Re: Distinguishing semibreve and minim rests without a staff
On Mon, 27 May 2024 at 06:09, Cameron Horsburgh wrote: > > Hi folks, > > I'm writing a resource for beginner musicians, and many of the early exercises I'm writing don't use staff lines (Lilypond's 'easy play' feature is very useful here!) > > One problem I have--it's very difficult to distinguish minim/half-note rests from semibreve/full-note rests, because they're essentially the same glyph but situated either above or below a staff line. When displaying these symbols without a staff it's fairly common to add a short line at the appropriate place on the glyph so the type of rest can easily be determined. I can't think of any straightforward way to do this in LilyPond though. > > Has anyone else found a way around this problem? Hello, According to NR A.8 The Emmentaler font, you can use \markup \musicglyph "rests.0o" \markup \musicglyph "rests.1o" Kind regards, Xavier
Re: Staff size - normal and Vaticana
On Sat, 25 May 2024 at 18:53, mpk wrote:
>
> Hi,
> Could anybody help me to individually adjust the Vaticana staff-size,
> please?
Hello,
\score {
\new VaticanaScore {
% etc.
}
\layout {
#(layout-set-staff-size 18)
}
}
\score {
% normal score
}
Kind regards,
Xavier
Re: Control beaming with tuplets
On Fri, 24 May 2024 at 10:57, Kenneth Flak wrote: > > Thanks! That almost did the trick. The only thing that's not working is that connecting beam between the two quintuplets. See attached screenshot... Hello, \set subdivideBeams = ##t And then either, for 2.24: \set baseMoment = #(ly:make-moment 1/8) \set beatStructure = 2,2,2,2 or for 2.25: \set minimumBeamSubdivisionInterval = \musicLength 8 \set maximumBeamSubdivisionInterval = \musicLength 16 See NR 1.2.4. https://lilypond.org/doc/v2.24/Documentation/notation/beams#setting-automatic-beam-behavior https://lilypond.org/doc/v2.25/Documentation/notation/setting-automatic-beam-behavior Kind regards, Xavier
Re: Removing the change clef in a first ending (volta 1)
On Tue, 21 May 2024 at 20:38, Werner LEMBERG wrote: > > This information should probably be added to the NR, together with an > example. Can you prepare a patch (or even an MR) or formulate > something that I can then massage accordingly? Hi Werner, Actually this is already in NR 1.1.3 Clef (not specific to volta, but actually Lily's default kind of makes sense too in this case) > By default, a clef change taking place at a line break causes the new clef symbol to be printed at the end of the previous line, as a ‘warning clef’, as well as at the beginning of the next. This warning clef can be suppressed. Kind regards, Xavier
Re: Removing the change clef in a first ending (volta 1)
On Tue, 21 May 2024 at 19:42, Knute Snortum wrote: > > It's probably easier to see in the MWE and screen shot I've attached. So is there a way to get rid of the bass change clef indicator in the first ending? Hello, \once \set Staff.explicitClefVisibility = #end-of-line-invisible before your \break at the end of volta 1. Kind regards, Xavier
Re: DIfferent note values within a chord
On Tue, 21 May 2024 at 16:04, Aaron Hill wrote: > > It is interesting how we interpreted the clef and key signature > differently when trying to recreate the image. You did manage to the > squeeze in the forte, which I did not. Yes, I thought exactly the same thing when I saw your answer. In fact, I added a B flat because I couldn't imagine having these chords with the B-F tritone fourth. And when I saw your answer in the bass clef, I said to myself that I must be conditioned for the treble clef since I originally play the violin. In the end, when seeing the original score communicated by Jun, neither of us was “right”. ;-P Kind regards, Xavier
Re: DIfferent note values within a chord
On Tue, 21 May 2024 at 15:42, Jun Tamura wrote:
>
> Hello,
>
> Could someone give me a pointer for this?
>
> This is a quite popular notation for bowed string instruments. I’m almost
certain that I saw a way to achieve this before but could not find it this
time.
Hello,
\relative c' {
\key bes \major
\stemDown
<\tweak duration-log 2 bes bes' f'>2\f
<\tweak duration-log 2 bes' f' d'>2 |
<\tweak duration-log 2 c, a' c>2\fermata
}
Kind regards,
Xavier
Re: Naming lines of music
On Tue, 14 May 2024 at 15:43, Giles Boardman wrote: > > Thanks again Xavier. You are very patient - I have just sat down at my up-to-date computer and the difference between the versions' functionality is enormous. If I'd realised, I would have bitten the bullet and had fewer questions and taken up less of everyone's time. My apologies. Out of interest, is there somewhere that tells me the last version of Lilypond that would run on Windows 8.1. Perhaps there is a sweet spot for me - my layout requirements are largely satisfied by these very simple layouts. Hello, Well apparently Jean added the sentence "(Windows 7 and Windows 8 are not supported)" for 2.24.0. https://gitlab.com/lilypond/lilypond/-/commit/c9fa78c28d26661f1176bd8e1b13c574e71e9664 That being said, LilyPond >2.24 does not support Windows <8.1 mainly because Microsoft itself has ended support for Windows 8.1. Maybe LilyPond 2.24 or 2.25 still do run on Wondows 8.1. Have you tested? Kind regards, Xavier
Re: Naming lines of music
On Tue, 14 May 2024 at 14:44, Giles Boardman wrote: > > Hello Kieren/Xavier, > > I wasn't going to be picky per Kieren's ** but ... > > ... using Xavier's code (override Score.RehearsalMark.self-alignment-X = #LEFT) I have a whole page of music and the tunes are in different keys, so aligning to the Key signature is giving me an unsightly wiggly vertical look. Can I align to the clef or the Time signature? Hello, See Timothy's answer (left-edge and link to IR). \override Score.RehearsalMark.break-align-symbols = #'(clef) \override Score.RehearsalMark.break-align-symbols = #'(time-signature) https://lilypond.org/doc/v2.18/Documentation/notation/aligning-objects#using-the-break_002dalignable_002dinterface https://lilypond.org/doc/v2.24/Documentation/notation/aligning-objects#using-the-break_002dalignable_002dinterface You could also change the break-align-anchor-alignment of KeySignature (NR same reference). > Or is there a line title, like the variables for "Composer" Piece" etc. I looked, but I haven't found anything obvious. I would use "piece", but actually you could even define your own custom header field and custom layout for titles. https://lilypond.org/doc/v2.24/Documentation/notation/custom-titles-headers-and-footers#custom-layout-for-titles Kind regards, Xavier
Re: Naming lines of music
On Tue, 14 May 2024 at 12:43, Giles Boardman wrote: > > The \mark command is centred. Can text be formatted to be left aligned (and smaller)? Is there an initialisation parameter I can change to set its default alignment? Hello, Please consider upgrading, version 2.18.2 is over 10 years old. Current stable version (2.24.3) has the \textMark command specifically for such cases, see NR 1.8.1 Text marks https://lilypond.org/doc/v2.24/Documentation/notation/writing-text#text-marks Otherwise it is possible to change the alignment of rehearsal mark with \override Score.RehearsalMark.self-alignment-X = #LEFT Kind regards, Xavier
Re: 2.25.15 quotedCueEventTypes
On Wed, 8 May 2024 at 19:35, Paul Scott wrote: > > Yes. Does one of those include phrasing slurs? Hello, For phrasing slurs you need to add phrasing-slur-event to the list. FYI the default value of quotedCueEventTypes is in IR 2.1.31 Score https://lilypond.org/doc/v2.25/Documentation/internals/score And the list of events (music classes) in IR 1.2 Music classes https://lilypond.org/doc/v2.25/Documentation/internals/music-classes For documentation first look in NR, then IR and if you still find nothing in the sources (ly or scm files first). Kind regards, Xavier
Re: The demise of ly:multi-measure-rest::percent
On Fri, 3 May 2024 at 12:43, Richard Shann wrote:
>
> In earlier versions of LilyPond I avoided the use of \repeat percent 2
> {} syntax by overwriting the stencil for a whole bar rest:
>
> \version "2.20.0"
> { c c c c
> \once \override MultiMeasureRest.stencil =
#ly:multi-measure-rest::percent
> \once \override MultiMeasureRest #'thickness = #0.48
> R1*4/4
> }
>
> The stencil ly:multi-measure-rest::percent has gone in versin 2.24 and
> I see that the symbol ly:percent-repeat-interface::percent at the same
> place in the source code. However this results in the "%" glyph not
> being centered as was the old one:
>
> \version "2.24.0"
> { c c c c
> \once \override MultiMeasureRest.stencil =
#ly:percent-repeat-interface::percent
> \once \override MultiMeasureRest #'thickness = #0.48
> R1*4/4
> }
>
> Is there an easy fix - the extra-offset needed varies according to the
> width of the bar...
Hello,
Not replying to your question but is there a reason you don't use \repeat
percent in the first place ?
And what about using "makePercent" as described in NR 1.4.2?
makePercent =
#(define-music-function (note) (ly:music?)
"Make a percent repeat the same length as NOTE."
(make-music 'PercentEvent
'length (ly:music-length note)))
\relative c'' {
\makePercent s1
}
Kind regards,
Xavier
Re: Note names are causing text marks to be duplicated
On Fri, 26 Apr 2024 at 16:46, Eric Benson wrote:
>
> I see. How hard would it be to write a Scheme function that would copy a
melody variable and remove the text marks, or in fact everything other than
the note values, which are all I want in the NoteNames variable? That would
be preferable to entering a separate sequence containing only the text
marks in my application.
Hello,
Do you want your text marks to be above the staff or above the upper
NoteNames context?
The following just keep the text marks above the staff.
\layout {
\context {
\Score
\remove Text_mark_engraver
}
\context {
\Staff
\consists Text_mark_engraver
}
}
Kind regards,
Xavier
Re: simple problem: my first text spanner starts too early?
