Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

Hi Kieren,

thanks for this hint. I checked it and it looks *quite* good, but there is a 
problem that
chords are out of alignment.

I created a "minimal" example (which doesn't fit into ten lines because of the 
layout
setup part) you can find attached and the result.

As you can see, the chords in the second version (without notes) are always a 
bit late,
they should appear more to the left.

Do you have an idea how to solve this?

Best regards
Dominic



On 06.12.19 22:59, Kieren MacMillan wrote:
> Hi Dominic,
> 
>> in a special case I need a "score" with notes, only chords and lyrics.
> 
> Have you looked through the archives for related threads (e.g., 
> https://lists.gnu.org/archive/html/lilypond-user/2018-12/msg00111.html)?
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer (he/him/his)
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 
> 
\version "2.19.82"

verseOne = \lyricmode {
\set stanza = "1. "
it's a test to make a score that just works
but it does not fit
}

harmonies = {
\chordmode { s4 f2 c bes2 g:m7 }
}

melody = \relative c'' {
\time 4/4
\partial 4
a8 a | a8. a16 a a a8~ a4 a8 a | a4 a16 a a8~ a a a
}

\layout {
\context {
\ChordNames
\override ChordName.font-name = #"Alegreya Medium"
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 2.5) (minimum-distance . 2.5) (padding . 1.25) (stretchability . 0))
}
\context {
\Lyrics
\override LyricText.font-name = #"Alegreya"
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 5.5) (minimum-distance . 5.5) (padding . 1.25) (stretchability . 0))
}
\context {
\ChordNames
\name LyricSheetChords
\alias ChordNames
\inherit-acceptability LyricSheetChords ChordNames
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 1) (minimum-distance . 1) (padding . 1) (stretchability . 0))
}
\context {
\Lyrics
\name LyricSheetLyrics
\alias Lyrics
\inherit-acceptability LyricSheetLyrics Lyrics
\override VerticalAxisGroup.staff-affinity = #UP
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 3) (minimum-distance . 3) (padding . 2) (stretchability . 0))
\override LyricText.self-alignment-X = #-0.9
\override LyricSpace.minimum-distance = #0.625
\override LyricSpace.minimum-length = #0.5
} 
}

\score {
<<
\new ChordNames \harmonies
\new Staff \new Voice = "melody" \melody
\new LyricSheetLyrics \lyricsto "melody" { \verseOne }
>>
}

\score {
<<
\new ChordNames \harmonies
\new Devnull = "melody" \melody
\new LyricSheetLyrics \lyricsto "melody" { \verseOne }
>>
}

Re: How to remove all notes and only show Chords and Lyrics?

[Dominic Sonntag]

This is really quite close, but can I remove that horizontal line and bring the 
chords and
lyrics closer together?


On 07.12.19 15:50, lilyp...@de-wolff.org wrote:
> 
> 
>> -Original Message-
>> From: lilypond-user 
>> On Behalf Of Dominic Sonntag
>> Sent: Friday, December 6, 2019 11:08 AM
>> To: lilypond-user@gnu.org
>> Subject: How to remove all notes and only show Chords and Lyrics?
>>
>> Hi,
>>
>> in a special case I need a "score" with notes, only chords and lyrics. A 
>> basic
>> example is
>> this:
>>
>> \version "2.19.82"
>> \score { <<
>> \new ChordNames { s4 f2 c }
>> \new Staff {
>> \relative c' {
>> \partial 4
>> \time 4/4
>> \key f \major
>> f8 g | f4. e16 d e c8~ c4
>> }
>> }
>> \addlyrics { It's not time to make a change, }
 }
>>
>>
>> I want the notes and clefs and barlines etc. (the whole staff) not to be 
>> shown,
>> but the lyrics should still take the time the notes have. In this little 
>> example, the
>> result should look something like this:
>>
>>  F  C
>> It's not time to make a change,
>>
>> or see my attached image.
>>
>> How can I achieve this? (Maybe with the least effort on changing the input 
>> as it
>> is a long
>> song.)
>>
>> Kind regards
>> Dominic
> [>] 
> This is not exactly what you want, but it is close:
> \version "2.19.82"
> 
> \layout {
>   \set RhythmicStaff.explicitKeySignatureVisibility = #all-invisible
>   \set Staff.printKeyCancellation = ##f
> \context { 
> \RhythmicStaff
>   \remove "Time_signature_engraver"
>   \override Clef.break-visibility = #all-invisible
> }
> }
> 
> 
> \score { <<
> \new ChordNames { s4 f2 c }
> \new RhythmicStaff {
>   \new NullVoice
> \relative c' {  
> \override Score.BarLine.stencil = ##f
> \partial 4
> \time 4/4
> \key f \major
> f8 g | f4. e16 d e c8~ c4
> }
> }
> \addlyrics { It's not time to make a change, }
>>> }
> 
> 

