mark-ups
Greetings Michael,
I find this worked in one of my transcriptions - v2.13.?? - adjust
bracketted values as necessary...
\once\override TextScript #'extra-offset = #'(-5 . 2) g'2^\markup {
\bold All }
hope this helps
Bill
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Re: mark-ups
On 22 January 2011 06:21, Michael Dykes thedoctor81...@gmail.com wrote:
I think I figured out my mark-up problem, but I still would like for the
markup to begin at the beginning of the measure. Is that possible? Thanks.
RehearsalMark are aligned on the bar line (i.e. at the beginning of the
measure). If you self-align them #LEFT then you should get what you
want. Drawback: RehearsalMark are printed only once and on the top
staff of your score but this does not seem to be a problem here.
This time the \mark \markup ... should be placed before the first note
of the measure.
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small The blessing of the Lord ... }
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small Glory to Thee, O Christ God ... }
\once \override Score.RehearsalMark #'direction = #DOWN
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small May Christ our true God ... }
Cheers,
Xavier
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Converting .nwc files to .ly
How do I take a nwc (under wine) file convert it to a ly file? I have tried Rosegarden (the results are not good -- note values are off, lyrics are not in the correct place, etc), and with Denemo, I just get a score with key signature and that's all. Thanks in advance for the help. -- In Christ, Michael D ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Converting .nwc files to .ly
On 22 January 2011 11:27, Michael Dykes thedoctor81...@gmail.com wrote: How do I take a nwc (under wine) file convert it to a ly file? I have tried Rosegarden (the results are not good -- note values are off, lyrics are not in the correct place, etc), and with Denemo, I just get a score with key signature and that's all. Thanks in advance for the help. Apparently Phil Holmes made NWCTXT2Ly, Converting Noteworthy songs to LilyPond (improvement of NWC2LY). http://www.holmessoft.co.uk/homepage/software/nwc2ly/ I'm sure he could give you better advice than me. Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mark-ups
Hello,
-Original Message-
From: Xavier Scheuer x.sche...@gmail.com
Date: Sat, 22 Jan 2011 11:19:20 +0100
To: Michael Dykes thedoctor81...@gmail.com
Cc: lilypond-user@gnu.org lilypond-user@gnu.org
Subject: Re: mark-ups
On 22 January 2011 06:21, Michael Dykes thedoctor81...@gmail.com wrote:
I think I figured out my mark-up problem, but I still would like for the
markup to begin at the beginning of the measure. Is that possible?
Thanks.
RehearsalMark are aligned on the bar line (i.e. at the beginning of the
measure). If you self-align them #LEFT then you should get what you
want. Drawback: RehearsalMark are printed only once and on the top
staff of your score but this does not seem to be a problem here.
This time the \mark \markup ... should be placed before the first note
of the measure.
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small The blessing of the Lord ... }
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small Glory to Thee, O Christ God ... }
\once \override Score.RehearsalMark #'direction = #DOWN
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small May Christ our true God ... }
Just to add to this, the section of how to align Markups is here
http://lilypond.org/doc/v2.13/Documentation/notation/writing-text
Scroll down to the section 'Aligning marks with various notation objects'.
This gives you more options.
While Xavier states drawbacks, if you use the above information along with
the LSR these drawbacks are no longer.
http://lsr.dsi.unimi.it/LSR/Item?id=402
(print below the staff)
http://lsr.dsi.unimi.it/LSR/Item?id=735
(print above and below - method 1)
http://lsr.dsi.unimi.it/LSR/Item?id=736
(print above and below - method 2)
http://lsr.dsi.unimi.it/LSR/Item?id=575
(simultaneous)
Have fun!
James
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Re: 4-lines staff, and Vaticana clefs
Hello, -Original Message- From: Pierre Chépélov pie...@chepelov.org Date: Fri, 21 Jan 2011 01:08:55 -0800 To: lilypond-user@gnu.org lilypond-user@gnu.org Subject: 4-lines staff, and Vaticana clefs Hello, I'm trying to use Mensural notation with only four lines staves: \override Staff.StaffSymbol #'line-count = #4 This works, but the regular [i.e. Mensural] clef is then shown on a space, not on its proper line. When using a Vaticana clef instead: \clef vaticana-fa1 then it is correct (on the line). I also tried using a Mensural (or a modern) clef in a VaticanaVoice, then also the clefs are shown on a space instead of a line. Indeed, the Vaticana or 4-lines staff tool seems to take a regular 5-line staff, and replace its lines by spaces and its spaces by lines. And the Vaticana clefs are designed to be on a normal staff's spaces... Musically, this is a nonsense: the 4-line staff should be a 5-line staff without the 5th line! , And it forbids to mix the notations. Is there any solution for that? Is this any help? http://lsr.dsi.unimi.it/LSR/Item?id=174 James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: horizontal beams
I don't know how the code works, but as someone who browses the LSR I would just say that there is only one tweak needed, but you are implying there are cases when you need more than one tweak. i'm not implying, i'm saying it quite explicitly. and i sent a complete example demonstrating it: the tweak \override Beam #'damping = #+inf.0 fails in certain cases, although i haven't been able to find any logic as to when. i'm also saying is that adding the two overrides suggested by dmytro hasn't failed so far. finally, what i'm trying to say as clearly as possible, is that since this tweak is shown in snippets both in the LSR and the NR, i think the documentation should be updated somehow, perhaps with a warning that it may fail and that extra tweaks might be necessary. what i really think is that this tweak looks more like a buggy hack. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Converting .nwc files to .ly
