Re: Show TacetStaff when StaffGroup empty

[Jean Abou Samra]

Le mardi 31 octobre 2023 à 21:31 -0600, Jeff Olson a écrit :
>  
>  
> P.S. What's the best way to alert somebody whenever I see a small nit like
> this in the documentation?  I don't have an account on gitlab, nor do I
> subscribe to the bugs or developers lists.
>  


The normal way to report a problem is to write to the bug-lilypond mailing list.
You don't need to be subscribed.




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Re: Automatic annotation of slide positions/fingerings for brass instruments.

[Adam M. Griggs]

Yeah, I came across one of those bass clef, Bb transposed parts a couple of
months ago. Hit the whole trombone section for a six.

I've spent a lot of time delving though pre-Baroque manuscripts, both
handwritten and printed. One upside of this is a working familiarity with
all manner of clefs. Lilypond has me covered!


On Wed, 1 Nov 2023, 05:30 Wols Lists,  wrote:

> On 31/10/2023 01:36, Adam M. Griggs wrote:
> > Your second recommendation is situational. I see you have a *.uk
> > email address. I'm familiar with the British brass band context. I get
> > it—almost everything is transposed for instruments pitched in Bb or Eb,
> > and in the entire ensemble, only bass trombones are notated at concert
> > pitch. At this time, however, I'm operating in a concert band
> > environment, working with both community and school bands. Our trombone,
> > tuba, even euphonium parts are all notated at concert pitch. You are
> > completely correct to suggest it, but it depends on the target audience.
>
> And something else :-) I've only met it once, to the best of my
> knowledge, and I think it was American, I've come across a piece - in
> bass clef - and also in Bb !!!
>
> That was a nightmare until I realised what was going on ! :-)
>
> There's always an exception to every rule !
>
> And over here, I think orchestras are always bass/tenor clef, brass
> bands are always Bb (or tenor clef, especially "brass and reed"), and
> concert/military/wind bands can be either.
>
> I'm lucky, I can read all three clefs, though not tenor very well,
> simply because I rarely see it.
>
> Cheers,
> Wol
>

Re: Two small issues

[Knute Snortum]

1) Use \after.  See
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes,
and scroll down to Delayed Turns.  I also used a tweak to move the turn up.

2) Just add notes after the key change and it should display correctly

\version "2.24.2"

\relative c'' {
  \key c \minor
  \cadenzaOn r32^\markup { \italic "molto rit"}\f
  c,_\markup {\italic "con forza"}[( ees aes] c[ ees aes  bes]
  \after 16.*2/3 \tweak Script.staff-padding 3 \turn % <-- new stuff here
  c16.[ d32] ees16)[ \set breathMarkType = #'tickmark
  \breathe fis,]^-^\markup { \italic "ad lib"}\p g4^-_\markup { \italic
"sub." }
  r4_\markup { \italic "attaca"} \cadenzaOff\bar "||"
  \key c \major |
  c4 c c c
}

--
Knute Snortum



On Wed, Nov 1, 2023 at 5:26 AM Peter Mayes  wrote:

> I have two beginner questions about the following fragment - the end of
> the first movement of Cimarosa's oboe concerto - which I am trying to
> reproduce from the printed score, partly for learning Lilypond, and partly
> so I can print it enlarged on A3 paper.
>
> My coding:
>
>   \cadenzaOn r32^\markup { \italic "molto rit"}\f c,_\markup {\italic "con
> forza"}[( ees aes] c[ ees aes  bes] c16.\turn
> [ d32] ees16)[ \set breathMarkType = #'tickmark \breathe fis,]^-^\markup {
> \italic "ad lib"}\p g4^-_\markup { \italic
> "sub."} r4_\markup { \italic "attaca"} \cadenzaOff\bar "||"
>   \key c \major |
>
> The result:
>
> 1. How to move the turn so that it is in between the dotted C and D?
>
> 2. Where the three naturals show that the next movement has moved from C
> minor to C major, how to get the stave to continue just long enough so that
> the key signature is not floating in mid-air?
>
> Thanks in advance
> --
>
> Best wishes -- Peter
>
>

Re: Score structure with alternate endings

[Michael Werner]

