rehearsal marks above multiple staves

[Rick Kimpel]

Greetings all,

Sorry if this is a duplicate, the first time didn't seem to go through.
I tried to use a snippet from the LSR to add rehearsal marks above each 
StaffGroup.
It nearly works as desired, but I can't figure out what I'm doing wrong in two 
areas:

1) The vertical spacing behaves differently depending on whether there are 
marks on the first system. I would like to get rid of the extra space between 
the staves when there's no mark on the first system. 

2) I would also like to use measure numbers as the rehearsal mark. It still 
works in the Score.markFormatter, but I am sure there's a different place to 
change it for the ones in a MarkLine. Oddly, the first mark seems to work no 
matter what.

Any ideas? I'm sure I'm missing something obvious. It's not urgent, as the 
conductor doesn't care for the extra marks anyway. But I'd like to have some 
idea about where I've gone wrong for future reference.
Thanks!

%minimal example based on http://lsr.di.unimi.it/LSR/Snippet?id=1010

global = {
  \tempo "Largo" 4=30
  s1*2
  %\mark 3     %uncomment to see the spacing shrink on the first staff
  s1*10
  \mark 13
  s1*2
  \mark 15 %this will be 14 above the other staves
}

foo = \relative c' { \repeat unfold 4
  {c4 d e f |
  g f e d |
  c e g b |
  d2 c2 |}
}

\layout {
  \context {
    \name "MarkLine"
    \type "Engraver_group"
    \consists Output_property_engraver
    \consists Axis_group_engraver
    %\consists Metronome_mark_engraver %uncommenting this also makes the 
spacing shrink
    \consists Mark_engraver
    \override RehearsalMark.extra-spacing-width = #'(0 . 1)
    \override VerticalAxisGroup.minimum-Y-extent = #'(-2 . 2)
    \override VerticalAxisGroup.staff-staff-spacing =
    #'((basic-distance . 1)
       (minimum-distance . 1)
       (padding . 1)
       (stretchability . 3))
  }
  \context {
    \Score
    \accepts MarkLine
  }
}

\score {
  <<
    \set Score.markFormatter = #format-mark-box-numbers
    \new Staff << \global \foo >>
    \new MarkLine \global
    \new Staff << \global \foo >>
    \new MarkLine \global
    \new Staff << \global \foo >>
  >>
}

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Re: handbell shake

[Rick Kimpel]

From: Thomas Morley 
Sent: Wednesday, May 30, 2018 10:40 PM
> Hi Rick,
>
> I don't know anything about handbell choir music and which special
> notation-features may be needed.

There are a ton of things I need to do for this library, but this seemed like a
good middle-of-the-road starting point. Other tasks include martellato, 
tower swing, marks ()/{}/<> around single notes in a chord, and the dreaded 
list of bells at the beginning. I'll be posting looking for help with those at 
some point, I'm sure.

> Are there any images you could link to?

Google doesn't have a great selection of handbell music images, 
surprisingly. What's the etiquette on scanning something in for educational
purposes? I don't want to get into trouble. Aaron's link is a good starting
point.

> From your coding-attempts, I think you want to mimic the shake with a
> flat trill-style-glissando.
> It's not too hard to get this, but glissando needs a target note-head.
> Meaning a glissando to a rest is impossible (without second voice).
> Also, suspended NoteHeads in a chord may lead to different start-end
> points of simultaneous glissandi.

I have noticed these issues, all right. Also, I found that if I don't explicitly
set up the Staff context, it will put the gliss in its own staff. XD Might
be time for some remedial Lilypond tutorials. (I'm so rusty.)

> All in all it's not far from the problems avantgarde.music using
> continuation-lines has to face.
>
> To circumvent these problems I developed some code for
> continuation-lines, which I stripped down to better fit your needs (as
> far as I understood them)
> It has it's own limitations (see comments), but it may get you started.
[...]

Wow... I won't pretend to understand all of that. I had just gotten as far as 
using displayMusic to find out where the glissando even goes. But the
\hideNotes added a whole bunch of transparent properties, making it
hard to figure out.