On Mon, 22 Apr 2024 at 21:48, Kenneth Wolcott wrote: > > Hi; > > I've made a simple mistake but I can't figure out what I did wrong. > > At bar #36 the first text spanner starts. I think that's correct. But > the piano articulation should be a bar earlier? But that also seems > correct. How can all of these three "facts" be true without a > contradiction? Perhaps it is a spacing issue that needs to be tweaked? > > The original pdf, my engraving and the Lilypond source are attached. Hello, Your TextSpanner starts at the beginning of bar #37 and is displayed above the staff, that's what you have in your code as well. Is there a particular reason why you don't use a DynamicTextSpanner (command \cresc) for these cresc. ? And why you put your dynamics in a separate variable but not these textual crescendi ? And using a Dynamics context seems an overkill for me in this case (I use them only for PianoStaff-likes). Kind regards, Xavier
Re: (No subject)
On Sun, 21 Apr 2024 at 20:44, Gian Paolo Renello wrote: > > Your right, thanks. I noticed it and changed as well in my code, but the problem won't solve (see previous mail about the context) Hello, The Lyrics should come after the \new Voice = "sopranoVoice". If you get an error please send a minimal example of code showing the issue. Kind regards, Xavier
Re: Can \showStaffSwitch \pageBreak ? Bug?
On Wed, 17 Apr 2024 at 21:53, Pierre-Luc Gauthier wrote: > > Hi there, > > Is this a known bug ? > > The \showStaffSwitch indication seems uneasy about page breaks. Hello, It might be another instance of #6684, which itself is apparently a duplicate of #6551. https://gitlab.com/lilypond/lilypond/-/issues/6684 https://gitlab.com/lilypond/lilypond/-/issues/6551 Kind regards, Xavier
Re: Conflicting \section and \grace?
On Fri, 29 Mar 2024 at 22:31, Knute Snortum wrote: > > This looks like a very old bug that LilyPond has. Basically, if you have a grace note starting a measure in one staff, you have to have one on all staves, even if it's just a spacer. So adding this to the melody will fix the problem: Exactly. https://gitlab.com/lilypond/lilypond/-/issues/34 This is documented in NR 1.2.6 Special rhythmic concerns > Grace notes > Known issues and warnings Kind regards, Xavier
Re: end-of-line-invisible exception
On Tue, 26 Mar 2024 at 17:05, bobr...@centrum.is wrote: > > Is there a way to omit the key signature at the end of a line in this case? Hello, Well, here *it is* key cancellation. \override Staff.KeyCancellation.break-visibility = #all-invisible Kind regards, Xavier
Re: remove key change at end of line
On Mon, 25 Mar 2024 at 22:19, bobr...@centrum.is wrote: > > I want to remove a key change from the ends of lines/systems. I am *not* referring to just key cancellation, which I do also want. I mean, at the end of a line the new key should not appear before the new line. I haven't worked it out. Hello, \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible See NR 5.4.7 Visibility of objects > Special considerations https://lilypond.org/doc/v2.24/Documentation/notation/visibility-of-objects#special-considerations Kind regards, Xavier
Re: Can't compile Lilypond files
On Sun, 24 Mar 2024 at 17:14, David Sumbler wrote: > > I haven't used Lilypond for a while, but I have currently got v.2.24.1 > > I started a new, very small, project today, but I can't compile anything. Thinking I must have forgotten even the basics of writing Lilypond files, I tried a few of my previous project files which I have successfully compiled in the past. But nothing will compile. > > If I use the bash command line, with, for example, 'lilypond -V file.ly' I get no compilation, and the output is identical to what I get if I just enter 'lilypond' with no option and no file. > > If I try to compile from Emacs, using Ctrl-C Ctrl-L, I get exactly the same output as above, with "Compilation exited abnormally with code 2 at Sun Mar 24 15:54:38" or similar suffixed. > > What can possibly be wrong? Lilypond isn't giving me any clues. Hello, How have you installed LilyPond? From the official binaries or from a package from your Linux distribution (I guess, since you mention Emacs, that you are under Linux)? Do you know that the last versions of LilyPond do not update your PATH? So are you invoking lilypond with the path where you extracted the binaries? And when you say you can't compile, what do you get as error message? It is not clear at all. Kind regards, Xavier
Re: ragged-bottom and spacing for individual pages
On Wed, 20 Mar 2024 at 19:47, Paul Scott wrote: > > 1. How can I cause an individual page other than the last page of a > score to have ragged-bottom? Hello, I don't think this is possible. Personally I would produce 2 different PDFs and then split and merge the pages as desired. > 2. How can I change the vertical spacing for a page that uses raged-bottom? For a ragged-bottom score the usual variables can be used: system-system-spacing, top-system-spacing, last-bottom-spacing and within-system spacing properties. You could use as well Explicit staff and system positioning, see NR 4.4.2. Kind regards, Xavier
Re: Troubles with StaffGrouper
On Wed, 20 Mar 2024 at 04:48, Ben Bradshaw wrote:
>
> Hello,
> I think I must not be understanding how the StaffGrouper works. I'm doing
a score with instrument and piano accompaniment, and have the piano music
in a PianoStaff. I'm trying to get more space between the solo staff and
the piano staff. This is what I tried...
>
> \layout{
> \context {
> \Score
> \override VerticalAxisGroup.staff-staff-spacing.minimum-distance = #14
> \override StaffGrouper.staff-staff-spacing.minimum-distance = #6
> }
>
> But it seems the StaffGrouper spacing isn't applied, and what I get is
big space between all three lines. I thought that the StaffGrouper was
supposed to override settings in the VerticalAxisGroup, but maybe I have to
do it a different way? Any help would be greatly appreciated.
Hello,
Well, apparently that's the case if you don't change the default values of
VerticalAxisGroup.staff-staff-spacing (maybe that's a bug).
In your case I would change the value of
VerticalAxisGroup.staff-staff-spacing for the staff above the PianoStaff.
\score {
<<
\new Staff \with {
\override VerticalAxisGroup.staff-staff-spacing = #'((basic-distance
. 12)
(minimum-distance . 11)
(padding . 1))
} { c'1 }
\new PianoStaff <<
\new Staff { c'1 }
\new Staff { c'1 }
>>
>>
}
Kind regards,
Xavier
Re: Tremolo with staccato
On Tue, 19 Mar 2024 at 16:08, Ralph Palmer wrote: > > Hello, again! > > This list has been a great help on numerous occasions. > > I have a new problem - how to combine staccato with tremolo. I'm > attaching an example from the score I'm trying to transcribe. The > problem is similar to > > Adding double and triple tonguing indications for woodwind > > from the LSR, but without the "tuplet number". I don't know how to > adjust the code. Hello, You could adapt the "jeté" from this thread: https://lists.gnu.org/archive/html/lilypond-user/2023-01/msg00452.html The trem-mod.ly file from Valentin is impressive as well, but maybe a little bit overkill for this case. https://lists.gnu.org/archive/html/lilypond-user/2023-01/msg00461.html Kind regards, Xavier
Re: B.A.C.H. motif
On Tue, 19 Mar 2024 at 13:57, Peter Mayes wrote:
>
> Being relatively new to this forum, I suspect I am not the first person
> to ask this.
>
> And it is more out of curiosity than necessity.
>
> But does anybody have lilypond code to engrave the famous B.A.C.H. motif
> in the attached image?
Hello,
Years ago, Pierre Perol-Schneider had contributed the following code on the
French-speaking mailing list.
https://lilypond.community/t/est-ce-possible/3672/2
\version "2.18.2"
\markup {
\combine
\score {
{
\key f\major
\tweak extra-offset #'(-2 . 0) bes'1
\clef C
\override Staff.Clef.stencil =
#(lambda (grob) (grob-interpret-markup grob
#{ \markup\rotate #180 \musicglyph #"clefs.C"
#}))
\bar ""
}
\layout {
\context {
\Staff
\hide TimeSignature
}
}
}
\rotate #90
\translate #'(1 . 0)
\score {
{
\key f\major
\hide bes'1
\clef mezzosoprano
\override Staff.Clef.stencil =
#(lambda (grob) (grob-interpret-markup grob
#{ \markup\rotate #180 \musicglyph #"clefs.C"
#}))
\bar ""
}
\layout {
\context {
\Staff
\hide TimeSignature
\override KeySignature.stencil =
#(lambda (grob) (grob-interpret-markup grob
#{ \markup\musicglyph #"accidentals.natural"
#}))
}
}
}
}
Kind regards,
Xavier
Re: Question regarding ChordNames
Hi Jean,
Are you adding this to the LSR?
I don't know if it would make sense to add it to the documentation as well,
personally I don't engrave scores that would use this.
Best regards,
Xavier
On Wed, 13 Mar 2024 at 09:55, Jean Abou Samra wrote:
> Mahalo, X. I am using the naturalizeMusic function and will look into
> extending that. Maybe that has some nuggets to mine.
>
> \naturalizeMusic is not going to work well on \chordmode music (it will
> destroy the interval in chords, leading to wrong chord names), but you can
> use code like this instead:
>
> \version "2.24.2"
>
> enharmonization = { c cis d ees e f fis g gis a bes b }
>
> converter = #(make-semitone->pitch (music-pitches enharmonization))
>
> \layout {
> \set ChordNames.chordRootNamer =
> #(lambda (pitch lowercase)
>(note-name->markup (converter (ly:pitch-semitones pitch)) lowercase))
> }
>
> bflat = \chordmode { cis dis e fis gis a bis cis bes }
>
> \transpose cis' a {
> \new ChordNames { \bflat }
> }
>
> Best,
>
> Jean
>
Re: Question regarding ChordNames
On Wed, 13 Mar 2024 at 04:51, John Helly wrote:
>
> Aloha.
>
> Here's an MWE to exhibit the issue.
>
> I have a flat note (bes) that I want to transpose down 4 half-tones to
F#. However, when the transpose is applied, the result is Gb. I
understand that a flat note was the initial value so maybe LP is preserving
that specification?
>
> Nonetheless, short of re-writing the whole piece in A rather than C#, is
there a way to specify the enharmonic representation for an F# rather than
Gb, for example?