On Wed, Nov 1, 2023 at 10:59 AM N. Andrew Walsh 
wrote:

> Hi List,
>

Hi Andrew,


> I have a client who's written a piece where he wants the last 16 bars to
> have two different variations, to be freely chosen by the performer. Sort
> of a choose-your-own-adventure score. It's scored for two voices and piano,
> but the ending(s) would only be the piano.
>
> So, grossly simplified, the score would have bars 1-53 as normal music,
> and then the performer adds a coda of either "A" or "B", each of which is a
> 16-bar section of one of the two variations. The bar numbers should be the
> same.
>
> How would I structure the score to do this? I'm thinking it'd be
> preferable to have the two variations on the top and bottom of each page,
> so that it's clear they're parallel, but I'm not sure how to set it up.
>

Well, like many things with Lilypond I'm sure there's more than one way to
do things. My take on this would be something like this:

\version "2.25.9"

length_of_main = #8
length_of_alt = #4

music_main = \relative c' {
  \repeat unfold \length_of_main { a4 b c d }
  %\break
  \repeat unfold \length_of_alt { s1 }
}

music_a = \relative c' {
  \repeat unfold \length_of_main { s1 }
  \break
  \sectionLabel \markup { \bold "A or B - pick one!" }
  \repeat unfold \length_of_alt { c4 b a b }
}

music_b = \relative c' {
  \repeat unfold \length_of_main { s1 }
  \repeat unfold \length_of_alt { e4 d c d }
}

\new StaffGroup
<<
  \new Staff \with {
instrumentName = "Main"
shortInstrumentName = "Main"
\RemoveAllEmptyStaves
  } \music_main
  \new Staff \with {
instrumentName = "A"
shortInstrumentName = "A"
\RemoveAllEmptyStaves
\override VerticalAxisGroup.staff-staff-spacing.padding = #8
  } \music_a
  \new Staff \with {
instrumentName = "B"
shortInstrumentName = "B"
\RemoveAllEmptyStaves
  } \music_b
>>

Here, music_main is the first part of the music running along by itself,
with music_a and music_b the two possible alternates. The main thing will
be to watch the spacer rests at the beginning of music_a and music_b - they
need to be the right number of measures worth. By using the variables in
the unfold statement I find it a bit easier to keep track and make sure the
right numbers are getting where they need to be. Also I've added some extra
space between the two alternates, might reinforce that they're only sorta
kinda together but not really.

Don't know if this is quite what you're after, but maybe it'll at least
serve as a starting point.
-- 
Michael

Two small issues

[Peter Mayes]

I have two beginner questions about the following fragment - the end of 
the first movement of Cimarosa's oboe concerto - which I am trying to 
reproduce from the printed score, partly for learning Lilypond, and 
partly so I can print it enlarged on A3 paper.


My coding:

\cadenzaOnr32^\markup{\italic"molto rit"}\fc,_\markup{\italic"con 
forza"}[(eesaes]c[eesaesbes]c16.\turn
[d32]ees16)[\setbreathMarkType = #'tickmark 
\breathefis,]^-^\markup{\italic"ad lib"}\pg4^-_\markup{\italic

"sub."}r4_\markup{\italic"attaca"}\cadenzaOff\bar"||"
\keyc\major|

The result:

1. How to move the turn so that it is in between the dotted C and D?

2. Where the three naturals show that the next movement has moved from C 
minor to C major, how to get the stave to continue just long enough so 
that the key signature is not floating in mid-air?


Thanks in advance

--

Best wishes -- Peter

Score structure with alternate endings

[N. Andrew Walsh]

Hi List,

I have a client who's written a piece where he wants the last 16 bars to
have two different variations, to be freely chosen by the performer. Sort
of a choose-your-own-adventure score. It's scored for two voices and piano,
but the ending(s) would only be the piano.

So, grossly simplified, the score would have bars 1-53 as normal music, and
then the performer adds a coda of either "A" or "B", each of which is a
16-bar section of one of the two variations. The bar numbers should be the
same.

How would I structure the score to do this? I'm thinking it'd be preferable
to have the two variations on the top and bottom of each page, so that it's
clear they're parallel, but I'm not sure how to set it up.

Thanks for the help!