Your sample works in 2.18, as well. I did notice that the gliss line can
obscure the dot. Interestingly, my workaround  does something that 
confuses the dot and puts it above the squiggle. Can't decide if that's the
best way to go, or if I should force the gliss to start after the dot.
bound-details.left.padding would do the trick there.

I couldn't figure out why you had to override the to-barline. Also, your
TODO about that is crazy. I was really surprised by the results of leaving it 
out. ?!

Thanks for your help. I'll be playing with it at lunch tomorrow. 

Regards,
Rick 
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handbell shake

[Rick Kimpel]

I tried to post something along these lines a couple of weeks ago, but it did 
not go through. I hope I am doing this right. Been a long time since I've used 
a mailing list. :)


I am trying to build a library of functions for handbell choir music. The first 
thing I attempted was how to show a shake. It sort of looks like a trill mark, 
but the squiggly line is at the level of the note being played. I'm hoping that 
I can just make a script that does all of this for me, but the fact that I had 
to nudge the invisible notehead over by hand has me worried that this might not 
be possible. If there's an easier way to do this, please let me know, 
especially if it gets rid of all the clash warning messages. Maybe something 
like faking the landing note of the gliss?


Thanks,

Rick


\version "2.18.2"

 sk = \markup \bold "Sk"

 \new Staff = "topBells" {
   << \new Voice = "descant" { \voiceOne
 \relative c''' { g4.^\sk f8 e2 r4  2^\sk g8 c, a' c, }
   }
   \new Voice = "melody" { \voiceTwo
 \relative c'' { 4  c2 r4. d,8 e4 r e f }
   }
   >>
 }

 \new Staff = "secondTry" {
   << \new Voice = "descant" { \voiceOne
   \override Glissando.style = #'trill
 \relative c''' { g4. \glissando f8 e2 r4  2 \glissando g8 c, 
a' c, }
   }
   \new Voice = "melody" { \voiceTwo
 \relative c'' { 4  c2 r4. d,8 e4 r e f }
   }
   >>
 }

\new Staff = "thirdTry" {
   << \new Voice = "descant" { \voiceOne
 \relative c''' {
<< {g4.^\sk  f8}
   \new Voice {
 \override Glissando.style = #'trill \hideNotes g4. \glissando g8
   }
>>
e2 r4 
<< { 2^\sk g8 }
   \new Voice {
 \override Glissando.style = #'trill \hideNotes 2 \glissando 
c8
   }
>>
c, a' c, }
   }
   \new Voice = "melody" { \voiceTwo
 \relative c'' { 4  c2 r4. d,8 e4 r e f }
   }
   >>
 }

\new Staff = "fourthTry" {
   << \new Voice = "descant" { \voiceOne
   \override Glissando.style = #'trill
 \relative c''' {
<< {g4.^\sk  f8}
   \new Voice {
 \override Glissando.style = #'trill \hideNotes
 \voiceOne g4. \glissando \voiceTwo
 \once \override NoteHead.X-offset = #1.4 g8
   }
>>
e2 r4 
<< { 2^\sk g8 }
   \new Voice {
 \override Glissando.style = #'trill \hideNotes 2 \glissando 
8
   }
>>
   c, a' c, }
   }
   \new Voice = "melody" { \voiceTwo
 \relative c'' { 4  c2 r4. d,8 e4 r e f }
   }
   >>
 }

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Re: handbell shake

[Rick Kimpel]

From: Stanton Sanderson 
Sent: Thursday, May 31, 2018 11:44 AM
> I’ve attempted some handbell pieces for our bell choir. Attached
> is one which has a few special symbols. Not intended as samples 
> of “good practice!”