- Original Message - From: Xavier Scheuer x.sche...@gmail.com To: Michael Dykes thedoctor81...@gmail.com; Phil Holmes em...@philholmes.net Cc: lilypond-user@gnu.org Sent: Saturday, January 22, 2011 10:41 AM Subject: Re: Converting .nwc files to .ly On 22 January 2011 11:27, Michael Dykes thedoctor81...@gmail.com wrote: How do I take a nwc (under wine) file convert it to a ly file? I have tried Rosegarden (the results are not good -- note values are off, lyrics are not in the correct place, etc), and with Denemo, I just get a score with key signature and that's all. Thanks in advance for the help. Apparently Phil Holmes made NWCTXT2Ly, Converting Noteworthy songs to LilyPond (improvement of NWC2LY). http://www.holmessoft.co.uk/homepage/software/nwc2ly/ I'm sure he could give you better advice than me. Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com The only thing I could add is that the version I use has a number of features that aren't in the download, in case Michael has other requirements in the translation. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: horizontal beams
Hello -Original Message- From: l...@internet.com.uy l...@internet.com.uy Date: Sat, 22 Jan 2011 08:57:02 -0200 To: lilypond-user@gnu.org lilypond-user@gnu.org Subject: RE: horizontal beams I don't know how the code works, but as someone who browses the LSR I would just say that there is only one tweak needed, but you are implying there are cases when you need more than one tweak. i'm not implying, i'm saying it quite explicitly. and i sent a complete example demonstrating it: the tweak \override Beam #'damping = #+inf.0 fails in certain cases, although i haven't been able to find any logic as to when. i'm also saying is that adding the two overrides suggested by dmytro hasn't failed so far. finally, what i'm trying to say as clearly as possible, is that since this tweak is shown in snippets both in the LSR and the NR, i think the documentation should be updated somehow, perhaps with a warning that it may fail and that extra tweaks might be necessary. what i really think is that this tweak looks more like a buggy hack. Then I think we might need to find out if \override Beam #'damping = #+inf.0 without any extra tweaks *should* work in all cases or not. If it should then we have a bug and it should be reported as such. If it doesn't in all cases then we can modify the LSR with, hopefully some explanation. So (and I apologise if you had already done this) can you provide the .ly file you have where the \override Beam #'damping = #+inf.0 isn't enough? It might not be a tiny example but it would be a start I think and we can start to involve the dev-list. Sorry to labour this, but I think it's important we get it right rather than guess and make edits to snippets that are not right only to have to change them back again later. regards James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Several parts to one piece?
Sorry to be barraging the list; but I have several pieces) that consist of
several parts, and I need to compile them as a whole piece, but have each
part end and begin separately. How, can I accomplish this?
--
In Christ,
Michael D
\version 2.12.2
\include english.ly
\include gregorian.ly
\header {
title = Octoëchos ~ Hynns of the Resurrection
subtitle = Stichera on ''Lord, I Call'' ~ Tone 2
composer = Great Vespers/Matins
poet = Kievan Chant
}
global = {
\key g \major
\override Staff.TimeSignature #'stencil = ##f
\override Staff.BarLine #'stencil = ##f
}
move = { \bar \break }
sopranoOne = \relative c'' {
\global
% Music follows here.
a4 a a a a a a2 \divisioMinima
a4 b b a g2 a g fs1 \finalis
}
sopranoTwo = \relative c'' {
\global
% Music follows here.
a4(b) a4 a a a c b2 b4 a2 \divisioMinima
a4 a a a a a a a a a g2(a b) a2 \divisioMinima
a4 b c2 b4 a a a a b2 g \divisioMinima
g4 g a b2 a4 g g g g g g g g g g2(fs) g
a2 \divisioMaior
a4 a g2 a4 b a2 \divisioMaxima
a4 g b2 a4 a g2(a2) g f1 \finalis
}
altoOne = \relative c' {
\global
% Music follows here.
}
altoTwo = \relative c' {
\global
% Music follows here.
}
tenorOne= \relative c' {
\global
% Music follows here.
}
tenorTwo= \relative c' {
\global
% Music follows here.
}
bassOne = \relative c {
\global
% Music follows here.
d4 d d d d d d2 \divisioMinima
d4 g g d g2 fs2 g4 e d1 \finalis
}
bassOne = \relative c {
\global
% Music follows here.
d2 d4 d d d d g2 g4 d2 \divisioMinima
d4 d d d d d d d d d g2(fs4 g) d2 \divisioMinima
a4 g c2 d4 d d d d g2 g \divisioMinima
g4 g g g2 g4 g g g g g g g g g g2(d4)
d d2 \divisioMaior
d4 d g2 g4 g d2 \divisioMaxima
d4 d g2 fs4 fs g2(fs) g4(e) d1 \finalis
}
verseOne = \lyricmode {
% Lyrics follow here.
Bring my soul out of pri -- son,
that I may give thanks to Thy Name.
}
\verseTwo =\lyricmode {
%Lyrics follow here.
Come, __ let us wor -- ship the Word of God,
be -- got -- ten of the Fa -- ther before all
a -- ges;
and in -- car -- nate of the Vir -- gin
Ma -- ry;
of His own will He suf -- fered the Cross and
sub -- mit -- ted to bu -- ri -- al,
then He rose from the dead;
and saved me who had gone __ a -- stray!
}
\score {
\transpose g f
\new ChoirStaff
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { S A }
}
\new Voice = soprano { \voiceOne \sopranoOne }
\new Voice = alto { \voiceTwo \altoOne }
\new Lyrics \lyricsto soprano \verse
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { T B }
}
\clef bass
\new Voice = tenor { \voiceOne \tenorOne }
\new Voice = bass { \voiceTwo \bassOne }
\layout { ragged-last=##f }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
}
\score {
\transpose g f
\new ChoirStaff
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { S A }
}
\new Voice = soprano { \voiceOne \sopranoTwo }
\new Voice = alto { \voiceTwo \altoTwo }
\new Lyrics \lyricsto soprano \verse
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { T B }
}
\clef bass
\new Voice = tenor { \voiceOne \tenorTwo }
\new Voice = bass { \voiceTwo \bassTwo }
\layout { ragged-last=##f }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
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Re: Several parts to one piece?
