RE: Placing a section name at the start of a staff

[Stephen MacNeil]

Actually I just noticed \halign -- that's not needed I copied it from
another one where it was needed

so those examples should just read

\set Staff.instrumentName = \markup { \box \fontsize #5 \pad-around #.5
\bold "B"}


etc.


Stephen
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RE: Placing a section name at the start of a staff

[Stephen MacNeil]

There are several ways I do this, I use this for students a lot

here are a few ways to achieve this

%

\version "2.18.2"

\paper {

indent = 0

left-margin = 15

}

A = \relative c' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "A"}

c d e f

}

B = \relative c'' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "B"}

g a b c

}


\score { \A }

\score { \B }


C = \relative c' {

c d e f

}

D = \relative c'' {

g a b c

}


% Or


\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "C"}

}

{ \C }

}

\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "D"}

}

{ \D }

}


% Together

\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "C D"}

}

{ \C \D }

}


% Also


E = \relative c' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E"}

c d e f \break

\set Staff.shortInstrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E.1"}

g a b c \break

\set Staff.shortInstrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E.2"}

b a g f

}


\score {

\E

\layout{

\context {

\Score

\remove "Bar_number_engraver"

}

}

}


%%


HTH

Stephen
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Re: \keepWithTag #'A {\keepWithTag #'B \music}

[H. S. Teoh]

On Sun, May 08, 2016 at 05:13:31PM -0500, David Wright wrote:
> On Sat 07 May 2016 at 10:42:43 (+0200), Gianmaria Lari wrote:
> > Dear David thank you for explaining the problem and pointing me out
> > the documentation where this is discussed.
> > 
> > Yes, I could organize my code differently but this would be less
> > clear. Try to have a look to the attached image capture.png.
> > The first line is the wanted screen output, the second line the wanted
> > midi output  (that is normally not intended to print).
> > Now let me discuss how I would like to obtain it.
> 
> AIUI there are three ways of achieving what you want:
> 1) reverse the logic, as you have done here,
> 2) use lists in keepWithTag so that you don't nest them,
> 3) use tag groups.

Use \removeWithTag to remove unwanted tags.


> If you want to structure your music as you wish, then you can't use
> (2).  So that leaves you option (3).
> 
> BTW what does markup do to the midi output that you don't like?
[...]

I'm not the OP, but in my own scores I often find myself fighting with
the default midi output if I try to use the same score for layout.  The
best approach that has worked for me so far is to put all actual musical
content in variables, e.g., fluteI = \relative c' { ...}, fluteII = ...,
clarinetI = ..., etc., then have two scores, one that creates all the
elaborate bracketing structures needed in an orchestral score, including
using \partcombine and so forth, and the other midi-only score that just
has one voice per (midi) staff.

Things like \trill are rarely interpreted to my liking in the midi
output, so I'd usually write \tag #'layout { c1\trill }, then spell out
the trill as a tuplet in a \tag #'midi {...} block.  This is just one of
many things I've encountered.

Another off the top of my head is writing tremolo passages, where my
soundfont has a dedicated tremolo "instrument" that takes whole notes
and plays them tremolo, whereas for layout I'd use \repeat tremolo with
the 32nd notes.

Dynamics also sometimes go missing in midi output, esp. in piano music
where there are lots of transitory voices which seem to just default to
the default dynamic instead of inheriting from the parent voice. These
are hacked using things like c1-\tag #'midi -\pp so that the voice gets
the right dynamic in midi, but the extraneous dynamic doesn't show up in
the score.

Using \partcombine is one big reason for separating layout score from
midi score, because it often does all sorts of strange things to the
midi output, plus it doesn't work very well when two different
instruments are sharing the same staff in a large orchestral score.
There *is* an option for making MIDI per-voice rather than per-staff,
but since midi needs so many hacks to be tolerable anyway, might as well
just separate the two.


