Re: How can I omit time signature from the very first measure, but then add it at the second one?

[Vinny]

Thank you very much! It worked. :)



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: "Guide notes"

[David Wright]

On Tue 07 Nov 2017 at 18:02:09 (+0100), Malte Meyn wrote:
> 
> 
> Am 07.11.2017 um 16:45 schrieb David Wright:
> >Thanks for the replies. I did try specifying a chord, but the
> >"pitch" parameter won't take it.
> 
> That’s because I didn’t know that you wanted chords … Of course it’s
> possible to specify a chord, see the following code. There’s only
> one reason I first only allowed pitches: You then wouldn’t have to
> input the duration.
> 
> 
> %%%
> 
> \version "2.19.80"
> 
> enharmonicGuide =
> #(define-music-function (music guide) (ly:music? ly:music?)
>#{
>  \afterGrace #music {
>\once \omit Stem
>\override ParenthesesItem.font-size = -1
>\override ParenthesesItem.padding = 0.1
>\parenthesize
>#guide
>  }
>#})
> 
> afterGraceFraction = 15/16
> 
> \relative {
>   2 \enharmonicGuide  4
>   2 
> }
> 
> %%%

That works well, thanks. The only difference from my published
example is that each note is individually parenthesised. But
that's perfectly fine for my sort of use: performance copies,
not publication.

Cheers,
David.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[David Wright]

On Mon 13 Nov 2017 at 17:32:09 (+0100), David Kastrup wrote:
> David Wright  writes:
> 
> > BTW does the German used here sound as archaic as Coverdale's
> > translation (Lift up your heads, O ye gates, and be ye lift up,
> > ye everlasting doors, and the King of glory shall come in)
> 
> Uh, The Messiah _was_ composed and performed in English.  The libretto
> was written by Charles Jennens, and basically uses Bible passages from
> the KJV version.

I was quoting psalm 24 from the 1662 Book of Common Prayer which used
the Great Bible translation by Coverdale. This is still the traditional
Anglican Psalter. I'm assuming that Hammerschmidt would be setting a
a Lutheran translation? If so, then Coverdale would have been
completely familiar with this text and was probably translating from
it in part.

> In this quote, I see "ye", 2nd person plural nominative (nowadays, the
> accusative is used for everything).  That's all.  Just a tiny bit of
> Early Modern English.  All the rest is quite current-day use.  It's
> similar with other passages: it uses Early Modern English pronouns and
> verb forms (like Shakespeare would) but is pretty standard fare
> otherwise.

"Be you lift up" is not present day usage, nor "heads" in that sense.
Similarly, the second motet in this set uses psalm 51 which in English
would be "Make me a clean heart, O God: and renew a right spirit
within me."

> The problem is that the corresponding Lutheran German _is_ the same as
> modern-day German apart from some spelling differences.  German hasn't
> seen significant grammatical changes or simplifications since then.

… whereas English *has* changed since the days of the Great Bible.
That's why the Church of England seem determined to eliminate this
translation and others like it from most church services. However,
most settings¹ of psalm texts in English use this version, just as
Jennens/Handel did². It's just so well known.

> > or does it resemble contemporary usage?
> 
> Both.

Fair enough; I didn't know that. So how far back do you have to go
in German to hear things that would sound archaic or stilted to
modern ears? I know that Wagner invented an archaic form of German
for the Ring to lend it "authenticity" but did he have sources/
examples to draw on?

¹ But I don't keep up with contemporary composers.
² Almost all the *psalm* texts in Messiah are BCP, not KJV.

Cheers,
David.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Increasing spacing between staves

[Kieren MacMillan]

Hi all,

> Rather than inserting invisible music, I usually add the following as a 
> markup somewhere
> ^\markup { \null \vspace #N }
> and then adjust increase N to taste. Works very reliably for me.

This (adjustment of vertical and horizontal spacing) is one of the areas where 
the edition-engraver shines, and really is the only way to keep content (music) 
and presentation (e.g., spacing) truly separate.

HTH,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Fw: midi volume single note

[Martin Tarenskeen]

 Note-off velocity
 you may forget, this is rarely used or supported in the MIDI
 world.



Well, it is used and supported on my Roland FR-1b Midi accordion.  The
faster you let go of a button, the more of a "plop" it will produce.



Actually, I think it is fairly important for getting a realistic sound
on releasing a note on a harpsichord


Interesting examples :-)

--

MT

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: How can I omit time signature from the very first measure, but then add it at the second one?

[David Kastrup]

Vinny  writes:

> Trying to write a piece where the very first bar is completely devoid of any
> time signature indicators. Under the hood it's okay if the measure is a 4/4,
> I just don't want that to be visible on the PDF. The reason is, one of the
> musicians in the group will play an unmetered, improvised intro that ends on
> the first beat of the first metered measure, so I want to put an empty
> measure there with a simple s1 and a markup for reference. I realize this is
> unconventional.
>
> I've tried \cadenzaOn and \cadenzaOff before the first occurrence of a \time
> statement, I've \hide TimeSignature and even \omit TimeSignature, but it
> seems I haven't found the correct way of accomplishing this. I'm really just
> trying anything here. I couldn't find a good solution on  Lilypond's
> unmetered music section
> 
> .
>
> Also if I make the staff \with { \remove "Time_signature_engraver" } the
> first time signature does vanish, but so do all time signatures everywhere,
> which is not intended.
>
> The attached image is a mockup of the intended score, made with Photoshop.
> Thanks in advance.
>
>  

Doesn't seem that hard.  Probably your mistake was \omit TimeSignature
(which omits time signatures in the Voice context where nobody puts them
anyway).

