multiple markups when combining voices on single staff
Hello everyone,
I'm trying to make a score which has several voices on a staff. I'm using
identifiers to define each voice separately so that I can use the same input
file to print out individual parts. Each definition contains its own dynamic
and articulation markings, etc.
The problem I'm seeing is that when the multiple voices are printed on the
single staff, I get multiple instances of some markings. For instance, if I
have three voices on the staff, notes which are marked staccato get three
dots over them. Dynamic markings seem to merge just fine -- i.e. the score
says mp just once even though the mp marking appears in the definition of
each voice -- but this doesn't seem to be the case for other markings.
Below I've embedded a simple test case which exhibits this behavior.
Does anyone know how I can fix this?
thanks,
-- Niki
%
% TEST FILE
% to learn version 2.0.0
\include english.ly
papersize = letter
\include paper20.ly
SaxOneConcertPitch =
\context Voice
\notes
\relative c'
{
\key c \major
\time 4/4
\partial 2..
r8 r4 r2 | % rest in pickups
r2 g'4.\mp f8-. | r1 |
r2 g4. f8-. | r1 |
}
SaxTwoConcertPitch =
\context Voice
\notes
\relative c'
{
\key c \major
\time 4/4
\partial 2..
r8 r4 r2 | % rest in pickups
r2 e4.\mp d8-. | r1 |
r2 e4. d8-. | r1 |
}
SaxThreeConcertPitch =
\context Voice
\notes
\relative c'
{
\key c \major
\time 4/4
\partial 2..
r8 r4 r2 | % rest in pickups
r2 a4.\mp g8-. | r1 |
r2 a4. g8-. | r1 |
}
\score {
\new Staff {
\clef treble
\SaxOneConcertPitch
\SaxTwoConcertPitch
\SaxThreeConcertPitch
}
}
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Time signature C and 4/4
I work in a world where there are, or can be, differences between C and 4/4. I noticed that the documentation appears to show C for all instances of 4/4. Is there a reasonable way to construct the explicit 4/4 signature? -Jim ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Time signature C and 4/4
Ok, it's very simple. Look at: http://lilypond.org/doc/v2.0/input/test/out-www/collated-files.html#time.ly It's just adding the following line: \property Staff.TimeSignature \set #'style = #'numbered A Sat, 04 Oct 2003 10:25:13 -0700 Jim Bartram [EMAIL PROTECTED] escribió: I work in a world where there are, or can be, differences between C and 4/4. I noticed that the documentation appears to show C for all instances of 4/4. Is there a reasonable way to construct the explicit 4/4 signature? -Jim -- remove _NO_SPAM_ from my mail address to email me quita _NO_SPAM_ de mi dirección de correo para escribirme pgp0.pgp Description: PGP signature ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Time signature C and 4/4
On Sat, 04 Oct 2003 10:25:13 -0700 Jim Bartram [EMAIL PROTECTED] wrote: I work in a world where there are, or can be, differences between C and 4/4. I noticed that the documentation appears to show C for all instances of 4/4. Is there a reasonable way to construct the explicit 4/4 signature? \property Staff.TimeSignature \set #'style = #'numbered Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: multiple markups when combining voices on single staff
On Sat, 04 Oct 2003 11:57:45 -0400 Niki Pantelias [EMAIL PROTECTED] wrote: I'm trying to make a score which has several voices on a staff. I'm using identifiers to define each voice separately so that I can use the same input file to print out individual parts. Each definition contains its own dynamic and articulation markings, etc. I believe that \partcombine takes care of this, but I haven't used it yet. Have a look for \partcombine stuff in the manual and especially in the examples. Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: header part for section titles
David Raleigh Arnold wrote:
On Saturday 04 October 2003 03:13 am, Paul Scott wrote:
currently use 'piece = ...' to get section or movement names but I
would like them centered instead of on the left. Is there a way to
get a centered section or movement titles for an
orchestral/instrumental part without using lilypond-book?
