from:"Werner Arnhold"

Re: Double coda sign

2020-11-17 Thread Werner Arnhold

Hi Aaron,

thank you for the link, that was just what I was looking for.

Werner

Am Montag, den 16.11.2020, 12:03 -0800 schrieb Aaron Hill:
> On 2020-11-16 8:39 am, Werner Arnhold wrote:
> > I would like to have a pair of coda glyphs in a score at top and
> > bottom
> > of the staves like in the example attatched.
> > 
> > [...]
> 
> Seems LSR 10 [1] would be appropriate.
> 
> [1]: http://lsr.di.unimi.it/LSR/Item?id=10
> 
> The idea is that the lowest Staff also \consists the Mark_engraver
> but 
> with a downward direction.
> 
> 
> -- Aaron Hill
>

Re: Wrong type (expecting real number): # in lily-library.scm

2020-11-13 Thread Werner Arnhold

Hi Ernie,

I tried your example and did not get any error messages.

Didn't you get a line/column number to indicate where the error is?

Werner

Am Donnerstag, den 12.11.2020, 13:20 -0500 schrieb Ernie Braganza:
> \version "2.20.0"
> {
>   c' e' g' e'
> }

Re: How to define some context statements

2019-01-19 Thread Werner Arnhold

Hi Thomas,

thank you very much, that was helpful.

Werner

Am Freitag, den 18.01.2019, 22:25 +0100 schrieb Thomas Morley:
> Am Fr., 18. Jan. 2019 um 11:01 Uhr schrieb Werner Arnhold
> :
> >
> > Dear list,
> >
> > I often need to have Midi output with different volume or instruments in
> > some voices. Here an example:
> >
> > \version "2.18.2"
> >
> > global = {
> >   \key c \major
> >   \time 4/4
> > }
> >
> > soprannoten = \relative c'' {
> >   g e e2 f4 d d2
> > }
> >
> > altnoten = \relative c'' {
> >   c2 g g2 b4 f
> > }
> >
> > \score {
> >   \new ChoirStaff <<
> > \new Staff <<
> >   \set Staff.instrumentName = #"Sopran"
> >   \new Voice = "sopran" <<
> > \set midiInstrument = #"flute"
> > \global
> > \soprannoten
> >   >>
> > >>
> > \new Staff <<
> >   \set Staff.instrumentName = #"Alt"
> >   \new Voice = "alt" <<
> > \set midiInstrument = #"violin"
> > \global
> > \altnoten
> >   >>
> > >>
> >   >>
> >   \layout{}
> >   \midi{
> > \tempo 4 = 80
> >   \context {
> > \Staff
> > \remove "Staff_performer"
> >   }
> >   \context {
> > \Voice
> > \consists "Staff_performer"
> >   }
> >   }
> > }
> >
> > This works fine. Now I tried to separate the "\context" parts in the
> > midi section like
> >
> > verschiedene_stimmen = {
> >   \context \Staff \remove "Staff_performer"
> >   \context \Voice \consists "Staff_performer"
> > }
> >
> > score {
> > .
> > .
> > .
> >   \midi{
> > \verschiedene_stimmen
> >   }
> > }
> >
> > Lilypond complains about unvalid escape sequence "\Staff" at the Place
> > of the definition, unexpected "\remove" and so on. That happens even if
> > I do not call the defined macro in the midi section.
> >
> > What will be the reason and how can I make it better. I intend to
> > collect such often used constructs in a separate file.
> >
> > Thanks in advance!
> >
> > Werner
> 
> Hi Werner,
> 
> looking at your example, there is no need to move "Staff_performer" at all.
> Just set midiInstrument in Staff, You could do so with \set 
> Staff.midiInstrument
> But this is done better in \with { ... }, otherwise it may happen you
> meet issue 34 in some cases. Same for instrumentName.
> 
> Only if you have more than one Voice per Staff moving
> "Staff_performer" would make sense.
> 
> To store the settings in a callable variable you could do:
> 
> \version "2.18.2"
> 
> soprannoten = \relative c'' {
>   g e e2 f4 d d2
> }
> 
> altnoten = \relative c'' {
>   c2 g g2 b4 f
> }
> 
> verschiedene_stimmen_midi = \midi {
>   \context { \Staff \remove "Staff_performer" }
>   \context { \Voice \consists "Staff_performer" }
> }
> 
> \score {
>   \new ChoirStaff <<
> \new Staff <<
>   \new Voice = "sopran" \with { midiInstrument = #"flute" }
> { \voiceOne \soprannoten }
>   \new Voice = "alt" \with { midiInstrument = #"violin" }
> { \voiceTwo \altnoten }
> >>
>   >>
>   \layout{}
>   \midi {
> \verschiedene_stimmen_midi
> %% needs to be called after 'verschiedene_stimmen_midi'
> \tempo 4 = 80
>   }
> }
> 
> HTH,
>   Harm



