 

Mark, 

  I'm trying to reproduce the following sheet music

 

Original <http://69.246.129.36/002.jpg>  

 

 I'm using this code to try to produce it 

 

Lilypond file <http://69.246.129.36/002.jpg>  

 

 And it's producing this result 

 

Output <http://69.246.129.36/002.jpg>  

 

 I can't see how to make the accidentals disappear and also to produce the 
two lines connecting the right edge of the beam to the next two notes. 

On 03/26/2022 6:48 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

 

 

Keith,

 

Please provide a minimum working code of what you want.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 3:22 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Subject: RE: Help with ties and accidentals

 

Thanks Mark. Is there a way to prevent the natural symbol from being produced? 

On 03/26/2022 6:03 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

 

Keith,

 

Ties ( ~ ) are only between notes of the same pitch.

Might you want you want a slur, i.e.,  (  )?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of KEITH LYNN
Sent: Saturda)y, March 26, 2022 2:53 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Help with ties and accidentals

 

I am having trouble trying to produce a tie between a flat note  and a non flat 
note of the same pitch. 

 

For example, I want to tie a bes to a b, but instead of producing the tie 
symbol, it places a natural symbol in front of the second note.

 

How do I stop that? Thanks.

RE: Help with ties and accidentals

[Mark Stephen Mrotek]

Keith,

 

I do not see any difference between Original and Output.
Please check for accuracy.

Flash: In what key is this coded?

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 6:13 PM
To: Mark Stephen Mrotek ; Lilypond-User Mailing List 

Subject: RE: Help with ties and accidentals

 

Mark, 

  I'm trying to reproduce the following sheet music

 

Original <http://69.246.129.36/002.jpg>  

 

 I'm using this code to try to produce it 

 

Lilypond file <http://69.246.129.36/002.jpg>  

 

 And it's producing this result 

 

Output <http://69.246.129.36/002.jpg>  

 

 I can't see how to make the accidentals disappear and also to produce the 
two lines connecting the right edge of the beam to the next two notes. 

On 03/26/2022 6:48 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

 

 

Keith,

 

Please provide a minimum working code of what you want.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 3:22 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Subject: RE: Help with ties and accidentals

 

Thanks Mark. Is there a way to prevent the natural symbol from being produced? 

On 03/26/2022 6:03 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

 

 

Keith,

 

Ties ( ~ ) are only between notes of the same pitch.

Might you want you want a slur, i.e.,  (  )?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of KEITH LYNN
Sent: Saturda)y, March 26, 2022 2:53 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Help with ties and accidentals

 

I am having trouble trying to produce a tie between a flat note  and a non flat 
note of the same pitch. 

 

For example, I want to tie a bes to a b, but instead of producing the tie 
symbol, it places a natural symbol in front of the second note.

 

How do I stop that? Thanks.

RE: Help with ties and accidentals

[Mark Stephen Mrotek]

Keith,

 

Please provide a minimum working code of what you want.

 

Mark

 

From: KEITH LYNN [mailto:klyn...@comcast.net] 
Sent: Saturday, March 26, 2022 3:22 PM
To: Mark Stephen Mrotek 
Subject: RE: Help with ties and accidentals

 

Thanks Mark. Is there a way to prevent the natural symbol from being produced? 

On 03/26/2022 6:03 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote: 

 

 

Keith,

 

Ties ( ~ ) are only between notes of the same pitch.

Might you want you want a slur, i.e.,  (  )?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of KEITH LYNN
Sent: Saturda)y, March 26, 2022 2:53 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Help with ties and accidentals

 

I am having trouble trying to produce a tie between a flat note  and a non flat 
note of the same pitch. 

 

For example, I want to tie a bes to a b, but instead of producing the tie 
symbol, it places a natural symbol in front of the second note.

 

How do I stop that? Thanks.

RE: unattached SlurEvent

[Mark Stephen Mrotek]

Jean,

Thank you for your reply.
Here are three measures containing the command.

\version "2.22.1"
\relative c {
  \key d \major
  \time 3/4
  \clef bass
  
  \repeat volta 2 {
  e2 4 |
   r }
  \once
  \override Score.BreakAlignment.break-align-orders =
  #(make-vector 3 '(staff-bar clef))
   
  \clef treble cis''8 a |
}

Thank you for your kind attention.