T

-- 
Life would be easier if I had the source code. -- YHL

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Re: \keepWithTag #'A {\keepWithTag #'B \music}

[David Wright]

On Sat 07 May 2016 at 10:42:43 (+0200), Gianmaria Lari wrote:
> Dear David thank you for explaining the problem and pointing me out
> the documentation where this is discussed.
> 
> Yes, I could organize my code differently but this would be less
> clear. Try to have a look to the attached image capture.png.
> The first line is the wanted screen output, the second line the wanted
> midi output  (that is normally not intended to print).
> Now let me discuss how I would like to obtain it.

AIUI there are three ways of achieving what you want:
1) reverse the logic, as you have done here,
2) use lists in keepWithTag so that you don't nest them,
3) use tag groups.

If you want to structure your music as you wish, then you can't use (2).
So that leaves you option (3).

BTW what does markup do to the midi output that you don't like?

Cheers,
David.

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Re: 4 hands piano pieces book

[David Wright]

On Sun 08 May 2016 at 19:13:37 (+0200), Jacques Menu Muzhic wrote:
> Would dynamics parts dedicated to breaks and pageBreaks, stored in variables, 
> be useful? They might contain only spacer rests and such breaks, and be used 
> by Piano I and Piano II parts.
> 
> I use this satisfactorily to produce director and musicians parts, with the 
> same breaks in the first drafts to facilitate cross checking of the LP input 
> code.

This seems to be the mainstream way of handling breaks and pageBreaks
(though I hadn't thought of specifically using a Dynamics context).

> One would still have to place things in the right order in the input file to 
> build the left and right pages, of course.

I wouldn't try to build the score in display order at all. In fact,
if you want to be able to start a new piece halfway down the page, I
think you'd get into a real mess.

I would typeset the primo and secondo in separate scores, using \books
to write separate PDF files.

I would use breakbefore = ##t to get the titling out of the way on
page 1.
 
Consequently, primo would have its first music on page 2. All
subsequent page breaks would be written:

\pageBreak % skips to the next page...
\markup { " " }
\pageBreak % ...and that leaves a page blank (except the page number).

so that a blank page is left for secondo, and every odd page is blank.
(Probably put this construction in a variable.)

Secondo would start with an immediate extra:

\pageBreak % skips to the next page...
\markup { " " }
\pageBreak % ...and that leaves a page blank (except the page number).

so that its first music is on page 3. Continue as with primo, so every
even page is blank.

If this looks familiar, it's because this is a rehash of
http://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00069.html

Burst the two PDFs into two directories and delete all the empty pages
(ie every other file). Move the remaining files from either directory
into the other. Concatenate the PDFs exactly as before, except now the
output file is called interleaved-output.pdf instead of
decimated-output.pdf.

> [A.N.Other] said:

> > The initial problem is getting the page breaks in sync.
> > Once you've achieved that (presumably by manually adding page breaks) you 
> > can easily create two separate pdfs and use an external tool to create the 
> > bound volume.

Write your page breaks into *one* variable. Where you give this variable
to \new Dynamics in the \score structures, prefix *only* secondo with
an extra copy of the three-liner above. This approach guarantees the same
pagebreaks for the two players, but pushes secondo forward by one page.

Cheers,
David.

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Re: 4 hands piano pieces book

[Urs Liska]

Am 08.05.2016 um 19:13 schrieb Urs Liska:
> One thing I just start thinking of: you can use openLilyLib's break package 
> to ease your workflow.  This allows you to specify breaks as one single list. 
> Then you can apply that break list to both scores. You still have to do the 
> page breaking manually but have a clean interface to it.
> > 
> > I can't look into it right now as I'm on the train ...
> > 
> > 

You'd need the "page-layout" package
(https://github.com/openlilylib/page-layout) for what I'm thinking
about. You would have your music defined somewhere in files and have two
main .ly files for primo and secondo each. Both main files would include
the same file for the breaks that contains:

% load the package
\include "page-layout/package.ly"\loadModule page-layout conditional-breaks

\registerBreakSet common-pagebreaks
\setOption page-layout.conditional-breaks.use #'(page-breaks) \setBreaks 
original-edition page-breaks 
#'(25 39 52 75)

\applyConditionalBreaks common-pagebreaks 

This way you have *one* place where the page breaks are defined. This is
much better than inserting the breaks manually, be it directly in the
music or in an extra context.