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How to define some context statements

2019-01-18 Thread Werner Arnhold

Dear list,

I often need to have Midi output with different volume or instruments in
some voices. Here an example:

\version "2.18.2"

global = {
  \key c \major
  \time 4/4
}

soprannoten = \relative c'' {
  g e e2 f4 d d2
}

altnoten = \relative c'' {
  c2 g g2 b4 f
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \set Staff.instrumentName = #"Sopran"
  \new Voice = "sopran" <<
\set midiInstrument = #"flute"
\global
\soprannoten
  >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Alt"
  \new Voice = "alt" <<
\set midiInstrument = #"violin"
\global
\altnoten
  >>
>>
  >>
  \layout{}
  \midi{
\tempo 4 = 80
  \context {
\Staff
\remove "Staff_performer"
  }
  \context {
\Voice
\consists "Staff_performer"
  }
  }
}

This works fine. Now I tried to separate the "\context" parts in the
midi section like

verschiedene_stimmen = {
  \context \Staff \remove "Staff_performer"
  \context \Voice \consists "Staff_performer"
}

score {
.
.
.
  \midi{
\verschiedene_stimmen
  }
}

Lilypond complains about unvalid escape sequence "\Staff" at the Place
of the definition, unexpected "\remove" and so on. That happens even if
I do not call the defined macro in the midi section.

What will be the reason and how can I make it better. I intend to
collect such often used constructs in a separate file.

Thanks in advance!

Werner


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Re: Character for plural Latin, "ae"

2018-01-25 Thread Werner Arnhold

On Linux there is in many environments as e.g. bash command line or vi a
way to enter Unicode characters by hex number. You press
--u, then see a litte underlined "u", then enter hex
number, followed by a blank. Then the character is displayed. So:

--ue6_  is æ
--ub0_  is °
--ua7_  is §

where "_" means a blank.

Werner

Am Mittwoch, den 24.01.2018, 16:50 -0600 schrieb Karlin High:
> On 1/24/2018 4:26 PM, Son_V wrote:
> > Today I use Windows and Frescobaldi 2.18
> 
> Frescobaldi has menu options for special characters.
> 
> Windows has the Character Map program, charmap.exe that allows selection 
> and copying special characters.
> 
> That program will also display the alt-codes for some of them. These 
> allow typing special characters by holding down the ALT key and typing 
> numbers on the numeric keypad.
> 
> ALT+0230 æ
> ALT+0176 °
> ALT+0167 §
> 
> Pick your favorite method, any of them can do the job. And you can even 
> just copy and past the thing from here: æ