Stan,
I added q's where necessary to try to compile in 2.18, but I'm getting
an odd error in ly-syntax-constructors.scm 
"Wrong number of arguments to #"
Any ideas? I've never seen this before.
 Rick
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Re: vars and multiple scores

[Rick Kimpel]

>I read the documentation of lilypond and it recommend to define the
>notes in variables and use them afterwards.
>
>But how is that with multiple scores for setting multiple songs in one
>file/book? I cannot set the vars inside the score, they have to be
>global. But then it is painful to have such a pollution of the global
>namespace.
>
>What is a better way to do so?

I just make a copy of the english.ly file that names the notes, and make
my changes there. Then in all of my lilypond scores, I just #include
that changed file. I use it for a "transposition key" as a note name "tk"
that I can tweak in one location and have it propagate as needed.

>Another think is about transposing. In the example I had before I have
>the cords "a:m g a:m g c g d:m a" But with a->e, the d:m gets
>transposed to a:m but the song only works with a c here.
>
>I do not know transposing very well, so, is that just a wrong chord in
>the original or is there any trick to get the c from the d:m? If I look
>at the Circle of fifths, I just think, the first assumption is right.

If you are transposing up a fifth, the Dm will become an Am. So
if it sounds wrong, you'll want to check the original source.

Regards,
Rick
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Re: Handbell mallets

[Rick Kimpel]

On 2018-12-15 12:46 pm, Aaron Hill wrote:
 
On 2018-12-14 9:58 pm, Rick Kimpel wrote:
>> All,
>> In handbell music, there is an articulation for playing the bell with
>> a mallet while it is on the table. It looks like a "stopped" symbol
>> near the note head, with a "staccato" articulation just beyond that. I
>> can get reasonable results for notes near the top and bottom of the
>> staff, but when I have something like
>> 
>> {f8'-+-.[ f''-+-.]}
>> 
>> one of the two will always look bad. Ideally, the + will be in the
>> staff near the note head. Any ideas on how to achieve this without
>> tweaking each articulation? I have half a mind to just use staccato
>> and a note in the score.
>> 
>> >https://www.handbellworld.com/images/HandbellNotation/MalletWithHandbellOnTable>.jpg
>
>Creating a custom articulations is probably the best option, however you 
>can also easily redefine the stencil for an existing one:
>
>
>\version "2.19.82"
>
>% handbell mallet
>hbm = \tweak stencil #(lambda (grob)
>   (grob-interpret-markup grob #{ \markup \combine
>   \raise #1 \musicglyph #"scripts.stopped"
>   \musicglyph #"scripts.staccato"
> #})) \stopped

Thanks, Aaron. 
You made me take a closer look at my scores. Other publishers put 
the + over the . no matter the orientation. Something I had never 
noticed before. So your first solution was close (although I find the 
directional one more interesting). All I did was change the final 
\stopped to \staccato. I will have to look up this custom articulation 
thing one of these days, though.

Great work!!
Rick
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Handbell mallets

[Rick Kimpel]

All,
In handbell music, there is an articulation for playing the bell with a mallet 
while it is on the table. It looks like a "stopped" symbol near the note head, 
with a "staccato" articulation just beyond that. I can get reasonable results 
for notes near the top and bottom of the staff, but when I have something like

{f8'-+-.[ f''-+-.]}

one of the two will always look bad. Ideally, the + will be in the staff near 
the note head. Any ideas on how to achieve this without tweaking each 
articulation? I have half a mind to just use staccato and a note in the score.

https://www.handbellworld.com/images/HandbellNotation/MalletWithHandbellOnTable.jpg

Thanks,
Rick
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Re: A Midi question

[Rick Kimpel]

>From your experience, what would you suggest for this task?
>(I'm still talking about open-software).


The only FOSS MIDI sequencer I've used is Rosegarden. It was not

quite up to the challenge back in the day, but from what I have seen,

it has improved quite a lot.


Rick
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Re: Finetuning TextSpanner beginning and end positions?

[Rick Kimpel]

Stefano,
Have you tried bound-details? I use this for glissandi, and it works well.
http://lilypond.org/doc/v2.19/Documentation/internals/textspanner
Rick


From: lilypond-user  on 
behalf of Stefano Troncaro 
Sent: Monday, May 6, 2019 11:50 AM
To: lilypond-user Mailinglist
Subject: Finetuning TextSpanner beginning and end positions?