Re: transpositions within a global key setting.

[Urs Liska]

Am 09.12.19 um 15:24 schrieb N. Andrew Walsh:

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}}
   }
}



What this code is trying to convey (different from your intentions) that 
MUSIC is some music in as minor that is then transposed to f minor.


What you *need* to say is that the music is in f minor (because that is 
your key signature) but transposed *for display* to as minor. It should 
immediately strike you as odd when you seem to need to write \key as 
\minor when you are not actually having polytonality.


So the key signature in your music should be the f minor specified in 
the global variable (note BTW that it is not ideal practice naming a 
variable "global"), and you can simply include that *within* the music 
expression rather than in teh staff definition.


You define the music in the original key and then transpose it to the 
key you want it displayed in. If you are dealing with MIDI output (and 
even if not you should consider it) you can then use \transposition to 
re-transpose the MIDI output without affecting the engraved key and 
pitches (see 
http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#instrument-transpositions 
(which is where you should have looked at)).


This is what you want to do:

\version  "2.19.82"
global= {
  \key f \minor
  \time 4/8
}

oDAMusic =
\transpose f as
\relative c' {
  \transposition a
  \global
  f g as
}

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

HTH
Urs



\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: Outside-staff-priority and vertical order of grobs

[Thomas Morley]

Am Mo., 9. Dez. 2019 um 18:00 Uhr schrieb Paolo Pr :
>
>
>
> On Mon, Dec 9, 2019 at 5:38 PM Thomas Morley  wrote:
>>
>> Am Mo., 9. Dez. 2019 um 17:05 Uhr schrieb Paolo Pr :
>> >
>
>
>>
>> > Is there a way to set the staff-padding property of a grob and preserve at 
>> > the same time the vertical order set with outside-staff-priority?
>>
>> Provoke collision by setting staff-padding of TupletBracket to the
>> same value and let LilyPond sort it.
>>
>
> Hello Thomas,
>
> This method, unfortunately, seems redundant, because I have to specify the 
> value for all the objects that are near the OttavaBracket. Instead, I wonder 
> if is there an automatic way to vertically order them, given that the order 
> is already set in the list of outside-staff-priority valuse.

And that's the misunderstanding.
The grob are only ordered following outside-staff-priority _if_
collisions would happen otherwise.
If you manually move grob4, in a way grob1/2/3 _can't_ collide with it
any longer then collision-avoidence following outside-staff-priority
happens only for grob1/2/3

> For example, if I have in the following vertical order (grob1 on the top, 
> grob4 on the bottom):
>
> grob1
> grob2
> grob3
> grob4
>
> ---
> ---
> ---
> ---
> ---
>
> I wonder if is there a way to shift grob4 vertically and automatically shift 
> grob1,2,3 as a consequence...

I'm not aware of such a possibility.

Cheers,
  Harm

Re: Cleanly showing every measure number

[Carl Sorensen]

From: Sam Bivens 
Date: Monday, December 9, 2019 at 12:37 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?
If you wish to keep them near the staff at the expense of having collisions, 
you can just set the outside-staff-priority to ##f:

\version "2.19.82"
\language "english"
consistentlyLeftAlignedBarNumbers = {
  \override Score.BarNumber.break-visibility = #end-of-line-invisible
  \override Score.BarNumber.self-alignment-X =
#(lambda (grob)
   (let ((break-dir (ly:item-break-dir grob)))
 (if (= break-dir RIGHT) RIGHT LEFT)))
  \override Score.BarNumber #'break-align-symbols =
#'(staff-bar clef)
\override Score.BarNumber.outside-staff-priority=##f
}

global = {
  \key c \minor
  \time 12/8
}

right = \relative c'' {
  \global
  s2. ef8 f16 ef d ef \slashedGrace ef8^( g'8)-. f16\(-. ef-. d-. c-. |
  cf8 bf\) bff bff16 af af[ g] g16.\( f32 ef2.\) |
}

