warning: ignoring too many clashing note columns
English is not my first language and I have some trouble understanding what this means If notes from two voices with stems in the same direction are placed at the same position, and both voices have no shift or the same shift specified, the error message warning: ignoring too many clashing note columns will appear when compiling the LilyPond file. http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Simultaneous-notes#Suppressing-warnings-for-clashing-note-columns I understand how to suppress the warnings, but I also would like to understand why! // Anders -- Computer says No! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Notes inside markup
I'm reproducing a score that contains the construct shown in the
attached image example.png, with four 32nd notes below the stave inside
braces. With the ly code below I can get the output attached in
test.png, but I haven't managed to figure out how to raise the beamed
notes so that they are between the braces rather than below them. How
can I do that? I'd also like reduce the weight of the beams on the notes
inside the markup. They don't seem to get reduced in weight when the
size of the notes is reduced.
As an aside, the \stemUp that I have at the beginning of the file is
being ignored by the d16[ c32 b] at the end of the file. Is this a bug
or due to something else?
%%
\version 2.15.40
\relative c'' {
\stemUp
\slashedGrace e8_\markup {
\concat {
\fontsize #6 [
\score {
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove Clef_engraver
}
\relative c'' {
\set fontSize = #-4
\override Stem #'length-fraction = #(magstep -4)
\stemUp
c32~[ c c c]
}
\layout { indent = 0\cm }
}
\fontsize #6 ]
}
} d16[ c32 b]
}
%%
Nick
attachment: example.pngattachment: test.png___
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Re: Notes inside markup
Nick Payne-3 wrote: I'm reproducing a score that contains the construct shown in the attached image example.png, with four 32nd notes below the stave inside braces. With the ly code below I can get the output attached in test.png, but I haven't managed to figure out how to raise the beamed notes so that they are between the braces rather than below them. How can I do that? I'd also like reduce the weight of the beams on the notes inside the markup. They don't seem to get reduced in weight when the size of the notes is reduced. As an aside, the \stemUp that I have at the beginning of the file is being ignored by the d16[ c32 b] at the end of the file. Is this a bug or due to something else? you can use \parenthesize around the score in the markup ( to get square brackets use \bracketify as defined in this snippet: http://lsr.dsi.unimi.it/LSR/Item?id=564 for the \stemUp I'd say this is again the grace in the beginning - use this command right after the grace! Eluze -- View this message in context: http://old.nabble.com/Notes-inside-markup-tp34058072p34058227.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notes inside markup
On 23/06/12 18:49, -Eluze wrote:
Nick Payne-3 wrote:
I'm reproducing a score that contains the construct shown in the
attached image example.png, with four 32nd notes below the stave inside
braces. With the ly code below I can get the output attached in
test.png, but I haven't managed to figure out how to raise the beamed
notes so that they are between the braces rather than below them. How
can I do that? I'd also like reduce the weight of the beams on the notes
inside the markup. They don't seem to get reduced in weight when the
size of the notes is reduced.
As an aside, the \stemUp that I have at the beginning of the file is
being ignored by the d16[ c32 b] at the end of the file. Is this a bug
or due to something else?
you can use \parenthesize around the score in the markup ( to get square
brackets use \bracketify as defined in this snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=564
for the \stemUp I'd say this is again the grace in the beginning - use this
command right after the grace!
Thanks. Adding \parenthesize was all that I needed. Doing that also
moved the markup notes up to immediately below the stave.