If you also want to have line breaks in sync that can be done the same way.

There's one thing one could explore to make that *more* automatic: You
could have the *first* score use LilyPond's automatic page breaking.
This would write out the actual page breaks to an intermediate file, and
when the second score is engraved these values would be taken. As the
second score will be broken completely "blindly" this may or may not
work out properly, one would habe to check that out. The user could
influence the outcome by choosing the "master" score, or by
adding/overriding individual breaks.

Of course that's not meant as a solution for a "current" engraving task
but more like an ambitious feature request for the page-layout package.
But maybe it would be worth pursuing.

Best
Urs
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Re: Placing a section name at the start of a staff

[David Wright]

On Sun 08 May 2016 at 19:06:27 (+0100), Anthonys Lists wrote:
> Basically, I want to do pretty much what "instrument name" does in a
> score - I want to put the name of the section in front of the start
> of the staff. The problem is, as always, when you use a feature for
> what it's not intended for, you can get unexpected side effects.
> I've got four sections, so that'll mean four \score's. Will I get
> unexpected (read - unwanted) headers between the scores? Basically,
> if you don't notice the section name, you shouldn't realise that the
> music doesn't just flow on.

I don't foresee any issues. Have you not tried it?

> My other approach to doing this sort of thing is "\stopStaff
> \cadenzaOn ... \cadenzaOff \startStaff" but will this suppress
> things like key signature etc at the start of the line? My initial
> experiments in that respect haven't worked, although it seems
> obvious to me why. But I don't want to carry on down that route if
> it's going to turn into a rabbit's warren of tweaks and fixes to get
> right.

Without an example of whay you've done, I wouldn't like to comment.
It seems more complicated.

> How do other people deal with section names? Especially, how do you
> do it like the score I'm copying - at the start of the line ...

I don't know what the score you're copying looks like. I think we've
been here before...

Cheers,
David.

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Re: 4 hands piano pieces book

[Jacques Menu Muzhic]

Just found out that:

  \tempo 2 = 60

was misplaced, put it in Controle instead of Basse.

JM

> Le 8 mai 2016 à 21:59, Jacques Menu Muzhic  a écrit :
> 
> 
> 
> 
>> Le 8 mai 2016 à 19:14, Alberto Simões  a 
>> écrit :
>> 
>> 
>> 
>> On 08/05/16 18:13, Jacques Menu Muzhic wrote:
>>> Hello,
>>> 
>>> Would dynamics parts dedicated to breaks and pageBreaks, stored in 
>>> variables, be useful? They might contain only spacer rests and such breaks, 
>>> and be used by Piano I and Piano II parts.
>>> 
>>> I use this satisfactorily to produce director and musicians parts, with the 
>>> same breaks in the first drafts to facilitate cross checking of the LP 
>>> input code.
>>> 
>> 
>> Do you have any "small" example I could use for inspiration?
>> Thanks
>> 
>>> One would still have to place things in the right order in the input file 
>>> to build the left and right pages, of course.
>>> 
>>> JM
>>> 
 Le 8 mai 2016 à 17:16, Urs Liska  a écrit :
 
 
 
 Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
 :
> 
> 
> On 08/05/16 15:37, Jean-Charles Malahieude wrote:
>> 
>> Has anyone tried to build it as one markup with three columns (left
>> pianist, the binding, and right pianist) on an A3-landscape sheet?
>> The only problem would be the page numbering…
> 
> That could always be done later... use pdfjam or the like to crop the
> A3
> pages in A4 pages, and use latex to add headers/footers to all pages.
> It
> might work.
> 
> But not sure how to create columns in lilypond :-)
 
 I don't think that would help at all. The initial problem is getting the 
 page breaks in sync.
 Once you've achieved that (presumably by manually adding page breaks) you 
 can easily create two separate pdfs and use an external tool to create the 
 bound volume.
 