Hello,
Instead of putting \transpose cis' a you could put the enharmonic
\transpose des' a
Then you would have a F# instead of a Gb, but that would change the other
pitches as well in the new (equivalent) tonality.
There is also the naturalizeMusic function documented in NR 1.1.2 Transpose
pitches with minimum accidentals ("Smart" transpose) that could help.
Kind regards,
Xavier
Re: Transpose tab into label forms
On Mon, 4 Mar 2024 at 11:05, achar wrote:
>
> Thank you for the answer. Label form may not be the correct translation.
We could say "diagram" for guitar.
> See an example attached. Good day. jean-Pierre
> It would save me time.
> Does anyone have any ideas or is this simply impossible?
> Thank you for your attention . Good evening. Jean Pierre
Salut Jean-Pierre,
It depends, if you use Fret diagram markups that you enter yourself using
\fret-diagram, then effectively a \transpose does not change these.
But if you use Predefined fret diagrams (with \include "
predefined-guitar-fretboards.ly" for instance), then a \transpose works.
\include "predefined-guitar-fretboards.ly"
\new FretBoards {
\chordmode {
\transpose c d {
c1 d
}
}
}
Kind regards,
Xavier
Re: Moving a fingering mark below a slur
On Wed, 28 Feb 2024 at 12:07, Peter Mayes wrote:
> As a beginner at Lilypond, I was looking for a way to achieve this. I
started just saying c4^"III" or similar. I then modified that to use
\markup to shrink the text. But if there is a more "natural" way of adding
these fingering marks, I would be happy to learn of it!
The advantage of using \finger is that your indication is applied as a
fingering indication.
Thus, if for example you decide to remove all your fingerings it would be
removed as well.
> Here is a fragment which shows what I was trying to avoid:
>
> "Should it always be kept inside the slur?" - I think the answer is "not
always" - it only looks wrong to me when the mark is a long way from the
note.
Actually in this case with the default value of avoid-slur of 'around the
fingering would be also inside the slur (but outside for your first
example).
See the code below (it is probably different than the code you used, but
you get the idea):
rit = -\markup { \italic rit. }
II = -\finger \markup { \fontsize #-4 II }
aTempo = ^\markup { \italic "a tempo" }
\relative c''' {
\time 3/8
c16(\> c,^\rit dis\II c' eis, c')\fermata |
c,8(\p\aTempo f g)
}
Kind regards,
Xavier
Re: Moving a fingering mark below a slur
On Tue, 27 Feb 2024 at 17:28, Peter Mayes wrote:
>
> Almost certainly a fairly trivial question: in bar 3, how to put the "L"
mark above the note, but below the slur?
Hello,
Should the "L" mark really be considered as a Fingering object? Because as
you currently define it, it's a TextScript.
Should it always be kept inside the slur?
In that case adapt your definition of "left" to this:
left = -\tweak avoid-slur #'inside \finger \markup { \fontsize #-4 L }
Kind regards,
Xavier
Re: Cue clefs
On Mon, 26 Feb 2024 at 22:13, Gerardo Ballabio wrote: > > Thanks. It says this -- but it works: > > programming error: No spacing entry from BarLine to `cue-clef' > continuing, cross fingers Ah yes, I hadn't paid attention to that. In that case, let's add a spacing entry between BarLine and cue-clef (I used the same spacing as for clef). \override Staff.BarLine.space-alist = #'((ambitus extra-space . 1.0) (time-signature extra-space . 0.75) (custos minimum-space . 2.0) (clef extra-space . 1.0) (cue-clef extra-space . 1.0) (key-signature extra-space . 1.0) (key-cancellation extra-space . 1.0) (first-note semi-shrink-space . 1.3) (next-note semi-fixed-space . 0.9) (right-edge extra-space . 0.0)) https://lilypond.org/doc/v2.25/Documentation/internals/barline > Just in case I need this for something else, where was the cue-clef > before you moved it? See the standard settings in the Internals Reference: https://lilypond.org/doc/v2.25/Documentation/internals/breakalignment > Yes. See attached. Does it come from a handwritten score or from a well-known publishing house? Unless you really want to reproduce the score as is, I'd suggest adding the cue end clef. Gould (probably the most comprehensive contemporary reference on musical notation) mentions on page 573 of Behind Bars: "Reinstate the player's clef before an entry" (and all her examples do it, without exception). By the way, she also mentions "When a cue clef begins immediately after the barline, place the cue clef before the barline" (which is LilyPond's default). Kind regards, Xavier
Re: Cue clefs
On Sun, 25 Feb 2024 at 22:35, Xavier Scheuer wrote: > > By the way I would not remove the cue end clef. This is also standard practice: to "close" the cue clef (back to playing instrument clef). Actually in your example I would move the cue end clef to the end of the bar (just before the playing instruments starts playing again): \cueClef "treble" c''8 d e f r2 % if that is what is written in the cued voice \cueClefUnset Kind regards, Xavier
Re: Cue clefs
On Sun, 25 Feb 2024 at 21:36, Gerardo Ballabio wrote: > > It does, thank you. > Any ideas for the other question (how to move the cue clef after the bar line)? Hello, Add this before the \cueClef (I only moved the cue-clef after staff-bar): \once \override Score.BreakAlignment.break-align-orders = ##((left-edge staff-ellipsis cue-end-clef ambitus breathing-sign signum-repetitionis clef staff-bar cue-clef key-cancellation key-signature time-signature custos) (left-edge staff-ellipsis cue-end-clef ambitus breathing-sign signum-repetitionis clef staff-bar cue-clef key-cancellation key-signature time-signature custos) (left-edge staff-ellipsis ambitus breathing-sign signum-repetitionis clef key-cancellation key-signature time-signature staff-bar cue-clef custos)) But do you have some reference/example of scores putting the cue clef after the bar line ? AFAIK LilyPond follows engraving rules/practice and puts the cue clef before the bar line (except directly after a line break). By the way I would not remove the cue end clef. This is also standard practice: to "close" the cue clef (back to playing instrument clef). Kind regards, Xavier
Re: staff size in mm
On Tue, 13 Feb 2024 at 12:48, Mariya Kireva wrote: > > Dear Xavier, > > thank you very much for your answer. Do you know if I can set the lyrics size precise in pt? Hello Mariya, Please keep the lilypond-user mailing list in Cc (Reply to all). I found this in the archive: https://lists.gnu.org/archive/html/lilypond-user/2019-05/msg00156.html Kind regards, Xavier
Re: staff size in mm
On Tue, 13 Feb 2024 at 10:20, Mariya Kireva wrote: > > Hello all, > > it is possible to set up the staff size in lilypond precise in cm or mm? Hello, Do you want to set the global staff size so that you have a precise staff height and scale everything (note heads, stems, texts, titles) accordingly? In that case, as mentioned in NR 4.2.2 Setting the staff size: The default staff size is 20 points, which corresponds to a staff height of 7.03mm (one point is equal to 100/7227 of an inch, or 2540/7227 mm). So if you want a staff height of, say, 10mm you should set the global staff size to 20*10/7.03 = 28.45 points. #(set-global-staff-size 28.45) It is also possible to set the staff size for a single score or set the staff size for a single staff within a system or alter the distance between staff lines only as explained in NR 4.2.2 or NR 1.6.2. Kind regards, Xavier
Re: broken bar line across staff
On Wed, 31 Jan 2024 at 15:12, Robert Garrigos wrote: > > Hi all, > > My first post in this list. > > Is there a way to accomplish this? > > > the bar line across the staff is broken to enable the text to be more visible Hello, Sure, use the whiteout property. In this case you will need to put the layer of the DynamicTextSpanner (or TextScript if you used a Text script) greater than the layer of SpanBar. There is an example of Using the whiteout property in NR 5.4.7 Visibility of objects > Painting objects white https://lilypond.org/doc/v2.25/Documentation/notation/painting-objects-white Kind regards, Xavier
Re: Drum notation and style
On Fri, 19 Jan 2024 at 13:46, Adrian wrote: > > Thanks for the reply, and apologies for not replying to all. However, > > \override Lyrics.LyricsText.font-name = "Font Name" > > returns the following warning: > > warning: not a grob name, `LyricsText' > > and doesn't alter the font. Sorry, my bad I did a copy-paste of your message without checking. \override Lyrics.LyricText.font-name = "Font Name" (LyricText, not LyricsText) By the way if you use Frescobaldi the autocomplete should highlight/give you the correct syntax. And the name of the grobs are given in each section of the Notation Reference manual (See also > Internals Reference) Kind regards, Xavier
Re: Drum notation and style
On Fri, 19 Jan 2024 at 01:42, Adrian wrote: > > How would you change the font of the lyrics? > > \override LyricsText.font-name = "Font Name" > > doesn't work yet throws no error. At the moment, I haven't found a method to identify the name of the object to style or the name of the style property consistently, it's entirely ad hoc according to the internals documentation mostly. Something like > > \override TextScript.font-name = "Font Name" > > works at the top level for most things, but not for lyrics or in the lyrics environment. Hello, Please don't forget to include the lilypond-user mailing list in the recipients (reply to all). You identified the correct object, but you need to include the context (for every object that is engraved at a context level other than Voice). \override Lyrics.LyricsText.font-name = "Font Name" An elegant alternative would be to put all your overrides in the layout block. See Learning Manual LM 3.3.4 Modifying context properties. Kind regards, Xavier
Re: Drum notation and style
On Thu, 18 Jan 2024 at 21:26, Stu McKenzie wrote:
>
> I often use Lyrics to provide sticking.
Hello,
That would have been my suggestion as well, especially if you want the
sticking to be horizontally aligned.
> The lyrics are below the staff, but this can be changed. Personally, I've
had difficulties putting lyrics above the drum staff when not using markups
like ^"R". Perhaps someone else can show how that's achieved?
Simply put the Lyrics contexts above the DrumStaff context.