\score {
  \new Staff <<
\consistentlyLeftAlignedBarNumbers
\right
  >>
  \layout { }
}

But somehow I doubt this is what you wish to see.
I am not aware of any construct that will allow you to bring bar numbers close 
to the staff (by making them staff objects, rather than outside staff objects) 
but then require the music to move away from them to avoid collisions.
The problem you are running into is that BarNumbers are outside-staff objects, 
and notes and slurs are staff objects.  Collision resolution moves 
outside-staff objects vertically to clear the staff objects.
You can get one solution the problem by modifying 
BarNumber.space-alist.next-note:
\version "2.19.82"
\language "english"

consistentlyLeftAlignedBarNumbers = {
  \override Score.BarNumber.break-visibility = #end-of-line-invisible
  \override Score.BarNumber.self-alignment-X =
#(lambda (grob)
   (let ((break-dir (ly:item-break-dir grob)))
 (if (= break-dir RIGHT) RIGHT LEFT)))
  \override Score.BarNumber #'break-align-symbols =
#'(staff-bar clef)
\override Score.BarNumber.outside-staff-priority=##f
\override Score.BarLine.space-alist.next-note = #'(minimum-space . 3)
}

global = {
  \key c \minor
  \time 12/8
}

right = \relative c'' {
  \global
  s2. ef8 f16 ef d ef \slashedGrace ef8^( g'8)-. f16\(-. ef-. d-. c-. |
  cf8 bf\) bff bff16 af af[ g] g16.\( f32 ef2.\) |
}

\score {
  \new Staff <<
\consistentlyLeftAlignedBarNumbers
\right
  >>
  \layout { }
}
I'm not a huge fan of this, because it puts the bar number down in the music, 
when I think it should not be confused as part of the music.  Personally, I'd 
just omit the bar number when it doesn't fit.
HTH,

Carl

Re: Two or more accidentals per note.

[Graham Breed]

> From: Freeman Gilmore 
> Subject: Two or more accidentals per note.

> How do you wright two (or more) accidentals to modify the same note?
>  Where is this written?And is there more than one way to do this?   For
> example how would I write 3 #; 2 double sharps; 2 or more microtonal
> accidentals; or microtonal  accidentals with #'s or b's.Please keep the
> explanation simple, I do not have much experience with LilyPond.

It can be done with text strings and Scheme.  You need to override the
way the accidental is written.  This is the only way I can get
Extended Helmholtz-Ellis notation working in the general sense.  The
code is here:

https://bitbucket.org/x31eq/microlily/src/master/

There's a newer font it could be using.  To do that means re-writing
various things.  The spacing wasn't quite right on the most recent
LilyPond version I tried.  Going back to 2.14 might be better, but
will also probably not work with that code.  So it's generally an
unsatisfactory approach: tricky to get right and even then doesn't
work properly.  But it does mean an arbitrary number of glyphs can be
used with each accidental.

For the simpler case of combining a sharp or flat with one other
accidental, it's probably best to make a custom music font that uses a
single glyph for the combined symbol.  The trouble is, that isn't easy
to do either, and I don't actually know how to do it.

So the other way, that you found, is to write two note-heads and hide
one of them.  That might work but it must be an ugly implementation.
Unfortunately, everything's a workaround of some kind, because
LilyPond is written around a single glyph for each accidental, plus a
special case with naturals, and at one point (maybe still) even second
guessed what those glyphs were.


   Graham

RE: Cleanly showing every measure number

[lilypond]

From: lilypond-user  On 
Behalf Of Sam Bivens
Sent: Monday, December 9, 2019 8:38 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  

[>] 

Maybe to simple, but what about just using

\layout {

\context {

  \Score

 \override BarNumber.break-visibility = #all-visible

 \override BarNumber.font-size = #+2

 \override BarNumber.Y-offset = -20.0

  \override BarNumber.extra-offset = #'( 0.0 . +22.0) 

}

}

?