For me, the following works:

\version "2.18.0"

\new Staff \with { \numericTimeSignature }
{
  \once \omit Staff.TimeSignature
  s1^\single \textLengthOn-\markup \italic "Unmetered Solo"
  \time 4/4
  \tempo Larghetto
  r1
  r1
}

-- 
David Kastrup

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

How can I omit time signature from the very first measure, but then add it at the second one?

[Vinny]

Trying to write a piece where the very first bar is completely devoid of any
time signature indicators. Under the hood it's okay if the measure is a 4/4,
I just don't want that to be visible on the PDF. The reason is, one of the
musicians in the group will play an unmetered, improvised intro that ends on
the first beat of the first metered measure, so I want to put an empty
measure there with a simple s1 and a markup for reference. I realize this is
unconventional.

I've tried \cadenzaOn and \cadenzaOff before the first occurrence of a \time
statement, I've \hide TimeSignature and even \omit TimeSignature, but it
seems I haven't found the correct way of accomplishing this. I'm really just
trying anything here. I couldn't find a good solution on  Lilypond's
unmetered music section

 
.

Also if I make the staff \with { \remove "Time_signature_engraver" } the
first time signature does vanish, but so do all time signatures everywhere,
which is not intended.

The attached image is a mockup of the intended score, made with Photoshop.
Thanks in advance.

 



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Increasing spacing between staves

[SoundsFromSound]

tisimst wrote
> Rather than inserting invisible music, I usually add the following as a
> markup somewhere
> 
> ^\markup { \null \vspace #N }
> 
> and then adjust increase N to taste. Works very reliably for me.
> 
> HTH,
> Abraham

Wow. This is so awesome, it works beautifully! Thank you Abraham! You nailed
it with that snippet...



-
composer | sound designer | asmr artist 
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Increasing spacing between staves

[Abraham Lee]

Michael, et al,

On Mon, Nov 13, 2017 at 4:40 AM, SoundsFromSound 
wrote:

> Michael Rivers wrote
> > When I run into this problem, I just print an invisible note somewhere
> > that
> > forces more space between the staves. I believe I read about that
> solution
> > somewhere on this forum years ago.
>
>
> Hi Michael,
>
> I never even thought of that idea, actually that sounds pretty handy :)
>
> But how would you add an invisible note vertically though, to increase the
> space between?
> I am only familiar with hiding notes / invisible rests in a horizontal
> situation...where would you put the note for the vertical increase?
>

Rather than inserting invisible music, I usually add the following as a
markup somewhere

^\markup { \null \vspace #N }

and then adjust increase N to taste. Works very reliably for me.

HTH,
Abraham
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[Urs Liska]

Am 13.11.2017 um 16:16 schrieb David Wright:

On Mon 13 Nov 2017 at 10:55:06 (+0100), Werner Arnhold wrote:

Hi, list members,

I try to typeset an old choral work with hemiolic measures. That leads
me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
indication and immediately back again. So I wanted to follow a printed
example with two time signatures at the beginning of the first line.

The word you want to search on is alternatingTimeSignatures
but I've only turned up
https://lists.gnu.org/archive/html/lilypond-devel/2014-05/msg00045.html
which might not be up-to-date. Urs may reply with a better version.
The one I use is attached.


Some more reference is in this blog post: 
http://lilypondblog.org/2014/06/polymetrics-in-sibelius-vs-lilypond/


The key idea is to create the visual time signature including all 
occuring time signatures and then suppress the *printing* of time 
signatures. That way you can write the actual time signatures (=> 
semantically correct) but have only the general rule printed at the 
beginning.


HTH
Urs



Cheers,
David.


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[Chris Yate]

On Mon, 13 Nov 2017 at 16:33 David Kastrup  wrote:

> David Wright  writes:
>
> > BTW does the German used here sound as archaic as Coverdale's
> > translation (Lift up your heads, O ye gates, and be ye lift up,
> > ye everlasting doors, and the King of glory shall come in)
>
> Uh, The Messiah _was_ composed and performed in English.  The libretto
> was written by Charles Jennens, and basically uses Bible passages from
> the KJV version.
>

Correct. But in the spirit of accuracy and pedantry, the work is called
"Messiah".
;-)

Chris

On Mon, 13 Nov 2017 at 16:33 David Kastrup  wrote:

> David Wright  writes:
>
> > BTW does the German used here sound as archaic as Coverdale's
> > translation (Lift up your heads, O ye gates, and be ye lift up,
> > ye everlasting doors, and the King of glory shall come in)
>
> Uh, The Messiah _was_ composed and performed in English.  The libretto
> was written by Charles Jennens, and basically uses Bible passages from
> the KJV version.
>
> In this quote, I see "ye", 2nd person plural nominative (nowadays, the
> accusative is used for everything).  That's all.  Just a tiny bit of
> Early Modern English.  All the rest is quite current-day use.  It's
> similar with other passages: it uses Early Modern English pronouns and
> verb forms (like Shakespeare would) but is pretty standard fare
> otherwise.
>
> The problem is that the corresponding Lutheran German _is_ the same as
> modern-day German apart from some spelling differences.  German hasn't
> seen significant grammatical changes or simplifications since then.
>
> > or does it resemble contemporary usage?
>
> Both.
>
> --
> David Kastrup
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[David Kastrup]