Michael, It looks like you're going in the right direction by using 2 \score blocks. However, it would be helpful if you could post a score that compiles. Please could you correct the naming errors in this one? -- Phil Holmes - Original Message - From: Michael Dykes To: lilypond-user@gnu.org Sent: Saturday, January 22, 2011 12:21 PM Subject: Several parts to one piece? Sorry to be barraging the list; but I have several pieces) that consist of several parts, and I need to compile them as a whole piece, but have each part end and begin separately. How, can I accomplish this? -- In Christ, Michael D -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: horizontal beams
Then I think we might need to find out if \override Beam #'damping =
#+inf.0 without any extra tweaks *should* work in all cases or not. If it
should then we have a bug and it should be reported as such.
yes, i think that the tweak definitely should work without further
tweaks. it looks more like a bug than anything else to me. but since
i'm not very knowledgeable about lilypond, i'm not confident to report
it as a bug.
So (and I apologise if you had already done this) can you provide the .ly
file you have where the \override Beam #'damping = #+inf.0 isn't enough?
by trial and error i found this as a minimal example. please note that
it's not consistent: in the first two measures all the beams are
horizontal, in the next two some are not.
\version 2.13.44
\relative c'' {
\override Beam #'damping = #+inf.0
f16 g a ba c d g,a b a c d e f g,
f16 g a ba c d g,a b a c d e f g,
f16 g a ba c d g,a b a c d e f g,
f16 g a ba c d g,a b a c d e f g,
}
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Re: Several parts to one piece?
Michael,
First of all, please reply-all to keep responses on the mailing list. That way
others may benefit and more experienced users can chime in with help if
necessary.
My response to your request is going to seem harsh. You could not have tried
very hard, since I asked you to look at the errors at 12:27 and you said you
couldn't fix them less than 5 minutes later. It's really best to try to learn
how the program works by working through and fixing the errors rather than
getting others to do it for you.
The log file I get has this contents:
GNU LilyPond 2.13.46
Processing `Directory/02_licstich_02_kiev.ly'
Parsing...
Directory/02_licstich_02_kiev.ly:97:0: error: unknown escaped string:
`\verseTwo'
\verseTwo =\lyricmode {
Directory/02_licstich_02_kiev.ly:122:36: error: unknown escaped string: `\verse'
\new Lyrics \lyricsto soprano
\verse
Directory/02_licstich_02_kiev.ly:122:36: error: syntax error, unexpected STRING
\new Lyrics \lyricsto soprano
\verse
Directory/02_licstich_02_kiev.ly:113:2: error: errors found, ignoring music
expression
\transpose g f
Directory/02_licstich_02_kiev.ly:143:13: error: syntax error, unexpected
LYRICS_STRING, expecting NOTENAME_PITCH or TONICNAME_PITCH
\transpose
g f
Directory/02_licstich_02_kiev.ly:152:36: error: unknown escaped string: `\verse'
\new Lyrics \lyricsto soprano
\verse
Directory/02_licstich_02_kiev.ly:152:36: error: syntax error, unexpected STRING
\new Lyrics \lyricsto soprano
\verse
Directory/02_licstich_02_kiev.ly:144:2: error: errors found, ignoring music
expression
\new ChoirStaff
Directory/02_licstich_02_kiev.ly:169:0: error: syntax error, unexpected '}'
}error: failed files: Directory\\02_licstich_02_kiev.ly
Program finished
Let's look at the first - 97:0: error: unknown escaped string: `\verseTwo'
So on line 97 we have an error of that unknown string. Let's look at line 97:
\verseTwo =\lyricmode {
Compare it to the line above it:
verseOne = \lyricmode {
See a difference? Please work through the log file and correct the errors in
this manner, and see where you get.
--
Phil Holmes
- Original Message -
From: Michael Dykes
To: Phil Holmes
Sent: Saturday, January 22, 2011 12:31 PM
Subject: Re: Several parts to one piece?
Phil,
I want to say that this fixes the naming errors, but it still does not
compile; so I am obviusly overlooking some.
On Sat, Jan 22, 2011 at 7:27 AM, Phil Holmes m...@philholmes.net wrote:
Michael,
It looks like you're going in the right direction by using 2 \score blocks.
However, it would be helpful if you could post a score that compiles. Please
could you correct the naming errors in this one?
--
Phil Holmes
- Original Message -
From: Michael Dykes
To: lilypond-user@gnu.org
Sent: Saturday, January 22, 2011 12:21 PM
Subject: Several parts to one piece?
Sorry to be barraging the list; but I have several pieces) that consist
of several parts, and I need to compile them as a whole piece, but have each
part end and begin separately. How, can I accomplish this?