 

Cleanly showing every measure number

[Sam Bivens]

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
\version "2.19.82"
\language "english"

consistentlyLeftAlignedBarNumbers = {
  \override Score.BarNumber.break-visibility = #end-of-line-invisible
  \override Score.BarNumber.self-alignment-X =
#(lambda (grob)
   (let ((break-dir (ly:item-break-dir grob)))
 (if (= break-dir RIGHT) RIGHT LEFT)))
  \override Score.BarNumber #'break-align-symbols = 
#'(staff-bar clef)
}

global = {
  \key c \minor
  \time 12/8
}

right = \relative c'' {
  \global
  s2. ef8 f16 ef d ef \slashedGrace ef8^( g'8)-. f16\(-. ef-. d-. c-. |
  cf8 bf\) bff bff16 af af[ g] g16.\( f32 ef2.\) |
}

\score {
  \new Staff <<
\consistentlyLeftAlignedBarNumbers
\right
  >>
  \layout { }
}

Re: transpositions within a global key setting.

[N. Andrew Walsh]

Hi Rick,

On Mon, Dec 9, 2019 at 4:54 PM Rick Kimpel  wrote:

> Andrew,
> Try this:
>

What I ended up having to do was this, inside the \score block:

\new Staff = "Staff_oboeDA" <<
  \transposition a \transpose a c << \global \oDAMusic \keyandtempo >>
>>

(\keyandtempo is another variable that contains all the key and tempo
changes, and consequently has to be within a multi-voice context with each
instrument's variable).

But that worked! Thanks! That's exactly what I needed.

Cheers,

A

Re: Outside-staff-priority and vertical order of grobs

[Paolo Pr]

On Mon, Dec 9, 2019 at 5:38 PM Thomas Morley 
wrote:

> Am Mo., 9. Dez. 2019 um 17:05 Uhr schrieb Paolo Pr :
> >
>


> > Is there a way to set the staff-padding property of a grob and preserve
> at the same time the vertical order set with outside-staff-priority?
>
> Provoke collision by setting staff-padding of TupletBracket to the
> same value and let LilyPond sort it.
>
>
Hello Thomas,

This method, unfortunately, seems redundant, because I have to specify the
value for all the objects that are near the OttavaBracket. Instead, I
wonder if is there an automatic way to vertically order them, given that
the order is already set in the list of outside-staff-priority valuse.
For example, if I have in the following vertical order (grob1 on the top,
grob4 on the bottom):

grob1
grob2
grob3
grob4

---
---
---
---
---

I wonder if is there a way to shift grob4 vertically and automatically
shift grob1,2,3 as a consequence...

Thanks.

Re: software

[Devin Ulibarri]

Is this spam, because it looks like a spam message.
It has no context in any lilypond-related discussions
It also looks to be proprietary, which is no fun at all
On Mon, 2019-12-09 at 08:22 -0800, Mark Stephen Mrotek wrote:
> Hello,
>  
> https://www.staffpad.net/
>  
> Mark

Re: Outside-staff-priority and vertical order of grobs

[Thomas Morley]

Am Mo., 9. Dez. 2019 um 17:05 Uhr schrieb Paolo Pr :
>
> Hello,
>
> in the following snippet, I assigned to the TupletBracket grob an 
> outside-staff-priority higher than the OttavaBracket. Then, the OttavaBracket 
> is placed below it, as expected.
>
> 
> {
> \override TupletBracket.outside-staff-priority = #340
> \override Staff.OttavaBracket.outside-staff-priority = #300
> \ottava #1 \tuplet 3/2 { c' d' f' }
> }
> 
>
> However, if I override the staff-padding property of the OttavaBracket, the 
> ottava grob il placed in a new position regardless of the previous 
> outside-staff-priority order. Then, the TupletBracket us now placed below the 
> moved OttavaBracket:
>
> 
> {
> \override TupletBracket.outside-staff-priority = #340
> \override Staff.OttavaBracket.outside-staff-priority = #300
> \override Staff.OttavaBracket #'staff-padding = #'5
> \ottava #1 \tuplet 3/2 { c' d' f' }
> }
> 
>
> Why?