David Wright  writes:

> BTW does the German used here sound as archaic as Coverdale's
> translation (Lift up your heads, O ye gates, and be ye lift up,
> ye everlasting doors, and the King of glory shall come in)

Uh, The Messiah _was_ composed and performed in English.  The libretto
was written by Charles Jennens, and basically uses Bible passages from
the KJV version.

In this quote, I see "ye", 2nd person plural nominative (nowadays, the
accusative is used for everything).  That's all.  Just a tiny bit of
Early Modern English.  All the rest is quite current-day use.  It's
similar with other passages: it uses Early Modern English pronouns and
verb forms (like Shakespeare would) but is pretty standard fare
otherwise.

The problem is that the corresponding Lutheran German _is_ the same as
modern-day German apart from some spelling differences.  German hasn't
seen significant grammatical changes or simplifications since then.

> or does it resemble contemporary usage?

Both.

-- 
David Kastrup

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[Joshua Stutter]

You should try something like this, changing the TimeSignature stencil 
to a custom markup:


---

{
  \override Staff.TimeSignature.stencil = #(lambda (grob) 
(grob-interpret-markup grob #{ \markup {

    \override #'(baseline-skip . 0)
    \number \line {
  \column { 3 4 }
  \column { 3 2 }
    }

} #}))
  b' b'
}

---

On 13/11/17 09:55, Werner Arnhold wrote:

Hi, list members,

I try to typeset an old choral work with hemiolic measures. That leads
me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
indication and immediately back again. So I wanted to follow a printed
example with two time signatures at the beginning of the first line.

In the first attachment you can see the result of my efforts. There are
two problems in it:

1. The second time signature is too narrow to the first note. My useless
efforts for fixing this are in the minimal example, commented out.

2. It is constructed in definitely the wrong way. There must be a more
logical than optical way of building it. The connection to the
Score.RehearsalMark cannot be the right way. And by the way, it works
only for the first staff.

Is there a better way to get a solution of this problem? I know, it is
possible to avoid the problem if one accepts several visible time
changes in the score, but I don't want to.

The first attached file shows the state of the complete Work, see the
hemiolic measure at measure 5.
The minmal example ly-file shows the first 9 measures without text.

I thank you for any help.

Werner


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[David Wright]

Another point, dwelling on the lyrics…

On Mon 13 Nov 2017 at 10:55:06 (+0100), Werner Arnhold wrote:

> The first attached file shows the state of the complete Work, see the
> hemiolic measure at measure 5. 
> The minmal example ly-file shows the first 9 measures without text.

When you add the text, you need to take account of the moving
part in bar 5 on "Welt". For the basses, you could merely add
the lyrics to the 1st part, but this might not be convenient
later on in the movement. So …

The soprano situation is trickier because the moving part
is necessarily displaced. Here you should use a NullVoice,
duplicating the 2nd part (because theirs is written below the
staff). However, at bar 5, the last note in the NullVoice
should be modified to   a4~a   to match the rhythm of the
2nd part, but without displacement, like the 1st part.

… you may therefore decide to tackle the bass parts
similarly, adding a NullVoice.

BTW does the German used here sound as archaic as Coverdale's
translation (Lift up your heads, O ye gates, and be ye lift up,
ye everlasting doors, and the King of glory shall come in)
or does it resemble contemporary usage?

Cheers,
David.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Scheme Help

[Benjamin Bloomfield]

Thanks, this looks very helpful.  Yes, I want any note at line-begin to be
visible, but if the note is a breve and not at line-begin I want to check
whether there is a breath mark immediately before it, or whether the note
immediately before it is not a breve, in which case the current breve needs
to be visible.

I think this may be enough for me to go on though.

Thanks very much,

*Benjamin Bloomfield*

On Sun, Nov 12, 2017 at 2:37 PM, Thomas Morley 
wrote:

