I often have a string of harmonics, so I decided to use a music function (the function is a tangent; if I place the override directly with the notes I get the same problem. The issue is the override itself):
harmonics =
#(define-music-function
(parser location notes)
(ly:music?)
#{
%\harmonicsOn
\override Staff.NoteHead #'style = #'harmonic-mixed
$notes
\revert Staff.NoteHead #'style
%\harmonicsOff
#}
)
\harmonicsOn and \harmonicsOff works, but they're always hollow notes so I don't want to use them. Overriding the notehead allows me to have solid heads on quarter notes.
My problem is that the note heads are overridden for all notes in the duration, not only the notes supplied to the function (see m. 2, 3 in the image below the following code):
melody = \relative c' { \stemUp
\repeat unfold 4 { r8 b g b e' b, | }
\bar "|."
}
harmony = \relative c' { \stemDown
e,2. |
\harmonics { e } |
\harmonics { e4 e } s |
e2. |
}
\score {
\new Staff {
\time 3/4 \clef "treble_8"
\key g \major
<<
\new Voice { \melody} \new Voice { \harmony}
>>
}
}
I'm looking for a way to modify only the notes I want (in this case, in \harmony), leaving the other notes within that duration untouched.
Edit: I tried with lilypond 2.17 using the new \temporary command, but I get the same result.
Full code | NoteHead Internals Documentation
Your problem is that your function uses the \override command, which affects all simultaneous grobs in a given context, and thus it is changing all noteheads in the Staff context (which contains both melody and harmony music). If you change the noteheads only in the Voice context, then your problem is solved:
harmonics =
#(define-music-function
(parser location notes)
(ly:music?)
#{
%\harmonicsOn
\override Voice.NoteHead #'style = #'harmonic-mixed
$notes
\revert Voice.NoteHead #'style
%\harmonicsOff
#}
)
Related
I have a few transcription to do, using lilypond.
It consists of a few songs, all of the same composer/poet, but there might be more to come.
I already have a few helper functions in a that I include in each score, but I'd like to have a function to automate header creation, something I could call like this:
\mkheader "my song"
or something similar.
This would avoid the need to write
\header {
composer = "the composer of all the songs"
title = "my song"
}
in each song.
Since two days ago, I've been (re-)reading the lilypond documentation, but I can't get it to work. Any ideas?
You are likely needing Include files.
Directory structure:
.
├── my_include.ly
├── my_main.ly
my_include.ly
\header {
composer = "the composer of all the songs"
title = "my song"
}
my_main.ly
\version "2.20.0"
\include "my_include.ly"
melody = \relative c {
\key c \major
\time 4/4
c c c c |
}
\score {
<<
\new Staff { \melody }
>>
}
It might be that you want to add extra information later in your main lilypond file, in which case you just add another header block
my_main.ly
\version "2.20.0"
\include "./my_include.ly"
\header {
subtitle = "my_subtitle"
subsubtitle = "my_subsubtitle"
}
melody = \relative c'' {
\key c \major
\time 4/4
c c c c |
}
\score {
<<
\new Staff { \melody }
>>
}
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 am trying to add an ossia staff above the upper staff of a grand
staff. Working from this mailing list post, I have
constructed a minimal example that almost does what I want. The
problem is that the entire score contains a blank space for the ossia
staff, even in systems that have no ossia.
Here is the example (truly, a melodious composition):
\version "2.18.2"
ossia = \new Staff = "ossia" \with {
\remove "Time_signature_engraver"
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\override Clef #'transparent = ##t
\override KeySignature #'stencil = ##f
} {
\key b \major
\override Staff.BarLine #'allow-span-bar = ##f
\stopStaff
s2.*100 % ???
}
treble = \new Staff = "treble" {
\clef treble
\key b \major
\relative c' {
\repeat unfold 10 { b8 cis dis fis dis cis }
b4 dis fis |
b4
<<
{ dis, fis }
\context Staff = "ossia" {
\startStaff \tuplet 3/2 { dis8 b dis } fis4 \stopStaff
}
>> |
b2. |
}
}
bass = \new Staff = "bass" {
\clef bass
\key b \major
\relative c {
\repeat unfold 12 { fis,4 fis4 fis4 | }
b2.
}
}
pianoStaff = \new PianoStaff {
\compressFullBarRests
\time 3/4
<<
\ossia
\treble
\bass
>>
}
\paper {
#(set-paper-size "letter")
indent = 25\mm
short-indent = 5\mm
}
\score {
<< \pianoStaff >>
% This changes nothing:
% \layout { \context { \Staff \RemoveEmptyStaves } }
}
Here is the output (PNG image, 85 KB).