_\markup {
\parenthesize \score {
\new Staff \with {
\remove Staff_symbol_engraver
\remove Time_signature_engraver
\remove Clef_engraver
}
\relative c'' {
\set fontSize = #-4
\override Stem #'length-fraction = #(magstep -4)
\stemUp
c32~[ c c c]
}
\layout { indent = 0\cm }
}
}
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Re: warning: ignoring too many clashing note columns
It's almost certainly that you have simultaneous notes in 2 different voices, but have not told Lilypond how to avoid them occupying the same space. Check the notation reference for \voiceOne and \oneVoice. Oh - and the current released version is 2.14, with the current development version being 2.15.40. You're quoting old manuals. See http://lilypond.org/ -- Phil Holmes - Original Message - From: Anders Eriksson To: lilypond-user@gnu.org Sent: Saturday, June 23, 2012 8:19 AM Subject: warning: ignoring too many clashing note columns English is not my first language and I have some trouble understanding what this means If notes from two voices with stems in the same direction are placed at the same position, and both voices have no shift or the same shift specified, the error message warning: ignoring too many clashing note columns will appear when compiling the LilyPond file. http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Simultaneous-notes#Suppressing-warnings-for-clashing-note-columns I understand how to suppress the warnings, but I also would like to understand why! // Anders -- Computer says No! -- ___ 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: turning off partcombine
On 2012-06-19 11:15, m...@mikesolomon.org wrote: Is there a way to turn off partcombine so that I can change staves and then turn it back on when the voice comes back to its original staff? No, but you can call part-combine only on those sections where you want the two voices combined on the same staff. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: part combine double whammy
On 2012-06-19 11:32, m...@apollinemike.com wrote: I want foo and bar to be partcombined when bar is on staff A and qux and bar to be partcombined when bar is on staff B. bar spends its time hopping between the two staves. Is there a way to do this? No, Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lilybin
Hi, Don't know what was wrong lately, but today I tried http://lilybin.com or http://www.lilybin.com com and - hurray - it's working again! -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Highlighting staves
With Sibelius, you can highlight part or all of a stave. It's intended as an aid to composition, to highlight where work is needed, but as a singer trying to find my stave amongst (quite often) seven others, I think it's useful. Is there a way of colouring the background to a stave in Lily? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilybin
On Sat, 23 Jun 2012, Martin Tarenskeen wrote: Hi, Don't know what was wrong lately, but today I tried http://lilybin.com or http://www.lilybin.com com and - hurray - it's working again! And there is MIDI export too now! -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Highlighting staves
Phil Holmes em...@philholmes.net writes: With Sibelius, you can highlight part or all of a stave. It's intended as an aid to composition, to highlight where work is needed, but as a singer trying to find my stave amongst (quite often) seven others, I think it's useful. Is there a way of colouring the background to a stave in Lily? If you are going to make your own printout anyway, why not make all the other staffs significantly smaller? You can still track the rough context, but get more material on the page. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
combining pieces in one book
Hi to all, If this has been answered before, please point me there. I searched the manual several times, but couldn't find an answer, that helped me. I have many pieces for male choir, that are stored as .ly-files in a directory with a subdirectory for every piece. All of them use some files via \include command. Those files are situated in the parent directory. Now I would like to make a book (one PDF with TOC and numbered pages) from several of these pieces. And - to make it more complicated - this book changes in content (the .ly-files are the repertoire, book will be the selection for any given concert. I am searching for a solution to _easily_ make those books without working on the pieces-files. Using \bookpart gave a great number of errors and didn't compile. Can anyone give me a starter, how to go about this? Thanks Kai ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining pieces in one book
On 06/23/2012 09:53 AM, Dr. med. Kai Lautenschläger wrote:
I have many pieces for male choir, that are stored as .ly-files in a
directory with a subdirectory for every piece. All of them use some
files via \include command. Those files are situated in the parent
directory.
Now I would like to make a book (one PDF with TOC and numbered pages)
from several of these pieces. And - to make it more complicated -
this book changes in content (the .ly-files are the repertoire, book
will be the selection for any given concert.
I am searching for a solution to _easily_ make those books without
working on the pieces-files. Using \bookpart gave a great number of
errors and didn't compile. Can anyone give me a starter, how to go
about this?
As best I can tell, you need to structure things carefully to make this
work. This may mean that you will need to do a one-time edit on the
pieces themselves.
1) Music content with no \score.
2) Individual layout pieces: \include the music content and have a \score.
3) Book file, \includes each piece of music, uses \bookpart if you like
and \score.
I automate this to some degree by pulling out paper and other common
definitions, e.g.:
=-=-=-=-=
wind_barley_tune.ly:
\windBarleyLayout = \new Staff ...