> 2017-11-11 17:11 GMT+01:00 Benjamin Bloomfield :
> > I am trying to write a scheme to achieve the functionality I was asking
> > about in my earlier message.  I think that I could do it with a simple
> > callback function on the NoteHead.transparent property and make the
> notehead
> > transparent if it is a breve that is preceded by another breve and not
> the
> > first note in its system.
> >
> > It's easy enough to determine whether the NoteHead is a breve in scheme,
> but
> > how do I determine whether it's the first of its system, and how do I
> > reference the NoteHead that comes immediately before it (if any) to
> > determine whether that is also a breve?
> >
> > Thanks!
> >
> > Benjamin Bloomfield
>
> Wouldn't you want any note at line-begin to be visible? So why check
> what's the preceding?
>
> For the other stuff you may find some procedures helpful, which David
> Nalesnik had coded:
>
> %% Thanks to David Nalesnik
> #(define (at-line-end? grob)
>(let* ((col (ly:item-get-column grob))
>   (ln (ly:grob-object col 'right-neighbor))
>   (col-to-check (if (ly:grob? ln) ln col)))
>  (and (eq? #t (ly:grob-property col-to-check 'non-musical))
>   (= -1 (ly:item-break-dir col-to-check)
>
> #(define (at-line-beginning? grob)
>(let* ((col (ly:item-get-column grob))
>   (ln (ly:grob-object col 'left-neighbor))
>   (col-to-check (if (ly:grob? ln) ln col)))
>  (and (eq? #t (ly:grob-property col-to-check 'non-musical))
>   (= 1 (ly:item-break-dir col-to-check)
>
>
> {
>   \override NoteHead.after-line-breaking =
> #(lambda (grob)
>   (ly:grob-set-property! grob 'color
> (cond ((at-line-end? grob) cyan)
>   ((at-line-beginning? grob) red)
>   (else '()
>   \repeat unfold 150 c'1
> }
>
> HTH,
>   Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: double time signature problem

[David Wright]

On Mon 13 Nov 2017 at 10:55:06 (+0100), Werner Arnhold wrote:
> Hi, list members,
> 
> I try to typeset an old choral work with hemiolic measures. That leads
> me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
> indication and immediately back again. So I wanted to follow a printed
> example with two time signatures at the beginning of the first line.

The word you want to search on is alternatingTimeSignatures
but I've only turned up
https://lists.gnu.org/archive/html/lilypond-devel/2014-05/msg00045.html
which might not be up-to-date. Urs may reply with a better version.
The one I use is attached.

Cheers,
David.
\version "2.19.49" % 2015-12-15

%% Print multiple time signatures at the start.
%% Then omit printing time signatures at will,
%% or continue to print them.

%% To print the multiple time signatures:
%% \multiTimeSignatures #'((3 8) (4 8) (5 8))

%% To avoid printing time signatures when it changes:
%% \omit Score.TimeSignature

%% To restore normality:
%% \undo \omit Score.TimeSignature

multiTimeSignatures =
#(define-music-function (timesigs)(list?)
  (_i "Print multiple time signatures. The argument is a Scheme list
of lists. Each list describes one fraction to be printed.
When the function has executed the first of the given time signatures
will be the effective @code{\\time}, while the following are simply graphical.
When using it you will want to use @code{\\omit Score.TimeSignature}
before the next use of @code{\\time}. Please note that this does not
perform any checks regarding the used time signatures, so you're
responsible yourself to write consistent music. To return to normal
use of time signatures use @code{\\undo \\omit Score.TimeSignature}.")
  (let ((firstsig (cons
   (caar timesigs)
   (cadar timesigs
   #{ \once\override Staff.TimeSignature.stencil =
   #(lambda (grob)
 (grob-interpret-markup grob
  #{ \markup \override #'(baseline-skip . 0)
  \number
  #(map (lambda (x) #{ \markup \center-column #(map number->string x) #})
 timesigs)
 #}))
  \time #firstsig #}))

%%
%{
\relative {
  \multiTimeSignatures #'((3 8) (4 8) (5 8))
  c'8 d e
  \omit Score.TimeSignature
  \time 4/8
  f g a b
  \time 5/8
  c g c, f e
  \time 3/8
  d e f
  g a b
  \time 4/8
  c b a b
  \undo \omit Score.TimeSignature
  \time 5/8
  c b a g f
}
%}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[David Kastrup]

David Wright  writes:

> On Mon 13 Nov 2017 at 07:13:10 (-0500), Ben wrote:
>> On 11/13/2017 1:58 AM, Don Gingrich wrote:
>> >What I want is to effectively have two voices  in the second bar -- The
>> >first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
>> >a8) a4 d4 e8 e
>> >
>> >melody = \relative c' {
>> >   \clef treble
>> >   \key d \major
>> >   \time 2/2
>> >   \repeat volta 2 {
>> >     d2 \slurDashed d4 ( d) |
>> >     d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
>> >   }
>> >     \bar "|."
>> >}
>> >
>> >
>> >
>> >It would be good to understand how to insert an occasional bar with an
>> >alternate voice -- much vocal music uses a consistent chord progression
>> >and accompaniment -- but varies the melody to fit the lyric.
>> >
>> >
>> 
>> Hi Don,
>> 
>> < side note >
>> 
>> I just encountered a curious crash when I copied your code into my
>> Frescobaldi / LilyPond setup on Windows 10:
>> (see attached)
>> 
>> I have never seen any message like this ever before, no idea where
>> it came from or what it's talking about but...thought I would share
>> in hopes that it made sense to someone.
>
> For a little more info:
>
> Interpreting music...
> programming error: moving backwards in time
> continuing, cross fingers
> lilypond:
> /home/gub/NewGub/gub/target/linux-x86/src/lilypond-git.sv.gnu.org--lilypond.git-stable-2.20/lily/sequential-iterator.cc:163:
> virtual void Sequential_iterator::next_element(bool): Assertion
> `!grace_fixups_ || grace_fixups_->start_ >= here_mom_' failed.

Well, to quote from the manual:

   Grace sections should only be used within sequential music
expressions.  Nesting or juxtaposing grace sections is not supported,
and might produce crashes or other errors.