\score {
<<
\new Lyrics {
\LyricsOne
}
\new Lyrics {
\LyricsTwo
}
\new DrumStaff {
<<
\new DrumVoice {
\voiceTwo
\Drums
}
>>
}
>>
}
It is also possible to use alignAboveContext, this is especially useful if
you use \lyricsto (with the lyrics after the DrumStaff containing the
DrumVoice) so that you do not need to add explicit durations to the
lyrics/sticking.
Kind regards,
Xavier
Re: crescendo lines to thin
On Thu, 11 Jan 2024 at 14:43, Bernhard Kleine wrote: > > Dear all, happy new year! > > Ich have a separate dyn line for the dynamics, but the lines there are > to thin. How to change it? Hello, \override Hairpin.thickness = #1.5 Adapt value according to your liking (default value is 1). Actually if you have a look at the Notation Reference manual, there are references to the Internals Reference manual at the end of each section for the layout objects covered in this section. That's the best way to find the property to modify in order to achieve what you are looking for. Kind regards, Xavier
Re: Slurs within chords, and dotted notes
On Sun, 7 Jan 2024 at 21:35, Joel C. Salomon wrote: > > Reposting for clarity as to what I’m asking. > > In the second case below, instead of the slur attaching to the specific note, it moves vertically—I assume, to avoid collision with the duration dot. (Though it’s interesting that a tie does not mind overlapping the dot, as in the fourth case.) > > In the second case, how can I either— > > Allow the slur to overlap the dot (the code shown below does not work), or > Move the left anchor of the slur horizontally past the dot, so they don’t conflict? > > Obvious searches like [lilypond chord slur dotted note] do not turn up mention of this, or of any tweak to avoid this. Any hints? Hello, \once \override Dots.avoid-slur = #'ignore (Dots instead of Slur) Kind regards, Xavier
Re: lilypond does not generate pdf - new install on mac os sonoma
On Mon, 20 Nov 2023 at 05:15, Abe Raher wrote: > > p.s. This story ended oddly. > > I uninstalled ghostscript and then installed ghostscript 10.02.0. > > I pinned that version. > > Still got the error ... > > Uninstalled lilypond. > > Reinstalled lilypond – this required unpinning ghostscript. > > Now it's all working. Odd because we're back to the latest ghostscript which is what we thought was the source of the error. Hello, Yes, but after uninstalling LilyPond 2.24.2 you reinstalled the brand-new 2.24.3, which contains a fix for the Ghostscript problem. Thanks to the speedy LilyPond developers. Kind regards, Xavier
Re: vertical spacing of top-level `\markup` and `\bookpart`
On Wed, 4 Oct 2023 at 09:17, Werner LEMBERG wrote: > > If I activate the `\bookpart` block, the stretchability is completely > lost – both inside and outside of `\bookpart`. Is this expected? How > can I control the stretchability for global markups section-wise > (e.g., in `\bookparts`)? Hello, If you add ragged-last-bottom = ##f in your \paper block you have the same result with bookpart Kind regards, Xavier -- Xavier Scheuer
Re: rest note disappear on last 3 measure.
On Fri, 15 Sept 2023 at 05:56, cc0_knight--- via LilyPond user discussion < lilypond-user@gnu.org> wrote: > > Hi Everyone. > When I re-digitalize czerny's op.755 no.1, > the 8th rest note on the last 3 measure are disappeared. > code are too large, i've been put it on privatebin. [on code column 301-303] > Is this an lilypond bug or syntax error? > > PS: have been tested on ver 2.25.7, same as 2.24.0. > > https://bin.bloatcat.tk/?3edcc8f61aef5e21#8f8xMNU8icQgqRHbtbupkMUTP9UFDLpN772FVR1HDRYS Hello, Put the Merge_rests_engraver on the Staff level instead of PianoStaff. Here it seems to "merge" the rests from your left and right staff. Kind regards, Xavier -- Xavier Scheuer
Re: How to have a parenthesized dynamic scripts including \cresc?
On Mon, 28 Aug 2023 at 14:01, Michael Gerdau wrote: > > Hi list, > > use the following macro for parenthesized dynamics: Hello, I do not know why the NR mentions markup parentheses for parenthesized dynamics, whereas the parenthesize command works for DynamicText (with a tweak of parentheses font-size for a more pleasing result). c4-\tweak Parentheses.font-size #3 -\parenthesize -\f Ping @Werner LEMBERG and @Jean Abou Samra : should NR 1.3.1 Expressive marks attached to notes be modified (to have other examples as parenthesized dynamics for New dynamic marks) ? > However it does not work for \cresc as > c4^\parendyn\cresc > creates an empty () mark. > > Is there a way to extend the above macro to work with \cresc and \decr > as well? I have found LSR #1097 https://lsr.di.unimi.it/LSR/Item?id=1097 Kind regards, Xavier -- Xavier Scheuer
Re: Bar numbers on Dynamics staff above music
On Mon, 28 Aug 2023 at 10:17, Richard Shann wrote:
>
> There are more problems than I thought with your solution-
> here is your example with some higher notes in it - the bar numbers
> leave the staff again:
Hello,
Removing "Bar_number_engraver" from the Score context and adding it to the
Staff context (or the first staff with \with if you have more than one
staff) will get the bar numbers onto the staff.
It should give you the same bar number positioning as if the Dynamics
context was not above your staff.
If you have some overrides, change them from the Score context to the Staff
context as well.
\layout {
\context {
\Score
\remove "Bar_number_engraver"
}
\context {
\Staff % if more than one Staff, use \with for the first Staff in your
\score block
\consists "Bar_number_engraver"
\override BarNumber.break-visibility = #end-of-line-invisible
barNumberVisibility = #(every-nth-bar-number-visible 1)
}
}
Kind regards,
Xavier
--
Xavier Scheuer
Re: Extend bar line to fit raised staff
On Sat, 26 Aug 2023 at 15:16, Gerardo Ballabio wrote: > > Hello, > I'm using Staff.StaffSymbol.line-positions to raise the staff position > in the middle of a line. When the change is at the end of a measure, > the bar line is aligned with the new staff, leaving the old staff > partially "open", that is, the bar line doesn't extend over all the > height of the old staff -- in the example below, the lowermost space > remains open. > Is there a way to extend the bar line so that it closes both staves? Hello, Thank you for the well-formulated question with a minimal example. Add \once \override Staff.BarLine.bar-extent = #'(-2 . 3) after your Staff.StaffSymbol.line-positions. Kind regards, Xavier -- Xavier Scheuer
Re: Increasing default piano staff spacing
On Fri, 11 Aug 2023 at 20:18, Jin Choi wrote:
>
> I have a passage of piano music with a lot of kneed beams between the
staves, and there’s too few objects above the bass staff to force enough
space. How can I increase the default spacing between the treble and bass
parts of the piano staff?
Hello,
Add
\layout {
\context {
\PianoStaff
\override StaffGrouper.staff-staff-spacing.basic-distance = #12
}
}
See explanations in NR 4.4.1 Flexible vertical spacing within systems
> Spacing of grouped staves
https://lilypond.org/doc/v2.25/Documentation/notation/spacing-of-grouped-staves
Cheers,
Xavier
--
Xavier Scheuer
Re: Liszt's accents
On Wed, 31 May 2023 at 17:42, cadenza wrote: > > 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. Hello, I guess Lukas-Fabian's "VShapeSlur" could be a good starting point. https://lists.gnu.org/archive/html/lilypond-user/2020-09/msg00129.html Cheers, Xavier -- Xavier Scheuer
Re: Adjusting layout to bigger notes
On Tue, 23 May 2023 at 15:45, Jakob Pedersen wrote: > > Greetings! > > I'm writing some chorales for playing hymns on the organ. I've chosen a larger staff size to improve readability. > > Having adjusted #(layout-set-staff-size ##) to 26, I'm noticing some less-than-fortunate side effects. > > (snip) > > Is there an elegant way to adjust this to the larger staff size? Hello, Use #(set-global-staff-size 26) instead ? Cheers, Xavier -- Xavier Scheuer
Re: Cues and Rest Collision Warning
On Tue, 14 Mar 2023 at 12:55, Archer Endrich wrote: > > The reason I used c'1\rest was so that the rest would be placed on the > bottom line of the Staff. I would really like a centered rest (R1) but > this automatically places it on the 2nd line from the top, which does > conflict with the music of the cue. Hello, Replace your c'1\rest with \voiceTwo R1 \oneVoice In case the positioning of the multi-measure rest is not satisfactory you can use \once \override MultiMeasureRest.staff-position = #-6 as documented in NR 1.2.2 Writing rests > Full measure rests Cheers, Xavier -- Xavier Scheuer
Re: Change Size of \slashSeparator
On Wed, 1 Mar 2023 at 13:07, Johannes Roeßler wrote:
>
> Hi List,
>
> how can I change the size of the \slashSeparator?
Hello,
slashSeparator is a markup.
You can scale it for example with the scale command
system-separator-markup = \markup \scale #'(1.5 . 1.5) { \slashSeparator }
% 150% in X and Y, change to your convenience
Or change the definition of slashSeparator, which is
slashSeparator = \markup {
\center-align
\vcenter \combine
\beam #2.0 #0.5 #0.48
\raise #0.7 \beam #2.0 #0.5 #0.48
}
% from ly/titling-init.ly
Cheers,
Xavier
--
Xavier Scheuer
Re: Avoid double beaming
On Mon, 20 Feb 2023 at 12:15, Jogchum Reitsma wrote: > > This gives the result I would like to see (well, almost: the first bar still has separated stems/beams, but that's nitpicking). > > I applied it to the piece the snippet was an excerpt from, and it renders beautifully. > > Thanks a lot! Hello, The first bar will have the stems/beams combined if you add the slur in both sopranoOne and sopranoTwo, as I did in the code I sent in my previous message. (Actually one could add the \p in sopranoTwo as well, if the dynamics are exactly the same in sopranoOne and sopranoTwo they will only appear once in the combined version.) Cheers, Xavier -- Xavier Scheuer
Re: Avoid double beaming
On Mon, 20 Feb 2023 at 10:44, Jogchum Reitsma wrote:
>
> Hi,
>
> In below snippet, lilypond renders two beams for the two voices, and,
> because I want the stems to have the same direction,
> the result for the 8th-notes is that they seem to be 16th notes.