\windBarleyTitle = The Wind That Shakes the Barley
=-=-=-=-=
tunes.ly:
\paper { ... }
\header { title = \theTitle }
\score { \theLayout \layout {} }
=-=-=-=-=
wind_barley.ly:
\include wind_barley_tune.ly
theLayout = \windBarleyLayout
theTitle = \windBarleyTitle
\include tunes.ly
=-=-=-=-=
crism_tunes.ly:
\paper { ... }
\header { ... }
\include musical_priest_tune.ly
\include wind_barley_tune.ly
\score { \musPriestLayout \layout {} }
\score { \windBarleyLayout \layout {} }
=-=-=-=-=
~Chris
--
Chris Maden, text nerd URL: http://crism.maden.org/
LIVE FREE: vote for Gary Johnson, Libertarian for President.
URL: http://garyjohnson2012.com/ URL: http://lp.org/
GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E
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Re: combining pieces in one book
Il 23/06/2012 15:53, Dr. med. Kai Lautenschläger ha scritto: Hi to all, If this has been answered before, please point me there. I searched the manual several times, but couldn't find an answer, that helped me. I'm CCing lilypond-bug, because I believe that missing index entries for book and bookpart doesn't help when searching this kind of information. @bugsquad Please add a @cindex for \book and \bookpart They are introduced in NR 3.1.2 (bookpart) and 3.1.3 (book). I have many pieces for male choir, that are stored as .ly-files in a directory with a subdirectory for every piece. All of them use some files via \include command. Those files are situated in the parent directory. Now I would like to make a book (one PDF with TOC and numbered pages) from several of these pieces. And - to make it more complicated - this book changes in content (the .ly-files are the repertoire, book will be the selection for any given concert. I am searching for a solution to _easily_ make those books without working on the pieces-files. Using \bookpart gave a great number of errors and didn't compile. Can anyone give me a starter, how to go about this? In order to understand what you are doing wrong, you should post a minimal example and copy the error message. I remember I had problems with bookpart when I started using lilypond: http://lists.gnu.org/archive/html/lilypond-user/2009-08/msg00835.html http://lists.gnu.org/archive/html/lilypond-user/2009-08/msg00856.html Since then I've never used bookpart anymore, now I just use a main file which include the \score(s) defined in separate files. See attached file here: http://lists.gnu.org/archive/html/lilypond-user/2012-05/msg00057.html HTH -- Federico ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Highlighting staves
- Original Message - From: David Kastrup d...@gnu.org To: lilypond-user@gnu.org Sent: Saturday, June 23, 2012 2:45 PM Subject: Re: Highlighting staves Phil Holmes em...@philholmes.net writes: With Sibelius, you can highlight part or all of a stave. It's intended as an aid to composition, to highlight where work is needed, but as a singer trying to find my stave amongst (quite often) seven others, I think it's useful. Is there a way of colouring the background to a stave in Lily? If you are going to make your own printout anyway, why not make all the other staffs significantly smaller? You can still track the rough context, but get more material on the page. The music I have most difficulty with is typically unaccompanied - often early madrigals and the like. If you get lost, the only way to get going again is to find what the other parts are singing and catch up - so being able to read their music quickly can still be a requirement. Also - highlighting means the page layout wouldn't change, whereas it would with size, and so the MD saying the bottom of page 2 would get me confused. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining pieces in one book
- Original Message -
From: Dr. med. Kai Lautenschläger kai.lautenschlae...@me.com
To: lilypond-user User lilypond-user@gnu.org
Sent: Saturday, June 23, 2012 2:53 PM
Subject: combining pieces in one book
Hi to all,
If this has been answered before, please point me there. I searched the
manual several times, but couldn't find an answer, that helped me.
I have many pieces for male choir, that are stored as .ly-files in a
directory with a subdirectory for every piece. All of them use some files
via \include command. Those files are situated in the parent directory.
Now I would like to make a book (one PDF with TOC and numbered pages) from
several of these pieces. And - to make it more complicated - this book
changes in content (the .ly-files are the repertoire, book will be the
selection for any given concert.
