Removing staff sharp after a \stopStaff
Hi there
I'm having trouble trying to let the cropped staff ends right after the
notes.
There's staff lines continues a bit after (probably due to the alignment
with the notes of the staff below).
What could solve this and cut the up right after the notes?
%Definitions
circa= \markup { \teeny "I" }
circd= \markup { \teeny "II" }
circg= \markup { \teeny "III" }
circc= \markup { \teeny "IV" }
\score {
\new Staff = "notas" \with {
\remove Time_signature_engraver
}
\relative c { %--futura II?
\override Score.Stem.stencil = ##f
\override Score.Flag.stencil = ##f
\time 6/4
\clef F
a4_\markup { \hspace #-2 \dynamic p \circa}^\markup { \hspace #-5 \bold
"Ad lib." }
<<
{
\oneVoice
b-4_\circd d-2_\circg f-1_\circc r e-4_\circg
d_\circd fis-4_\circa a-2_\circd r
c-1 a-4
g, b-4 r e-2 g-1 e-4
\time 7/4
c r e-4 a-2 d-1 r b-4
\bar "|."
}
\new Staff = "harmonicos" \with {
alignAboveContext = #"notas"
\remove "Time_signature_engraver"
\remove "Bar_engraver"
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
\RemoveAllEmptyStaves
}
\relative c' {
\oneVoice
\clef G fis4 \omit Clef d \stopStaff s s \startStaff b \stopStaff
s \startStaff cis' a \stopStaff s s \startStaff e \stopStaff
s \startStaff fis \stopStaff s s \startStaff d \stopStaff s
s s s \startStaff a' \stopStaff s s \startStaff fis \stopStaff
}
>>
}
}
%%%PAPER definitions
\paper {
left-margin = 20\mm
bottom-margin = 15\mm
tagline = ##f
print-first-page-number = ##f
}
%%%LAYOUT definitons
\layout {
\context {
\Staff
\override Beam #'breakable = ##t
}
\context { \Staff
\override BarLine #'hair-thickness = #0.5
\override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 5)
}
\context { \Score
proportionalNotationDuration = #(ly:make-moment 1/6)
%\override SpacingSpanner.uniform-stretching = ##t
\override Flag.stencil = #modern-straight-flag
}
}
Alexandre
http://soundcloud.com/alexandre-ficagna
\version "2.20.0"
%Definitions
circa= \markup { \teeny "I" }
circd= \markup { \teeny "II" }
circg= \markup { \teeny "III" }
circc= \markup { \teeny "IV" }
\score {
\new Staff = "notas" \with {
\remove Time_signature_engraver
}
\relative c { %--futura II?
\override Score.Stem.stencil = ##f
\override Score.Flag.stencil = ##f
\time 6/4
\clef F
a4_\markup { \hspace #-2 \dynamic p \circa}^\markup { \hspace #-5 \bold "Ad lib." }
<<
{
\oneVoice
b-4_\circd d-2_\circg f-1_\circc r e-4_\circg
d_\circd fis-4_\circa a-2_\circd r
c-1 a-4
g, b-4 r e-2 g-1 e-4
\time 7/4
c r e-4 a-2 d-1 r b-4
\bar "|."
}
\new Staff = "harmonicos" \with {
alignAboveContext = #"notas"
\remove "Time_signature_engraver"
\remove "Bar_engraver"
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
\RemoveAllEmptyStaves
}
\relative c' {
\oneVoice
\clef G fis4 \omit Clef d \stopStaff s s \startStaff b \stopStaff
s \startStaff cis' a \stopStaff s s \startStaff e \stopStaff
s \startStaff fis \stopStaff s s \startStaff d \stopStaff s
s s s \startStaff a' \stopStaff s s \startStaff fis \stopStaff
}
>>
}
}
%%%PAPER definitions
\paper {
left-margin = 20\mm
bottom-margin = 15\mm
tagline = ##f
print-first-page-number = ##f
}
%%%LAYOUT definitons
\layout {
\context {
\Staff
\override Beam #'breakable = ##t
}
\context { \Staff
\override BarLine #'hair-thickness = #0.5
\override VerticalAxisGroup #'minimum-Y-extent = #'(-6 . 5)
}
\context { \Score
proportionalNotationDuration = #(ly:make-moment 1/6)
%\override SpacingSpanner.uniform-stretching = ##t
\override Flag.stencil = #modern-straight-flag
}
}
test.pdf
Description: Adobe PDF document
Re: Double clefs (or even triple) (Malte Meyn)
Malte, I just changed the musicglyph to the G_change and F_change. So, for
a single code that could be applied to initial clefs and clef changes, it
would be necessary to create such clefs as new clefs?