In IR outside-staff-priority is explained as:
"
outside-staff-priority (number)

If set, the grob is positioned outside the staff in such a way as to
avoid all collisions. _In_ _case _of a potential _collision_, the grob
with the smaller outside-staff-priority is closer to the staff.
"

If you set staff-padding of OttavaBracket to a sufficient high value,
then no collision will occur anyway. Thus no need to follow the
staff-priority you've set.

> Is there a way to set the staff-padding property of a grob and preserve at 
> the same time the vertical order set with outside-staff-priority?

Provoke collision by setting staff-padding of TupletBracket to the
same value and let LilyPond sort it.

Cheers,
  Harm

Re: Problem associated with multiple quote sources

[David Kastrup]

"Peter Gentry"  writes:

> I have done some digging with small files.
>
> 1. putting each set of potential cues as reqd. as the first lines in each
> music file (Movement) works  :
>
>   cueNotesOneA=\include "file1.ily"
>
>   \addQuote "cueNotesOneA" { \cueNotesOneA }
>
>   Etc...
>
> 2. when several music files are instanced in an attempt to produce a single
> score this fails

What is "instanced"?  How does such an "attempt to produce a single
score" look like?

> 3. when this input is changed:   Move the list the cues  to  BEFORE each
> \score {.} section it works

I am not surprised that using the cues before defining them does not
work.  This is probably not what you mean but it is not clear what you
mean.

> 4. However attempts to include a Header file (title dates text and .eps
> picture) for the first page  and header text for each movement causes
> failure but  when cues are defined.

"Attempts causes failure but when cues are defined"?  Sorry, I don't get
what you are saying here.

> 5.  I use Book and BookPart sections to produce a score but just  using
> bookpart sections also causes failure

How do you use book and bookpart sections?  You are aware that book and
bookpart sections cannot contain assignments at top level?  But that's
nothing that changed "since 2015".

> 6. I will try and reduce these complication header complications to
> isolate the issue one step at a time.

Maybe that would help making more focused descriptions as well.

-- 
David Kastrup

software

[Mark Stephen Mrotek]

Hello,

 

https://www.staffpad.net/

 

Mark

Outside-staff-priority and vertical order of grobs

[Paolo Pr]

Hello,

in the following snippet, I assigned to the TupletBracket grob an
outside-staff-priority higher than the OttavaBracket. Then, the
OttavaBracket is placed below it, as expected.


{
\override TupletBracket.outside-staff-priority = #340
\override Staff.OttavaBracket.outside-staff-priority = #300
\ottava #1 \tuplet 3/2 { c' d' f' }
}


However, if I override the staff-padding property of the OttavaBracket, the
ottava grob il placed in a new position regardless of the previous
outside-staff-priority order. Then, the TupletBracket us now placed below
the moved OttavaBracket:


{
\override TupletBracket.outside-staff-priority = #340
\override Staff.OttavaBracket.outside-staff-priority = #300
\override Staff.OttavaBracket #'staff-padding = #'5
\ottava #1 \tuplet 3/2 { c' d' f' }
}


Why? Is there a way to set the staff-padding property of a grob and
preserve at the same time the vertical order set
with outside-staff-priority?

Thanks,
Paolo

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

Problem associated with multiple quote sources

[Peter Gentry]

I have done some digging with small files.

1. putting each set of potential cues as reqd. as the first lines in each
music file (Movement) works  :

  cueNotesOneA=\include "file1.ily"

  \addQuote "cueNotesOneA" { \cueNotesOneA }

  Etc...

2. when several music files are instanced in an attempt to produce a single
score this fails

3. when this input is changed:   Move the list the cues  to  BEFORE each
\score {.} section it works 

4. However attempts to include a Header file (title dates text and .eps
picture) for the first page  and header text for each movement causes
failure but  when cues are defined.

5.  I use Book and BookPart sections to produce a score but just  using
bookpart sections also causes failure

6. I will try and reduce these complication header complications to isolate
the issue one step at a time.

Regards Peter

 

transpositions within a global key setting.

[N. Andrew Walsh]

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

Using \slashSeparator only with forced breaks

[Jens Gyldenkærne Jensen]

Hi all. I'm trying to typeset a choral arrangement where each stanza
is set for different voices (1: SSA, 2: TTBB, 3: SSATTBB). The
handwritten original uses a separator between the first two stanzas
similar to lilyponds \slashSeparator - but in lilypond I can't find a
way to show the separator only between specific systems (e.g. after a
forced \break).