I am searching for a solution to _easily_ make those books without working
on the pieces-files. Using \bookpart gave a great number of errors and
didn't compile. Can anyone give me a starter, how to go about this?
Thanks
Kai
2 obvious options come to mind: lilypond-book, which is documented in the
Usage manual
http://lilypond.org/doc/v2.14/Documentation/usage/lilypond_002dbook.
Alternatively, you can simply use \book in the following way:
\book {
\markup { Some text }
\include AFile.ly
}
You would need to add your own contents page once the layout was sorted out.
--
Phil Holmes
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Changing key after line break
I'm trying to study Music Theory and Lilypond is a really good tool!
I want to create a sheet with all the diatonic chords in all Major
scales, and I'm almost there.
The goal is to have each key on a separate line. My problem is that the
new key signature starts at the last bar on the previous line!
How do I fix this?
here is the code: ( I have only entered the Sharp Keys)
%% Start of file
\version 2.14.2
\header {
title = Diatonic Chords in Major keys
}
chordNames = \chordmode {
c4 d:m e:m f g a:m b:dim c' | \break
}
\score {
\new ChordNames { \chordNames
\key g \major \transpose c g {\chordNames}
\key d \major \transpose c d {\chordNames}
\key a \major \transpose c a {\chordNames}
\key e \major \transpose c e {\chordNames}
\key b \major \transpose c b {\chordNames}
\key fis \major \transpose c fis {\chordNames}
\key cis \major \transpose c cis {\chordNames}
}
\new Staff { \key c \major \chordNames
\key g \major \transpose c g {\chordNames}
\key d \major \transpose c d {\chordNames}
\key a \major \transpose c a {\chordNames}
\key e \major \transpose c e {\chordNames}
\key b \major \transpose c b {\chordNames}
\key fis \major \transpose c fis {\chordNames}
\key cis \major \transpose c cis {\chordNames}
}
\layout { }
\midi { }
}
%% End of file
// Anders
--
Computer says No!
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Why don't I get my own mail?
I have configured so that it says that I should get my own mail, but I don't! Why? // Anders -- Computer says No! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why don't I get my own mail?
Anders, It looks like you're using a GMail address; in my experience, GMail generally doesn't like to show messages you send to a list in your inbox. I think it's operating under the assumption that you, the sender, don't need to read the e-mail that you just sent, but I agree that it can be frustrating at times. It's possible that there's a GMail setting to change this, but I'm not 100% sure. Cheers, Nick On Sat, Jun 23, 2012 at 2:48 PM, Anders Eriksson andis.eriks...@gmail.comwrote: I have configured so that it says that I should get my own mail, but I don't! Why? // Anders -- Computer says No! __**_ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/**listinfo/lilypond-userhttps://lists.gnu.org/mailman/listinfo/lilypond-user -- And she forgot the stars, the moon, and sun, And she forgot the blue above the trees, And she forgot the dells where waters run, And she forgot the chilly autumn breeze... — Keats, Isabella, or the Pot of Basil ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why don't I get my own mail?
On 2012-06-23 21:05, Nick Baskin wrote: Anders, It looks like you're using a GMail address; in my experience, GMail generally doesn't like to show messages you send to a list in your inbox. I think it's operating under the assumption that you, the sender, don't need to read the e-mail that you just sent, but I agree that it can be frustrating at times. It's possible that there's a GMail setting to change this, but I'm not 100% sure. Ok, I have now changed to an another email address. Thanks for the answer! // Anders ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing key after line break
Anders Eriksson andis.eriks...@gmail.com writes: I'm trying to study Music Theory and Lilypond is a really good tool! I want to create a sheet with all the diatonic chords in all Major scales, and I'm almost there. The goal is to have each key on a separate line. My problem is that the new key signature starts at the last bar on the previous line! How do I fix this? URL:http://lilypond.org/doc/v2.15/Documentation/notation/visibility-of-objects#using-break_002dvisibility -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combining pieces in one book
Am 23.06.2012 um 16:37 schrieb Phil Holmes:
- Original Message - From: Dr. med. Kai Lautenschläger
kai.lautenschlae...@me.com
To: lilypond-user User lilypond-user@gnu.org
Sent: Saturday, June 23, 2012 2:53 PM
Subject: combining pieces in one book
I have many pieces for male choir, that are stored as .ly-files in a
directory with a subdirectory for every piece. All of them use some files
via \include command. Those files are situated in the parent directory.