doubleF = {
\once \omit Staff.ClefModifier
\once \override Staff.Clef.layer = -1
\once \override Staff.Clef.stencil = #ly:text-interface::print
\once \override Staff.Clef.text = \markup {
\combine \combine
\musicglyph #"clefs.F_change"
\translate #'(2.2 . 0) \with-color #white \beam #0.5 #0 #1.5
\translate #'(1.7 . 0) \musicglyph #"clefs.F_change"
}
}
doubleG = {
\once \omit Staff.ClefModifier
\once \override Staff.Clef.stencil = #ly:text-interface::print
\once \override Staff.Clef.text = \markup {
\combine \musicglyph #"clefs.G_change"
\translate #'(1.5 . 0) \musicglyph #"clefs.G_change"
}
}
tripleG = {
\once \omit Staff.ClefModifier
\once \override Staff.Clef.stencil = #ly:text-interface::print
\once \override Staff.Clef.text = \markup {
\combine \combine
\musicglyph #"clefs.G_change"
\translate #'(1.5 . 0) \musicglyph #"clefs.G_change"
\translate #'(3 . 0) \musicglyph #"clefs.G_change"
}
}
Alexandre
http://soundcloud.com/alexandre-ficagna
Em ter, 22 de out de 2019 às 11:31, Alexandre Ficagna <
alexandre.fica...@gmail.com> escreveu:
> Beautiful. Thanks!
>
> -- Forwarded message --
>
>> From: Malte Meyn
>> To: lilypond-user@gnu.org
>> Cc:
>> Bcc:
>> Date: Sat, 19 Oct 2019 15:23:48 +0200
>> Subject: Re: Double clefs (or even triple)
>>
>>
>> Am 19.10.19 um 14:56 schrieb Alexandre Ficagna:
>> > Hi
>> >
>> > as Lilypond now have double G clefs with the \clef GG I'm wondering why
>> > there's no \clef FF or even more like \clef GGG and \clef FFF for 15a
>> > and 15b
>>
>> Hi Alexandre,
>>
>> I’ve never seen that, when are such clefs used?
>>
>> Cheers,
>> Malte
>>
>> > Still, I tried this:
>> > doubleF = {
>> >\override Staff.Clef.stencil = #ly:text-interface::print
>> >\override Staff.Clef.text = \markup { \combine \musicglyph #"clefs.F"
>> > \translate #'(2 . 0) \musicglyph #"clefs.F" }
>> > }
>> >
>> > But the ":" in the first F clef keep it away from an elegant solution.
>> >
>> > Any help?
>>
>> You could lay a white rectangle over the dots:
>>
>> %
>> \version "2.19.83"
>>
>> doubleF = {
>>\omit Staff.ClefModifier
>>\override Staff.Clef.layer = -1
>>\override Staff.Clef.stencil = #ly:text-interface::print
>>\override Staff.Clef.text = \markup {
>> \combine \combine
>> \musicglyph #"clefs.F"
>> \translate #'(2.2 . 0) \with-color #white \beam #0.5 #0 #1.5
>> \translate #'(1.7 . 0) \musicglyph #"clefs.F"
>>}
>> }
>>
>> doubleG = {
>>\omit Staff.ClefModifier
>>\override Staff.Clef.stencil = #ly:text-interface::print
>>\override Staff.Clef.text = \markup {
>> \combine \musicglyph #"clefs.G"
>> \translate #'(1.5 . 0) \musicglyph #"clefs.G"
>>}
>> }
>>
>> \relative {
>>\clef GG
>>g1
>>\clef "treble_8"
>>\doubleG
>>g
>>\clef "bass_8"
>>\doubleF
>>f,
>> }
>> %
>>
>>
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Re:Double clefs (or even triple) (Malte Meyn)
Beautiful. Thanks!
