Matie Holtzhausen | 22 May 11:44 2015
Picon

Automatically inserting bar lines when a line is broken on an empty bar line

Hi,
 
How can I print a bar line if the line-breaker decides to break at an empty bar line:
 
For example:
 
\paper {
paper-width = 60\mm
}
 
\relative c' {c8 c c c \bar "" c c c c | c c c c}
 
This causes the line-breaker to break at \bar “”.
If the paper setting is removed, it does not break the line at all.
 
How can I adapt my music, so that if the paper setting causes the first measure to be broken at \bar “”, a bar line would be printed (at the end of the line).  If the paper setting is removed, I do not a bar line.
 
I would like to have the flexibility of changing layout variables, without having to put manual bar lines at line breaks (impractical for a large book), and I do not want lines to end without bar lines.
 
Any suggestions would be appreciated.
 
Regards,
Matie
_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Urs Liska | 21 May 19:47 2015

Finale challenge

Anyone ready for a new Finale challenge? I need someone entering one 6/8 measure of a two-voice piano part in a current Finale vetsion :-/

Best
Urs

_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Olivier Vogel | 21 May 14:30 2015
Picon

How to avoid a collision?

In the following example, I don't understand why there is a collision at the third measure and I don't know how to avoid it.

Many thanks for your help


\version "2.18.2"

\header { }

\paper {
  %system-count = 2% nombre total de systèmes
  indent = 0\cm
}

global = {
  \key c \major
  \time 4/4\tempo "Allegro vivace"
}


\score {
 \new Staff <<
   \global
   \new Voice {
  \relative c' {
    \stemUp
    c4^"Tutti"\f r8 \tuplet 3/2 { g16( a b } c4) r8 \tuplet 3/2 { g16( a b } |
    c4) r r r8 c'^"Strings" |
    c4. b8 d4. c8 |
    \slurUp g'2( f4) r4 |
  }
 }
 \new Voice {
  \relative c' {
    \stemDown\tieDown
    s1 |
    s2 s4 s8 r8\p |
    { <f d>2 <e c> |
    <d b>~ <d b>4 r4 } |
  }
 }
 \new Voice {
  \relative c'' {
    \stemDown\tieUp
    s1 |
    s1 |
    \once \override NoteColumn.force-hshift = #2 g1~ |
    \tieDown g2~ g4 r4 |
  }
 }
 >>
}
_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Michael Gerdau | 21 May 14:10 2015
Picon

non-greedy regexp don't seem to work

Hi list,

the following two statements should provide the exakt same strings:
(match:substring (string-match "_(.*?)_" "a_ä_ö_de_fü_") 1)
(match:substring (string-match "_([^_]*)_" "a_ä_ö_de_fü_") 1)

However for me they don't. Here is a log how I tested it:
$ guile
GNU Guile 2.0.11                                                                                                                          
Copyright (C) 1995-2014 Free Software Foundation, Inc.                                                                                    

Guile comes with ABSOLUTELY NO WARRANTY; for details type `,show w'.
This program is free software, and you are welcome to redistribute it
under certain conditions; type `,show c' for details.

Enter `,help' for help.
scheme <at> (guile-user)> (match:substring (string-match "_(.*?)_" 
"a_ä_ö_de_fü_") 1)
$1 = "ä_ö_de_fü"
scheme <at> (guile-user)> (match:substring (string-match "_([^_]*)_" 
"a_ä_ö_de_fü_") 1)
$2 = "ä"
scheme <at> (guile-user)> ,q

I checked the same regexps in Perl and there both results are the same.

Am I overlooking the obvious or is this a bug ?

Best wishes,
Michael
--

-- 
 Michael Gerdau       email: mgd <at> qata.de
 GPG-keys available on request or at public keyserver
_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Dr. Bernhard Kleine | 21 May 12:15 2015
Picon
Picon

Fine tuning

I have prepared the Sanctus of the Missa in C by Bruckner. There are some points that need fine tuning.

 

1.      The piece should fit to one page.

2.      The markups Ruhig should be on Top of Sanctus

3.      The voisce nominator Ten. and Bass in Number 4 should be in front of the notes and texts, same in 8.

 

It would be very niece if some could point me to the ways to change these issues.

 

Thank you very much

 

Bernhard

Attachment (Messe in C_Sanctus.ly): text/lilypond-source, 7035 bytes
_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
70147persson | 21 May 10:04 2015
Picon

Putting lyrics below its staff?