>
> Is there a way to avoid this, and to join the two beams to one?
Hello,
I would say this is a typical case for \partCombine.
See NR 1.5.2 Multiple voices > Automatic part combining
sopranoOne = \relative c'' {
\key c \major
\time 3/4
r8 a\p a4.( g8) |
\time 2/4
f g a a |
}
sopranoTwo = \relative c' {
\key c \major
\time 3/4
r8 f f4.( e8) |
d e f f
}
\score {
\new Staff \with {
instrumentName = "Sopraan"
shortInstrumentName = "S."
\dynamicUp
} {
\partCombine \sopranoOne \sopranoTwo
}
\layout {}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: changing ottavation text after line break
On Fri, 17 Feb 2023 at 19:26, Immanuel Asmus wrote:
>
> Hello,
>
> I’d like to have an OttavaBracket with ottavation "8", but after a line
> break, the ottavation should read "(8)". I cannot figure out whether
> this can be achieved with \alterBroken, since ottavation is not a
> feature of OttavaBracket. I read in the internals that the
> Ottava_spanner_engraver creates a text spanner, but TextSpanner is not
> the right grob for \alterBroken either.
>
> I worked around my problem by adding
>
>\ottava #1
>\set Staff.ottavation = #"(8)"
>
> where the line breaks. But maybe there is a universal solution for the
> whole score.
Hello,
Slight adaptation of Valentin's answer here:
https://lists.gnu.org/archive/html/lilypond-user/2021-11/msg00583.html
#(define (my-callback grob)
(let* ((orig (ly:grob-original grob))
(siblings (ly:spanner-broken-into orig)))
(if (not (eq? grob (car siblings)))
(ly:grob-set-property! grob 'text "(8)"
\score {
\new Staff {
\override Staff.OttavaBracket.after-line-breaking = #my-callback
\ottava #1
c''' 4 d''' e f
\break
d''' f'''' g a
\break
d''' f''' g''' a'''
}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Vertical arrows next to note
On Thu, 9 Feb 2023 at 11:35, Kenneth Flak wrote: > > > Hi Andrew, > > I was looking into the snippets, but the only ready-mades I could find are arrowheads inside a markup block and horizontal arrows as textspanners. > Any search for vertical arrows comes up short (at least for me...) Hello, It should be possible to use an Argpeggio with a custom stencil using elements of arpeggioArrowDown and arpeggioBracket without protrusion. This is beyond my current capabilities unfortunately. Cheers, Xavier -- Xavier Scheuer
Re: Clef with Ottava in parenthese
On Wed, 8 Feb 2023 at 15:26, Johannes Roeßler wrote: > > Hi Group, > > is it possible to create a clef like this: > > Like \clef "violin_8" but with the 8 in parentheses? Hello, \clef "violin_(8)" or \clef "treble_(8)" works. They are also mentioned in the documentation: NR 1.1.3 Displaying pitches > Clef Optional octavation can be obtained by enclosing the numeric argument in parentheses or brackets: Cheers, Xavier -- Xavier Scheuer
Re: Barline glyph in markup
On Fri, 3 Feb 2023 at 15:03, Valentin Petzel wrote:
>
> Hi Rip_mus,
>
> Bar Lines are not in fact glyphs, but drawn directly. We could recreate a
> drawing procedure for markups, but the easiest thing to do would probably
be
> to use the \score markup command for this as seen in the appended file.
Hello,
Or we could add the "Bar_engraver" to the Dynamics context, with some
tweaks as the following example shows.
\score {
<<
\new Staff {
\new Voice = "melody" {
\relative {
a'4 a a a
a a a a
\repeat volta 2 { b4 b b b }
}
}
}
\new Dynamics \with {
\consists "Bar_engraver"
\override BarLine.bar-extent = #'(-2 . 2)
\override BarLine.stencil =
#(lambda (grob)
(if (string=? (ly:grob-property grob 'glyph-name) "|")
(set! (ly:grob-property grob 'glyph-name) ""))
(ly:bar-line::print grob))
} {
s1\mf
s1
\repeat volta 2 { s1\p }
}
>>
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Removing (or not) empty staves
On Wed, 18 Jan 2023 at 04:12, Ralph Palmer wrote: > > Hi - > > Thanks for all your work, for helping users, and for LilyPond itself. I've been using LilyPond and Frescobaldi for a long time, mostly on Linux/Ubuntu. > > I'm currently running LilyPond 2.24.0 and Frescobaldi 3.2 on Linux/Ubuntu. > > I'm trying to transcribe the viola parts for Saint-Saens' Le Deluge for my personal use, but trying to keep it close to the original. My problem is that there are 8 lines of score with single staves, and then multiple lines with Solo and Tutti staves. The first line with two staves has all rests in the Solo staff. I can get LilyPond to go single staff for the opening, but I can't get it to do that and keep the first (all rests) line of the Solo part. I'm attaching a photo of the original score where it switches from single staff to two staves per system, as well as two .ly files and their PDFs from my attempts to reproduce the original. It's not a make or break problem, but I would like to know what I might be doing wrong or what I might do differently. I'm using \Staff \RemoveEmptyStaves in \context. Hello, In that case I would use a Keep_alive_together_engraver and different VerticalAxisGroup remove-layer values and setting/unsetting Staff.keepAliveInterfaces where desired. There is a small example with Violins I & II and separate staves V I and V II in the documentation. NR 1.6.2 Modifying single staves > Hiding staves https://lilypond.org/doc/v2.24/Documentation/notation/modifying-single-staves#hiding-staves Otherwise if you want to keep your \RemoveEmptyStaves solution you can cheat and include a transparent note at the beginning of the Andantino Solo. Cheers, Xavier -- Xavier Scheuer
Re: Unknown expression mark
On Sat, 14 Jan 2023 at 19:05, Alberto Simões wrote: > > And in lilypond, _^ is similar enough :-) Hello, For me it looks more like a \shortfermata . See the list of articulations, as mentioned in NR 1.3.1 Expressive marks attached to notes. https://lilypond.org/doc/v2.24/Documentation/notation/list-of-articulations Cheers, Xavier -- Xavier Scheuer
Re: Supress Instrument after P. 1
On Thu, 5 Jan 2023 at 21:11, Mark Mathias wrote:
>
> Partly to duplicate a 1910 popular song layout, and partly to continue
growing in LilyPond skill, I'm wanting to suppress the bookTitleMarkup
instrument field after page 1.
>
> I've read the sections on Titles and Headers, Customizing, etc., and
other parts of the manual, and I've made a number of attempts, but I'm not
yet at the point where I understand what to do.
Hello,
The best way is to look at the definition of oddHeaderMarkup and
evenHeaderMarkup in ‘ly/titling-init.ly’ and to modify it accordingly.
If you comment (or remove) the lines containing \fromproperty
#'header:instrument, you get what you want (see below).
\paper {
oddHeaderMarkup = \markup
\fill-line {
""
% \unless \on-first-page-of-part \fromproperty #'header:instrument
\if \should-print-page-number \fromproperty #'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\if \should-print-page-number \fromproperty #'page:page-number-string
% \unless \on-first-page-of-part \fromproperty #'header:instrument
""
}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Sizing Dynamics
On Tue, 3 Jan 2023 at 14:30, Mark Mathias wrote: > > Using dynamics separately from a staff is useful, but for some reason changing the size affects the DynamicText but not the hairpins. I'd like the hairpins to match the staff size if possible. Hello, If you use Lilypond version > 2.23.6 (which seems to be the case according to your version statement), you should be able to use \magnifyStaff in Dynamics context. https://gitlab.com/lilypond/lilypond/-/issues/6188 Cheers, Xavier -- Xavier Scheuer
Re: Quirk with short, but not too short, ties
On Tue, 3 Jan 2023 at 05:28, Aaron Hill wrote: > > Hi folks, > > I noticed a peculiar quirk with how short ties are handled in LilyPond. > Take a look at the attached image (source code provided below). Notice > that the ties are not positioned the same. I suspect it might be > because the Fs are not the same distance away from each other, so in one > case LilyPond leaves the tie sitting on the staff line and in the other > the tie is pushed down. > > For my purposes, I prefer the second rendering. Especially with the > slur present, I find that the tie in the first version is getting lost > between the notes. This example is a contrived excerpt from a larger > work, but this pattern shows up several times in the piece. While I was > proofreading, I almost thought one of the ties was missing. Attached is > a capture from my PDF viewer showing a particularly bad instance. > > Is there a way for me to ensure that these short ties are consistently > offset to improve readability? Hello, Looking at the Internals Reference for Tie there is a "horizontal-distance-penalty-factor" parameter in the details property that seems to correspond to what you are looking for. When increasing its value (50 or 100 for instance) the positioning of the first tie is rendered like the second. Cheers, Xavier -- Xavier Scheuer
Re: Spacing problems with hidden notes
On Tue, 27 Dec 2022 at 18:43, Owen Le Blanc wrote: > > I'm doing a lot with hidden notes because of having ties and slurs > between voices. Sometimes this causes spacing problems, presumably > because the hidden notes are offset relative to the visible ones. > Note the dot after the G in this example. Hello, Your problem is indeed apparent if you make the hidden notes visible (without \hideNotes). In this case I would suggest to remove \voiceThree in your "lower" and instead use \voiceTwo or \stemDown. So your (half hidden) unisons are stemmed differently and the noteheads can be merged (see for yourself without \hideNotes), thus preventing your problem. Cheers, Xavier -- Xavier Scheuer
Re: Reduce extra space at end of stave
On Wed, 21 Dec 2022 at 20:13, NickS wrote: > > Thanks for the suggestion Mark... adding ragged-right = ##t stretches out the stave across the page width (175mm), ragged-right = ##f reverts to the default behaviour (stave 78mm wide), with still too much clear space at the end (18.75mm, the same as the clear space between the chords). Hello, That's the point of proportional notation: to have the same space after notes of the same duration (so after the last note as well). If you want to reduce the space after the last note you could trick/cheat by multiplying its value. 4 4*1/2 \bar "|." Cheers, Xavier -- Xavier Scheuer
Re: Setting lytics to alternative endings
On Thu, 15 Dec 2022 at 16:29, Jean Abou Samra wrote: > > > As said in another thread [1], I would recommend using the \repeat > construct in the lyrics too: > Hello, This is also what is recommended in the documentation, there is even a whole section dedicated to lyrics and repeats, and in particular repeats with alternative (with special cases of melisma, extenders and hyphens, etc). Cf. NR 2.1.2 Techniques specific to lyrics > Lyrics and repeats > Repeats with alternative endings https://lilypond.org/doc/v2.23/Documentation/notation/techniques-specific-to-lyrics#lyrics-and-repeats Best regards, Xavier -- Xavier Scheuer
Deprecation of instrumentCueName and instrument switch stuffs
Hello,
While replying to a query on the French-speaking list I realized that in
the latest versions of LilyPond the instrumentCueName property was
considered deprecated (as well as the engraver
"Instrument_switch_engraver", the grob "InstrumentSwitch" and the music
functions instrumentSwitch and addInstrumentDefinition).