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Re: [OT] Grammatic gender

2017-11-16 Thread Werner Arnhold

Hy Linguisers and Linguistresses,

Am Donnerstag, den 16.11.2017, 14:22 +0100 schrieb N. Andrew Walsh:
> On Thu, Nov 16, 2017 at 3:04 AM, David Wright
>  wrote:
> 
> 
> > German: "Das Mädchen aß seine Mahlzeit.".
> >
> > >> > It may seem so, because the articles for all three
> genders are the
> > >> > same, but words are referred to by ‘he’, ‘she’, or
> ‘it’. In
> > >> > English the sun is male, the moon female
> 
> Think so, grammatically?
> 
> 
> Since this is already well off-topic, I'd like to ask a general
> question of the German speakers here: the Constitutional Court
> recently ruled that forcing people born in Germany to identify only as
> either male or female on official documentation is discriminatory (for
> a number of reasons, including: some people cannot be biologically
> categorized as entirely one or the other, some people are
> mis-assigned, some people don't identify that way, etc.). The court
> provided two possible remedies: either add a third category
> (presumably "unspecified"), or strike sex from official documentation
> entirely. 
> 
> 
> Since German *does* use gendered pronouns, what do you imagine is
> likely to happen here, as people start entering into adult life with
> no specified male or female gender? As noted above, referring to
> biological organisms, much less people, with the neuter pronoun would
> likely be considered unacceptable. So what do you imagine is likely to
> happen here? Is the Duden going to start establishing what is
> effectively a fourth gender category? 

The Duden is never a creator of new forms. They watch the moving and
billowing Landscape of spoken and even more written Language. There are
orthographic forms in use that are definitely considered wrong. But if
they are used in a broad way by many people, the Duden accepts that and
declare it to be correct or at least possible. For example: the English
language knows the saxon genitiv form e.g. "Garner's" (see below). In
German it always was absolutely wrong to use a quote for that reason.
When after the german reunion a big part of the people raised with
Russion as first foreign language, they often used that form, e.g.
"Lisa's Wolllädchen". Some time ago that way of writing was declared
legal.

In the feministic discussion a form came up to write no longer Lehrer
und Lehrerinnen (teacher) but LehrerInnen. Though widely used this form
could not get broad acceptance ans so didn't make it in the Duden.

If a fourth form of gender pronoun will come up and will be widely used
it will make its way to the Duden too.

> As a consummate mannerist, I'm in favor of all linguistic expansion. 
> 

Werner

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Re: double time signature problem

2017-11-15 Thread Werner Arnhold

Okay, mee too:

Mackensen, ethymolologic dictionary says:

Mädchen, since middle of 17th century simplified from "Mägdchen",
diminuative from "Magd"

The latter only today is a farm maid, in former times it was an unwedded
woman. See in a german christmas carol, the text is (about the virgin
birth of Mary) "... und blieb ein reine Magd." (Es ist ein Ros
entsprungen, Michael Praetorius, 1571-1621).

I agree, the "Mägdchen" is not in use today.

Werner

Am Mittwoch, den 15.11.2017, 00:26 +0100 schrieb Noeck:
> > The diminutive of „Magd“ is „Mägdelein“ or maybe „Mägdchen“ (nobody
> > would use the latter), but not „Mädchen“.
> 
> But still "Mädchen" seems to be derived from "Magd":
> http://www.wissen.de/wortherkunft/maedchen
> 
> Cheers,
> Joram
> 
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Re: double time signature problem

2017-11-14 Thread Werner Arnhold

Thanks to all list members who answered.

I decided to use the solution from the blog of Urs in the file
"alternating-time-signatures.ly". It works very fine. It seems to me to
be a more general approach than the similar solution from Joshua (thanks
to him too).

The question of a good-looking position of the word "Welt" in measure 5
will take a bit more work for me, I have no experience with Null Voices.
So I will dive into it in the near future.

So far thank you all!