Mark

-Original Message-
From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Monday, March 21, 2022 12:02 AM
To: Mark Stephen Mrotek ; 'Lilypond-User Mailing List' 

Subject: Re: unterminated slur event



Le 21/03/2022 à 04:31, Mark Stephen Mrotek a écrit :
>
> Hello All,
>
> While achieving the desired layout
>
> \once
>
> \override Score.BreakAlignment.break-align-orders =
>
> #(make-vector 3 '(staff-bar clef))
>
> produces a warning of unterminated slur event.
>

Please give an example. It is impossible to guess the problem.

Thanks,
Jean

unterminated slur event

[Mark Stephen Mrotek]

Hello All,

 

While achieving the desired layout

 

\once

\override Score.BreakAlignment.break-align-orders =

#(make-vector 3 '(staff-bar clef))

produces a warning of unterminated slur event.

 

Mark

RE: slur to chord

[Mark Stephen Mrotek]

Shane,

 

Shall inspect context. Perhaps something prior is affecting.

Thank you for your assistance.

 

Mark

 

From: Shane Brandes [mailto:shane.bran...@gmail.com] 
Sent: Monday, March 7, 2022 7:40 AM
To: Mark Stephen Mrotek 
Cc: Lilypond-User Mailing List 
Subject: Re: slur to chord

 

Run the code as I set it down. you should see a slur from the b to the a as I 
do. That is what the ^( ) syntax ought to be doing for you. I see it very 
clearly as you wanted. 

 

On Mon, Mar 7, 2022 at 9:44 AM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Shane,

 

Thank you for the suggestion, yet it only removes the slur it does not 
reposition it.

 

Mark

 

From: Shane Brandes [mailto:shane.bran...@gmail.com 
<mailto:shane.bran...@gmail.com> ] 
Sent: Sunday, March 6, 2022 9:46 PM
To: Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> >
Cc: Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: Re: slur to chord

 

\version "2.22.1"

 

\relative c' {

\slashedGrace  b'8  ^( 8

}

 

On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Hello All,

 

How do I get the slur go from the acciaccatura to the “a”?

 

Thank you for your kind attention..

 

\version "2.22.1"

 

\relative c' {

  \acciaccatura b'8 8

}

 

Mark Stephen Mrotek  

RE: slur to chord

[Mark Stephen Mrotek]

Kieren,

Thank you, yet the slur still connects with the fis rather than the a.

Mark

-Original Message-
From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca] 
Sent: Monday, March 7, 2022 7:15 AM
To: Mark Stephen Mrotek 
Cc: Shane Brandes ; Lilypond-User Mailing List

Subject: Re: slur to chord

Hi Mark,

Maybe this?

\version "2.22.1" 
\relative c' {
  \slashedGrace { b'8^( } 8)
}

Hope that helps!
Kieren

RE: slur to chord

[Mark Stephen Mrotek]

Shane,

 

Thank you for the suggestion, yet it only removes the slur it does not 
reposition it.

 

Mark

 

From: Shane Brandes [mailto:shane.bran...@gmail.com] 
Sent: Sunday, March 6, 2022 9:46 PM
To: Mark Stephen Mrotek 
Cc: Lilypond-User Mailing List 
Subject: Re: slur to chord

 

\version "2.22.1"

 

\relative c' {

\slashedGrace  b'8  ^( 8

}

 

On Sun, Mar 6, 2022 at 10:41 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Hello All,

 

How do I get the slur go from the acciaccatura to the “a”?

 

Thank you for your kind attention..

 

\version "2.22.1"

 

\relative c' {

  \acciaccatura b'8 8

}

 

Mark Stephen Mrotek  

slur to chord

[Mark Stephen Mrotek]

Hello All,

 

How do I get the slur go from the acciaccatura to the "a"?

 

Thank you for your kind attention..

 

\version "2.22.1"

 

\relative c' {

  \acciaccatura b'8 8

}

 

Mark Stephen Mrotek  

RE: optional cue notes

[Mark Stephen Mrotek]

Paul,

Have a look at

https://lsr.di.unimi.it/LSR/Item?id=538

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Paul Scott
Sent: Monday, December 27, 2021 11:01 AM
To: Lilypond-User Mailing List 
Subject: optional cue notes

How can I get two note heads on a single stem and have one of the note heads be 
smaller?