Are there any good suggestions to how I can make a clear visible
separation between the first two stanzas?

(I would also prefer to have the instrumentnames shown only in the
first system for each stanza)


-- 
Jens Gyldenkærne Jensen
Veksø

Re: Problem associated with multiple quote sources

[David Kastrup]

"Peter Gentry"  writes:

> Some time ago (2015) I prepared a quintet version of the Farrenc Nonetto. To
> make things easier I added copious quotes to the many long chains of rests
> to help the players. For this purpose I created an ily containing a set of
> music for each line & movement (without cues) so that I could pick and chose
> quotes to go virtually anywhere. This worked fine then but today it runs
> into trouble.

[...]

> This works as expected for each movement on its own.
>
>  
>
> But when I combine the movements in a single file and include a frontpage
> (in the usual way)  I get error messages such as

There is no usual way.

> C:/Users/Peter/Lilypool/Music_Files/Farrenc/Op38_Alto_L2_M1.ily:7:1: error:
> not a note name: cueNotesOneA

You use cueNotesOneA as the target for an assignment in the code you
quoted above but LilyPond tries to interpret it as a notename.

The most likely cause is you forgot a closing brace } .

> The parts and score files are far too large to include here.

Then make an example from scratch that isn't.  Really, there is not a
lot of help one can offer here without further information.

> I have been pulling out the few remaining hairs if anyone knows why things
> have changed since 2015 I would be very grateful

Things change all the time.  If you want to see what syntactical
entities LilyPond encounters and how it reacts to them, you can run it
with option -ddebug-parser .  The output will be humongous.  You can
direct it to a file and try capturing the last few dozen lines before
the error to guess what may be happening.

-- 
David Kastrup

Problem associated with multiple quote sources

[Peter Gentry]

Some time ago (2015) I prepared a quintet version of the Farrenc Nonetto. To
make things easier I added copious quotes to the many long chains of rests
to help the players. For this purpose I created an ily containing a set of
music for each line & movement (without cues) so that I could pick and chose
quotes to go virtually anywhere. This worked fine then but today it runs
into trouble.

 

\version "2.19.81"

%Preamble cut for brevity

 

% potential sources of cues for Movement One  ( bare indicates music without
any cues)

cueNotesOneA=\include "Op38_Alto_L2_M1_bare.ily"

\addQuote "cueNotesOneA" { \cueNotesOneA }

 

cueNotesOneB=\include "Op38_Clarinet_L3_M1_bare.ily"

\addQuote "cueNotesOneB" { \cueNotesOneB }

 

%similar data to above for other parts cut out for brevity

 

\relative c'' {

% Tempo and some notes etc cut out for brevity

 

es2 g2 )   |  % 6

as2 f2  |  % 7

g4 r4 r4 r4   |  % 8

% example of a cue

\new CueVoice \with { instrumentCueName="clt3" }

\cueDuring #"cueNotesOneB"  #UP {\set Score.skipBars = ##t s1*4/4*3 }  

 

% large chunkof notes  cut out for brevity

es'4\f r4 r4   |  % 413

c4 r4 r4   |  % 414 

 \bar "|."

} 

This works as expected for each movement on its own.

 

But when I combine the movements in a single file and include a frontpage
(in the usual way)  I get error messages such as

C:/Users/Peter/Lilypool/Music_Files/Farrenc/Op38_Alto_L2_M1.ily:7:1: error:
not a note name: cueNotesOneA

 

This also prevents the production of a complete score with all parts.

 

I realise the above is not a particularly small clip but it is the general
application of lots of quotes in a longish piece which is no longer working
as before.

The parts and score files are far too large to include here.

I have been pulling out the few remaining hairs if anyone knows why things
have changed since 2015 I would be very grateful

 

Regards Peter

 

Re: alignAboveContext for alto

[David Olson]

Thank you! 

Yes. This works perfectly! 

With deep appreciation, 

David 



From: "Remy CLAVERIE"  
To: "dadadharma @dslextreme.com" , "lilypond-user" 
 
Sent: Monday, December 9, 2019 12:50:16 AM 
Subject: re: alignAboveContext for alto 



David, 



If I correctly understand your problem, you need to have the Lyrics of the alto 
voice above the Staff after the eight bar. 