--
In Christ,
Michael D
--
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--
In Christ,
Michael D
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easyHeadOn
Since I don't use the number engraver I'm not sure how that looks (meaning after you've used 5 fingers what do the numbers mean?) but reading the section on fingering gives you numbers adjacent to the notes (or above or below) and if you need numbers higher than 5? I use markups. Jay On Fri, 21 Jan 2011 12:01:10 -0500, lilypond-user-requ...@gnu.org wrote: Send lilypond-user mailing list submissions to lilypond-user@gnu.org To subscribe or unsubscribe via the World Wide Web, visit http://lists.gnu.org/mailman/listinfo/lilypond-user or, via email, send a message with subject or body 'help' to lilypond-user-requ...@gnu.org You can reach the person managing the list at lilypond-user-ow...@gnu.org When replying, please edit your Subject line so it is more specific than Re: Contents of lilypond-user digest... Today's Topics: 1. EasyHeadOn (MING TSANG) -- Message: 1 Date: Fri, 21 Jan 2011 07:05:48 -0800 (PST) From: MING TSANG tsan...@rogers.com Subject: EasyHeadOn To: lilypond-user@gnu.org Message-ID: 437547.20054...@web88007.mail.re2.yahoo.com Content-Type: text/plain; charset=us-ascii I have been using easyHeadOn plus #(define Ez_numbers_engraver (from the lilypond GNU-List) translates them into numbers. The number is printed inside the note head. Is it possible to have the number printed adjacent to the note head? -- next part -- An HTML attachment was scrubbed... URL: http://lists.gnu.org/archive/html/lilypond-user/attachments/20110121/fcabd633/attachment.html -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user End of lilypond-user Digest, Vol 98, Issue 85 * ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: horizontal beams
Hello -Original Message- From: l...@internet.com.uy l...@internet.com.uy Date: Sat, 22 Jan 2011 10:45:26 -0200 To: lilypond-user@gnu.org lilypond-user@gnu.org Subject: Re: horizontal beams Then I think we might need to find out if \override Beam #'damping = #+inf.0 without any extra tweaks *should* work in all cases or not. If it should then we have a bug and it should be reported as such. yes, i think that the tweak definitely should work without further tweaks. it looks more like a bug than anything else to me. but since i'm not very knowledgeable about lilypond, i'm not confident to report it as a bug. I've posted the .ly example (plus a modification of mine to illustrate another anomaly and a screenshot) on the bug mailing list. Regards James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Several parts to one piece?
On Jan 22, 2011, at 1:21 PM, Michael Dykes wrote: Sorry to be barraging the list; but I have several pieces) that consist of several parts, and I need to compile them as a whole piece, but have each part end and begin separately. How, can I accomplish this? You can have more than one \score block in a file. Does that accomplish what you are looking for? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: easyHeadOn
Hi, Jay Shane:
I am not talking about fingers. May be the following snippet can explain it
better.
Now the note head is too big. If I don't enlarge them it will be hard to read.
I was thinking, if it is possible to have a normal note head, but the numbers
is
printed beside the note head.
-
\version 2.13.46
\header {
title = The Lord Is In His Holy Temple
subtitle = 主在聖殿中
poet = 詞
composer = 曲
meter = \markup { D 4/4 }
enteredby=ymingT
maintainer=ymingT
texidoc =
}
ignoreMelisma =\set ignoreMelismata = ##t
ignoreMelismaOff = \unset ignoreMelismata
#(define Ez_numbers_engraver
(list
(cons 'acknowledgers
(list
(cons 'note-head-interface
(lambda (engraver grob source-engraver)
(let* ((context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-name (ly:pitch-notename tonic-pitch))
(grob-pitch
(ly:event-property (event-cause grob) 'pitch))
(grob-name (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-name tonic-name) 7))
(note-names
(make-vector 7 (number-string (1+ delta)
(ly:grob-set-property! grob 'note-names note-names
#(set-global-staff-size 21)
#(set-default-paper-size letter)
EzNum = {
\override Staff.StaffSymbol #'staff-space = #2.25
\override Staff.StaffSymbol #'line-thickness = #1.25
\override Staff.NoteHead #'font-size = #+2.75
\override Staff.Clef #'font-size = #+2.25
\override Staff.TimeSignature #'font-size = #+2.25
\override Staff.Accidental #'font-size = #+2.25
\easyHeadsOn
\override Voice.NoteHead #'font-size = #-0.25
}
\paper {
#(set-paper-size letter)
indent = #(* mm 0)
line-width = #(* mm 160)
interscoreline = 12.\mm
between-system-space = 80\mm
ragged-bottom = ##t
}
\include english.ly
TimeKey = { \time 4/4 \key d \major } % \partial 4
SopMusic = \relative c' {
\EzNum
fs2 fs4 fs | fs( g) fs2 |%bar 01-02
a2 a4 a | a( b) a2 |%bar 03-04
}
AltoMusic = \relative c' {
\EzNum
d2 d4 d | d2 d2 |%bar 01-02
fs2 fs4 fs | fs2 fs |%bar 03-04
}
TenorMusic = \relative c {
\EzNum
a'2 a4 a4 | a4( b4) a2 |%bar 01-02
c2 cs?4 cs4 | c4( d4) cs2 |%bar 03-04
}
BassMusic = \relative c {
\EzNum
d2 d4 d4 | d2 d2 |%bar 01-02
d2 d4 d4 | d2 d2 |%bar 03-04
}
VerseOne = \lyricmode {
主 在 聖 | 殿 中 | 主 在 聖 | 殿 中 |
}
\score {
\new GrandStaff = GrandStaff_score
\new ChoirStaff
\tempo 4 = 90
\set Score.markFormatter = #format-mark-box-numbers
\new Staff
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\clef treble
\new Voice = Sop { \voiceOne \TimeKey \SopMusic }
\new Voice = Alto { \voiceTwo \TimeKey \AltoMusic }
\new Lyrics \lyricsto Sop { \VerseOne }
\new Staff
\clef bass
\new Voice = Tenor { \voiceOne \TimeKey \TenorMusic }
\new Voice = Bass { \voiceTwo \BassMusic }
\layout {
\context {
\RemoveEmptyStaffContext
\override VerticalAxisGroup #'remove-first = ##t
\consists \Ez_numbers_engraver
}
}
% \midi { }
}
__end___
From: i...@soundand.com i...@soundand.com
To: lilypond-user@gnu.org; tsan...@rogers.com
Sent: Sat, January 22, 2011 8:05:29 AM
Subject: easyHeadOn
Since I don't use the number engraver I'm not sure how that looks (meaning
after you've used 5 fingers what do the numbers mean?) but reading the
section on fingering gives you numbers adjacent to the notes (or above or
below) and if you need numbers higher than 5? I use markups.