\version "2.23.5"

\score{
   \new Staff {
 \fixed c' {
   << { a }
  { \set Voice.fontSize = #-2 a' } >>
 }
   }
}

This makes note heads small.  I'm guessing this might be a scope question.

TIA for any help with this,

Paul

RE: special characters

[Mark Stephen Mrotek]

Ralph,

 

Thank you.

Under tools, coding, special characters. Got it!

 

Mark

 

From: Ralph Palmer [mailto:palmer.r.vio...@gmail.com] 
Sent: Friday, November 19, 2021 8:06 AM
To: Mark Stephen Mrotek 
Cc: lilypond-user 
Subject: Re: special characters

 

I only have 3.0.0, and there it's

 

Tools > Special Characters

 

Hope this helps,

 

Ralph

 

On Thu, Nov 18, 2021 at 8:23 PM Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:

Hello,

 

Where in Frescobaldi 3.1.2 is the drop down that contains special characters, 
e.g., those with accents.

 

Thank you.

 

Mark 



-- 

Ralph Palmer

Seattle

USA

(he, him, his)

palmer.r.vio...@gmail.com <mailto:palmer.r.vio...@gmail.com> 

RE: special characters

[Mark Stephen Mrotek]

Knute,

Thank you.
Mine has only articulation, dynamics, spanners, and bar lines.
Letter with accents do not appear.

Mark

-Original Message-
From: Knute Snortum [mailto:ksnor...@gmail.com] 
Sent: Friday, November 19, 2021 6:41 AM
To: Mark Stephen Mrotek 
Cc: lilypond-user 
Subject: Re: special characters

I only have 3.1.3, and there it's

Tools > Coding > Quick Inserts

--
Knute Snortum


On Thu, Nov 18, 2021 at 8:22 PM Mark Stephen Mrotek  
wrote:
>
> Hello,
>
>
>
> Where in Frescobaldi 3.1.2 is the drop down that contains special characters, 
> e.g., those with accents.
>
>
>
> Thank you.
>
>
>
> Mark

special characters

[Mark Stephen Mrotek]

Hello,

 

Where in Frescobaldi 3.1.2 is the drop down that contains special
characters, e.g., those with accents.

 

Thank you.

 

Mark 

RE: Delayed Turn

[Mark Stephen Mrotek]

Lukas-Fabian

Thank you for your reply and instructions.
I haven't mastered all of the directions in 2.22.1 and downloading 2.23.4 for 
the benefit of one measure seems a little extreme.
So what is the remedy in 2.22.1?

Mark

-Original Message-
From: Lukas-Fabian Moser [mailto:lukasfabianmo...@googlemail.com] On Behalf Of 
Lukas-Fabian Moser
Sent: Thursday, November 18, 2021 12:31 PM
To: Mark Stephen Mrotek ; 'Leo Correia de Verdier' 

Cc: 'lilypond-user' 
Subject: Re: Delayed Turn

Correction: Since we're in a throwaway voice anyway, we don't need all those 
\once commands:

\version "2.23.4"

\relative c' {
   \time 2/4
   \key aes \major

   ees'4
   \after 8 \new Voice {
 \set suggestAccidentals = ##t
 \override AccidentalSuggestion.avoid-slur = #'inside
 \override AccidentalSuggestion.font-size = -3
 \override AccidentalSuggestion.script-priority = -1
 \hideNotes
 b16\turn
   }
   f8.[( aes32 c)]
}

The avoid-slur property seems not to be needed here, as the slur and the turn 
are on opposing sides.

Lukas

RE: Delayed Turn

[Mark Stephen Mrotek]

Leo,

Thank you for your reply and suggestion.
Please bear with my ignorance. 
My understanding is that the construct <<{  } {  }>> creates two voices.
I merely want to use the documentation to achieve a delayed turn.

Mark

-Original Message-
From: Leo Correia de Verdier [mailto:leo.correia.de.verd...@gmail.com] 
Sent: Thursday, November 18, 2021 9:05 AM
To: Mark Stephen Mrotek 
Cc: lilypond-user 
Subject: Re: Delayed Turn

The beam appears since you have both the hidden note and the others in the
same voice. Adding the double backslashes is a shorthand for creating a new
voice, but then I needed to override some directions, since this also sets
the first voice upwards and the second downwards.