Now I would like to make a book (one PDF with TOC and numbered pages) from
several of these pieces. And - to make it more complicated - this book
changes in content (the .ly-files are the repertoire, book will be the
selection for any given concert.
I am searching for a solution to _easily_ make those books without working
on the pieces-files. Using \bookpart gave a great number of errors and
didn't compile. Can anyone give me a starter, how to go about this?
2 obvious options come to mind: lilypond-book, which is documented in the
Usage manual
http://lilypond.org/doc/v2.14/Documentation/usage/lilypond_002dbook.
I am using a Mac and am not experienced enough to understand the manual and
requirements mentioned there. All the extern programs won't work, telling my,
there is no python to be found. It's there, though - but this should be a new
topic here. Only: lilypond-book has not been a solution so far.
Alternatively, you can simply use \book in the following way:
\book {
\markup { Some text }
\include AFile.ly
}
Sounds good. I did this:
---8---SNIP---
\version 2.15.40
\book {
\markup { 001Test }
\include ../001Test/001Test.ly
}
---8---SNIP---
and got the following errors (this is just the first few of many many errors:
---8---SNIP---
»/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/BuchTest.ly« wird verarbeitet
Analysieren...
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:54:0: Fehler: syntax error,
unexpected STRING
global = {
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:67:0: Fehler: syntax error,
unexpected STRING
mid = {
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:74:0: Fehler: syntax error,
unexpected STRING
StimmeEins = \relative c' {
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:83:0: Fehler: syntax error,
unexpected STRING
StimmeZwei = \relative c' {
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:92:0: Fehler: syntax error,
unexpected STRING
StimmeDrei = \relative c {
/Users/kailautenschlager/Documents/02_Musik
---8---SNIP---
What am I missing?
Kai
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Re: Changing key after line break
On 2012-06-23 21:39, David Kastrup wrote:
URL:http://lilypond.org/doc/v2.15/Documentation/notation/visibility-of-objects#using-break_002dvisibility
I can't figure this out. I have tried all permutations of the vector
format but it still displays the KeySignature at the last bar or each line
Here is my updated code:
%% Start of file
\version 2.14.2
\header {
title = Comparison Major - relative minor
subtitle = Sharp Keys
tagline = ##f
}
MyChords = \chordmode {
\time 3/4
\override Staff.KeySignature #'break-visibility = #'#(#f #f #t)
c4 a,:m a,:m7 | \break
}
\score {
%% C - Am
\new ChordNames {
%% C - Am
\key c \major \MyChords
%% G - Em
\key g \major \transpose c g {\MyChords }
%% D - Bm
\key d \major \transpose c d {\MyChords }
%% A - F#m
\key a \major \transpose c a {\MyChords }
%% E - C#m
\key e \major \transpose c e {\MyChords }
%% B - G#m
\key b \major \transpose c b {\MyChords }
%% F# - D#m
\key fis \major \transpose c fis {\MyChords }
%% C# - A#m
\key cis \major \transpose c cis {\MyChords }
}
\new Staff {
%% C - Am
\key c \major \MyChords
%% G - Em
\key g \major \transpose c g {\MyChords }
%% D - Bm
\key d \major \transpose c d {\MyChords }
%% A - F#m
\key a \major \transpose c a {\MyChords }
%% E - C#m
\key e \major \transpose c e {\MyChords }
%% B - G#m
\key b \major \transpose c b {\MyChords }
%% F# - D#m
\key fis \major \transpose c fis {\MyChords }
%% C# - A#m
\key cis \major \transpose c cis {\MyChords }
}
\layout {
\context {
\Staff
\remove Time_signature_engraver
\remove Bar_number_engraver
}
\context {
\Score
\remove Bar_number_engraver
}
}
}
%% End of file
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Re: combining pieces in one book
Dr. med. Kai Lautenschläger kai.lautenschlae...@me.com writes:
and got the following errors (this is just the first few of many many errors:
---8---SNIP---
»/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/BuchTest.ly« wird verarbeitet
Analysieren...