 One thing I just start thinking of: you can use openLilyLib's break 
 package to ease your workflow.  This allows you to specify breaks as one 
 single list. Then you can apply that break list to both scores. You still 
 have to do the page breaking manually but have a clean interface to it.
 
 I can't look into it right now as I'm on the train ...
 
 
 Best
 Urs
 
> 
> Thanks
 
 --
 Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail 
 gesendet.
 
 ___
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 lilypond-user@gnu.org
 https://lists.gnu.org/mailman/listinfo/lilypond-user
>>> 
> 


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Re: 4 hands piano pieces book

[Jacques Menu Muzhic]

Hello Alberto,

You’ll find attached an example, a reduction from one of my actual scores. I 
hope it’s not too big, but I needed to keep if of some length to show the idea.
The dimming of sections of the « dessus » is because the soloists will take 
over one after the other (they’re oboists).

You can place all score-wide stuff such as double bars, time specifications, 
modulations, irregular measures and annotations that are to appear in every 
instrumental part as well as in the director score (see « Harpeges » at bar 33) 
in the « controle » part.


Of interest are multiRestWitBarNumbers, contributed by someone on this list. I 
appreciate the automatic display of the bar number at the beginning and end of 
multirests:

multiRestWitBarNumbers =
#(define-music-function (parser location dur)(ly:duration?)
   (let ((display-bar-num #{
 \once\override Score.BarNumber.break-visibility = ##(#f #t #t)
   #}))
 #{
   $display-bar-num
   %%% Choose R $dur for control part check,
   %%% then switch to s $dur for score printout
   s $dur
   $display-bar-num
 #}))

and the following:

\score {
%%% Choose \new Staff to see the staff and check its correctness,
%%% then switch to \new Dynamics to hide the control staff
  \new StaffGroup <<
\new Dynamics {
  %\new Staff {
  \Controle
}
\ViolonsStaff
\HauboisStaff
\BassonsStaff
\BasseStaff
  >>


These variables:

myBreak = { \break }
%myBreak = { }

myPageBreak = {\pageBreak}
%myPageBreak = {}

are used to switch between:
- the original breaks from the score I started from, for cross-checking
- the regular mode in which LP will take care of them for better layout
This is more straightforward as using tags, but this is not your concern in the 
OP of course.


One thing I’d like to be able to do is to change these variables’ value for the 
instrumental parts, but I didn’t find a way to to that in the current 
book/bookpart architecture. Any hint is welcome…


Hope this helps!

JM



ControlPartExample.ly
Description: Binary data


> Le 8 mai 2016 à 19:14, Alberto Simões  a écrit 
> :
> 
> 
> 
> On 08/05/16 18:13, Jacques Menu Muzhic wrote:
>> Hello,
>> 
>> Would dynamics parts dedicated to breaks and pageBreaks, stored in 
>> variables, be useful? They might contain only spacer rests and such breaks, 
>> and be used by Piano I and Piano II parts.
>> 
>> I use this satisfactorily to produce director and musicians parts, with the 
>> same breaks in the first drafts to facilitate cross checking of the LP input 
>> code.
>> 
> 
> Do you have any "small" example I could use for inspiration?
> Thanks
> 
>> One would still have to place things in the right order in the input file to 
>> build the left and right pages, of course.
>> 
>> JM
>> 
>>> Le 8 mai 2016 à 17:16, Urs Liska  a écrit :
>>> 
>>> 
>>> 
>>> Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
>>> :
 
 
 On 08/05/16 15:37, Jean-Charles Malahieude wrote:
> 
> Has anyone tried to build it as one markup with three columns (left
> pianist, the binding, and right pianist) on an A3-landscape sheet?
> The only problem would be the page numbering…
 
 That could always be done later... use pdfjam or the like to crop the
 A3
 pages in A4 pages, and use latex to add headers/footers to all pages.
 It
 might work.
 