\version "2.22.1"
 
\relative c' {
  \time 2/4
  \key aes \major
   
  ees'4
  <<
{\oneVoice f,8. [(aes32 c)] } \\
{ 
  s8
  \once \set suggestAccidentals = ##t
  \once \override AccidentalSuggestion.direction = #UP
  \once \override AccidentalSuggestion.font-size = -3
  \once \override AccidentalSuggestion.script-priority = -1
  \once \hideNotes
  b16^\turn \noBeam
  s
}
  >>
}

If you actually want the hidden note in the same voice you can add 

\once \override Stem.beaming = #'((0) . (0)) 

for the hidden note, and

\once \override Stem.beaming = #'((0) . (0 1 2))

For the spacer after it, to hack away the stems, but it seems rather
inelegant to me.

> 18 nov. 2021 kl. 05:02 skrev Mark Stephen Mrotek :
> 
> Hello,
>  
> To get instructions I went to
> https://lilypond.org/doc/v2.22/Documentation/notation/expressive-marks
> -attached-to-notes And copied the code only modifying pitch and 
> duration.
>  
> \version "2.22.1"
>  
> \relative c' {
>   \time 2/4
>   \key aes \major
>
>   ees'4
>   <<
> { f,8. [(aes32 c)] }
> {  
>   s8
>   \once \set suggestAccidentals = ##t
>   \once \override AccidentalSuggestion.outside-staff-priority = ##f
>   \once \override AccidentalSuggestion.avoid-slur = #'inside
>   \once \override AccidentalSuggestion.font-size = -3
>   \once \override AccidentalSuggestion.script-priority = -1
>   \single \hideNotes
>   b16-\turn \noBeam
>   s
> }
>   >>
>  
> An extended beam appears and the turn collides with the expected beam.
>  
> Any assistance greatly appreciated.
>  
> Thank you for your kind attention
>  
> Mark

RE: Delayed Turn

[Mark Stephen Mrotek]

Jean,

Thank you for your reply.
Outside staff priority has been removed
Attached is a PDF of results.

Mark

-Original Message-
From: Jean Abou Samra [mailto:j...@abou-samra.fr] 
Sent: Wednesday, November 17, 2021 11:25 PM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Delayed Turn

Le 18/11/2021 à 05:02, Mark Stephen Mrotek a écrit :
>
> Hello,
>
> To get instructions I went to
>
> https://lilypond.org/doc/v2.22/Documentation/notation/expressive-marks
> -attached-to-notes
>
> And copied the code only modifying pitch and duration.
>
> \version "2.22.1"
>
> \relative c' {
>
>   \time 2/4
>
>   \key aes \major
>
>   ees'4
>
>   <<
>
> { f,8. [(aes32 c)] }
>
> {
>
>   s8
>
>   \once \set suggestAccidentals = ##t
>
>   \once \override AccidentalSuggestion.outside-staff-priority = 
> ##f
>
>   \once \override AccidentalSuggestion.avoid-slur = #'inside
>
>   \once \override AccidentalSuggestion.font-size = -3
>
>   \once \override AccidentalSuggestion.script-priority = -1
>
>   \single \hideNotes
>
>   b16-\turn \noBeam
>
>   s
>
> }
>
>   >>
>
> An extended beam appears and the turn collides with the expected beam.
>
> Any assistance greatly appreciated.
>
> Thank you for your kind attention
>
> Mark
>


Mark,

Simply remove the override for outside-staff-priority.
It is unneeded if the slur is not on the same side as the script, and causes 
problems with the beam as you experienced.


Another way is

\once \override AccidentalSuggestion.padding = 1.7

Best,
Jean


delayed turn.pdf
Description: Adobe PDF document

Delayed Turn

[Mark Stephen Mrotek]

Hello,

 

To get instructions I went to

https://lilypond.org/doc/v2.22/Documentation/notation/expressive-marks-attac
hed-to-notes

And copied the code only modifying pitch and duration.

 

\version "2.22.1"

 

\relative c' {

  \time 2/4

  \key aes \major

   

  ees'4

  <<

{ f,8. [(aes32 c)] }

{  

  s8

  \once \set suggestAccidentals = ##t

  \once \override AccidentalSuggestion.outside-staff-priority = ##f

  \once \override AccidentalSuggestion.avoid-slur = #'inside

  \once \override AccidentalSuggestion.font-size = -3

  \once \override AccidentalSuggestion.script-priority = -1

  \single \hideNotes

  b16-\turn \noBeam

  s

}

  >>

 

An extended beam appears and the turn collides with the expected beam.