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:54:0: Fehler: syntax
error, unexpected STRING
global = {
/Users/kailautenschlager/Documents/02_Musik
(SugarSync)/LP/BuchTest/../001Test/001Test.ly:67:0: Fehler: syntax
error, unexpected STRING
A \book can't contain assignments.
--
David Kastrup
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Re: Changing key after line break
and...@andis59.se and...@andis59.se writes: On 2012-06-23 21:39, David Kastrup wrote: URL:http://lilypond.org/doc/v2.15/Documentation/notation/visibility- of-objects#using-break_002dvisibility I can't figure this out. I have tried all permutations of the vector format but it still displays the KeySignature at the last bar or each line Let's do a bit of copy and paste: Key signature – see below [...] Special considerations Visibility following explicit changes The break-visibility property controls the visibility of key signatures and changes of clef only at the start of lines, i.e. after a break. It has no effect on the visibility of the key signature or clef following an explicit key change or an explicit clef change within or at the end of a line. In the following example the key signature following the explicit change to B-flat major is still visible, even though all-invisible is set. \key g \major f4 g a b % Try to remove all key signatures \override Staff.KeySignature #'break-visibility = #all-invisible \key bes \major f4 g a b \break f4 g a b f4 g a b [image of music] The visibility of such explicit key signature and clef changes is controlled by the explicitKeySignatureVisibility and explicitClefVisibility properties. These are the equivalent of the break-visibility property and both take a vector of three booleans or the predefined functions listed above, exactly like break-visibility. Both are properties of the Staff context, not the layout objects themselves, and so they are set using the \set command. Both are set by default to all-visible. These properties control only the visibility of key signatures and clefs resulting from explicit changes and do not affect key signatures and clefs at the beginning of lines; break-visibility must still be overridden in the appropriate object to remove these. \key g \major f4 g a b \set Staff.explicitKeySignatureVisibility = #all-invisible \override Staff.KeySignature #'break-visibility = #all-invisible \key bes \major f4 g a b \break f4 g a b f4 g a b [image of music] -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing key after line break
On 2012-06-23 22:28, David Kastrup wrote: The visibility of such explicit key signature and clef changes is controlled by the explicitKeySignatureVisibility and explicitClefVisibility properties. A really big THANK YOU! I need to learn how to read the documentation... // Anders ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing key after line break
On 24/06/12 04:38, Anders Eriksson wrote: I'm trying to study Music Theory and Lilypond is a really good tool! I want to create a sheet with all the diatonic chords in all Major scales, and I'm almost there. The goal is to have each key on a separate line. My problem is that the new key signature starts at the last bar on the previous line! How do I fix this? Use a separate \score block for each line? That's what I do when creating a booklet of scale patterns for all the major and minor keys. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Adding new fingering system
My main instrument is the Pedal Steel Guitar. One of the different
things about this instrument is that it has pedals that re-tune specific
strings.
I want to be able to add strings to my score.
This is close to the result I want, but it would be nice to use a
similar syntax as for string indications, e.g.
{
\set stringNumberOrientations = #'(up)
c'\84
c'\8 e'\6 g'\54
}
%% Start of file
\version 2.14.2
{
c'4 ^\markup {\circle \tiny 8}
c' e' g' ^\markup { \tiny \left-column {\circle{5} \circle{6}
\circle{8}}}
f' a' c' ^\markup {\tiny \left-column{\circle{5B} \circle{6A}
\circle{8}}}
}
%% End of file
NB! Here I have added an F chord which uses two pedals (Pedal A and B)
How hard is it to extend Lilypond so I can use the same syntax as for
string indication?
And where to I start?