Hello again everyone,

I was expecting to be able to use shorten-pair for this in the same way that is 
used with Hairpins, but it doesn't seem to work and I can't seem to find what 
property I need to tweak.

Any pointers?
Thanks for your help,
Stéfano
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octaves within a chord

[Rick Kimpel]

Jay,
I recently came across your octaves script from back in 2008. I was wondering 
if there was any way to make it only octavate the top (or bottom) note in a 
chord? I arrange for handbells, and this is a common technique. I was going to 
try to do it myself, but I can't get the original script to work in version 
2.18.

I was also going to try something based on Gianmaria's and Aaron's work with 
parallel thirds, but I couldn't get that script to work in 2.18 either. Might 
be time to upgrade. :\

Thanks,
Rick
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Re: Orchestra Tempo Staff?

[Rick Kimpel]

Marc,
You could definitely use a \new Dynamics for accel/rit, etc. I do that all the 
time. It will all be italicized unless you specifically \override #'(font-shape 
. upright)

For the other question, have you tried \consists Metronome_mark_engraver in the 
StaffGroup? There's definitely a trick, though, because I just tried it, and it 
put two metronome marks at the top. I am sure this has been fixed before.

This snippet has a slightly more powerful option.
http://lsr.di.unimi.it/LSR/Snippet?id=1010

Cheers,
Rick



From: lilypond-user  on 
behalf of Marc Evanstein (formerly Evans) 
Sent: Wednesday, April 24, 2019 11:59 AM
To: lilypond-user@gnu.org
Subject: Orchestra Tempo Staff?

Hi everyone,

I'm currently trying to engrave an orchestra piece, and am unclear about
the best way to work with metronome marks, accelerandi, ritardandi and
other tempo markings.

The basic issue is that in the score I would like tempo markings to
appear at the top as well as above the strings, and that I'd also like
to keep all the marks at the same vertical level. I'm wondering if maybe
the marks need to in some way occupy their own "staff", similar to a
separate dynamics staff, except not containing dynamics?

Any advice would be greatly appreciated! It feels like maybe I'm missing
something obvious.

Thanks,

Marc

--
Marc Evanstein (formerly Evans)
PhD Candidate in Music Composition at UCSB
Stanford BA '10, Music; MA '11, Music, Science and Technology
www.marcevansmusic.com

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Re: transpositions within a global key setting.

[Rick Kimpel]

Andrew,
Try this:

\transposition a \transpose a c {
   \global
   \clef treble
   \relative c''' { %notes go here }
}

Regards,
Rick


From: lilypond-user  on 
behalf of N. Andrew Walsh 
Sent: Monday, December 9, 2019 8:24 AM
To: lilypond-user 
Subject: transpositions within a global key setting.

Hi List,

let us say I have a piece where I want to specify the key signature once for 
all instruments. I have something like the following:

\version = 2.19.82
global= {
 \key f \minor
 \time 4/8
  }
%% (and whatever other settings I want)

oDAMusic = \transpose a c {

  \relative c''' {
\key as \minor
{{MUSIC}}
  }
}

\score {
\new Staff = "Staff_oboeDA" <<
  \global \oDAMusic
>>
}

I've omitted other variables, instrument blocks, and settings. My question is 
what to do about this instrument, the oboe d'amore, which transposes. According 
to the NR, here:

http://lilypond.org/doc/v2.19/Documentation/notation/changing-multiple-pitches#transpose

I would need to format the block like this to print the correct key signature. 
When I do this, however, Lily throws an error about "Two simultaneous 
key-change events" and that one will be junked. Score output, however, looks 
fine, with the transposition and key-signature correct.

As a general question, how should I be formatting this so that I don't get an 
error?