 But not sure how to create columns in lilypond :-)
>>> 
>>> I don't think that would help at all. The initial problem is getting the 
>>> page breaks in sync.
>>> Once you've achieved that (presumably by manually adding page breaks) you 
>>> can easily create two separate pdfs and use an external tool to create the 
>>> bound volume.
>>> 
>>> One thing I just start thinking of: you can use openLilyLib's break package 
>>> to ease your workflow.  This allows you to specify breaks as one single 
>>> list. Then you can apply that break list to both scores. You still have to 
>>> do the page breaking manually but have a clean interface to it.
>>> 
>>> I can't look into it right now as I'm on the train ...
>>> 
>>> 
>>> Best
>>> Urs
>>> 
 
 Thanks
>>> 
>>> --
>>> Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.
>>> 
>>> ___
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>>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>> 

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Placing a section name at the start of a staff

[Anthonys Lists]

Basically, I want to do pretty much what "instrument name" does in a 
score - I want to put the name of the section in front of the start of 
the staff. The problem is, as always, when you use a feature for what 
it's not intended for, you can get unexpected side effects. I've got 
four sections, so that'll mean four \score's. Will I get unexpected 
(read - unwanted) headers between the scores? Basically, if you don't 
notice the section name, you shouldn't realise that the music doesn't 
just flow on.


My other approach to doing this sort of thing is "\stopStaff \cadenzaOn 
... \cadenzaOff \startStaff" but will this suppress things like key 
signature etc at the start of the line? My initial experiments in that 
respect haven't worked, although it seems obvious to me why. But I don't 
want to carry on down that route if it's going to turn into a rabbit's 
warren of tweaks and fixes to get right.


Searching the lsr or googling just points me at loads of stuff about 
"outside staff objects" - not surprisingly since text is normally 
outside the staff - but it leaves me wondering "am I not using the right 
search terms, or is there nothing to find?".


How do other people deal with section names? Especially, how do you do 
it like the score I'm copying - at the start of the line ...


Cheers,
Wol

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 18:13, Jacques Menu Muzhic wrote:

Hello,

Would dynamics parts dedicated to breaks and pageBreaks, stored in variables, 
be useful? They might contain only spacer rests and such breaks, and be used by 
Piano I and Piano II parts.

I use this satisfactorily to produce director and musicians parts, with the 
same breaks in the first drafts to facilitate cross checking of the LP input 
code.



Do you have any "small" example I could use for inspiration?
Thanks


One would still have to place things in the right order in the input file to 
build the left and right pages, of course.

JM


Le 8 mai 2016 à 17:16, Urs Liska  a écrit :



Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
:



On 08/05/16 15:37, Jean-Charles Malahieude wrote:


Has anyone tried to build it as one markup with three columns (left
pianist, the binding, and right pianist) on an A3-landscape sheet?
The only problem would be the page numbering…


That could always be done later... use pdfjam or the like to crop the
A3
pages in A4 pages, and use latex to add headers/footers to all pages.
It
might work.

But not sure how to create columns in lilypond :-)


I don't think that would help at all. The initial problem is getting the page 
breaks in sync.
Once you've achieved that (presumably by manually adding page breaks) you can 
easily create two separate pdfs and use an external tool to create the bound 
volume.

One thing I just start thinking of: you can use openLilyLib's break package to 
ease your workflow.  This allows you to specify breaks as one single list. Then 
you can apply that break list to both scores. You still have to do the page 
breaking manually but have a clean interface to it.

I can't look into it right now as I'm on the train ...