I think the best solution is to use the 'alignAbovecontext' which sould be 
applied to a 'Staff' context. You will find a proposal attached to this email. 



If you would like a more appropriate solution, tell me know. 



Have a nice day, 



Rémy 





> Message du 08/12/19 20:42 
> De : "David Olson"  
> A : "lilypond-user"  
> Copie à : 
> Objet : alignAboveContext for alto 
> 
> 
Dear Lilyponders, 
Suppose I have a ChoirStaff with four voices, 
and stanzas are sung by everybody, but distributed between the voices (less 
cluttered). 
<< 
> \new Voice = "one" { \sopranoMusic } 
> \new Lyrics \lyricsto "one" \stanzaOne 
> \new Voice = "two" { \altoMusic } 
> \new Lyrics \lyricsto "two" \stanzaTwo 
> << 
> >> 
> \new Voice = "three" { \tenorMusic } 
> \new Lyrics \lyricsto "two" \stanzaThree 
> \new Voice = "four" { \bassMusic } 
> >> 
> 
However, soprano & tenor have 8 measures rest; ideally those lyrics (14 
syllables) can be set with reference to the alto voice. 
When compiling, the order matters: 
"two" (alto) has been read when "three" (tenor) is compiled, so stanza three 
lyrics appear below tenor rests. 
But "one" cannot reference "two", so no lyrics will appear if 
> \new Voice = "one" { \sopranoMusic } 
> \new Lyrics \lyricsto "two" \stanzaOne 
Warning: cannot find Voice `two' 
> 
Alternatively: alignAboveContext 
(what is the "context"?) 

> 
{ alignAboveContext = "two" } 
{ alignAboveContext = "Voice" } 
{ alignAboveContext = "altoMusic" } 
\new Voice = "two" { \altoMusic } 
> \new Lyrics 
> \with { alignAboveContext = "two" } {\lyricsto "two" \stanzaFirst } 
> \new Lyrics \lyricsto "two" \stanzaTwo 
> 

> 
This just prints the "stanzaFirst" section below alto. 
Assistance will be greatly appreciated, 
David Olson 
Los Angeles, California 

> 
> [ Puzzled_by_The_Marcellas.ly (4.9 Ko) ] 

re: alignAboveContext for alto

[Remy CLAVERIE]

David,

 

If I correctly understand your problem, you need to have the Lyrics of the alto 
voice above the Staff after the eight bar.

I think the best solution is to use the 'alignAbovecontext' which sould be 
applied to a 'Staff' context. You will find a proposal attached to this email.

 

If you would like a more appropriate solution, tell me know.

 

Have a nice day,

 

Rémy

 

 

> Message du 08/12/19 20:42
> De : "David Olson" 
> A : "lilypond-user" 

> Copie à : 
> Objet : alignAboveContext for alto
> 
>

Dear Lilyponders,
 
Suppose I have a ChoirStaff with four voices,
 
and stanzas are sung by everybody, but distributed between the voices (less 
cluttered).
 
<<
>    \new Voice = "one" { \sopranoMusic }
>    \new Lyrics \lyricsto "one" \stanzaOne
>    \new Voice = "two" { \altoMusic }
>    \new Lyrics \lyricsto "two" \stanzaTwo
>    <<
>    >>
>    \new Voice = "three" { \tenorMusic }
>    \new Lyrics \lyricsto "two" \stanzaThree
>    \new  Voice = "four" { \bassMusic }
>    >>
>
However, soprano & tenor have 8 measures rest; ideally those lyrics (14 
syllables) can be set with reference to the alto voice.
 
When compiling, the order matters:
"two" (alto) has been read when "three" (tenor) is compiled, so stanza three 
lyrics appear below tenor rests.
 
But "one" cannot reference "two", so no lyrics will appear if    
>    \new Voice = "one" { \sopranoMusic }
>    \new Lyrics \lyricsto "two" \stanzaOne
 
   Warning: cannot find Voice `two'
>
 
Alternatively:  alignAboveContext
 
(what is the "context"?)



>
{ alignAboveContext = "two" }

{ alignAboveContext = "Voice" }
{ alignAboveContext = "altoMusic" }
 

 
   \new Voice = "two" { \altoMusic }
>    \new Lyrics 
> \with { alignAboveContext = "two" } {\lyricsto "two" \stanzaFirst }
>    \new Lyrics \lyricsto "two" \stanzaTwo
>

>
This just prints the "stanzaFirst" section below alto.
 