-- 
David Kastrup

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Fw: midi volume single note

[David Kastrup]

"m.tarensk...@zonnet.nl"  writes:

> Verzonden vanaf mijn Huawei mobiele telefoon
>
>  Oorspronkelijk bericht 
> Onderwerp: Re: midi volume single note
> Van: m.tarensk...@zonnet.nl
> Aan: Caagr98 
> Cc: 
>
>  In MIDI "volume" affects all notes on the same MIDI
>  channel. "velocity" can be used on single notes, but is set at the
>  beginning (note-on) or ending (note-off) of a note. Note-off velocity
>  you may forget, this is rarely used or supported in the MIDI
>  world.

Well, it is used and supported on my Roland FR-1b Midi accordion.  The
faster you let go of a button, the more of a "plop" it will produce.
You can adjust the level of button noise, though, including switching it
off.  It's not that much use for musical purposes.  More like training
for the real thing.

-- 
David Kastrup

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[David Wright]

On Mon 13 Nov 2017 at 07:13:10 (-0500), Ben wrote:
> On 11/13/2017 1:58 AM, Don Gingrich wrote:
> >What I want is to effectively have two voices  in the second bar -- The
> >first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
> >a8) a4 d4 e8 e
> >
> >melody = \relative c' {
> >   \clef treble
> >   \key d \major
> >   \time 2/2
> >   \repeat volta 2 {
> >     d2 \slurDashed d4 ( d) |
> >     d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
> >   }
> >     \bar "|."
> >}
> >
> >
> >
> >It would be good to understand how to insert an occasional bar with an
> >alternate voice -- much vocal music uses a consistent chord progression
> >and accompaniment -- but varies the melody to fit the lyric.
> >
> >
> 
> Hi Don,
> 
> < side note >
> 
> I just encountered a curious crash when I copied your code into my
> Frescobaldi / LilyPond setup on Windows 10:
> (see attached)
> 
> I have never seen any message like this ever before, no idea where
> it came from or what it's talking about but...thought I would share
> in hopes that it made sense to someone.

For a little more info:

Interpreting music...
programming error: moving backwards in time
continuing, cross fingers
lilypond:
/home/gub/NewGub/gub/target/linux-x86/src/lilypond-git.sv.gnu.org--lilypond.git-stable-2.20/lily/sequential-iterator.cc:163:
 virtual void Sequential_iterator::next_element(bool): Assertion 
`!grace_fixups_ || grace_fixups_->start_ >= here_mom_' failed.

Cheers,
David.

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[Michael Käppler]

Seems what you are looking for is here:
http://lilypond.org/doc/v2.19/Documentation/notation/stanzas#stanzas-with-different-rhythms

Where exactly is the documentation unclear about using multiple voices?

This works for me:
<<
  \relative c' \new Voice = "vone" {
    d2 d4 d
    <<
  \new Voice = "vtwo" {
    \voiceOne
  d4 r r
  }
  {
    \voiceTwo
        \tiny
 d8 (a) a4 d4
    \oneVoice
  } >>
    \normalsize
    e8 e
  }
>>

Am 13.11.2017 um 07:58 schrieb Don Gingrich:

What I want is to effectively have two voices  in the second bar -- The
first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
a8) a4 d4 e8 e

I'm copying a sheet that used diminished size notes for the alternate,
so I figured, "OK, use grace notes" But for some reason that I don't
understand, the a4 generates both a small note _and_ a full size one --
the "curlys" around the a4 d4 were my attempt to force my will --  but
Lilypond politely ignored them.

melody = \relative c' {
   \clef treble
   \key d \major
   \time 2/2
   \repeat volta 2 {
     d2 \slurDashed d4 ( d) |
     d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
   }
     \bar "|."
  
}



I had tried voices previously, but found the explanations in the
documentation insufficient -- the attempt simply barfed or refused
generate what I expected.

I'm using dashed slurs since it makes more sense if I need to ignore
them in a subsequent verse.


Cheers,


-Don


It would be good to understand how to insert an occasional bar with an
alternate voice -- much vocal music uses a consistent chord progression
and accompaniment -- but varies the melody to fit the lyric.


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[Michael Käppler]

Seems what you are looking for is here:
http://lilypond.org/doc/v2.19/Documentation/notation/stanzas#stanzas-with-different-rhythms

Where exactly is the documentation unclear about using multiple voices?

This works for me:
<<
  \relative c' \new Voice = "vone" {
    d2 d4 d
    <<
  \new Voice = "vtwo" {
    \voiceOne
  d4 r r
  }
  {
    \voiceTwo
        \tiny
 d8 (a) a4 d4
    \oneVoice
  } >>
    \normalsize
    e8 e
  }
>>

Am 13.11.2017 um 07:58 schrieb Don Gingrich:

What I want is to effectively have two voices  in the second bar -- The
first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
a8) a4 d4 e8 e

I'm copying a sheet that used diminished size notes for the alternate,
so I figured, "OK, use grace notes" But for some reason that I don't
understand, the a4 generates both a small note _and_ a full size one --
the "curlys" around the a4 d4 were my attempt to force my will --  but
Lilypond politely ignored them.

melody = \relative c' {
   \clef treble
   \key d \major
   \time 2/2
   \repeat volta 2 {
     d2 \slurDashed d4 ( d) |
     d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
   }
     \bar "|."
  