Cheers,

A

Re: Bar lines within bars inhibit bar numbering

[Rick Kimpel]

Peter
You need an extra #
\override BarNumber.break-visibility = ##(#t #t #t)

But that doesn't do what you're talking about. I had something similar in a 
piece with 4/4 + 3/4 time with a dotted barline. I ended up just manually 
renumbering the bars numbers with:
\set Score.currentBarNumber
Probably not the solution you're looking for.


From: lilypond-user  on 
behalf of Peter Toye 
Sent: Thursday, December 12, 2019 10:04 AM
To: lilypond-user@gnu.org 
Subject: Bar lines within bars inhibit bar numbering

The example below shows the issue. The mid-bar line with a \break does not show 
the bar number at the beginning of the next line - I would expect '2'. A \break 
at the end of a bar gives the expected result.

Also, the commented out line doesn't compile, and I can't see why, so can't see 
if it would make a difference. I cut-and-pasted the vector from the manual, but 
that's what the complier seems to be complaining about.

Regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

\version "2.19.83"

\language "english"

\score {
  \new Staff {
\clef "treble"
\time 4/4
{
  %\override BarNumber.break-visibility = #(#t #t #t)
  c''1 2 \bar "||" \break
  \key f \major
  f'2
  f'1 1 \break
  1 1
}
  }
}

Re: Cleanly showing every measure number

[Rick Kimpel]

Sam,
This doesn't really answer your question, but it might provide a different 
perspective. In handbell music, it is standard to number each measure centered 
over the barlines. Normally the number should be above ties, slurs and notes, 
as shown in your MWE. I think it helps readability.

I use:
  \override Score.BarNumber.break-visibility = ##(#f #t #t)
  \override Score.BarNumber.self-alignment-X = #CENTER

Regards,
Rick


From: Sam Bivens 
Sent: Monday, December 9, 2019 1:37 PM
To: lilypond-user 
Subject: Cleanly showing every measure number

Hi everyone,
For pedagogical reasons, I want to include every measure number in my scores. 
I've been using the LSR's consistently left-aligned numbers available at 
http://lsr.di.unimi.it/LSR/Item?id=840
But this causes problems with slurs, ledger lines, etc., which push the measure 
numbers up high above the given measure (see the attached MWE).
Thus I have two related questions:

  *   How might I adjust \consistentlyLeftAlignedMeasureNumbers to keep them 
consistently near the staff, no matter what the music is?
  *   Alternatively, if there are others that require every number to be 
measured, how have you solved this problem? I'm unfortunately not too keen on 
the solution shown in the recent "bar numbers at top of score" thread.

Thanks,
Sam

--
Sam Bivens, Ph.D.
Music Theory Faculty
Cleveland Institute of Music
11021 East Boulevard
Cleveland, OH 44106
sam.biv...@cim.edu

Re: How can I link lyrics with a temporary counter-melody?

[Rick Kimpel]

Jerry,
As a singer, I would expect to see the lyrics for the upstem voice
to be above the staff, and the downstem voice below the staff.
It's been a while, but I think it would need to be something like this:

\score {
  <<
\new Staff = "lead"
<<
  \new Voice = "top" { \voiceOne f'4 c''4 c''2 }
  \new Voice = "bottom" { \voiceTwo r2 d'4 e'4 }
>>
\new Lyrics \with {
  alignAboveContext = "lead"
  \override VerticalAxisGroup #'staff-affinity = #DOWN
} \lyricsto "top" {\lyricmode { Hel -- lo world! }}
\new Lyrics \lyricsto "bottom" {\lyricmode { How -- dy! }}
  >>
}

I'm sure there's a more elegant solution.

Regards,
Rick



From: lilypond-user  on 
behalf of JxStarks . 
Sent: Monday, February 24, 2020 1:23 PM
To: lilypond-user@gnu.org 
Subject: How can I link lyrics with a temporary counter-melody?

This is probably documented somewhere, but I am miserably inept at searching 
archives.
I'm writing up a Lead Sheet and the Bridge section has a counter-melody with 
its own lyrics. I hacked it together using the _"" function, but I hope there's 
a better way to do it. Please enlighten me or direct me to the correct 
procedure. Attached is a sample of the coding and the results I've been able to 
achieve. (The 'Counter-Melody-Coding.png is in case someone can't open the 
.docx.)