-- Forwarded message --
> From: Malte Meyn
> To: lilypond-user@gnu.org
> Cc:
> Bcc:
> Date: Sat, 19 Oct 2019 15:23:48 +0200
> Subject: Re: Double clefs (or even triple)
>
>
> Am 19.10.19 um 14:56 schrieb Alexandre Ficagna:
> > Hi
> >
> > as Lilypond now have double G clefs with the \clef GG I'm wondering why
> > there's no \clef FF or even more like \clef GGG and \clef FFF for 15a
> > and 15b
>
> Hi Alexandre,
>
> I’ve never seen that, when are such clefs used?
>
> Cheers,
> Malte
>
> > Still, I tried this:
> > doubleF = {
> >\override Staff.Clef.stencil = #ly:text-interface::print
> >\override Staff.Clef.text = \markup { \combine \musicglyph #"clefs.F"
> > \translate #'(2 . 0) \musicglyph #"clefs.F" }
> > }
> >
> > But the ":" in the first F clef keep it away from an elegant solution.
> >
> > Any help?
>
> You could lay a white rectangle over the dots:
>
> %
> \version "2.19.83"
>
> doubleF = {
>\omit Staff.ClefModifier
>\override Staff.Clef.layer = -1
>\override Staff.Clef.stencil = #ly:text-interface::print
>\override Staff.Clef.text = \markup {
> \combine \combine
> \musicglyph #"clefs.F"
> \translate #'(2.2 . 0) \with-color #white \beam #0.5 #0 #1.5
> \translate #'(1.7 . 0) \musicglyph #"clefs.F"
>}
> }
>
> doubleG = {
>\omit Staff.ClefModifier
>\override Staff.Clef.stencil = #ly:text-interface::print
>\override Staff.Clef.text = \markup {
> \combine \musicglyph #"clefs.G"
> \translate #'(1.5 . 0) \musicglyph #"clefs.G"
>}
> }
>
> \relative {
>\clef GG
>g1
>\clef "treble_8"
>\doubleG
>g
>\clef "bass_8"
>\doubleF
>f,
> }
> %
>
>
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Double clefs (or even triple)
Hi
as Lilypond now have double G clefs with the \clef GG I'm wondering why
there's no \clef FF or even more like \clef GGG and \clef FFF for 15a and
15b
I say this old solution form here:
http://lilypond.1069038.n5.nabble.com/Double-treble-and-alternative-percussion-clefs-td19406.html#a19408
Which doesn't affect octavation (as do the \clef GG).
Still, I tried this:
doubleF = {
\override Staff.Clef.stencil = #ly:text-interface::print
\override Staff.Clef.text = \markup { \combine \musicglyph #"clefs.F"
\translate #'(2 . 0) \musicglyph #"clefs.F" }
}
But the ":" in the first F clef keep it away from an elegant solution.
Any help?
Alexandre
http://soundcloud.com/alexandre-ficagna
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glissandi don't connect directly to the stems when note heads are transparent
In early versions of lilypond it was possible to create glissandi which conected directly to the stem of the transparent headed note. In 2.16 version, an annoying problem is: this space remains empty, as if the note head was there. Does someone know how to do that? I tried to specify negative values on bound-details but it didn't work. Best -- www.myspace.com/alexandreficagna ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
glissandi don't connect directly to the stems when note heads are transparent
In early versions of lilypond it was possible to create glissandi which conected directly to the stem of the transparent headed note. In 2.16 version, an annoying problem is: this space remains empty, as if the note head was there. Does someone know how to do that? I tried to specify negative values on bound-details but it didn't work. Best Alexandre -- http://soundcloud.com/alexandre-ficagna www.myspace.com/alexandreficagna - Endereço: Avenida Juscelino Kubitschek 3117 apto 603 Bairro: Vila Ipiranga Londrina/PR CEP: 86010-540 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Changing note head style within a chord
I've read that with \tweak command this is not possible. I really need two differente notehead styles inside the same chord (in different notes), does someone know how to do it? Cheers Alexandre -- www.myspace.com/alexandreficagna ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Bar lines appearing even with \stopStaff and \RemoveEmptyStaves
Hy,
does someone know why, even with \stopStaff and \RemoveEmptyStaves,
the barlines on the upper staff stand still?