}



I had tried voices previously, but found the explanations in the
documentation insufficient -- the attempt simply barfed or refused
generate what I expected.

I'm using dashed slurs since it makes more sense if I need to ignore
them in a subsequent verse.


Cheers,


-Don


It would be good to understand how to insert an occasional bar with an
alternate voice -- much vocal music uses a consistent chord progression
and accompaniment -- but varies the melody to fit the lyric.


___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user




___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

double time signature problem

[Werner Arnhold]

Hi, list members,

I try to typeset an old choral work with hemiolic measures. That leads
me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
indication and immediately back again. So I wanted to follow a printed
example with two time signatures at the beginning of the first line.

In the first attachment you can see the result of my efforts. There are
two problems in it:

1. The second time signature is too narrow to the first note. My useless
efforts for fixing this are in the minimal example, commented out.

2. It is constructed in definitely the wrong way. There must be a more
logical than optical way of building it. The connection to the
Score.RehearsalMark cannot be the right way. And by the way, it works
only for the first staff.

Is there a better way to get a solution of this problem? I know, it is
possible to avoid the problem if one accepts several visible time
changes in the score, but I don't want to.

The first attached file shows the state of the complete Work, see the
hemiolic measure at measure 5. 
The minmal example ly-file shows the first 9 measures without text.

I thank you for any help.

Werner
\version "2.18.2"

\include "deutsch.ly"
\header { 
  tagline = ##f 	% entfernt die Fußzeile
}

#(set-global-staff-size 16)

global = {
  \key c \major
  \time 3/4
}

soprannoteni = \relative c'' {
  \autoBeamOff
  % 1
  \override Score.RehearsalMark #'extra-offset = #'( 4 . -6.2 )
  \mark \markup { \bold \center-column {" 3" " 2"} }
%  \revert Score.RehearsalMark #'extra-offset
%  \once \override Staff.NoteColumn.X-offset = #10
%  \once \override Score.NonMusicalPaperColumn #'padding = #2.5
  d4. d8 d4
  \omit Score.TimeSignature
  \time 3/4
  % 2
  d4. d8 d4
  % 3
  h4\rest d d
  % 4
  c2 c4
  % 5
  \time 3/2
  h4. c8 d4 h a2
  % 6
  \time 3/4
  g4 g a
  % 7
  h h c
  % 8
  d2.
  % 9
  a4 a h
}

soprannotenii = \relative c'' {
  \autoBeamOff
  % 1
  h4. h8 h4
  % 2
  h4. h8 h4
  % 3
  s4 h h
  % 4
  a2 a4
  % 5
  g4. a8 h4 g g fis
  % 6
  g2 s4
  % 7 
  R2.
  % 8
  r4 d e
  % 9
  f! f g
}

altnoten = \relative c'' {
  \autoBeamOff
  % 1
  g4. g8 g4
  % 2
  g4. g8 g4
  % 3
  r g g
  % 4
  e2 e4 
  % 5
  g2. g4 d2
  % 6
  d2 r4
  % 7 - 9
  \repeat unfold 3 { R2. }
}

tenornoten = \relative c' {
  \autoBeamOff
  \clef "treble_8"
  % 1
  d4. d8 d4
  % 2
  d4. d8 d4
  % 3
  r4 d h
  % 4
  c2 c4
  % 5
  d2. e4 a,2
  % 6
  h2 r4
  % 7
  r g a
  % 8
  h h c
  % 9
  d2.
}

bassnoteni = \relative c' {
  \clef bass
  \autoBeamOff
  % 1
  h4. h8 h4
  % 2
  h4. h8 h4
  % 3
  d,4\rest g g
  % 4
  c2 c4
  % 5
  g2. g4 d'( d,)
  % 6
  g2 d4\rest
  % 7 - 9
  \oneVoice \repeat unfold 3 { R2. } \voiceOne
}

bassnotenii = \relative c' {
  \clef bass
  \autoBeamOff
  % 1
  g4. g8 g4
  % 2
  g4. g8 g4
  % 3
  s4 g g
  % 4
  a2 a,4
  % 5
  h2. c4 d2 
  % 6
  g,2 s4
  % 7 - 9
  \repeat unfold 3 { s2. }
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \set Staff.instrumentName = #"Sopran I/II"
  \new Voice = "soprani" {
\voiceOne
	<< \global \soprannoteni >>
  }
  \new Voice = "sopranii" {
\voiceTwo
	<< \global \soprannotenii >>
  }
>>
\new Staff <<
  \set Staff.instrumentName = #"Alt"
  \new Voice = "alt" << \global \altnoten >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Tenor"
  \new Voice = "tenor" << \global \tenornoten >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Bass I/II"
  \new Voice = "bassi" {
\voiceOne
	<< \global \bassnoteni >>
  }
  \new Voice = "bassii" {
\voiceTwo
	<< \global \bassnotenii >>
  }
>>
  >>
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Fw: midi volume single note

[m.tarensk...@zonnet.nl]

<<< text/html; charset=utf-8: Unrecognized >>>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: midi volume single note

[Caagr98]

I was thinking of something like this:

<<
  { c'1 }
  { s8 \set Voice.midiExpression=#0.5 s2.. Voice.midiExpression=#1 }
>> c'1

That is, simultaneously: a) play a note, b) wait a short while, reduce volume, 
wait until rest of the note is finished (2.. is 7/8 of a measure), then reset 
to normal.