Jay
On Fri, 21 Jan 2011 12:01:10 -0500, lilypond-user-requ...@gnu.org wrote:
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Is \repeat volta 2 in treble clef enough for repeat bar in bass clef as well?
I have a PianoStaff
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\treble
}
\new Staff {
\clef bass
\bass
}
\midi { }
\layout{ }
}
My treble is defined as:
treble = {
\intro
\repeat volta 2 {
\part1
\part2
\part3
\part4
}
\ending
}
I want to know whether the repeat line would be drawn right from the
treble clef through the bass clef? I tested this and the answer seems
to be 'yes'. I want to know if this is a reliable and defined behavior
or there is a more correct way of doing this (like using \repeat volta
2 separately for treble as well as bass clef?) ?
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\repeat volta 2 {} doesn't repeat notes in the .MIDI file
I have the following LilyPond file:
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\tempo 4 = 120
\relative c' {
c e g e
\repeat volta 2 {
c f a f
}
}
}
\midi { }
\layout{ }
}
However, in the midi generated only 8 notes are played: C E G E C F A F.
I expect a total of 12 notes to be played: C E G E C F A F C F A F.
How can I make the repeat effective in the MIDI file as well?
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Re: \repeat volta 2 {} doesn't repeat notes in the .MIDI file
On Sat, Jan 22, 2011 at 09:19:35PM +0530, Disc Magnet wrote: However, in the midi generated only 8 notes are played: C E G E C F A F. I expect a total of 12 notes to be played: C E G E C F A F C F A F. How can I make the repeat effective in the MIDI file as well? Assuming you're looking at the 2.12 manual (or higher), look in the chapter or section on MIDI. It has specific instructions for repeats. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is \repeat volta 2 in treble clef enough for repeat bar in bass clef as well?
On Sat, Jan 22, 2011 at 7:55 AM, Disc Magnet discmag...@gmail.com wrote: I want to know whether the repeat line would be drawn right from the treble clef through the bass clef? I tested this and the answer seems to be 'yes'. I want to know if this is a reliable and defined behavior or there is a more correct way of doing this (like using \repeat volta 2 separately for treble as well as bass clef?) ? Yes, it works and looks fine. The only place where you might run into trouble (that I know of) is if you try to unfold the repeats. Since there are only repeats in the upper staff that is all that would be unfolded. I tend to put my repeats in all staves (and voices if applicable). -Jay ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \repeat volta 2 {} doesn't repeat notes in the .MIDI file
- Original Message -
From: Disc Magnet discmag...@gmail.com
To: lilypond-user Mailinglist lilypond-user@gnu.org
Sent: Saturday, January 22, 2011 3:49 PM
Subject: \repeat volta 2 {} doesn't repeat notes in the .MIDI file
I have the following LilyPond file:
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\tempo 4 = 120
\relative c' {
c e g e
\repeat volta 2 {
c f a f
}
}
}
\midi { }
\layout{ }
}
However, in the midi generated only 8 notes are played: C E G E C F A F.
I expect a total of 12 notes to be played: C E G E C F A F C F A F.
How can I make the repeat effective in the MIDI file as well?
Have you looked in the Notation Reference section 3.5.4 Repeats in MIDI?
--
Phil Holmes
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Re: Converting .nwc files to .ly
Michael == Michael Dykes thedoctor81...@gmail.com writes: Michael How do I take a nwc (under wine) file convert it to a ly Michael file? I know there's an nwc2abc program somewhere that might be some use. I personally just re-transcribe NWC files. -- Laura (mailto:lcon...@laymusic.org) (617) 661-8097 233 Broadway, Cambridge, MA 02139 http://www.laymusic.org/ http://www.serpentpublications.org We had a young pitcher on that club named Jimmy St. Vrain. He was a left-handed pitcher and a right-handed batter. But an absolutely terrible hitter -- never even got a loud foul off anybody. ...he came back after striking out the second time, Frank Sele, our manager, said, Jimmy, you're a left-handed pitcher, why don't you turn around and bat from the left side, too? Actually, Frank was half kidding, but Jimmy took him seriously. So the next time he went up he batted left-handed. Turned around and stood on the opposite side of the plate from where he was used to, you know. And darned if he didn't actually hit the ball. He tapped a slow roller down to Honus Wagner at shortstop and took off as fast as he could go...but instead of running to first base, he headed for *third*! Oh, my God! What bedlam! Everybody yelling and screaming at poor Jimmy as he raced to third base, head down, spikes flying, determined to get there ahead of the throw. Later on, Honus told us that as a matter of fact he almost *did* throw the ball to third. I'm standing there with the ball in my hand, Honus said, looking at this guy running from home to third, and for an instant there I swear I didn't know *where* to throw the damn ball. And when I finally did throw to first, I wasn't at all sure it was the right thing to do! Davy Jones, quoted in The Glory of their Times by Lawrence S. Ritter ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Invalid tie in a repeat causes missed notes in MIDI
I have the following code.
music = \relative c' {
c4 e g e~
\repeat volta 2 {
e1
c4 f a f~
}
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\tempo 4 = 120
\unfoldRepeats {
\music
}
}
\midi { }
\layout { }
}
It can be seen that the tie f~ in the end of the repeat loop is
invalid since the next note after f~ is e1. When I play the midi, it
plays something like:
c4 e g e~
e1
c4 f a f
e1
c4 r a,4 f
You can see that in the last bar, c4 r a,4 f is played instead of c4 f
a f. In other words, the MIDI output misses the second note in the
last bar.
In the PDF layout however, we have the correct notes for the last bar:
c4 f a f. Could someone please explain why this difference between
MIDI and PDF layout?
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Merging Rests in Single Staff with more than one 'voice'
Hello,
I don't often use multiple voices in a single staff, so am a bit
unfamiliar and am still finding my way.