Werner

Am Montag, den 13.11.2017, 17:45 +0100 schrieb Urs Liska:
> 
> 
> Am 13.11.2017 um 16:16 schrieb David Wright:
> 
> > On Mon 13 Nov 2017 at 10:55:06 (+0100), Werner Arnhold wrote:
> > > Hi, list members,
> > > 
> > > I try to typeset an old choral work with hemiolic measures. That leads
> > > me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
> > > indication and immediately back again. So I wanted to follow a printed
> > > example with two time signatures at the beginning of the first line.
> > The word you want to search on is alternatingTimeSignatures
> > but I've only turned up
> > https://lists.gnu.org/archive/html/lilypond-devel/2014-05/msg00045.html
> > which might not be up-to-date. Urs may reply with a better version.
> > The one I use is attached.
> 
> Some more reference is in this blog post:
> http://lilypondblog.org/2014/06/polymetrics-in-sibelius-vs-lilypond/
> 
> The key idea is to create the visual time signature including all
> occuring time signatures and then suppress the *printing* of time
> signatures. That way you can write the actual time signatures (=>
> semantically correct) but have only the general rule printed at the
> beginning.
> 
> HTH
> Urs
> 
> > 
> > Cheers,
> > David.
> > 
> > 
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> 
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double time signature problem

2017-11-13 Thread Werner Arnhold

Hi, list members,

I try to typeset an old choral work with hemiolic measures. That leads
me to a 3/4 Mesure sometimes changed to a 3/2 measure without special
indication and immediately back again. So I wanted to follow a printed
example with two time signatures at the beginning of the first line.

In the first attachment you can see the result of my efforts. There are
two problems in it:

1. The second time signature is too narrow to the first note. My useless
efforts for fixing this are in the minimal example, commented out.

2. It is constructed in definitely the wrong way. There must be a more
logical than optical way of building it. The connection to the
Score.RehearsalMark cannot be the right way. And by the way, it works
only for the first staff.

Is there a better way to get a solution of this problem? I know, it is
possible to avoid the problem if one accepts several visible time
changes in the score, but I don't want to.

The first attached file shows the state of the complete Work, see the
hemiolic measure at measure 5. 
The minmal example ly-file shows the first 9 measures without text.

I thank you for any help.

Werner
\version "2.18.2"

\include "deutsch.ly"
\header { 
  tagline = ##f 	% entfernt die Fußzeile
}

#(set-global-staff-size 16)

global = {
  \key c \major
  \time 3/4
}

soprannoteni = \relative c'' {
  \autoBeamOff
  % 1
  \override Score.RehearsalMark #'extra-offset = #'( 4 . -6.2 )
  \mark \markup { \bold \center-column {" 3" " 2"} }
%  \revert Score.RehearsalMark #'extra-offset
%  \once \override Staff.NoteColumn.X-offset = #10
%  \once \override Score.NonMusicalPaperColumn #'padding = #2.5
  d4. d8 d4
  \omit Score.TimeSignature
  \time 3/4
  % 2
  d4. d8 d4
  % 3
  h4\rest d d
  % 4
  c2 c4
  % 5
  \time 3/2
  h4. c8 d4 h a2
  % 6
  \time 3/4
  g4 g a
  % 7
  h h c
  % 8
  d2.
  % 9
  a4 a h
}

soprannotenii = \relative c'' {
  \autoBeamOff
  % 1
  h4. h8 h4
  % 2
  h4. h8 h4
  % 3
  s4 h h
  % 4
  a2 a4
  % 5
  g4. a8 h4 g g fis
  % 6
  g2 s4
  % 7 
  R2.
  % 8
  r4 d e
  % 9
  f! f g
}

altnoten = \relative c'' {
  \autoBeamOff
  % 1
  g4. g8 g4
  % 2
  g4. g8 g4
  % 3
  r g g
  % 4
  e2 e4 
  % 5
  g2. g4 d2
  % 6
  d2 r4
  % 7 - 9
  \repeat unfold 3 { R2. }
}

tenornoten = \relative c' {
  \autoBeamOff
  \clef "treble_8"
  % 1
  d4. d8 d4
  % 2
  d4. d8 d4
  % 3
  r4 d h
  % 4
  c2 c4
  % 5
  d2. e4 a,2
  % 6
  h2 r4
  % 7
  r g a
  % 8
  h h c
  % 9
  d2.
}

bassnoteni = \relative c' {
  \clef bass
  \autoBeamOff
  % 1
  h4. h8 h4
  % 2
  h4. h8 h4
  % 3
  d,4\rest g g
  % 4
  c2 c4
  % 5
  g2. g4 d'( d,)
  % 6
  g2 d4\rest
  % 7 - 9
  \oneVoice \repeat unfold 3 { R2. } \voiceOne
}