On 11/13/17 13:25, Gianmaria Lari wrote:
> 
> On 13 November 2017 at 11:21, Caagr98  > wrote:
> 
> You can change `Voice.midiExpression` (0≤x≤1) in the middle of a note, 
> which changes dynamics/volume. I don't know whether you can do that to one 
> specific note without affecting other simultaneous ones, but you can just 
> create a new voice for that.
> 
> 
> I have no idea how to do that. Can you give more information or a small 
> example?

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: midi volume single note

[Gianmaria Lari]

On 13 November 2017 at 11:21, Caagr98  wrote:

> You can change `Voice.midiExpression` (0≤x≤1) in the middle of a note,
> which changes dynamics/volume. I don't know whether you can do that to one
> specific note without affecting other simultaneous ones, but you can just
> create a new voice for that.
>

I have no idea how to do that. Can you give more information or a small
example?
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[Ralph Palmer]

Hi, Don -

On Mon, Nov 13, 2017 at 1:58 AM, Don Gingrich 
wrote:

> What I want is to effectively have two voices  in the second bar -- The
> first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
> a8) a4 d4 e8 e
>
> I'm copying a sheet that used diminished size notes for the alternate,
> so I figured, "OK, use grace notes" But for some reason that I don't
> understand, the a4 generates both a small note _and_ a full size one --
> the "curlys" around the a4 d4 were my attempt to force my will --  but
> Lilypond politely ignored them.
>
> melody = \relative c' {
>   \clef treble
>   \key d \major
>   \time 2/2
>   \repeat volta 2 {
> d2 \slurDashed d4 ( d) |
> d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
>   }
> \bar "|."
>
> }
>
>
> I had tried voices previously, but found the explanations in the
> documentation insufficient -- the attempt simply barfed or refused
> generate what I expected.
> It would be good to understand how to insert an occasional bar with an
> alternate voice -- much vocal music uses a consistent chord progression
> and accompaniment -- but varies the melody to fit the lyric.
>
>
Please include your LilyPond version and operating system when you're
asking about a problem.

I would certainly try using separate voices again. Also, in your first
paragraph, "the second uses d4 (
a8) a4 d4 e8 e" is one eighth note too long.

Is this what you're looking for? It should work in 2.18, as well.

%

\version "2.19.80"

melody = \relative c' {
  \clef treble
  \key d \major
  \time 2/2
  \repeat volta 2 {
d2 d4( d) |
<<
  { d4 r r e8 e }
  \\
  { d4( a8) a d4 e8 e }
>>
  }
\bar "|."
}

\score {
  \melody
}

%%%

HTH,

Ralph

-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Strange behaviour

[Ben]

On 11/13/2017 1:58 AM, Don Gingrich wrote:

What I want is to effectively have two voices  in the second bar -- The
first time through fits the d4 r4 r4 e8 e tune and the second uses d4 (
a8) a4 d4 e8 e

melody = \relative c' {
   \clef treble
   \key d \major
   \time 2/2
   \repeat volta 2 {
     d2 \slurDashed d4 ( d) |
     d4 ( \grace a8 ) \grace{ a4 d4} r4 r4 e8 e
   }
     \bar "|."
  
}




It would be good to understand how to insert an occasional bar with an
alternate voice -- much vocal music uses a consistent chord progression
and accompaniment -- but varies the melody to fit the lyric.




Hi Don,

< side note >

I just encountered a curious crash when I copied your code into my 
Frescobaldi / LilyPond setup on Windows 10:

(see attached)

I have never seen any message like this ever before, no idea where it 
came from or what it's talking about but...thought I would share in 
hopes that it made sense to someone.



___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Looking for advice on "looping" through all keys

[David Kastrup]

Patrick Smith  writes:

> 2-week-old LilyPond newbie here.
>
> I've completed my first transcription of J. S. Bach Contrapuntus I for
> brass quartet and I must say that LilyPond is totally amazing!
>
> I'm now working on creating a Book of Basic Routines for the brass quartet.
> I'd like to have each scale routine printed in all keys. I've searched
> through the LilyPond manuals and I've scanned the Scheme materials in
> search of an algorithmic way of cycling through all transpositions but I
> haven't found anything yet. I suspect there is a way to do it but it might
> just be easier to "hard code" by creating variables (one for each key) and
> then transposing the scale music into each of the variables.
>
> But, if there is a way to create a "for" loop combined with a
> "transposition index" (i.e., rather than "\transpose c bes" instead
> "\transpose c 2" where 2 is equal to 2 half steps), I would prefer that.
> I'm not really prepared at this point to use makefiles for this purpose.
>
> Are there ways of creating "for" loops and/or transposition indices?