However I cannot easily see how I can take two 'voices' each from a single
source such that when they are combined on a single staff the rests that
both voices share are only printed once.
For example
\musicSourceOne = { a4 b c d | R1*4 | a4 r b r2 }
\musicSourceTwo = { f4 r f r | R1*4 | f4 f g r2 }
\musicSourceOne // \musicSourceTwo
Is about as basic as it gets.
However in measures two and three both the Multimeasure rest and the r2
are printed for each voice.
I looked for a merge-rest type function and the LSR but couldn't see an
easy way to do this without more complex editing.
Did I miss something or am I going to have to make 'skips' in one voice
and manually position the r2 so it sits on the correct line 'as if' it
were only printed once in the other?
Thanks for your help.
James
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Baroque Articulation mark
I'm transcribing a flute sonata from an eighteenth centuray facsimile, and there's a decoration that I don't know either what it means (so that I could translate it into an equivalent modern articulation mark), or how to produce something that looks like that in lilypond. I'm attaching a scan. Any help would be appreciated. The source is the Performers' Facsimiles edition of Dix Sonates by Godfrey Finger. attachment: decoration.jpg -- Laura (mailto:lcon...@laymusic.org) (617) 661-8097 233 Broadway, Cambridge, MA 02139 http://www.laymusic.org/ http://www.serpentpublications.org This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do. Woody Guthrie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Merging Rests in Single Staff with more than one 'voice'
On 22 January 2011 18:52, James Lowe james.l...@datacore.com wrote:
Hello,
I don't often use multiple voices in a single staff, so am a bit
unfamiliar and am still finding my way.
However I cannot easily see how I can take two 'voices' each from a single
source such that when they are combined on a single staff the rests that
both voices share are only printed once.
For example
\musicSourceOne = { a4 b c d | R1*4 | a4 r b r2 }
\musicSourceTwo = { f4 r f r | R1*4 | f4 f g r2 }
\musicSourceOne // \musicSourceTwo
Is about as basic as it gets.
However in measures two and three both the Multimeasure rest and the r2
are printed for each voice.
I looked for a merge-rest type function and the LSR but couldn't see an
easy way to do this without more complex editing.
Did I miss something or am I going to have to make 'skips' in one voice
and manually position the r2 so it sits on the correct line 'as if' it
were only printed once in the other?
Funny I just raised issue 1228 that has a pending PATCH for 5 months now
http://code.google.com/p/lilypond/issues/detail?id=1228
Wilbert's PATCH (see attachment to comment #1) is actually an improved
version of LSR #336 that handles merging of both normal rests and
MultiMeasureRest.
I asked to implement this feature directly into LilyPond, which is issue
#1228 (that will be closed soon I hope).
Normally it should work fine in your case, does it?
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
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Re: Baroque Articulation mark
- Original Message - From: Laura Conrad lcon...@laymusic.org To: lilypond-user@gnu.org Sent: Saturday, January 22, 2011 6:00 PM Subject: Baroque Articulation mark I'm transcribing a flute sonata from an eighteenth centuray facsimile, and there's a decoration that I don't know either what it means (so that I could translate it into an equivalent modern articulation mark), or how to produce something that looks like that in lilypond. I'm attaching a scan. Any help would be appreciated. The source is the Performers' Facsimiles edition of Dix Sonates by Godfrey Finger. A caesura? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Baroque Articulation mark
Laura == Laura Conrad lcon...@laymusic.org writes: Laura I'm transcribing a flute sonata from an eighteenth centuray Laura facsimile, and there's a decoration that I don't know either Laura what it means (so that I could translate it into an Laura equivalent modern articulation mark), or how to produce Laura something that looks like that in lilypond. I should have said it's two short, slanted parallel lines above the note. -- Laura (mailto:lcon...@laymusic.org) (617) 661-8097 233 Broadway, Cambridge, MA 02139 http://www.laymusic.org/ http://www.serpentpublications.org forsan et haec olim meminisse iuvabit. Vergil This will make a good story to tell the grandchildren, if we live that long. Conrad Translation. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Baroque Articulation mark
Phil == Phil Holmes m...@philholmes.net writes: I'm transcribing a flute sonata from an eighteenth centuray facsimile, and there's a decoration that I don't know either what it means (so that I could translate it into an equivalent modern articulation mark), or how to produce something that looks like that in lilypond. I'm attaching a scan. Any help would be appreciated. The source is the Performers' Facsimiles edition of Dix Sonates by Godfrey Finger. Phil A caesura? That does look right, except for being between the two notes instead of above the half note. My problem with that being what it *means* is not only that it's above the note, but that there isn't one in the bass line, which you would expect to need since the Basso and the Fluto aren't in score. (Which is why I'm transcribing it.) And as a bass line player, I wouldn't pause at that point. (See http://clavichord.cantabileband.org/~newlily/music/finger/10sonatas/II/adagio-I.pdf for the transcription of the whole movement.) So I suspect some kind of note shortener or accenter is a better modern translation. -- Laura (mailto:lcon...@laymusic.org) (617) 661-8097 233 Broadway, Cambridge, MA 02139 http://www.laymusic.org/ http://www.serpentpublications.org The opposite of funny isn't serious; the opposite of both funny and serious is sordid. R. A. Lafferty ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Merging Rests in Single Staff with more than one 'voice'
Hello
-Original Message-
From: Xavier Scheuer x.sche...@gmail.com
Date: Sat, 22 Jan 2011 19:06:14 +0100
To: James Lowe james.l...@datacore.com
Cc: lilypond-user@gnu.org lilypond-user@gnu.org
Subject: Re: Merging Rests in Single Staff with more than one 'voice'
On 22 January 2011 18:52, James Lowe james.l...@datacore.com wrote:
Hello,
I don't often use multiple voices in a single staff, so am a bit
unfamiliar and am still finding my way.