bassnotenii = \relative c' {
  \clef bass
  \autoBeamOff
  % 1
  g4. g8 g4
  % 2
  g4. g8 g4
  % 3
  s4 g g
  % 4
  a2 a,4
  % 5
  h2. c4 d2 
  % 6
  g,2 s4
  % 7 - 9
  \repeat unfold 3 { s2. }
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \set Staff.instrumentName = #"Sopran I/II"
  \new Voice = "soprani" {
\voiceOne
	<< \global \soprannoteni >>
  }
  \new Voice = "sopranii" {
\voiceTwo
	<< \global \soprannotenii >>
  }
>>
\new Staff <<
  \set Staff.instrumentName = #"Alt"
  \new Voice = "alt" << \global \altnoten >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Tenor"
  \new Voice = "tenor" << \global \tenornoten >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Bass I/II"
  \new Voice = "bassi" {
\voiceOne
	<< \global \bassnoteni >>
  }
  \new Voice = "bassii" {
\voiceTwo
	<< \global \bassnotenii >>
  }
>>
  >>
}
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Re: Vertical spacing again

2017-08-08 Thread Werner Arnhold

Thank you very much, problem solved! Sorry for the missing lines, I was
not aware how to shorten the voices and text so much.

Werner

Am Dienstag, den 08.08.2017, 08:48 +0200 schrieb Malte Meyn:
> Please always give a *compilable* minimal example. I had to add the 
> following code to be able to test possible solutions:
> 
> global = {}
> soprannoten = { c' }
> altnoten = { c' }
> tenornoten = { c' }
> bassnoten = { c' }
> strophefI = \lyricmode { a }
> strophefII = \lyricmode { a }
> strophefIII = \lyricmode { a }
> strophefIV = \lyricmode { a }
> strophetI = \lyricmode { a }
> strophetII = \lyricmode { a }
> strophetIII = \lyricmode { a }
> strophetIV = \lyricmode { a }
> 
> Am 08.08.2017 um 08:27 schrieb Werner Arnhold:
> > For reasons of better readabilty I want a vertical space between the
> > verse for women and those for men without changing the other spacing. Is
> > there a simple way to do that? I supposed that the vertical spacing
> > commands affect all lines.
> 
> These commands affect all lines only if you place them in the \layout 
> block. But everything you can put in the \layout block to change all 
> contexts of a type at one time, you can instead put in a \with block to 
> only change a single context:
> 
> 
> \new Lyrics = "strfIV" \with {
>\override 
> VerticalAxisGroup.nonstaff-nonstaff-spacing.minimum-distance = 5
> }
> 
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Vertical spacing again

2017-08-08 Thread Werner Arnhold

Hi list,

I work on a folk song with 4 stanzas. There is a combined staff for
women and one for men. Between them there should be the song text.
"strf" are the lyric lines for women, "strt" those for men. It looks
like that:

\score {
  \new ChoirStaff <<
\new Staff <<
  \new Voice = "sopran" {
\voiceOne
<< \global \soprannoten >>
  }
  \new Voice = "alt" {
\voiceTwo
<< \global \altnoten >>
  }
>>
\new Lyrics = "strfI"
\new Lyrics = "strfII"
\new Lyrics = "strfIII"
\new Lyrics = "strfIV"
%%   Vertical distance at this place
\new Lyrics = "strtI"
\new Lyrics = "strtII"
\new Lyrics = "strtIII"
\new Lyrics = "strtIV"
\new Staff <<
  \new Voice = "tenor" {
\voiceOne
<< \global \tenornoten >>
  }
  \new Voice = "bass" {
\voiceTwo
<< \global \bassnoten >>
  }
>>   
\context Lyrics = "strfI" \lyricsto "sopran" \strophefI
\context Lyrics = "strfII" \lyricsto "sopran" \strophefII
\context Lyrics = "strfIII" \lyricsto "sopran" \strophefIII
\context Lyrics = "strfIV" \lyricsto "sopran" \strophefIV
\context Lyrics = "strtI" \lyricsto "tenor" \strophetI
\context Lyrics = "strtII" \lyricsto "tenor" \strophetII
\context Lyrics = "strtIII" \lyricsto "tenor" \strophetIII
\context Lyrics = "strtIV" \lyricsto "tenor" \strophetIV
  >>
}