Below the code:
up= { \stopStaff s2*8 \startStaff
% \set Staff.instrumentName = m.e.
s8 d8- s d-
}
center=\relative c {
\time 2/4
\clef bass
ees8.\mf f,16 a'4^\open^+ aes,8 f8 ~ f4
a'16 ees8. ~ ees8 aes, ~ aes8 f8 ~ f16 ees'16 aes,8
a'4 ~ a16 f,8. ees'4 ~ ees8 a16 f, ~ \break
f8. aes16 ~ aes ees'8. a4 ~ a8 aes,8 ~
aes ees'8 ~ ees8. f,16 ~ f a'16 ees8 ~ ees16 f,8. ~
f16 a'8. ~ a8 ees16 aes,16 ~ aes4 ~ aes16 f8. \break
}
\score {
\new RhythmicStaff = up \with {
\remove Time_signature_engraver
\remove Bar_number_engraver
} \up
\new Staff = center \center
\layout {
\context {
\Staff
\RemoveEmptyStaves
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
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Re: Problems with \inversion
You're right, it worked better with relative for melody.
Still, it seems that changing from-pitch alters the note of
transposition, while to-pitch changes absolutely nothing.
Best
Alexandre
2012/6/13 Trevor Daniels t.dani...@treda.co.uk:
ALEXANDRE FICAGNA wrote Wednesday, June 13, 2012 2:57 PM
I still didn't picture exactly how \inverse works in its from-pitch
to-pitch variables, but I tried an example and what I got is the
correct inversion of pitches, but each one was an octave above.
Here's the code:
\version 2.14.2
#(set-global-staff-size 15)
\paper {
#(define dump-extents #t)
ragged-right = ##t
line-width = 17\cm
}
melody= { a8 gis ees d g4 }
\score {
\new PianoStaff
\new Staff \relative c' {
%\override Stem #'transparent = ##t %uncomment to hide Stems
%\override Beam #'transparent = ##t %uncomment to hide Beams
\melody \retrograde \melody
}
\new Staff \relative c {
\clef treble
%\override Stem #'transparent = ##t %uncomment to hide Stems
%\override Beam #'transparent = ##t %uncomment to hide Beams
\inversion a' a \melody
\retrograde \inversion a' a \melody
}
\layout {
indent = #0
\context {
\Staff
\remove Bar_number_engraver
\remove Time_signature_engraver
}
}
}
If you use \relative for melody, \inversion behaves more as you
would expect. Either there is a bug which causes the incorrect
behaviour you see when given absolute notes or the documentation
needs to explain this better. Note though that \inversion will
also transpose if from-pitch and to-pitch differ.
Copied to bug list for further discussion.
Trevor
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Re: How to use diferente paper layouts in a \book
Nobody knows how to do it?
2011/5/25 Alexandre Ficagna alr...@ibest.com.br:
Hy all,
I'm trying do create a score with the individual parts after the
global one, but the global part in landscape and the individual parts
in portrait style.
I'm using \book and \bookpart commands, doing this for the global part;
\book {
\paper {
#(set-paper-size a4 'portrait)
}
...
and for the parts:
\bookpart {
\paper {
#(set-paper-size a4 'portrait)
}
What should I do?
Cheers,
Alexandre
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Problems with \inversion
I still didn't picture exactly how \inverse works in its from-pitch
to-pitch variables, but I tried an example and what I got is the
correct inversion of pitches, but each one was an octave above.
Here's the code:
\version 2.14.2
#(set-global-staff-size 15)
\paper {
#(define dump-extents #t)
ragged-right = ##t
line-width = 17\cm
}
melody= { a8 gis ees d g4 }
\score {
\new PianoStaff
\new Staff \relative c' {
%\override Stem #'transparent = ##t %uncomment to hide Stems
%\override Beam #'transparent = ##t %uncomment to hide Beams
\melody \retrograde \melody
}
\new Staff \relative c {
\clef treble
%\override Stem #'transparent = ##t %uncomment to hide Stems
%\override Beam #'transparent = ##t %uncomment to hide Beams
\inversion a' a \melody
\retrograde \inversion a' a \melody
}
\layout {
indent = #0
\context {
\Staff
\remove Bar_number_engraver
\remove Time_signature_engraver
}
}
}
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How to use diferente paper layouts in a \book
Hy all,
I'm trying do create a score with the individual parts after the
global one, but the global part in landscape and the individual parts
in portrait style.
I'm using \book and \bookpart commands, doing this for the global part;
\book {
\paper {
#(set-paper-size a4 'portrait)
}
...
and for the parts:
\bookpart {
\paper {
#(set-paper-size a4 'portrait)
}
What should I do?
Cheers,
Alexandre
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