I am working on a piece of choir music. It consists of two parts, the first of which is written on one staff, and the second two staves. The upper staff in part two is a continuation of the staff in part one. All the staves are accompanied with lyrics. My wish is that this lyrics should be written below its respective staff. However, whatever I do, the lyrics for the lower staff in part two, which I denote C, is written above the staff, hence directly below the lyrics for the upper staff (B). I suspect there should be a simple solution for this, and in the handbook they say that the lyrics is normally written below the staff. To get it above the staff you would have to do some overrides.

In the code you can see the commented lines, which are part of all the tries I have done, but nothing seems to help. To me it almost looks as if the behaviour is hard coded, just because of putting the lyrics between the staves is the normal. After an experience like this I feel strengthened in a thought, grown in my head, that LilyPond will never ever be a tool for everybody. It is too complicated and inconsistent to be used by anybody else than the absolute top expert. Which is a pity, as it produces an excellent result.

This is the result of my efforts so far:

\version "2.18.2"

\paper { ragged-right = ##t }

mA = \relative c' { c4 d e f }
mB = \relative c'' { g4 a b c }
mC = \relative c' { c'4 b a8 g f4 }
mAB = \relative c' { c4 d e f g4 a b c }

tA = \lyricmode { A B C D }
tB = \lyricmode { E F G H }
tC = \lyricmode { i j k l m }
tAB = \lyricmode { A B C D E F G H }

xA = { s1*1 \break }
xB = { s1*1 }
xC = { s1*1 }

\score {
  \new ChoirStaff
  <<
    \new Staff = "sAB" {
      <<
        \new Voice = "vAB" { \mAB }
        {
          \new Voice = "vA" { \xA }
          <<
            \new Voice = "vB" { \xB }
            \new Staff = "sC" {
              \new Voice = "vC" { \mC }
            }
          >>
        }
      >>
    }
    \new Lyrics = "lAB" \lyricsto "vAB" { \tAB }
    \new Lyrics = "lC" \with {
%     alignBelowContext = #"sC"
%     \override VerticalAxisGroup #'staff-affinity = #UP
    }
    { \lyricsto "vC" { \tC } }
  >>
 
  \layout { indent = #0 }
}

which produces this:

/Kaj

_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
flup2 | 21 May 09:10 2015
Picon

[OT] Figured bass numbering practice: +4 / 4+ / 4# / #4

Hello,

I'm engraving a work with figured bass numbering: concerti grossi n° 1 -> 6
by Geminiani, based on Corelli's op. 5

My problem is that it uses several different numbering that have, for what I
now, the same meaning: for instance +4, 4+, #4, 4#. Sometimes, that
concertino cello part uses +4, the bass in the grosso (ripieno) shows a 4+
at the same time.

Does someone know what could explain the use of different numbering for the
same meaning? Could it come from different engravers (the work was publish
in 1727 in London, as separate parts, not as a score)? A later version of
the same work (published in France 30 years later) show sometimes (not
always) the same thing, being perhaps a copy of the original publishing.

Philippe

--
View this message in context: http://lilypond.1069038.n5.nabble.com/OT-Figured-bass-numbering-practice-4-4-4-4-tp176834.html
Sent from the User mailing list archive at Nabble.com.

_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
pls | 20 May 13:16 2015
Picon
Picon

Fwd: how to add barre indications to automatic fret diagrams?



Begin forwarded message:

Subject: Re: how to add barre indications to automatic fret diagrams?
Date: 20. Mai 2015 13:12:30 MESZ
To: Stephen MacNeil <classicaljam01 <at> gmail.com>

Hi Stephen,
On 20.05.2015, at 13:02, Stephen MacNeil <classicaljam01 <at> gmail.com> wrote:

sorry forgot one

\version "2.18.2"
barre = #(define-music-function (barre location str ) (number?)
#{
\once \override FretBoard.before-line-breaking =
#(lambda (grob)
;(display (ly:grob-property grob 'dot-placement-list))
(ly:grob-set-property! grob 'dot-placement-list
(cons `(barre 6 1 ,str) (ly:grob-property grob 'dot-placement-list))))

#})
fMajorEShape = { <f,-1 c-3 f-4 a-2 c'-1 f'-1> }
gMajorEShape = { \transpose f g { \fMajorEShape } }