Best
Urs



Thanks


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Re: 4 hands piano pieces book

[Jacques Menu Muzhic]

Hello,

Would dynamics parts dedicated to breaks and pageBreaks, stored in variables, 
be useful? They might contain only spacer rests and such breaks, and be used by 
Piano I and Piano II parts.

I use this satisfactorily to produce director and musicians parts, with the 
same breaks in the first drafts to facilitate cross checking of the LP input 
code.

One would still have to place things in the right order in the input file to 
build the left and right pages, of course.

JM

> Le 8 mai 2016 à 17:16, Urs Liska  a écrit :
> 
> 
> 
> Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
> :
>> 
>> 
>> On 08/05/16 15:37, Jean-Charles Malahieude wrote:
>>> 
>>> Has anyone tried to build it as one markup with three columns (left
>>> pianist, the binding, and right pianist) on an A3-landscape sheet?
>>> The only problem would be the page numbering…
>> 
>> That could always be done later... use pdfjam or the like to crop the
>> A3 
>> pages in A4 pages, and use latex to add headers/footers to all pages.
>> It 
>> might work.
>> 
>> But not sure how to create columns in lilypond :-)
> 
> I don't think that would help at all. The initial problem is getting the page 
> breaks in sync.
> Once you've achieved that (presumably by manually adding page breaks) you can 
> easily create two separate pdfs and use an external tool to create the bound 
> volume.
> 
> One thing I just start thinking of: you can use openLilyLib's break package 
> to ease your workflow.  This allows you to specify breaks as one single list. 
> Then you can apply that break list to both scores. You still have to do the 
> page breaking manually but have a clean interface to it.
> 
> I can't look into it right now as I'm on the train ...
> 
> 
> Best
> Urs
> 
>> 
>> Thanks
> 
> -- 
> Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.
> 
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Re: 4 hands piano pieces book

[Urs Liska]

Am 8. Mai 2016 16:39:56 MESZ, schrieb "Alberto Simões" 
:
>
>
>On 08/05/16 15:37, Jean-Charles Malahieude wrote:
>>
>> Has anyone tried to build it as one markup with three columns (left
>> pianist, the binding, and right pianist) on an A3-landscape sheet?
>> The only problem would be the page numbering…
>
>That could always be done later... use pdfjam or the like to crop the
>A3 
>pages in A4 pages, and use latex to add headers/footers to all pages.
>It 
>might work.
>
>But not sure how to create columns in lilypond :-)

I don't think that would help at all. The initial problem is getting the page 
breaks in sync.
Once you've achieved that (presumably by manually adding page breaks) you can 
easily create two separate pdfs and use an external tool to create the bound 
volume.

One thing I just start thinking of: you can use openLilyLib's break package to 
ease your workflow.  This allows you to specify breaks as one single list. Then 
you can apply that break list to both scores. You still have to do the page 
breaking manually but have a clean interface to it.

I can't look into it right now as I'm on the train ...


Best
Urs

>
>Thanks

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:37, Jean-Charles Malahieude wrote:


Has anyone tried to build it as one markup with three columns (left
pianist, the binding, and right pianist) on an A3-landscape sheet?
The only problem would be the page numbering…


That could always be done later... use pdfjam or the like to crop the A3 
pages in A4 pages, and use latex to add headers/footers to all pages. It 
might work.


But not sure how to create columns in lilypond :-)

Thanks

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Re: 4 hands piano pieces book

[Jean-Charles Malahieude]

Le 08/05/2016 à 16:27, Urs Liska a écrit :


The issue with that kind of score is that one needs two independent
scores with identical page breaks.

AFAICS there's still no alternative to doing that manually, though.



Has anyone tried to build it as one markup with three columns (left 
pianist, the binding, and right pianist) on an A3-landscape sheet?

The only problem would be the page numbering…

Cheers,
Jean-Charles

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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:27, Urs Liska wrote:

The issue with that kind of score is that one needs two independent
scores with identical page breaks.

AFAICS there's still no alternative to doing that manually, though.