For reasons of better readabilty I want a vertical space between the
verse for women and those for men without changing the other spacing. Is
there a simple way to do that? I supposed that the vertical spacing
commands affect all lines.

Thanks in advance!

Werner


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Formatting problems with lilypond-book

2017-07-17 Thread Werner Arnhold

Hi,

I try to make a little songbook for my choir with lilypond-book. There
are two questions from me:

1. I use a main file "bkc_lieder.lytex" with lines like

\lilypondfile[line-width=17.0\cm]{mit_frohsinn_und_gesang.ily}

but I would prefer something like

\def\opt{line-width=17.0\cm}  % in the LaTeX preamble and then
\lilypondfile[\opt]{mit_frohsinn_und_gesang.ily}

to have a single place where to define everything that is the same for
all files. When compiling the second way I get complaints about unknown
option "\opt". What is the right way to do the job?

2. When compiling for example "mit_frohsinn_und_gesang.ly" as a single
file I get a fine output, where the first system is indented to have
place for the voice names "Sopran", "Alt" ... The next systems use the
full line width. As part of the lilypond-book procedure the first system
looks fine but the following ones also use the more narrow space as if
the voice name had to precede every system. Even when setting line-with
by hand this behavior is not changed.

I use version 2.18.2 and pdflatex.  I use the following command in a
bash shell scipt:

BUCHTITEL="bkc_lieder"
BUCHDAT=$BUCHTITEL.lytex
IDIR="incl"
IDIR2="../incl"
AUSDIR1=.ly
AUSDIR2=.ly2

lilypond-book --format=latex --output=$AUSDIR1 \
--lily-output-dir=$AUSDIR2 \
-I$IDIR -I$IDIR2 $BUCHDAT

Anybody out there with a good hint or maybe a working example? Thank
you!

Werner
-- 
Werner Arnhold

wer...@arnhold-berlin.de
Rettet den Binde Strich!


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Re: Configurable Rests

2016-10-25 Thread Werner Arnhold

Hi Kieren,

as you said, works only with 2.19. I will use the solution for a large
project, so I have to work with a stable distribution.

I will try to improve my knowledge in Scheme (never a fault) and look
for a solution on that way.

Thank you all for your help!

Werner

Am Freitag, den 21.10.2016, 14:27 -0400 schrieb Kieren MacMillan:
> Hi Werner,
> 
> > to show you what I want:
> 
> I believe the following gives the output you want:
> 
> %%%  SNIPPET BEGINS
> \version "2.19"
> 
> hornI = {
>   \partcombineApart
>   c''4 \once \partcombineUnisono r c'' r
>   g' \once \partcombineUnisono r c' r
>   \bar "|."
> }
> 
> hornII = {
>   g'4 r g'8 r c'' r
>   r4 r e'8 g' c''4
> }
> 
> \score {
>   \new Staff \with { printPartCombineTexts = ##f }
> \partcombine #'(0 . 0) \hornI \hornII
> }
> %%%  SNIPPET ENDS
> 
> Unfortunately, that may require v2.19 — I’m not sure exactly when the 
> partcombiner was improved.
> (For the record, I am using v2.19.49 for mission-critical engraving work, so 
> it’s not nearly as “unstable” as the labelling suggests.)
> 
> Hope this helps!
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 



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Re: Configurable Rests

2016-10-21 Thread Werner Arnhold

Hi Kieren et al.