Andrew
er/ihn/ihm/sein | he/him/his
Berlin

Re: Show TacetStaff when StaffGroup empty

[David Kastrup]

Jeff Olson  writes:

> The only reason I cc'd Harm was that he was one of five listed under
> Documentation in http://lilypond.org/authors.html, and in previous
> posts he had identified himself as a [fellow] classical guitarist.  So
> I imagined he might smile, as I did, at seeing the double bass listed
> among fretted instruments.



-- 
David Kastrup

Re: Show TacetStaff when StaffGroup empty

[David Kastrup]

Jeff Olson  writes:

> On 11/1/2023 6:37 AM, David Kastrup wrote:
>> 
>
> Thanks, David. Now I'm really smiling to have learned something new!
> Your knowledge is more encyclopedic than Wikipedia.

That claim is more of a stretch than a gut string, I am afraid.

-- 
David Kastrup

Lyrics alignAboveContext

[Mats-Olof Liljegren]

Hi!

In this part I would like to have the lyrics above soprano 1 and Oh as lyrics 
to Sop 2 and Alto.

Can I solve this with alignAboveContext on only that part?

And I would like to print the chords like c#m7-5 f#m7-9 but have no clue.

What to do?

 


Med vänlig hälsning / Kind regards
Mats-Olof Liljegren

e-pro
Oskarsvägen 11B
702 14 Örebro
Tel 070 360 19 19
e-post m...@e-pro.se
web: http://e-pro.se

Re: Show TacetStaff when StaffGroup empty

[Jeff Olson]

On 11/1/2023 6:37 AM, David Kastrup wrote:




Thanks, David. Now I'm really smiling to have learned something new! 
Your knowledge is more encyclopedic than Wikipedia.


I once mail-ordered a fretted u-bass but exchanged it for the fretless 
style, which I find easier to play (lighter touch) and more expressive.  
Intonation can even be better on fretless as the strings can develop 
nonuniformities in density. Wonder if that's why those fretted basses 
from the 1770's died out?


Thanks again!
Jeff

Re: Show TacetStaff when StaffGroup empty

[David Kastrup]

Jeff Olson  writes:

> On 11/1/2023 6:37 AM, David Kastrup wrote:
>> 
>
> Thanks, David. Now I'm really smiling to have learned something new!
> Your knowledge is more encyclopedic than Wikipedia.
>
> I once mail-ordered a fretted u-bass but exchanged it for the fretless
> style, which I find easier to play (lighter touch) and more
> expressive.  Intonation can even be better on fretless as the strings
> can develop nonuniformities in density. Wonder if that's why those
> fretted basses from the 1770's died out?

I think it is more likely due to vibrato having become a tenet of string
sound (partly because it hides the fundamental problem of intonation)
and frets considerably reduce the amount and change the character of
vibrato (I know that you can bend the pitches of the sitar a whole lot,
but the character of its frets is quite different).

Viols were used much more polyphonically than modern bowed strings, so
vibrato wasn't really an option and the frets improved intonation more
than they deteriorated it.

For plucked/hammered/struck strings, the mathematical time/frequency
unsharpness relation makes the intonation stand out less because of the
tone decay (for example, few people notice that pizzicato strings sound
higher than when they are bowed).

-- 
David Kastrup

Re: Lyrics alignAboveContext

[Knute Snortum]

Hopefully this will get you started:

https://lilypond.org/doc/v2.23/Documentation/notation/displaying-chords#customizing-chord-names

--
Knute Snortum



On Wed, Nov 1, 2023 at 4:38 PM Mats-Olof Liljegren  wrote:

> Hi!
>
> In this part I would like to have the lyrics above soprano 1 and Oh as
> lyrics to Sop 2 and Alto.
>
> Can I solve this with alignAboveContext on only that part?
>
> And I would like to print the chords like c#m7-5 f#m7-9 but have no clue.
>
> What to do?
>
> [image: PastedGraphic-1.tiff]
>
>
> Med vänlig hälsning / Kind regards
> *Mats-Olof Liljegren*
>
> *e-pro*
> Oskarsvägen 11B
> 702 14 Örebro
> Tel 070 360 19 19
> e-post m...@e-pro.se
> web: http://e-pro.se
>
>