Try:
piece = \\center Title
With this one \\center is ignored.
piece = {\\center{Title}}
This one and variations all produce parsing errors from lilypond.
Thanks,
Paul
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Re: header part for section titles
Paul Scott wrote:
piece = \\center Title
With this one \\center is ignored.
piece = {\\center{Title}}
This one and variations all produce parsing errors from lilypond.
Lilypond 2.0.0
Paul
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Re: rehearsal marks conflict with bar numbers
On Sat, 04 Oct 2003 11:36:15 -0700
Paul Scott [EMAIL PROTECTED] wrote:
How can I either raise \mark or move bar numbers so they don't conflict
as they do when they are left alone and the rehearsal mark falls at the
beginning of the line?
\translator{ \ScoreContext RehearsalMark \override #'padding = #1.5 }
That's if you stick it in the \paper{} section. You need to change it
if you want to do that within the \notes{} section.
I have read docs and haven't found an answer yet.
To move things around, you generally want to use \override #'padding = #foo.
The problem then becomes finding out what context and name it is (such
as score and RehearsalMark); that's what the docs about internals is
for.
Cheers,
- Graham
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Re: rehearsal marks conflict with bar numbers
Graham Percival wrote:
On Sat, 04 Oct 2003 11:36:15 -0700
Paul Scott [EMAIL PROTECTED] wrote:
ow can I either raise \mark or move bar numbers so they don't conflict
as they do when they are left alone and the rehearsal mark falls at the
beginning of the line?
\translator{ \ScoreContext RehearsalMark \override #'padding = #1.5 }
That's if you stick it in the \paper{} section. You need to change it
if you want to do that within the \notes{} section.
have read docs and haven't found an answer yet.
To move things around, you generally want to use \override #'padding = #foo.
The problem then becomes finding out what context and name it is (such
as score and RehearsalMark); that's what the docs about internals is
for.
Thanks much. I thought it was padding but wasn't quite sure how to
apply it.
Paul
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chord names
Hi, How should I set the ChordNames.ChordName property to get chords used here in Hungary. I would like to see something like this: d:m - d instead Dm a:m - a instead Am fis - Fis instead F# h- H instead B Thanks in advance, Regards, Zsolt Szunyoghy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
RE: chord names
For Hungarian chords IMHO using \include deutsch.ly and using
\semiGermanChords is the _best_ choice:
\chords { \semiGermanChords d2:min g d1:min... }
I think that because F#, Ab and so is more readable than Fis and As and so
(and certainly looks more professional).
I know that this isn't an answer to your question. Sorry.
Anyway, I think changing the way chords are named is not impossible, but not
easy. See TipsTricks in Documentation.
Bert
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Re: header part for section titles
On Saturday 04 October 2003 02:23 pm, Paul Scott wrote:
Paul Scott wrote:
piece = \\center Title
With this one \\center is ignored.
piece = {\\center{Title}}
This one and variations all produce parsing errors from lilypond.
This worked:
\version 1.7.28
tagline = \center \copyright 2002 David Raleigh Arnold.
I really hope it still works. It has changed over time. If there's no
way now, that's a bug, because there really should be one. daveA
--
Br`er Fox told Br`er Rabbit that the Tar Baby had dissed him, and Fox
made a
dummy out of tar and put him in Rabbit's path. When the Tar Baby
failed to
return a civil greeting, Rabbit punched him with a right, a left, both
feet and
butted him with his forehead. Along came Br`er Fox who saw that he was
thoroughly stuck up. Br`er Fox is much smarter than Br`er Rabbit,
and in
spite of all Rabbit's pleas for help, no one is going to unstick him
and throw
him in the briar patch, so now Br`er Fox is liesurely eating Rabbit's
liver.
D. Raleigh Arnold dra@ http://www.openguitar.com [EMAIL PROTECTED]
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