Commit 5df7147b5977b010179bab53c2e077d559ec8ed7
This is a property that I commonly use (see typical example of my use
below) and I don't understand the rationale for removing it. Furthermore I
find promoting simple "catch-all" TextScripts (attached to an empty chord,
cf. NR 1.6.3) to indicate the instrument cue name a bad practice when you
can have a dedicated property and grob.
With a dedicated object it is cleaner, "modular" and future-proof: if you
want to adapt the size or font of all the instrument cue names you just
have to modify the properties of this object. With the approach promoted
now you have to search for all occurrences where you have induced the
instrument cue name with a TextScript and modify them.
So I agree that the old approach wasn't perfect (especially the mix of
instrument cue name and instrument switch, two uses for one
object/property/engraver), but in this case I'd rather have two properties
(instrumentCueName and instrumentSwitchName), objects (InstrumentCueName
and InstrumentSwitch) and engravers ("Instrument_cue_name_engraver" and
"Instrument_switch_engraver"), than remove everything!
Thanks for your attention and have a nice day.
Use of instrumentCueName for advanced formatting of cues from other
voices
flute = \relative c' {
c4\f d e f |
g4 a b c |
c4 b a g |
f4 e d c
}
\addQuote "flute" { \flute }
violin = \relative c' {
R1*2 |
c1\mp |
d1
}
violinCues = {
<<
{
\voiceOne
s1
\voiceTwo
s1
\oneVoice
}
\new CueVoice = "fluteCueVoice" \with {
instrumentCueName = "Flute"
} {
\voiceTwo
\quoteDuring "flute" { s1 }
\voiceOne
\quoteDuring "flute" { s1 }
\oneVoice
}
>>
s1*2
}
\layout {
\context {
\Score
quotedEventTypes = #'(note-event
rest-event
tie-event
beam-event
tuplet-span-event
tremolo-event)
}
}
\score {
<<
\new Staff = "violinStaff" \with {
% instrumentName = "Violin"
% shortInstrumentName = "V"
} {
<<
\new Voice = "violinVoice" {
<<
\violin
\violinCues
>>
}
>>
}
>>
}
Kind regards,
Xavier
Re: Too high measure numbers with ossia staff
On Sat, 22 Oct 2022 at 00:55, Erika Pirnes wrote:
>
> 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.
Hello,
I'd suggest to remove "Bar_number_engraver" from the Score context and to
add it to your main Staff.
\layout {
\context {
\Score
\remove "Bar_number_engraver"
}
}
\new Staff \with {
\consists "Bar_number_engraver"
}
Cheers,
Xavier
--
Xavier Scheuer
Re: 2.23..13 hairpins in brackets
On Thu, 6 Oct 2022 at 19:59, Paul Scott wrote:
>
> In 2.23.13 Notation 1.3.1 shows how to mix normal text with dynamic text.
>
> Is there a way to mix normal text, brackets specifically, with
> hairpins? This is used in the U.S. Marine Band versions of the Sousa
> marches.
Hello,
Not sure if it corresponds to your request, but it is possible to get
hairpins between brackets by changing the stencil of Parentheses.
#(define-public (bracket-stencils grob)
(let ((lp (grob-interpret-markup grob (markup #:fontsize 3.5 #:translate
(cons -0.3 -0.5) "[")))
(rp (grob-interpret-markup grob (markup #:fontsize 3.5 #:translate
(cons 0 -0.5) "]"
(list lp rp)))
{
\override Parentheses.stencils = #bracket-stencils
c'1-\parenthesize \< |
c'1\!
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Suppress end-of-line key signature change
On Fri, 9 Sept 2022 at 03:35, Mark Probert wrote: > > > Hi. > > By default LP will add the new key signature to the end of a line if the next line has a key signature change (as per this example). Is there an easy way to suppress this behaviour? For pedagogic exercises like these scales it is not really needed Hello, \set Staff.explicitKeySignatureVisibility = #end-of-line-invisible The explanation for this is actually documented in NR 5.4.7 Visibility of objects > Special considerations https://lilypond.org/doc/v2.23/Documentation/notation/visibility-of-objectsl#special-considerations Cheers, Xavier -- Xavier Scheuer
Re: Spacing between Lyrics and Chordnames
On Mon, 25 Jul 2022 at 09:25, Randy Josleyn wrote:
>
> Hi everyone!
>
> I'm trying to increase the spacing between the bottom line of lyrics and
the ChordNames in the next system.
>
> My score looks like the MWE below. I played with example below and even
without the ChordNames, the override doesn't behave as I expected it would.
I checked the IR and it says nonstaff-unrelatedstaff-spacing.padding is
set, so I assumed changing it would change the distance.
>
> I also tried setting the same setting on ChordNames, but it similarly had
no effect on the spacing.
>
> (snip)
>
> Can anyone make any suggestions to help me increase the space from the
bottom of the lyrics of one system and the top of the next system?
Hello,
Well, if it is spacing between two systems, then you should not look into
Flexible vertical spacing *within systems*.
Use system-system-spacing as described in NR 4.1.4 Flexible vertical
spacing \paper variables.
\paper {
system-system-spacing.padding = #5
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Automatization
On Wed, 20 Jul 2022 at 09:35, Vincent Gay wrote:
>
> Hello everyone,
>
> I use the inlineMMRN function below whenever I think of it to display the
number of bars of rests IN the staff. I find that it gains in readability
when the scores are a bit heavy with textual indications.
>
>
> The problem is in the "every time I think of it". Is there by any chance
a way to automate this without having to call the function every time?
>
> Thanks in advance and have a nice day
Salut Vincent,
You can put the overrides (without \once) in your layout block.
\layout {
\context {
\Voice
\override MultiMeasureRest.layer = #-2
\override MultiMeasureRestNumber.layer = #-1
\override MultiMeasureRestNumber.Y-offset = #0
\override MultiMeasureRestNumber.stencil = #white-under
}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: subito PP
On Sun, 17 Jul 2022 at 10:12, Benjamin Tordoff wrote: > > Hi all, > > I'm typesetting a score that uses "subito p" and "subito pp" in a couple of places. I've found snippets explaining how to get this to look right (subito in normal italics, the "p" or "pp" in dynamic font), and another snippet showing how to create a custom dynamic that correctly sets the midi volume, but not one that does both. What is the best way to add a text prefix to a dynamic whilst also retaining the dynamic's effect on MIDI output? > Hello, You could adapt Graham's "make-dynamic-extra" into a "make-extra-dynamic". https://lists.gnu.org/archive/html/lilypond-user/2011-06/msg00335.html IIRC the alignment was correct (dynamic part was aligned on note head ) and it was correctly recognized for MIDI generation. https://lists.gnu.org/archive/html/lilypond-user/2017-08/msg00381.html Cheers, Xavier -- Xavier Scheuer
Re: rehearsal marks, top-staff lyrics, and moved engravers
On Wed, 1 Jun 2022 at 11:32, Werner LEMBERG wrote:
>
>
> Dear LilyPonders,
>
>
> the snippet below demonstrates that top-staff lyrics are incorrectly
> positioned above rehearsal marks if the engraver for the latter is
> moved to another context (I need that in a full score with rehearsal
> marks printed simultaneously at three different vertical positions).
>
> What am I missing?
Hi Werner,
I have always considered Lyrics contexts to be on the same level as Staff
(so I never put a Lyrics context inside a Staff context, but always above
or below).
So I would have thought that adding the Mark_engraver to a StaffGroup-like
context (like ChoirStaff) containing both the Lyrics and the staff (see
below) would solve the problem. But it doesn't. I would tend to consider
this a bug.
\score {
<<
\new ChoirStaff = "choirstaff" \with {
\consists Mark_engraver
} {
<<
\new Staff = "staff" {
<<
\new Voice = "music" {
<<
\top
\music
>>
}
\new NullVoice = "aligner" {
\music
}
>>
}
\new Lyrics = "lyrics" \with {
alignAboveContext = "staff"
} \lyricsto "aligner" {
\text
}
>>
}
>>
\layout {
\context {
\Score
\remove Mark_engraver
}
}
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Expressive marks
On Fri, 13 May 2022 at 09:25, Mario Bolognani
wrote:
>
> Any idea on how to obtain this kind of expressive marks?
>
> Many thanks for any useful suggestion
Hello,
I would probably use a TrillSpanner without "tr." left text.