However I cannot easily see how I can take two 'voices' each from a
single
source such that when they are combined on a single staff the rests that
both voices share are only printed once.
For example
\musicSourceOne = { a4 b c d | R1*4 | a4 r b r2 }
\musicSourceTwo = { f4 r f r | R1*4 | f4 f g r2 }
\musicSourceOne // \musicSourceTwo
Is about as basic as it gets.
However in measures two and three both the Multimeasure rest and the r2
are printed for each voice.
I looked for a merge-rest type function and the LSR but couldn't see an
easy way to do this without more complex editing.
Did I miss something or am I going to have to make 'skips' in one voice
and manually position the r2 so it sits on the correct line 'as if' it
were only printed once in the other?
Funny I just raised issue 1228 that has a pending PATCH for 5 months now
http://code.google.com/p/lilypond/issues/detail?id=1228
Wilbert's PATCH (see attachment to comment #1) is actually an improved
version of LSR #336 that handles merging of both normal rests and
MultiMeasureRest.
I asked to implement this feature directly into LilyPond, which is issue
#1228 (that will be closed soon I hope).
Normally it should work fine in your case, does it?
Ha!
Yes perfect, thank you.
I did get one 'programming error' initially
---snip---
Drawing systems...
programming error: unknown grob in dot col support
continuing, cross fingers
---snip---
It didn't affect my output - the rests were still merged. However I
couldn't work out where this was occurring to make a small enough snippet
to test.
But my construct of my main .ly file is
\version 2.13.40
\include merge-rests.ly
Music1 = { } % this has the \mergeRestsOn set
Music2 = { }
Score {
\relative c' {
{ \Music1 } \\ { Music2 }
}
}
When I moved the \relative to each music expression such that
\include merge-rests.ly
Music1 = \relative c' { ... } % this has the \mergeRestsOn set
Music2 = \relative c' { ... }
Score {
{ \Music1 } \\ { Music2 }
}
The error went away.
After I sorted out my relative notes (because I had moved the \relative it
caused a few notes to rearrange and needed some editing) I then couldn't
get the error even when I put back the \relative.
So I don't know if this something that can be easily diagnosed.
However, this is incredibly useful for me. Thanks Xavier!
I have added part of this email to the tracker for information.
James
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Re: Merging Rests in Single Staff with more than one 'voice'
On Saturday 22 January 2011 12:52:54 James Lowe wrote:
Hello,
I don't often use multiple voices in a single staff, so am a bit
unfamiliar and am still finding my way.
However I cannot easily see how I can take two 'voices' each from a
single source such that when they are combined on a single staff the
rests that both voices share are only printed once.
For example
\musicSourceOne = { a4 b c d | R1*4 | a4 r b r2 }
\musicSourceTwo = { f4 r f r | R1*4 | f4 f g r2 }
Your example is very simple, so merging is good or at least not
bad. In single staff polyphony which is not very simple, merging
rests is a very bad idea because it ruins the integrity of the
voices and can create arresting ambiguities. It ought not to be a
candidate for default behavior with the notable exception of the
whole measure or multimeasure rest, which cannot easily be
misread. The problem is that only identical rests should be merged.
Not worth it, IMO. Easier to use s1*4.
The centering of the whole measure rest sometimes helps prevent a
logjam at the beginning of a measure where there are many parts. That
is unusual but not rare. In those cases the ability to apply \multirest
placement ( c1\multirest ) would be useful, and it could also be used to
directly cover one rest with another. Already done? Sorry. It's hard to
keep up. :-)
There is much single staff polyphonic notation education in
Carcassi op. 59. Download from Boije. I have it exploded into individual
pages on my site if you prefer. Regards, daveA
--
For beginners: very easy guitar music, solos, duets, exercises. Early
intermediate guitar solos. One best scale set for all guitarists.
http://www.openguitar.com/scalescomparison.html ::: plus new and
better chord and arpeggio exercises. http://www.openguitar.com
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Re: How to tie the last note of one variable to the first note of another variable?
\version 2.13.42
partOne = \relative c' {
c4 e g e~
}
partTwo = \relative c' {
e1
c4 e g e~
e1
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\set tieWaitForNote = ##t
\tempo 4 = 120
\partOne
\partTwo
}
\midi { }
\layout {}
}
HTH
patrick
Am 22.01.2011 um 19:24 schrieb Disc Magnet:
partOne = \relative c' {
c4 e g e~
}
partTwo = \relative c' {
e1
c4 e g e~
e1
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\tempo 4 = 120
\partOne
\partTwo
}
\midi { }
\layout {}
}
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Re: How to tie the last note of one variable to the first note of another variable?
On Jan 22, 2011, at 7:24 PM, Disc Magnet wrote:
partOne = \relative c' {
c4 e g e~
}
partTwo = \relative c' {
e1
c4 e g e~
e1
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = acoustic grand
\new Staff {
\tempo 4 = 120
\partOne
\partTwo
}
\midi { }
\layout {}
}
I expect the last e of partOne and first e of partTwo to be tied
together. However, it doesn't happen so. What is the right way to do
this?
I haven't checked it, but they're probably in different voice contexts.
Possible explicity doing a \new Voice = first and \context Voice = first where
appropriate may solve the problem.
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Multi-measure rest with measure numbers
Essentially, I want to write R1*10 and have it be equivalent to
writing something like R1*10_[101-110]. I've never played with
engravers before so this seemed like a good excuse. I have the minimal
start below. Questions:
- How do I create and attach the multi-measure rest text? I can use
make-music to create the text event, but I'm not sure what to do with
it.
Thanks for the help.