to show you what I want:
=== snip =
\version "2.18.2"

hornI = {
 c''4 r c'' r
 g' r c' r
 \bar "|."
}

hornII = {
  g'4 r g'8 r c'' r
  r4 r e'8 g' c''4
}

hornIA = {
  c''4 b'4\rest c'' r
  g' b'4\rest c' r
}

hornIIA = {
  g'4 s g'8 r c'' r
  r4 s e'8 g' c''4
}

\score {
  <<
  \new Staff = "horn1"
\new Voice = "horn1" {
  \hornI
}
  \new Staff = "horn2"
\new Voice = "horn2" {
  \hornII
}
  \new Staff = "hornA"  % That's what I wanted
<<
  \new Voice = "hornalternativeI" {
\voiceOne
\hornIA
  }
  \new Voice = "hornalternativeII" {
\voiceTwo
\hornIIA
  }
>>
  \new Staff \with { printPartCombineTexts = ##f }
  {
%   \partcombineApart \hornI \hornII% does not work
   \partcombine \hornI \hornII
  }
  >>
}
= snap =

My compilation shows missing rests and notes combined to accords where
possible.

I also tried to work with tags:
= snip =
pause = {
  \tag #'top {r}
  \tag #'bottom {s}
}

hornI = {
  c''4 h'4\rest c'' \pause4
  g' h'4\rest c' r
  \bar "|."
}

hornII = {
  g'4 s g'8 r c'' r
  r4 s e'8 g' c''4
}

\score {
  \new Staff = "horn"
  <<
\new Voice = "horn1" {
  \voiceOne
  \keepWithTag #'oben \hornI
}
\new Voice = "horn2" {
  \voiceTwo
  \keepWithTag #'unten \hornII
}
  >>
}
= snap =

But no success too. The "r" and "4" are not combined to "r4" and I don't
see how a construct like "b'4\rest" should be possible. I think it needs
a solution with parameters, so functions.

My intention is to print a single voice sheet and a partitura from the
same source files.

Werner

Am Freitag, den 21.10.2016, 09:10 -0400 schrieb Kieren MacMillan:
> Hi Werner,
> 
> > - a "r4", if the instrument is on a single staff
> > - a "r4", if the instrument is \voiceOne but doesn't have this rest
> > common with the other instrument
> > - a "h4\rest" for a common rest if the instrument is used as \voiceOne
> > and
> > - a "r4" for a not common rest on \voiceTwo and
> > - a "s4", if the instrument is used as \voiceTwo
> 
> Have you tried \partcombine?
> 
> 
> If I understand correctly, it will do exactly what you want; if not, you 
> could always provide us with a compilable example that we can debug for you.
> 
> > It would be very fine if there would be a global switch where the
> > procedure could look how it should produce its output and it would be
> > fine if this would be possible with more than one pair of instruments in
> > a score.
> 
> \partcombine will only properly handle one pair of instruments at a time, but 
> you can have an arbitrary number of staves each of which includes a pair of 
> combined parts.
> 
> I hope this helps!
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
> 



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Configurable Rests

2016-10-21 Thread Werner Arnhold

Hi all,

I am new to this list so it might be that my question is just answered.
I did not find a hint in the archives.

I try to set an orchestral work. To get a partitura as well as single
sheet for the instruments I want to write the music for them in
different files and then combine them to a score as needed.

When clarinetI and clarinetII are printed to different sheets rests are
no problem. When they are combined as \voiceOne and \voiceTwo there are
common rests and rests for only one of the instruments.

I would like to have a function, e.g. "\pause 4" that produces

- a "r4", if the instrument is on a single staff
- a "r4", if the instrument is \voiceOne but doesn't have this rest
common with the other instrument
- a "h4\rest" for a common rest if the instrument is used as \voiceOne
and
- a "r4" for a not common rest on \voiceTwo and
- a "s4", if the instrument is used as \voiceTwo

The position should be adaptable for different keys.

It would be very fine if there would be a global switch where the
procedure could look how it should produce its output and it would be
fine if this would be possible with more than one pair of instruments in
a score.

Is there a known solution for this?

Thanks in advance

Werner


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