\relative c'' {
\override TrillSpanner.bound-details.left.text = #'()
e8\startTrillSpan e c c\stopTrillSpan
}
Cheers,
Xavier
--
Xavier Scheuer
Re: How to tweak dot sizes
On Mon, 11 Apr 2022 at 12:59, Paul Hodges wrote: > > I am in the last stages of preparing a score for publication. I am using the Bravura font rather than Feta, because the publishers agree that it provides the best general match for other publications in the same series. However, I am adding a few tweaks to improve the matching further - I have modified \tempo output simply by using markup, and I have found I can thicken hairpin lines slightly using the "thickness" property. > > However, I'd also like to slightly increase the size of dots (both augmentation and staccato, in proportion of course), and finding the tweak for this has defeated me. I wonder if it's the "Y-extent" property - but this doesn't feel right; I'd expect something like "size", but that doesn't seem to be available for dots. > > Can some kind soul point me in the right direction for this, please? Hello Paul, font-size is what you are looking for. All the grobs that support a font-interface can use this. For augmentation dots: \override Dots.font-size = #2 For staccato you might want to change the font-size of staccato only in the list of scripts. See for example https://lists.gnu.org/archive/html/lilypond-user/2020-12/msg00160.html Cheers, Xavier -- Xavier Scheuer
Re: Unable to use repeat volta
On Thu, 7 Apr 2022 at 16:20, Omer Katzir wrote: > > Using on macOS Monterey, compiled from macports > > Taken the snippet from > https://lilypond.org/doc/v2.23/Documentation/notation/long-repeats > > (snip) > Hello, You are using development version (2.23.x) syntax/features with stable (2.22.2) version installed. Cheers, Xavier -- Xavier Scheuer
Re: Temporary div. multiple staffs
On Wed, 6 Apr 2022 at 08:39, Xavier Scheuer wrote: > Hello, > > One way mentioned in the documentation is to use the "Keep_alive_together_engraver" in combination with keepAliveInterfaces and VerticalAxisGroup.remove-layer. > See NR 1.6.2 Modifying single staves > Hiding staves > https://lilypond.org/doc/v2.23/Documentation/notation/writing-parts#hiding-staves Wrong link, correct one: https://lilypond.org/doc/v2.23/Documentation/notation/modifying-single-staves.html#hiding-staves Cheers, Xavier -- Xavier Scheuer
Re: Temporary div. multiple staffs
On Wed, 6 Apr 2022 at 07:21, Evan Driscoll wrote: > > Another question, one I've struggled with before. > > The part splits out temporarily into divisi parts on multiple staffs. I always have trouble getting the correct incantations to get the correct result. > > A naive attempt results in http://lilybin.com/1l8whf/5. This is enough to keep working, but it looks bad -- barlines don't cross between staffs, and there's no grouping a la https://lilypond.org/doc/v2.22/Documentation/69/lily-9c91c2b7.png from the manual. > > I can get a pair of staffs that are correct on their own by creating a StaffGroup with two new staffs -- http://lilybin.com/1l8whf/9 -- but the original staff continues through. Omitting the explicit \new Staff invocations doesn't help -- http://lilybin.com/1l8whf/11. > > What's the right way to do this? Hello, One way mentioned in the documentation is to use the "Keep_alive_together_engraver" in combination with keepAliveInterfaces and VerticalAxisGroup.remove-layer. See NR 1.6.2 Modifying single staves > Hiding staves https://lilypond.org/doc/v2.23/Documentation/notation/writing-parts#hiding-staves Cheers, Xavier -- Xavier Scheuer
Re: Lilyjazz font and Score.markFormatter problem with Lily 2.23.6
On Mon, 4 Apr 2022 at 11:35, Jacques Menu wrote: > > Hello Hans, > > Installed the fonts from lilyjazz-master as system fonts with FontBook, rebooted, but to no avail. > That beats me… Hello Jacques, Sorry to ask, but it is not clear from your answer. Do you effectively install the fonts liyjazz-chord and lilyjazz-text? The ones present in the "supplementary-files" folder. https://github.com/OpenLilyPondFonts/lilyjazz/tree/master/supplementary-files Cheers, Xavier -- Xavier Scheuer
Re: Lilyjazz font and Score.markFormatter problem with Lily 2.23.6
On Sun, 3 Apr 2022 at 12:44, Jacques Menu wrote: > > Hello Knute, > > Same result replacing define fonts by direct includes. Hello Jacques, Have you properly installed the fonts lilyjazz-text and lilyjazz-chord on your operating system? Do they appear in the list of fonts obtained via lilypond -dshow-available-fonts ? See NR 1.8.3 Fonts http://lilypond.org/doc/v2.23/Documentation/notation/fonts.html Cheers, Xavier -- Xavier Scheuer
Re: missing something obvious about creating hairpins above the staff
On Tue, 29 Mar 2022 at 20:00, Kenneth Wolcott wrote: > > Hi; > > I'm obviously missing something trivially simple. > > I see how to display dynamics above the staff, but I do not see how > to display hairpins above the staff. Hello, \dynamicUp works for dynamics, hairpins, etc. Cheers, Xavier -- Xavier Scheuer
Re: text spanner around a line break restates the text, this is not wanted
On Wed, 23 Mar 2022 at 20:39, Kenneth Wolcott wrote: > > I missed some pertinent code: bars 37-42; enclosed below. > > (snip) > Hello, You have \stopTextSpan in measure 38, so it ends in measure 38. Furthermore you have Moderato in measure 39, do you really want the TextSpanner to continue until bar 40? If so, then put your \stopTextSpan in measure 40. Cheers, Xavier -- Xavier Scheuer
Re: Accidental Parenthesis
On Fri, 11 Mar 2022 at 13:14, John McWilliam wrote: > > Hi, > > I wonder if anyone can help me code a cautionary accidental, as in (#). If I am working with a key signature in G and write fis no accidental is shown. Sometimes, however, I want to remind myself by forcing an accidental shown inside brackets, (#). How do I do this? Hello, fis? Cautionary accidental: add the question mark ? after the pitch Cf. NR 1.1.1 Writing pitches > Accidentals Cheers, Xavier -- Xavier Scheuer
Re: Opposite of Laissez Vibrer?
On Fri, 11 Mar 2022 at 12:06, Paul Hodges wrote: > > I need to set a passage for piano which consists of an extended melisma all of whose notes tie to a chord at the end. As using actual ties would become an illegible mess, the composer wrote a laissez vibrer after each note, and then short "pickup" ties in front of the chord. I can't see any obvious way to write these, other than writing each as a tie from the original note and then shortening them all with a shape for each one - which would be tedious, messy, and non-robust (as the parameters would need to be adjusted every time the layout of the score was adjusted). > > Is there a better way? Hello, \repeatTie ? See NR 1.2.1 Writing rhythms > Ties Cheers, Xavier -- Xavier Scheuer
Re: Naming midi files
On Thu, 17 Feb 2022 at 09:37, Mark Probert wrote: > > > Hi. > > If I have a book that is structured something like below, then LP > produces two midi files: foo.midi and foo-1.midi. > > Is there a way I can coerce the names into "bar.midi" and "baz.midi" > within LP? Or is this something best down externally? Hello, Works for books (bookOutputName), not for bookpart or score. There is a feature request to implement it (and some people offered $100 and 30€ bounty for this enhancement). https://gitlab.com/lilypond/lilypond/-/issues/3154 Cheers, Xavier -- Xavier Scheuer
Re: Stem length of beamed notes
On Mon, 24 Jan 2022 at 19:09, Francesco Napoleoni < mlists-lilyp...@cosmic-odyssey.net> wrote: > > Hi everyone > > While engraving the music in screenshot-source.png I’ve stumbled on a problem: > I cannot adjust the stem height of the first couple of eighth notes to look > like the printed version. > > To be more specific: overriding the Stem.details.beamed-lengths does not work > for me no matter which value I put between the parentheses. The relevant part > is at line 6 of fragment.ly. > > Any ideas? Hello, \once \override Beam.positions = #'(1 . 0.5) g8 fis Indeed, AFAICS this is not clearly documented in the NR manual. It is the LSR though: https://lsr.di.unimi.it/LSR/Item?id=97 Cheers, Xavier -- Xavier Scheuer
Re: Reduce the gap between time signature and the first note
On Wed, 10 Nov 2021 at 00:33, Paolo Prete wrote: > > Hello Xavier, > > I tried your tip but it seems to not produce any difference. See (tested on 2.19.48): > > (snip) > Hello, Well, you need to use it in combination with your space-alist = #'((first-note fixed-space . 0)) Cheers, Xavier -- Xavier Scheuer
Re: Reduce the gap between time signature and the first note
On Sun, 7 Nov 2021 at 18:56, Paolo Prete wrote:
>
> Hello,
>
> I'm trying to have a minimum space between a TimeSignature and the first
note after it (and, consequently, all the following notes). I tried:
>
> \once\override Score.TimeSignature.space-alist =
> #'((first-note fixed-space . 0))
>
> ...but there's still a gap which I can't eliminate. How can I fix it?
>
> Thanks
> P
>
> %
> <<
> {
>
> c'1
>
> \time 3/4
>
> \once\override Score.TimeSignature.space-alist =
> #'((first-note fixed-space . 0))
>
> cis'2.\break
> s
>
> }
> >>
> %
Hello,
According to the Internals Reference manual the TimeSignature grob has some
extra-spacing-width on the right side.
Try adding
\override Score.TimeSignature.extra-spacing-width = #'(0.0 . 0.0)
Cheers,
Xavier
--
Xavier Scheuer
Re: small caps in title
On Tue, 19 Oct 2021 at 19:49, Jean Abou Samra wrote:
>
>
> Hi Jay,
>
> This is an old bug; try the workaround proposed at
>
> https://gitlab.com/lilypond/lilypond/-/issues/1482#note_339750124
Hello,
And if the font you want to use has real small caps you can use
\override #'(font-features . ("smcp"))
Cheers,
Xavier
--
Xavier Scheuer
Re: Grace note too close
On Tue, 5 Oct 2021 at 21:06, Mahanidhi wrote:
>
> Your code works on all the notes but I want more room only beetween the
grace note.