$@(map
(lambda (p)
  #{ \transpose c' #p { \key c \major c'4 e' g' c' \bar "|." } #})
(music-pitches #{ c' d' e' f' g' a' b' des' es' fis' as' bes' #}))

-- 
David Kastrup

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Looking for advice on "looping" through all keys

[Jacques Menu Muzhic]

Hello Patrick,

This is done by generating LP code outside of LilyPond itself with a bash 
script, may it be useful to you?


http://lilypondblog.org/2013/09/automatic-generation-of-scales-in-various-modes-for-all-21-pitches/
 


JM

> Le 13 nov. 2017 à 12:56, Patrick Smith  a écrit :
> 
> 2-week-old LilyPond newbie here.
> 
> I've completed my first transcription of J. S. Bach Contrapuntus I for brass 
> quartet and I must say that LilyPond is totally amazing!
> 
> I'm now working on creating a Book of Basic Routines for the brass quartet. 
> I'd like to have each scale routine printed in all keys. I've searched 
> through the LilyPond manuals and I've scanned the Scheme materials in search 
> of an algorithmic way of cycling through all transpositions but I haven't 
> found anything yet. I suspect there is a way to do it but it might just be 
> easier to "hard code" by creating variables (one for each key) and then 
> transposing the scale music into each of the variables. 
> 
> But, if there is a way to create a "for" loop combined with a "transposition 
> index" (i.e., rather than "\transpose c bes" instead "\transpose c 2" where 2 
> is equal to 2 half steps), I would prefer that. I'm not really prepared at 
> this point to use makefiles for this purpose.
> 
> Are there ways of creating "for" loops and/or transposition indices?
> 
> Or should I just slog it out and "hard code" the transpositions?
> 
> 
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Looking for advice on "looping" through all keys

[Patrick Smith]

2-week-old LilyPond newbie here.

I've completed my first transcription of J. S. Bach Contrapuntus I for
brass quartet and I must say that LilyPond is totally amazing!

I'm now working on creating a Book of Basic Routines for the brass quartet.
I'd like to have each scale routine printed in all keys. I've searched
through the LilyPond manuals and I've scanned the Scheme materials in
search of an algorithmic way of cycling through all transpositions but I
haven't found anything yet. I suspect there is a way to do it but it might
just be easier to "hard code" by creating variables (one for each key) and
then transposing the scale music into each of the variables.

But, if there is a way to create a "for" loop combined with a
"transposition index" (i.e., rather than "\transpose c bes" instead
"\transpose c 2" where 2 is equal to 2 half steps), I would prefer that.
I'm not really prepared at this point to use makefiles for this purpose.

Are there ways of creating "for" loops and/or transposition indices?

Or should I just slog it out and "hard code" the transpositions?
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Increasing spacing between staves

[SoundsFromSound]

Michael Rivers wrote
> When I run into this problem, I just print an invisible note somewhere
> that
> forces more space between the staves. I believe I read about that solution
> somewhere on this forum years ago.


Hi Michael,

I never even thought of that idea, actually that sounds pretty handy :) 

But how would you add an invisible note vertically though, to increase the
space between?
I am only familiar with hiding notes / invisible rests in a horizontal
situation...where would you put the note for the vertical increase? 

Thanks!



-
composer | sound designer | asmr artist 
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: midi volume single note

[Caagr98]

You can change `Voice.midiExpression` (0≤x≤1) in the middle of a note, which 
changes dynamics/volume. I don't know whether you can do that to one specific 
note without affecting other simultaneous ones, but you can just create a new 
voice for that.

On 11/13/17 11:16, Gianmaria Lari wrote:
> 
> 
> On 13 November 2017 at 10:57, bb  > wrote:
> 
> Changes in the MIDI volume take place only on starting a note, so 
> crescendi and decrescendi cannot affect the volume of a single note.
> 
> http://lilypond.org/doc/v2.18/Documentation/notation/creating-midi-files.html 
> 
> 
> 
> That's why I also asked  about some existing escamotage. :)
> 
> Thank you,
> g.
> 
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: midi volume single note

[Gianmaria Lari]

On 13 November 2017 at 10:57, bb  wrote:

> Changes in the MIDI volume take place only on starting a note, so
> crescendi and decrescendi cannot affect the volume of a single note.
> http://lilypond.org/doc/v2.18/Documentation/notation/
> creating-midi-files.html
>
>
That's why I also asked  about some existing escamotage. :)

Thank you,
g.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Increasing spacing between staves

[David Sumbler]

On Sun, 2017-11-12 at 10:20 -0700, Michael Rivers wrote:
> When I run into this problem, I just print an invisible note
> somewhere that forces more space between the staves. I believe I read
> about that solution somewhere on this forum years ago.

Thanks; that sounds an excellent idea.

It's one of those things that seems totally obvious once it is
mentioned, yet I never thought of it!

David

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: midi volume single note

[bb]

Changes in the MIDI volume take place only on starting a note, so
crescendi and decrescendi cannot affect the volume of a single note.
http://lilypond.org/doc/v2.18/Documentation/notation/creating-midi-files.html

Regards

Am 13.11.2017 um 08:38 schrieb Gianmaria Lari:
>
> \version "2.19.80"
> right = \relative c'' { c1 ~ c1 }
> dynamics = { s4\f\> s4 s4 s4
>              s4 s4 s4 s4\! \p }
>
> \score {
>   \new Staff \with { midiInstrument = "accordion"} 
>     \new Voice <<\right \dynamics>>
>   \midi {}
>   \layout {}
> }
>

___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user