In Lilypond, I am writing a vocal score in closed form (Sop & Alto on top line, Tenor & Bass on bottom) and occasionally I need the parts to divide. This is fine in most cases because the note stems indicate which note belongs to which part, but not when the note has no stem!
The usual method that I've seen is to insert a left square bracket indicating the notes to be grouped together, like so:
I have tried searching the documentation high and low for a snippet or something to do with vertical brackets or braces but unfortunately I can't think of any keywords that don't throw up a lot of false hits.
Can anyone help?
It's done with arpeggios, which can be counterintuitive. Here is the basic setup:
\version "2.24.0"
\score {
\new StaffGroup <<
\override StaffGroup.Arpeggio.stencil = #ly:arpeggio::brew-chord-bracket
\new Staff <<
\new Voice { \voiceOne c''1 }
\new Voice { \voiceTwo g'1 }
>>
\new Staff <<
\clef bass
\new Voice { \voiceThree e' }
\new Voice { \voiceFour <c g>1\arpeggio }
>>
>>
}
You may have to adjust the bracket length, but that's another question.
Related
When I am evoking lilypond in order to produce midi output, I comment in an empty midi block in the score block. Then, lilypond produces a midifile instead of a PDF file. I want to create both outputs simultaneously to be able to listen to the changes and see the changes in the pdf file. Is this possible? Commenting the midi block in and out becomes a bit cumbersome after a while, and an option to produce both outputs at the same time would help me a lot!
This is an example ly file to demonstrate my workflow:
\score {
\midi {} % Commented out each time I want to produce PDF
\new PianoStaff <<
\new Staff {
\key f \minor
\mp
\relative c''' {
c
}
}
\new Staff {
\relative c {
c
}
}
>>
}
As Ole V.V suggested in his comment, it is possible to create both outputs simultaneously by adding a layout block in the score block as follows:
\score {
\midi {} % Commented out each time I want to produce PDF
\layout{} % Adding this does the trick, thanks to Ole V.V's comment
\new PianoStaff <<
\new Staff {
\key f \minor
\mp
\relative c''' {
c
}
}
\new Staff {
\relative c {
c
}
}
>>
}
I'm pretty new when it comes to details on Lilypond and I'm stuck on a problem.
Whenever I introduce two new temporary voices with backslash <<{ }\\\\{ }>>, the lyrics skip over those voices :
Lyrics = \lyricmode {Et lux per -- pe -- tu -- a }
\score {
\new ChoirStaff
<<
\new Voice = "soprano"
\relative c' {
\clef treble
c4 f8 f
<<{a a}\\{f f}>>
c'4
}
\new Lyrics \lyricsto "soprano" { \Lyrics }
>>
}
Here is the document: http://lilybin.com/xbi9lm/1
I've tried a lot of things, and one that does something interesting is this:
Lyrics = \lyricmode {Et lux per a }
LyricsTwo = \lyricmode {pe -- tu }
\score {
\new ChoirStaff
<<
\new Voice = "soprano"
\relative c' {
\clef treble
c4 f8 f
<<{a a}\\{f f}\new Lyrics \lyricsto "2" {\LyricsTwo}>>
c'4
}
\new Lyrics \lyricsto "soprano" { \Lyrics }
\new Voice = "alto"
\relative c' {
\clef treble
c1
}
>>
}
Here is the document : http://lilybin.com/xbi9lm/2
Using backslashes for temporary voices creates two voices named "1" and "2" so that's what I've tried, but somehow the lyrics get under the entire score ?
I use them a lot but for very short amount of notes/time.
I'm at a complete loss so if someone has a good solution for integrating lyrics into temporary multiple backslash voices, I'm all ears !
While for keyboard music I also use the << { … } \\ { … } >> notation a lot, for music with lyrics I prefer to give Lilypond one voice onto which to hang the lyrics. I leave out \\, and Lilypond will regard the inside of << … >> as belonging to the same voice. We want only one of the two to belong, so we explicitly declare a different voice for the other.
Lyrics = \lyricmode { Et lux per -- pe -- tu -- a }
\score {
\new ChoirStaff <<
\new Voice = "soprano" \relative c' {
\clef treble
c4 f8 f
<<
{ \voiceOne a a }
\new Voice { \voiceTwo f f }
>>
\oneVoice c'4
}
\new Lyrics \lyricsto "soprano" { \Lyrics }
\new Voice = "alto"
\relative c' {
\clef treble
c1
}
>>
}
Output:
The \voiceOne, \voiceTwo and \oneVoice macros I call are what your double-backslash notation also calls behind the scenes to get the voices look like voice 1 and 2 (mainly the stem directions). I trust you to fix the beaming.