> Here the minimal exemple.
> Thank you.
>
> \version "2.22.1"
> \language "english"
> global = {
> \key gf \major
> \time 4/4
> \override Glissando.style = #'zigzag
> \override Score.SpacingSpanner.base-shortest-duration =
#(ly:make-moment 1/128)
> \set includeGraceNotes = ##t
> }
> \layout {
> \context {
> \Score
> \remove "Bar_number_engraver"
> defaultBarType = "" }} % toglie le barre
> \layout {
> \context {
> \Staff
> \remove "Time_signature_engraver"
> }} % tolgie il tempo
> \layout {% to align
> ragged-last = ##f
> line-width = 195 % or some other number
> }
> \layout {
> \set includeGraceNotes = ##t % permette inizio testo dalla grace note
> }
> \relative c'
> {\global
> bf'8 cf4. cf16 cf (cf4.) cf8 \grace cf16 df4. cf16 bf (bf4.) \bar "|"}
Hello,
Please include the list (Reply to all instead of Reply).
You can use \override Score.GraceSpacing.common-shortest-duration =
#(ly:make-moment 1/128)
Other settings of GraceSpacing are shortest-duration-space
or spacing-increment (sorry I mistyped in my previous message).
Cheers,
Xavier
--
Xavier Scheuer
Re: Grace note too close
On Mon, 4 Oct 2021 at 20:56, Mahanidhi wrote: > > Hi, > I have a problem with Grace notes too close to the normal notes (see attached) > I tried to use the command: > \override Score.SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/128) > but to those Grace notes nothing happen. > Thanks. > > Sent with ProtonMail Secure Email. Hello, Your attachment is missing. You might want to try \override SpacingSpanner.strict-grace-spacing = ##t and/or \override Score.SpacingSpanner.shortest-duration-space = #1.6 % increase this value It is always better to include a minimal example of code showing your problem. Cheers, Xavier -- Xavier Scheuer
Re: Can't figure out breaks in ensemble scores
On Sat, 2 Oct 2021 at 06:53, Carlos Martinez wrote: > > Thank you! That work! Although I am still having one part that need to figure out one space…. But the score looks great now! Thanks! Hello, You can also use an extra voice for breaks, as documented in NR 4.3.1 Line breaking http://lilypond.org/doc/v2.23/Documentation/notation/line-breaking.html Cheers, Xavier -- Xavier Scheuer
Re: Multiple staffs for a div. section
On Wed, 29 Sept 2021 at 08:56, Evan Driscoll wrote:
>
> I am probably missing something fundamental in my LilyPond knowledge that
would help with the following question, but I'm not sure what it is, and
I'm having a lot more difficulty than normal figuring out what to look for
in the manual.
>
> Anyway, the piece starts off in unison, then has a div. section written
on multiple staffs, then comes back together.
>
> I can get multiple staffs with
> <<
> { ...top part.. }
> \new Staff { ...bottom part ...}
> >>
> but what I really want is a staff group. The bracket on the left would be
nice, but even more critical are the shared barlines.
>
> However, I can't figure out how to get a \new StaffGroup to work. If I
use it as shown in the manual (but for the top-level staff creation) with
my two inside, then I get *three* staves, the first one just empty.
>
> LilyBin exemplar with a couple of my attempts: http://lilybin.com/ul6alr/5
Hello,
In this case I typically use a combination of Keep_alive_together_engraver
and VerticalAxisGroup.remove-layer with keepAliveInterfaces.
See NR 1.6.2 Modifying single staves > Hiding staves
http://lilypond.org/doc/v2.23/Documentation/notation/modifying-single-staves.html#hiding-staves
Cheers,
Xavier
--
Xavier Scheuer
Re: Three voices in one hand (staff)
On Fri, 24 Sept 2021 at 18:41, Knute Snortum wrote:
>
> I'm having trouble getting LilyPond to do what I want. I have three
> voices in one hand (staff). I want them to merge and line up, but I
> can only get one or the other.
>
> (snip)
>
> I've attached a picture of the output. Any ideas on how to merge
> without a shift?
Hello,
This is maybe a bug.
Anyway, use of \once \override NoteColumn.ignore-collision = ##t seems to
be a good workaround here.
\new Staff <<
\clef bass
\new Voice {
\voiceOne
\once \override NoteColumn.ignore-collision = ##t
g16^"ok" b g b
}
\new Voice {
\voiceOne
e,4
}
\new Voice {
\voiceTwo
e,16 b,8 b,16
}
>>
Cheers,
Xavier
--
Xavier Scheuer
Re: Volta barline precedence
On Tue, 21 Sept 2021 at 20:28, Ignacio Lois wrote: > > Hello! I'm working on a score with its set of parts and I've been having some barline trouble. > > I have a \global variable where I define key, time sig, rehearsal marks and barlines. Along with each rehearsal mark I add a double barline. Now the problem is, some of the instruments have volta repeats at the beginning of a section. The score unfolds the repeat and it looks correct, but the parts end up having a double bar instead of a repeat bar. > > This small example illustrates the problem: http://www.lilybin.com/7yielg/1 > > Am I missing a setting or is this a bug? In which case, is there a workaround? Hello, It is uncommon that some instruments have a volta repeat whereas others (or the score/conductor) have them unfolded. They do have different bar numbers then?!? See for example if you add \override Score.BarNumber.break-visibility = ##(#t #t #t) to your parts and score. In your case I would use different \global variables for volta/unfolded. Now you are basically telling LilyPond to use a double barline instead of the one from the volta repeat. Cheers, Xavier -- Xavier Scheuer
Re: why must a full measure rest (2/2) have a direction that will cause a collision?
On Tue, 21 Sept 2021 at 05:01, Kenneth Wolcott
wrote:
>
> Thanks, Carl.
>
> Here's the erroi stream with the reduced Lilypond code.
Hello Kenneth,
You do not use Full Measure Rests (these appear centered horizontally in
the middle of the measure).
But I would use them with \voiceTwo or \override
MultiMeasureRest.staff-position = #-6
tuba = {
\global
\compressMMRests { R1*14 }
% \compressMMRests { R1*6 }
<<
{
\voiceTwo
\override MultiMeasureRest.staff-position = #-6
R1*6
}
\new CueVoice \with {
instrumentCueName = "Tromboni" % suggestion
} {
\voiceOne % instead of \stemUp
r4 b, cs ds |
e4 fs gs r |
r4 a b cs' |
d'4 ds' e' \cueClef "treble" \tuplet 3/2 { c''8 c'' c'' } |
c''4 c''8 c'' c''4 c''8 c'' |
c''4 c'' c'' c'' |
\cueClefUnset
}
>>
\bar "|."
}
Cheers,
Xavier
--
Xavier Scheuer
Re: Printing two staves in the same place (overlaying)
On Mon, 20 Sept 2021 at 11:26, Daniel Benjamin Miller wrote: > > This works quite well for overlaying two staves. > > Now, I want to do something a little more complex, but in the same way, and I'm trying to figure out the vertical axis group tweak necessary for doing this. > > I want to have two staff groups, one layered on top of another. > > Basically, I am already able to layer one staff on top of another --- call them A and B --- where A contains the musical content I want to include and B is a dummy staff (into which I will copy the notes of a given system as found in staff A, in order to selectively put the staff group bracket over the "one staff" A). > > Basically, I am looking to do this for a grouper that encompasses two parts. Here's a mockup of what I'm trying to do: > > Does anyone have advice? I've spent some time trying to tweak the vertical properties, but (so far) haven't figured it out. Of course, as a last resort, I could move the notes from one pair of parts to another at layout time, but this setup would be preferable for me if it's possible to do. Hello Daniel, If I understand correctly, I think you can use a combination of "Keep_alive_together_engraver", VerticalAxisGroup.remove-layer and keepAliveInterfaces as documented in NR 1.6.2 Modifying single staves > Hiding staves http://lilypond.org/doc/v2.23/Documentation/notation/modifying-single-staves#hiding-staves I use it regularly for staff divisi and it is usually successful. Cheers, Xavier -- Xavier Scheuer
Re: Ornamentation in Bach's piece
On Sun, 19 Sept 2021 at 09:07, 田村淳 wrote: > > Hello, > > Is there a snipett to realize this? > This is from the 3rd movement of the Sonata for Viola da Gamba and Harpsichord in G-minor, BWV 1029, by J. S. Bach. Hello, It looks like a \prallup http://lilypond.org/doc/v2.23/Documentation/notation/list-of-articulations.html#ornament-scripts Cheers, Xavier -- Xavier Scheuer
Re: Slashed grace notes
On Sat, 11 Sept 2021 at 22:04, Carlos Martinez < car...@newsoundmusicstudio.com> wrote: > > Hi, > > I am finding out that slashed grace notes don’t show the slash when they are grouped ? > > Any suggestions? Hello, I think it is standard practice to have slashed grace note only for a single note. But if you really want to have slashed for grouped have a look at: https://lsr.di.unimi.it/LSR/Item?id=1048 https://lsr.di.unimi.it/LSR/Item?id=721 Cheers, Xavier -- Xavier Scheuer
Re: Unneeded accidental in accidentalStyle piano
On Fri, 20 Aug 2021 at 20:49, Knute Snortum wrote: > > There is an unwanted behavior with \accidentalStyle piano and a > PianoStaff. To illustrate this, imagine you have a note with an > accidental in the bass clef tied across two measures, and in the > treble clef, in the second measure, you have this same note (can be a > different octave) repeated. The second repeated note will have an > unneeded accidental. This is much easier to see than explain, so here > is a MWE with a PNG attached. > > (snip) > > This looks like a bug, but I want to run it past y'all. Hello, It is a bug. It has been commented as another instance of #3466 https://gitlab.com/lilypond/lilypond/-/issues/3466#note_344003849 You can remove the unwanted accidental with \omit Accidental . Cheers, Xavier -- Xavier Scheuer