OK, that was what I feared. Thanks for confirming it.

Alberto

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Re: 4 hands piano pieces book

[Urs Liska]

Am 8. Mai 2016 16:09:05 MESZ, schrieb Andrew Bernard :
>Hi Alberto,
>
>
>On 8 May 2016 at 23:55, Alberto Simões 
>wrote:
>> Hi
>>
>> I imagine this is a recurring question. Well, at least I remember
>doing a
>> similar question about ten years ago.
>>
>> I am asking again because things change, and I expect to be some
>better
>> approaches to what I need.
>
>Better than what?
>
>> I want to prepare a small book of small 4 hands piece. This mean that
>I need
>>  - the left page to be used for the Primo and the right page for
>Secondo
>>  - page breaks in the same measure
>>  - the ability to have more than one piece per page (for example, one
>small
>> piece taking half the page, another bigger, starting at the same
>page).
>>
>> What would be your recommendation for this?
>
>What is it that is causing you conceptual difficulty exactly? Can you
>elaborate? The question is not clear.
>
>Andrew

The issue with that kind of score is that one needs two independent scores with 
identical page breaks. 

AFAICS there's still no alternative to doing that manually, though.

Urs


>
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Re: 4 hands piano pieces book

[Alberto Simões]

On 08/05/16 15:09, Andrew Bernard wrote:

Hi Alberto,


On 8 May 2016 at 23:55, Alberto Simões  wrote:

Hi

I imagine this is a recurring question. Well, at least I remember doing a
similar question about ten years ago.

I am asking again because things change, and I expect to be some better
approaches to what I need.


Better than what?


I don't recall exactly what was the approach, but I recall it wasn't 
straightforward.





I want to prepare a small book of small 4 hands piece. This mean that I need
 - the left page to be used for the Primo and the right page for Secondo
 - page breaks in the same measure
 - the ability to have more than one piece per page (for example, one small
piece taking half the page, another bigger, starting at the same page).

What would be your recommendation for this?


What is it that is causing you conceptual difficulty exactly? Can you
elaborate? The question is not clear.


Basically, I have "two musics" that should be interleaved in pages.
I know how to force line breaks, or page breaks, but how can I do a page 
break and tell lilypond or lilybook that next it should render another 
melody, and at the end of the page, get back to the first?


So, I do not have any idea how to do it :-)

Best,
Alberto

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Re: 4 hands piano pieces book

[Andrew Bernard]

Hi Alberto,


On 8 May 2016 at 23:55, Alberto Simões  wrote:
> Hi
>
> I imagine this is a recurring question. Well, at least I remember doing a
> similar question about ten years ago.
>
> I am asking again because things change, and I expect to be some better
> approaches to what I need.

Better than what?

> I want to prepare a small book of small 4 hands piece. This mean that I need
>  - the left page to be used for the Primo and the right page for Secondo
>  - page breaks in the same measure
>  - the ability to have more than one piece per page (for example, one small
> piece taking half the page, another bigger, starting at the same page).
>
> What would be your recommendation for this?

What is it that is causing you conceptual difficulty exactly? Can you
elaborate? The question is not clear.

Andrew

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4 hands piano pieces book

[Alberto Simões]

Hi

I imagine this is a recurring question. Well, at least I remember doing 
a similar question about ten years ago.


I am asking again because things change, and I expect to be some better 
approaches to what I need.


I want to prepare a small book of small 4 hands piece. This mean that I need
 - the left page to be used for the Primo and the right page for Secondo
 - page breaks in the same measure
 - the ability to have more than one piece per page (for example, one 
small piece taking half the page, another bigger, starting at the same 
page).


What would be your recommendation for this?