-Jay
\version 2.13.46
#(define (make-multimeasure-text-event text)
(make-music
'MultiMeasureTextEvent
'direction
-1
'text
text
'tags
'()))
#(define mmrest-num-engraver
(lambda (context)
`((acknowledgers
(multi-measure-rest-interface
.
,(lambda (engraver grob source-engraver)
(let* ((start-num (ly:context-property context 'currentBarNumber))
(rest-duration (ly:duration-length
(ly:prob-property (ly:grob-property grob 'cause) 'duration)))
(measure-length (ly:context-property context
'measureLength))
(measure-count (ly:moment-div rest-duration
measure-length))
(end-num (+ (- start-num 1)
(ly:moment-main-numerator measure-count)))
(text (string-append [ (number-string
start-num) - (number-string end-num) ])))
(display text
\score
{
\new Staff
\with { \consists #mmrest-num-engraver }
\relative c'
{
\time 4/4
\compressFullBarRests
R1*10 | % = R1*10_[1-10] |
c1 |
R1*5 |
c1 |
R1 |
\time 3/4
c2. |
R2.*3 |
R1.*2 |
}
}
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Re: Invalid tie in a repeat causes missed notes in MIDI
Disc Magnet wrote: the MIDI output misses the second note in the last bar This looks like issue 676, so you are probably using a 2.12 version. See http://code.google.com/p/lilypond/issues/detail?id=676 The MIDI behaviour was corrected in version 2.13.8. Warnings for this situation were added later, in version 2.13.41. See http://code.google.com/p/lilypond/issues/detail?id=1395 Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Adding space (padding) between notes
I am trying to fit some markups in my score, and would like for all of them
to be on the same line. Is there a way (without shortening the markups) to
widen the first measure, or put padding between the first two notes of the
score. Thanks.
--
In Christ,
Michael D
\version 2.12.2
\include english.ly
\include gregorian.ly
\header {
title = Horologion ~ The Divine Liturgy
subtitle = The Dismissal
poet = Common Court Chant Variant
}
global = {
\key f \major
\override Staff.TimeSignature #'stencil = ##f
\override Staff.BarLine #'stencil = ##f
\override Score.SpacingSpanner #'packed-spacing = ##f
\override TextScript #'staff-padding = #4
}
move = { \bar \break }
soprano = \relative c'' {
\global
% Music follows here.
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small P: The blessing of the Lord ... }
f,2 f1 \finalis
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup { \italic \small P: Glory to Thee, O Christ God ... }
f4 f f g a a a a a a a a a a a a a \divisioMinima
a4 a a a a a a a a g a2 a4 a a2 \divisioMaior
f4 g a a a a a a a g a2 a1 \divisioMaxima
bf2 a4(g) f1 \finalis
}
alto = \relative c' {
\global
% Music follows here.
f2 f1 \finalis
f4 f f e f f f f f f f f f f f f f \divisioMinima
f4 f f f f f f f f e f2 f4 f f2 \divisioMaior
f4 e f f f f f f f c f2 f1 \divisioMaxima
bf,2 c2 f1 \finalis
}
tenor = \relative c' {
\global
% Music follows here.
f,2 f1 \finalis
f4 f f g a a a a a a a a a a a a a \divisioMinima
a4 a a a a a a a a g a2 a4 a a2 \divisioMaior
f4 g a a a a a a a g a2 a1 \divisioMaxima
bf2 a4(g) f1 \finalis
}
bass = \relative c {
\global
% Music follows here.
f2 f1 \finalis
f4 f f e f f f f f f f f f f f f f \divisioMinima
f4 f f f f f f f f e f2 f4 f f2 \divisioMaior
f4 e f f f f f f f c f2 f1 \divisioMaxima
bf,2
_\markup {\italic \small P: May Christ our true God ... }
c2 f1 \finalis
}
verse = \lyricmode {
% Lyrics follow here.
A -- men.
\override LyricHyphen #'minimum-distance = #2.8
Glor -- y to the Fa -- ther, and to the Son, and to the
Ho -- ly Spir -- it;
now and ev -- er, and un -- to a -- ges
\override LyricHyphen #'minimum-distance = #1.6
of a -- ges. A -- men.
Lord, have mer -- cy.
Lord, have mer -- cy.
Lord, have mer -- cy.
Fa -- ther,__ bless!
}
\score {
\new ChoirStaff
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { S A }
}
\new Voice = soprano { \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
\new Lyrics \lyricsto soprano \verse
\new Staff \with {
midiInstrument = string ensemble 1
instrumentName = \markup \center-column { T B }
}
\clef bass
\new Voice = tenor { \voiceOne \tenor }
\new Voice = bass { \voiceTwo \bass }
\layout { ragged-last=##f }
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 120 4)
}
}
}
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Re: Merging Rests in Single Staff with more than one 'voice'
2011/1/22 David Raleigh Arnold d...@openguitar.com:
On Saturday 22 January 2011 12:52:54 James Lowe wrote:
Hello,
I don't often use multiple voices in a single staff, so am a bit
unfamiliar and am still finding my way.
However I cannot easily see how I can take two 'voices' each from a
single source such that when they are combined on a single staff the
rests that both voices share are only printed once.
For example
\musicSourceOne = { a4 b c d | R1*4 | a4 r b r2 }
\musicSourceTwo = { f4 r f r | R1*4 | f4 f g r2 }
Your example is very simple, so merging is good or at least not
bad. In single staff polyphony which is not very simple, merging
rests is a very bad idea because it ruins the integrity of the
voices and can create arresting ambiguities. It ought not to be a
candidate for default behavior with the notable exception of the
whole measure or multimeasure rest, which cannot easily be
misread.
Yes, i agree that merging all rests shouldn't be default behaviour
(with the exception of multi-measure rests).
However, having the merge-rests function added to lilypond itself (se
we can use it when we want without needing to write it by hand) would
be very good!
cheers,
Janek
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