 

Any assistance greatly appreciated.

 

Thank you for your kind attention

 

Mark

RE: opus migration

[Mark Stephen Mrotek]

Mr. Wright,

I am not a power user of Lilypond.
I transcribe music for my study and personal performance.
If my incompetence results in inquiries that are sophomoric or inane to your
expertise then your option is to ignore them.
We all crawl before we walk.

Mark

-Original Message-
From: David Wright [mailto:lily...@lionunicorn.co.uk] 
Sent: Tuesday, November 9, 2021 12:51 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: opus migration

On Tue 09 Nov 2021 at 11:43:54 (-0800), Mark Stephen Mrotek wrote:

> I did not explain the structure of the piece accurately.
> It is Opus 13 of Beethoven.
> The six sections of the first movement are in separate scores. These are
what are in the "include"
> 
> \version "2.22.1"
> \header {
>   title =  "Sonate"
>   composer = "L. v. Beethoven"
>   opus = "Opus 13"
>   dedication = "Dem Fursten Carl von Lichnowsky gewidmet"
> }
> \include "Op 13 1a.ly"
> \include "Op 13 1b.ly"
> \include "Op 13 1c.ly"
> \include "Op 13 1d.ly"
> \include "Op 13 1e.ly"
> \include "Op 13 1f.ly"
> 
> No header is to appear in each of the sections.
> 
> Eventually the second and third movements shall also be included.
> 
> Again thank you for your kind attention.

I didn't recall that I posted:
https://lists.gnu.org/archive/html/lilypond-user/2020-10/msg00310.html
and I don't feel that I need a copy of opus 13 as well as K310, so I'll just
wait for the penny to drop on the behaviour of include.

Cheers,
David.

RE: opus migration

[Mark Stephen Mrotek]

Valentin,

Thank you for your suggestions.
I shall try them.

Mark

-Original Message-
From: Valentin Petzel [mailto:valen...@petzel.at] 
Sent: Tuesday, November 9, 2021 1:01 PM
To: lilypond-user@gnu.org
Cc: Mark Stephen Mrotek 
Subject: Re: opus migration

Hello Mark,

Am I right to assume each section has it’s own score? In that case you can get 
rid of any kind of header markup by setting scoreTitleMarkup to #f or "" in a 
paper block, so \paper { scoreTitleMarkup = ##f }

If you need score titles on only some scores it would be possible to specify 
some print = ##t or something in the header of the score and then write 
scoreTitleMarkup so that depending on whether print is true you have an empty 
markup.

Cheers,
Valentin

Am Dienstag, 9. November 2021, 20:43:54 CET schrieb Mark Stephen Mrotek:
> David,
> 
> Thank you for your prompt reply.
> I did not explain the structure of the piece accurately.
> It is Opus 13 of Beethoven.
> The six sections of the first movement are in separate scores. These 
> are what are in the "include"
> 
> \version "2.22.1"
> \header {
>   title =  "Sonate"
>   composer = "L. v. Beethoven"
>   opus = "Opus 13"
>   dedication = "Dem Fursten Carl von Lichnowsky gewidmet"
> }
> \include "Op 13 1a.ly"
> \include "Op 13 1b.ly"
> \include "Op 13 1c.ly"
> \include "Op 13 1d.ly"
> \include "Op 13 1e.ly"
> \include "Op 13 1f.ly"
> 
> No header is to appear in each of the sections.
> 
> Eventually the second and third movements shall also be included.
> 
> Again thank you for your kind attention.
> 
> Mark
> 
> -Original Message-
> From: David Wright [mailto:lily...@lionunicorn.co.uk]
> Sent: Tuesday, November 9, 2021 11:27 AM
> To: Mark Stephen Mrotek 
> Cc: lilypond-user@gnu.org
> Subject: Re: opus migration
> 
> On Tue 09 Nov 2021 at 10:41:22 (-0800), Mark Stephen Mrotek wrote:
> > A piano piece I am engraving has several sections. Each has 
> > different meters, keys, and number of voices. Each is coded in a 
> > separate score for ease of future editing.
> > 
> > The entire piece is structured
> > 
> > \header {
> > title = "title"
> > composer = "composer"
> > opus = "opus"
> > }
> > 
> > \include "section1.ly"
> > \include "section2.ly"
> > \include "section3[.]ly"
> > \include "section4.ly"Yes the quote marks [were] not the
> > correct style here.
> > 
> > When compiled the opus appears before each section.
> > 
> > Reading
> > 
> > https://lilypond.org/doc/v2.22/Documentation/notation/creating-title
> > s-> > headers-and-footers
> > 
> > "Note, though, that only piece and opus fields are printed by 
> > default in Score Titles unless the \paper variable, 
> > print-all-headers, is set to #t."
> > 
> > Would someone please provide a functioning explanation has to how 
> > this apply this to my current piece?
> 
> Tricky. You've given the header and nothing else: the /file/ structure 
> (ie
> includes) has nothing to do with the musical structure seen by LP. We 
> need to know which headers you want to see at the start of each 
> section (≡ score, presumably).
> 
> I would write a mickey mouse file containing nothing but structure, 
> like the attached, in order to work out what's right for you.
> 
> Cheers,
> David.