I need several analysis bracket combinations which are rather unusual (at least I didn't find a lot help in the net). First of all I wanted overlapping analysis brackets, which I managed to achieve already. Now, what I also need is "adjacent brackets", meaning that one bracket ends on a note while on the same note another one starts. So in theory I would need this: "g4\stopGroup\startGroup". However, this results in simply one big bracket. Here is my example code, which currently has the problem that the g4 is in both voices and therefore visible twice, while it should only be there once, but both brackets should include it.
\version "2.19.61"
adjtwo = \relative c'' {
s2 g4\startGroup a b c\stopGroup d e
}
adjone = \relative c' {
\once \override HorizontalBracket #'direction = #UP
e\startGroup f g\stopGroup
}
\score {
\new Staff {
<<
\voiceOne \adjone
\voiceThree \adjtwo
>>
}
}
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
Thanks for any help
Best regards
Is this what you're looking for?
\version "2.19.61"
\score {
\relative {
\override HorizontalBracket #'direction = #UP
e'\startGroup f g\stopGroup <>\startGroup a
b c\stopGroup d e
}
}
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
A work around to make this, is the following:
put \starGroup and \stopGroup where you need. The unique condition is that you can not put a \stopGroup following a \startGroup. You have to put at least 1 note among their. You can put the \stopGroup after the following note, don't worry
fix the position and length of the bracket that are wrong drawn with \once \override HorizontalBracket.shorten-pair = #'(-3.0 . 1.5).
For your example, you can do the following:
adjone = \relative c' {
\once \override HorizontalBracket #'direction = #UP
e \startGroup f g \stopGroup
\once \override HorizontalBracket.shorten-pair = #'(-3.0 . 1.5)
a \startGroup b c \stopGroup d e
}
\score {
\new Staff {
<<
\voiceOne \adjone
>>
}
}
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
And you get this score:
(I can not put images embed yet) Here is the link of the image: https://imgur.com/a/H1gN0wE
I have a multi-measure rest at the end of a piece, and I cannot get a final "|." barline to print. The regular single barline is used instead.
Minimal example:
\score {
\new Staff <<
\compressFullBarRests
R1*62
\bar "|."
>>
}
I'm using version 2.16; the problem exists with 2.17 as well.
This doesn't have anything to do with multi-measure rests. It doesn't work because you had used << >> (which indicate simultaneous music) instead of { } (which indicate sequential music). With << >>, all three commands (\compressFullBarRests, R1*62 and \bar "|.") are processed simultaneously, which means that \bar "|." takes place at moment 0 (at the very beginning of music), not after rests. This will work:
\score {
\new Staff {
\compressFullBarRests
R1*62
\bar "|."
}
}
This does not seem to have anything to do with the multi-measure rest - the |. bar is not printed even if you use a note instead of the multi-measure rest.
Not sure why, but this seems to do the job:
melody =
{
R1*62
\bar "|."
}
\score {
<<
\compressFullBarRests
\new Voice = "one" { \autoBeamOff \melody }
>>
}
Why does the last chord in both of the following \score blocks not display the correct note in the bass? In the dyad, the last chord should have D in the bass. In the triad, the last chord should have F in the bass. Instead, both chords are displaying the same as the first chord in their respective \score blocks.
\version "2.14.2"
\book {
\header {
title = \markup \center-column {"Dyad, Triad Permutations"}
arranger = \markup \center-column { "Sean O'Donnell" }
}
\score {
\relative {
<bes d>1
<d bes>
}
}
\score {
\relative {
<bes d f>1
<bes f d>
<d bes f>
<d f bes>
<f bes d>
<f d bes>
}
}
}
You have to specify the octave relative to current notes. You can do so by using the comma (,) (to go lower) and an apostrophe (') (to go higher). So, in the first example, relative to the chord before you need to drop the D down an octave (and then bring the Bb back up). Likewise in the other chord, drop the F and bring the D back up. See the follow code to achieve what you want...
\version "2.14.2"
\book {
\header {
title = \markup \center-column {"Dyad, Triad Permutations"}
arranger = \markup \center-column { "Sean O'Donnell" }
}
\score {
\relative {
<bes d>1
<d, bes'>
}
}
\score {
\relative {
<bes d f>1
<bes f d>
<d bes f>
<d f bes>
<f bes d>
<f, d' bes>
}
}
}
To fully understand how note positioning works in \relative mode, please see the Pitches section of the manual here:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Simple-notation#Simple-notation
which states:
The easiest way to enter notes is by using \relative mode. In this
mode, the octave is chosen automatically by assuming the following
note is always to be placed closest to the previous note, i.e., it is
to be placed in the octave which is within three staff spaces of the
previous note.
[...]
By adding (or removing) quotes ' or commas , from the \relative c' {
command, we can change the starting octave
[...]
Relative mode can be confusing initially, but is the easiest way to
enter most melodies.
The manual page also shows code examples of working in \relative mode.