\new FretBoards {
\barre #3
\transpose f g { \fMajorEShape }
\barre #4
\gMajorEShape
\barre #3
<g,-1 d-3 g-4 b-2 d'-1 g'-1>
\set FretBoards.minimumFret = #3
\barre #4
\gMajorEShape
}


Yes, that’s what I was looking for! Thank you very much! I cleaned it up a little bit to get rid of some unnecessary bits and pieces (and to make it easier to understand what it does):

\version "2.19.15"

barre = #(define-music-function (bend location str ) (number?)
          #{
            \once \override FretBoard.before-line-breaking =
            #(lambda (grob)
               ;(display (ly:grob-property grob 'dot-placement-list))
               (ly:grob-set-property! grob 'dot-placement-list
                 (cons `(barre 6 1 ,str) (ly:grob-property grob 'dot-placement-list))))
          #})

fMajorEShape = { <f,-1 c-3 f-4 a-2 c'-1 f'-1> }

\new FretBoards {
 \barre #1
 \fMajorEShape
 \barre #3
 \transpose f g { \fMajorEShape }
 \barre #5
 \transpose f a { \fMajorEShape }
 \barre #7
 \transpose f b { \fMajorEShape }
}

Thanks again!
patrick

_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Stephen MacNeil | 20 May 13:06 2015
Picon

Re: how to add barre indications to automatic fret diagrams?

sorry forgot one


\version "2.18.2"

barre = #(define-music-function (barre location str ) (number?)

#{

\once \override FretBoard.before-line-breaking =

#(lambda (grob)

;(display (ly:grob-property grob 'dot-placement-list))

(ly:grob-set-property! grob 'dot-placement-list

(cons `(barre 6 1 ,str) (ly:grob-property grob 'dot-placement-list))))


#})

fMajorEShape = { <f,-1 c-3 f-4 a-2 c'-1 f'-1> }

gMajorEShape = { \transpose f g { \fMajorEShape } }


\new FretBoards {

\barre #3

\transpose f g { \fMajorEShape }

\barre #4


On Wed, May 20, 2015 at 7:02 AM, Stephen MacNeil <classicaljam01 <at> gmail.com> wrote:

sorry forgot one


\version "2.18.2"

barre = #(define-music-function (barre location str ) (number?)

#{

\once \override FretBoard.before-line-breaking =

#(lambda (grob)

;(display (ly:grob-property grob 'dot-placement-list))

(ly:grob-set-property! grob 'dot-placement-list

(cons `(barre 6 1 ,str) (ly:grob-property grob 'dot-placement-list))))


#})

fMajorEShape = { <f,-1 c-3 f-4 a-2 c'-1 f'-1> }

gMajorEShape = { \transpose f g { \fMajorEShape } }


\new FretBoards {

\barre #3

\transpose f g { \fMajorEShape }

\barre #4

\gMajorEShape

\barre #3

<g,-1 d-3 g-4 b-2 d'-1 g'-1>

\set FretBoards.minimumFret = #3

\barre #4

\gMajorEShape

}


HTH

Stephen


_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
pls | 19 May 21:59 2015
Picon
Picon

Re: how to add barre indications to automatic fret diagrams?


On 19.05.2015, at 21:47, Stephen MacNeil <classicaljam01 <at> gmail.com> wrote:

you can check here see if that's what you want.

http://lsr.di.unimi.it/LSR/Search?q=fret-diagram

Thanks, but unfortunately these snippets are all about customizing predefined fret diagrams and not about adding barre indications to automatically generated fre t diagrams.

patrick

_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Stan Mulder | 19 May 21:31 2015
Picon
Picon

Nashville notation as chord symbols

I would like to use Nashville Notation for chord symbols using Arabic
numbers instead of Roman numbers. Is there any way to do this?

So in the key of C:

C=1
D=2
E=3
F=4
G=5
A=6
B=7

So a blues progression might be:

1 4 5⁷

Instead of 
C F G⁷

So a B-flat7 chord in the key of C might be represented at either

♭7⁷ or 7♭⁷.

I think there is a great deal of value with what might be called "relative
notation" in this way. It is a hard system to learn, but once learned can
make key transpositions much easier.

For my projects I would like to write regular chord symbols, but above or
below those symbols I would have the Nashville number thing. 

After working with this system, I think all the fake books in the world
should be done this way.
_______________________________________________
lilypond-user mailing list
lilypond-user <at> gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user

Gmane