RE: opus migration

[Mark Stephen Mrotek]

David,

Thank you for your prompt reply.
I did not explain the structure of the piece accurately.
It is Opus 13 of Beethoven.
The six sections of the first movement are in separate scores. These are what 
are in the "include"

\version "2.22.1"
\header {
  title =  "Sonate"
  composer = "L. v. Beethoven"
  opus = "Opus 13"
  dedication = "Dem Fursten Carl von Lichnowsky gewidmet"
}
\include "Op 13 1a.ly"
\include "Op 13 1b.ly"
\include "Op 13 1c.ly"
\include "Op 13 1d.ly"
\include "Op 13 1e.ly"
\include "Op 13 1f.ly"

No header is to appear in each of the sections.

Eventually the second and third movements shall also be included.

Again thank you for your kind attention.

Mark

-Original Message-
From: David Wright [mailto:lily...@lionunicorn.co.uk] 
Sent: Tuesday, November 9, 2021 11:27 AM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: opus migration

On Tue 09 Nov 2021 at 10:41:22 (-0800), Mark Stephen Mrotek wrote:
> A piano piece I am engraving has several sections. Each has different 
> meters, keys, and number of voices. Each is coded in a separate score 
> for ease of future editing.
> 
> The entire piece is structured
> 
> \header {
> title = "title"
> composer = "composer"
> opus = "opus"
> }
> 
> \include "section1.ly"
> \include "section2.ly"
> \include "section3[.]ly"
> \include "section4.ly"Yes the quote marks [were] not the correct 
> style here.
> 
> When compiled the opus appears before each section.
> 
> Reading
> 
> https://lilypond.org/doc/v2.22/Documentation/notation/creating-titles-
> headers-and-footers
> 
> "Note, though, that only piece and opus fields are printed by default 
> in Score Titles unless the \paper variable, print-all-headers, is set to #t."
> 
> Would someone please provide a functioning explanation has to how this 
> apply this to my current piece?

Tricky. You've given the header and nothing else: the /file/ structure (ie 
includes) has nothing to do with the musical structure seen by LP.
We need to know which headers you want to see at the start of each section (≡ 
score, presumably).

I would write a mickey mouse file containing nothing but structure, like the 
attached, in order to work out what's right for you.

Cheers,
David.

opus migration

[Mark Stephen Mrotek]

Hello,

.

A piano piece I am engraving has several sections. Each has different
meters, keys, and number of voices. Each is coded in a separate score for
ease of future editing.

 

The entire piece is structured

 

\header {

title = ''title''

composer = ''composer''

opus = ''opus''

}

 

\include "section1.ly''

\include ''section2.ly''

\include ''section3ly''

\include ''section4.ly''Yes the quote marks are not the correct
style here.

 

When compiled the opus appears before each section.

 

Reading

https://lilypond.org/doc/v2.22/Documentation/notation/creating-titles-header
s-and-footers

"Note, though, that only piece and opus fields are printed by default in
Score Titles unless the \paper variable, print-all-headers, is set to #t."

 

Would someone please provide a functioning explanation has to how this apply
this to my current piece?

 

Thank you for your kind attention..

 

Mark