Thank you
Alberto

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Re: Figured Bass Tweaks

[Thomas Morley]

2016-05-08 2:28 GMT+02:00 Sam Bivens :
> Hi all,
>
> Attached, I show my solutions for two figured bass tweaks: first, a
> parenthesized (not bracketed) figure; and second, a lone integer on the
> "lower line."
>
> The work-arounds are good enough for now, I'm just curious if anyone has any
> better ideas, or if I missed an obvious solution in the manual; I'd
> appreciate any comments anyone would be willing to offer.
>
> Thanks,
>
> Sam


\version "2.19.40"

#(define (brackets->bows grob)
  (let* ((brackets-stil (ly:enclosing-bracket::print grob))
 (edge-height (ly:grob-property grob 'edge-height))
 (y-ext (ly:stencil-extent brackets-stil Y))
 (x-ext (ly:stencil-extent brackets-stil X))
 (up-left (cons (+ (car x-ext) (car edge-height)) (cdr y-ext)))
 (down-left (cons (+ (car x-ext) (car edge-height)) (car y-ext)))
 (up-right (cons (- (cdr x-ext) (cdr edge-height)) (cdr y-ext)))
 (down-right (cons (- (cdr x-ext) (cdr edge-height)) (car y-ext
(ly:stencil-add
  (make-bow-stencil
down-left
up-left
0.1 ;; thick
0.2   ;; angularity
0.3 ;; height
1)
  (make-bow-stencil
down-right
up-right
0.1
0.2
0.3
-1

#(define ((make-bass-figures-transparent lst) grob)
  (let* ((array (ly:grob-object (ly:grob-parent grob X) 'elements))
 (bass-figures-list
   (filter
 (lambda (g)
   (grob::has-interface g 'bass-figure-interface))
 (ly:grob-array->list array
(if (> (length lst) (length bass-figures-list))
(begin
  (ly:warning "Can't apply to items not present, ignoring the rest")
  (set! lst (take lst (length bass-figures-list)
(for-each
  (lambda (bf)
(ly:grob-set-property!
  (list-ref bass-figures-list (1- bf)) 'transparent #t))
  lst)))

bassFigureTransparent =
#(define-music-function (which-list)(number-list?)
#{
  \once \override BassFigure.after-line-breaking =
#(make-bass-figures-transparent which-list)
#})


line = {
  \repeat unfold 12 c'4
}

figs = \figuremode {
  <[6]>4
  %\once
  \override BassFigureBracket.stencil = #brackets->bows
  <[6]>4
  <[6 4]>
  <[6 4 2]>

  <9 7 6 4>
  \bassFigureTransparent #'(1)
  <9 7 6 4>
  \bassFigureTransparent #'(2)
  <9 7 6 4>
  \bassFigureTransparent #'(3)
  <9 7 6 4>
  \bassFigureTransparent #'(4)
  <9 7 6 4>
  \bassFigureTransparent #'(1 3)
  <9 7 6 4>
  \bassFigureTransparent #'(2 4)
  <9 7 6 4>
  \bassFigureTransparent #'(1 2 3)
  <9 7 6 4>
}

\score {
  <<
\new Staff \line
\new FiguredBass \figs
  >>
}


HTH,
  Harm

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Re: Figured Bass Tweaks

[Pierre Perol-Schneider]

Hi Sam,

How about:

\version "2.19.40"

line = {
  c'1 |
  d' |
}

figs = \figuremode {
  < 7 >2 <\markup\concat {( \tiny\number "6" ) } > |
  < 5_3 > < \markup\tiny\number\transparent "5" _3 > |
}

\score {
  <<
\new Staff \line
\new FiguredBass \figs
  >>
}


Cheers,
Pierre

2016-05-08 2:28 GMT+02:00 Sam Bivens :

> Hi all,
>
> Attached, I show my solutions for two figured bass tweaks: first, a
> parenthesized (*not* bracketed) figure; and second, a lone integer on the
> "lower line."
>
> The work-arounds are good enough for now, I'm just curious if anyone has
> any better ideas, or if I missed an obvious solution in the manual; I'd
> appreciate any comments anyone would be willing to offer.
>
> Thanks,
>
> Sam
>
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