// Anders
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Re: utility to create files for a score or book
m...@apollinemike.com wrote: On 20 juin 2012, at 22:10, -Eluze wrote: Federico + MS thank you both for pointing me to these tools - I will need some time to study them! Eluze -- View this message in context: http://old.nabble.com/utility-to-create-files-for-a-score-or-book-tp34045167p34060352.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
suppress time sig automatically
I'm using music expressions, each with their own time signatures, in random orderings. I won't know when two measures will have the same time signature in a row, so I'm wondering if there is some way to check for the time sig of the previous measure and, if it is the same as the current measure, turn off the stencil for the current measure. Is there an auto setting for this? Or do I need scheme (which I'm not good at)? -- Neil Thornock, D.M. The recent premiere of ...and a bunch of other stuff: http://www.youtube.com/watch?v=LQtvPet3k8c Assistant Professor of Music Composition/Theory Brigham Young University ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: suppress time sig automatically
Hi, Neil!
On Sat, Jun 23, 2012 at 5:46 PM, Neil Thornock neilthorn...@gmail.comwrote:
I'm using music expressions, each with their own time signatures, in
random orderings. I won't know when two measures will have the same
time signature in a row, so I'm wondering if there is some way to
check for the time sig of the previous measure and, if it is the same
as the current measure, turn off the stencil for the current measure.
Is there an auto setting for this? Or do I need scheme (which I'm not good
at)?
I'm not aware of a setting to do this automatically (which doesn't mean
there isn't one!) Here's a Scheme engraver which should hopefully do what
you want:
\version 2.14.2
suppressExtraTimeSig =
#(lambda (ctx)
(let ((time-sig '())
(to-compare #f))
`((acknowledgers
(time-signature-interface
. ,(lambda (engraver grob source-engraver)
(if to-compare
(set! time-sig grob)
(set! to-compare grob)
(process-music
. ,(lambda (trans)
(if (and (ly:grob? to-compare)
(ly:grob? time-sig)
(not (eq? to-compare time-sig))) ; check for same grob
(if (equal? (ly:grob-property to-compare 'fraction)
(ly:grob-property time-sig 'fraction))
(begin
(ly:grob-suicide! time-sig)
(set! time-sig '()))
(set! to-compare time-sig
expA = {
\time 3/4
c c c
}
expB = {
\time 5/4
c c c c c
}
expC = {
\time 4/4
c c c c
}
\relative c'' {
\expA
\expB
\expC
\repeat unfold 5 \expA
\expB
\expB
\repeat unfold 10 \expC
}
\layout {
\context {
\Staff
\consists \suppressExtraTimeSig
}
}
HTH,
David
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function does not replicate \markup?
I have just made my first Lilypond function!
but somehow it doesn't do what I want it to do...
The box with the number isn't located at the same position and it's a
bigger size.
WHY?
// Anders
%% Start of file
\version 2.14.2
fN = #(define-music-function (parser location fretp ) (string?)
#{
\once \override Score . RehearsalMark #'direction = #DOWN
\once \override Score . RehearsalMark #'self-alignment-X = #RIGHT
\mark \markup { \box \italic $fretp }
#}
)
{
c' e' g' _\markup { \box \italic { 8 } }
c' e' g' \fN 8
}
%% End of file
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Re: function does not replicate \markup?
and...@andis59.se and...@andis59.se writes:
I have just made my first Lilypond function!
but somehow it doesn't do what I want it to do...
The box with the number isn't located at the same position and it's a
bigger size.
WHY?
Because it is a rehearsal mark rather than a text script? If you write
the contents of the music function in the file rather than a text
script, the results should be pretty much identical.
%% Start of file
\version 2.14.2
fN = #(define-music-function (parser location fretp ) (string?)
#{
\once \override Score . RehearsalMark #'direction = #DOWN
\once \override Score . RehearsalMark #'self-alignment-X = #RIGHT
\mark \markup { \box \italic $fretp }
#}
)
{
c' e' g' _\markup { \box \italic { 8 } }
c' e' g' \fN 8
}
Try to see whether you can convince your mail client to include code
without removing its indentation and double-spacing the lines. Makes it
easier to talk about code.
--
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