Assistance will be greatly appreciated,
 
David Olson
Los Angeles, California
 



>
> [ Puzzled_by_The_Marcellas.ly (4.9 Ko) ]\version "2.18.2-1"
\header {
  title = "The Marcellas. 7s."
  subtitle = ""
  piece = "E♭ Major. John Cenick (1742)"
  composer = "Edmund Dumas (1859); alto 1911 S.M. Denson"
  tagline = ""
}

#(set-default-paper-size "legal" 'landscape)

stanzaOne = \lyricmode {
  \set stanza = "1."
  Child -- ren of the heav’n -- ly King,
  As we jour -- ney, sweet -- ly sing;
  Sing your Sav -- ior’s wor -- thy praise,
  Glor -- ious in His works and ways;
  Sing your Sav -- ior’s wor -- thy praise,
  Glor -- ious in His works and ways.
}


stanzaTwo = \lyricmode {
  \set stanza = "2."
  Fear not, breth -- ren;  joy -- ful stand
  On the bor -- ders of your land;
  Je -- sus Christ, your Fath -- er’s Son,
  Bids you un -- dis -- mayed go on;

  Je -- sus Christ, your Fath -- er’s Son,
  Bids you un -- dis -- mayed go on.
}

stanzaThree = \lyricmode {
  \set stanza = "3."
  Lord, sub -- mis -- sive make us go,
  Glad -- ly leav -- ing all be -- low;
  On -- ly Thou our lead -- er be,
  And we still will fol -- low Thee;
  On -- ly Thou our lead -- er be,
  And we still will fol -- low Thee.
}

stanzaFirst = \lyricmode {
  \set stanza = ""
  _ _ _ _ _ _ _ _ 
  _ _ _ _ _ _ 
  Sing your Sav -- ior’s wor -- thy praise.
  Glor -- ious in His works and ways.
}

sopranoMusic = {
  \sacredHarpHeads
  \set shapeNoteStyles = ##(fa #f la fa #f la mi)
  \clef treble
  \key ees \major
  \autoBeamOff

  \numericTimeSignature
  \time 2/4
  \relative c'' {
\override Voice.Stem.thickness = #2.5
g4 g | ees' ees | ees c | bes2 | 
c4 ees | bes ees | g ees | f2 | 
R2*4 | 
R2*4 | 
ees4 c | ees g | g ees | ees2 | 
ees4 ees | bes c | bes ees | ees2 |
  }
}

altoMusic = {
  \sacredHarpHeads
  \set shapeNoteStyles = ##(fa #f la fa #f la mi)
  \clef treble
  \key ees \major
  \autoBeamOff

  \numericTimeSignature
  \time 2/4
  \relative f' {
\override Voice.Stem.thickness = #2.5
g4 bes | g ees | g f | g2 | 
g4 ees | ees g | g bes | f2 | 
ees4 g | g g | ees8[ f] g[ f] | g2 | 
g4 ees | g f | g ees | g2 | 
g4 g | g ees | ees g | g2 | 
g4 ees | ees ees | ees f | g2 
  }
}

tenorMusic = {
  \sacredHarpHeads
  \set shapeNoteStyles = ##(fa #f la fa #f la mi)
  \clef treble
  \key ees \major
  \autoBeamOff
  \numericTimeSignature
  \time 2/4
  \relative g' {
\override Voice.Stem.thickness = #2.5
bes4 ees, | bes' c | bes aes | g2 | 
ees4 bes' | g c | bes aes | bes2 |
\repeat volta 2 {  
  R2*4 | bes4 ees | bes g | bes ees | bes2 | 
  bes4 ees | bes g | g c | bes2 | 
  bes4 aes | g aes | bes c | bes2   
}
  }
}

bassMusic = {
  \sacredHarpHeads
  \set shapeNoteStyles = ##(fa #f la fa #f la mi)
  \clef bass
  \key ees \major
  \autoBeamOff
  \numericTimeSignature
  \time 2/4
  \relative f {
\override Voice.Stem.thickness = #2.5
ees4 g | ees4 g | ees c |