Thanks.
Jerry

Re: default stem directions

[Rick Kimpel]

Torsten,
That worked perfectly for my needs. Thank you.
I was worried I would have to assign each note name a stem direction.
Another solution was using different voices, but it was very unwieldy.
This is much simpler.
Rick


From: lilypond-user  on 
behalf of Torsten Hämmerle 
Sent: Saturday, February 29, 2020 5:58 AM
To: lilypond-user@gnu.org 
Subject: Re: default stem directions

Rick Kimpel-2 wrote
> I am trying to learn how to change the default stem directions.
> […]
> ...without having to do all the \stemUp \stemDown stuff.
> I'm ok with the manual beaming.

Hi Rick,

You could set up a custom function.
A simplistic example (see below) will read the 'default direction.
As you have already noticed, the default stem direction will be #UP for note
heads below the middle stave line and #DOWN otherwise.

Obviously, you'd like to have it the other way round. The custom function
will give back #DOWN if the default direction is #UP, and #DOWN otherwise).

%%
\version "2.19.83"

#(define (custom-stemdir)
   (lambda (grob)
 (let ((defdir (ly:grob-property grob 'default-direction)))
   (if (= defdir UP) DOWN UP

\score {
  \new Staff
  \with { \override StaffSymbol.line-count =  #1 }
  {
\clef percussion
\numericTimeSignature
\autoBeamOff
\relative c' {
  <>^"default"
  b8 c4 c8 b8[ b] b c |
  <>^"custom"
  \override Stem.direction = #(custom-stemdir)
  b8 c4 c8 b8[ b] b c |
}
  }
}
%%

<http://lilypond.1069038.n5.nabble.com/file/t3887/custom-stemdir.png>

HTH,
Torsten
custom-stemdir.png
<http://lilypond.1069038.n5.nabble.com/file/t3887/custom-stemdir.png>



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

default stem directions

[Rick Kimpel]

I am trying to learn how to change the default stem directions.
I assume it has something to do with ly:stem::calc-default-direction,
but I have no idea where to go from there.
I would like an output that looks like this:

\version "2.19.83"
\score {
   \new Staff
    \with { \override StaffSymbol.line-count =  #1 } 
    {
      \clef percussion
      \numericTimeSignature
      \autoBeamOff
    \relative c' {
         \stemDown b8 \stemUp c4 c8 
         \stemDown b8[ b] b \stemUp c
      }
    }
}

...without having to do all the \stemUp \stemDown stuff.
I'm ok with the manual beaming.

Thanks,
Rick

Re: is it possible to change midi channels in the middle of a song ?.

[Rick Kimpel]

Ebi Mani wrote:
>Is it possible to specify midi channel numbers for a given voice 
>or switch channels in the middle of a song in lilypond ?.

I know that you can change MIDI instruments in the middle of
a song, and set the MIDI instrument on a per voice basis. That
might give you the flexibility you need.

% snippet modified from 
% http://lilypond.org/doc/v2.18/Documentation/notation/creating-midi-files

\score {
  \new Staff <<
\new Voice \relative c''' {
  \set midiInstrument = #"flute"
  \voiceOne
  \key g \major
  \time 2/2
  r2 g-"Ch." ~
  g fis ~
  fis4 g8 fis e2 ~
  e4 
  \set midiInstrument = #"violin"
  d8-"Sw." cis d2
}
\new Voice \relative c'' {
  \set midiInstrument = #"clarinet"
  \voiceTwo
  b1-"Gt."
  a2. b8 a
  g2. 
  \set midiInstrument = #"violin"  
  fis8-"Sw." e
  fis2 r
}
  >>
  \layout { }
  \midi {
\context {
  \Staff
  \remove "Staff_performer"
}
\context {
  \Voice
  \consists "Staff_performer"
}
\tempo 2 = 72
  }
}

%% End snippet

Good luck!
Rick Kimpel