Some interesting things to note:
If I remove the s2.*100 at line 13 (marked % ???), or change the
value to anything smaller than 12, the ossia staff renders
completely incorrectly. It appears below the bass clef, includes the
clef and time signature, and is in the key of C (i.e., the rendered
notes include accidentals). Basically, it looks like it's failed to
notice that the ossia staff exists and has constructed a brand new
one. I suspect that this is because the ossia staff is supposed to
extend past each point where it is used—i.e., when switching staff
contexts, one can go "back in time" but not forward. I don't really
understand this, but I can live with it, as it doesn't seem to have
an intrinsic effect as long as \compressFullBarRests is enabled.
I have included the paper size in the MWE to force consistent
dimensions on different systems.
As I noted in the score, adding \RemoveEmptyStaves does not remove
the empty staves.
My question is: how can I keep the ossia staff rendered as it does in
this example (small and above the treble clef) without adding the
empty space on all previous systems?
\RemoveEmptyStaves is not working because the staves are within a PianoStaff, so you must add \remove "Keep_alive_together_engraver" to the \layout block. Here's a minimal example of a documentation snippet slightly modified:
\version "2.18.2"
\new PianoStaff
<<
\new Staff = "ossia" \with {
\remove "Time_signature_engraver"
\hide Clef
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
\override StaffSymbol.thickness = #(magstep -3)
} \relative c'' {
R1*3
c4 e8 d c2
}
\new Staff \relative c' {
c4 b c2
e4 f e2
g4 a g2 \break
c4 b c2
g4 a g2
e4 d c2
}
>>
\layout {
\context {
\Staff \RemoveEmptyStaves
\override VerticalAxisGroup.remove-first = ##t
}
\context {
\PianoStaff
\remove "Keep_alive_together_engraver"
}
}
Your example is quite big, not a real MWE. s2.*100 doesn't make any sense to me. I suggest that you submit a smaller example.
I'm trying to typeset a short piano piece, 'Nocturne n°5' by John Field. My main problem occurs on bars 14, 17 and 38 where a gruppetto is rendered as a delayed turn with a natural sign.
This is how it looks like in one of the editions you can find on the Internet:
This what I can achieve myself:
This is the code that I have tried:
\version "2.8.12"
upper = \relative c'' {
\key bes \major
\time 12/8
%bar 14
d4.-> c2.
<<
{
c4.( f4. ees4 c8 bes4. c4.
des2.~\sf des4.)
}
\\
{
% we create the following sequence: { r8 d16 c16 b16 c16 }
s8
\single \hideNotes d16
\single \hideNotes c16
\single \hideNotes \once \set suggestAccidentals = ##t
\single \hideNotes \once \override AccidentalSuggestion #'outside-staff-priority = ##f
\single \hideNotes \once \override AccidentalSuggestion #'avoid-slur = #'inside
\single \hideNotes \once \override AccidentalSuggestion #'font-size = #-3
\single \hideNotes \once \override AccidentalSuggestion #'script-priority = #-1
\single \hideNotes b16-\turn
\single \hideNotes c16
% those spaces are to align with the second voice
% kept in the for the duration of the phrasing slur
s2. s2.
s2. s4.
}
>>
}
lower = \relative c {
\key bes \major
\time 12/8
%bar14
e8[( \sustainOn c'8 bes8 g'8 c,8 bes8]
e,8[ g'8 bes,8]
ees,8[ \sustainOn f'8 a,8])
d,8[( \sustainOn f'8 bes,8]
ees,8[ \sustainOff c'8 g8]
f8[ d'8 bes8]
f8[ ees'8 a,8])
}
\score {
\new PianoStaff
<<
\new Staff = "upper" { \clef treble \upper }
\new Staff = "lower" { \clef bass \lower }
>>
\layout { }
}
You'll notice that I chose to create a temporary polyphonic passage and I have a choice to hide either the upper or the lower voice. I have experimented with both but it seems more logical to keep the rendered voice on the upper side and keep the lower voice hidden. However, this make the turn appear on the lower part of the staff.
Edit
I have updated the question with a snippet that should now compile for others to try. My main problem is that the delayed turn happens during a passage that must span a phrasing slur. Since I could not find a way to have a slur span across single-voice and multi-voice passages, I need to keep the polyphonic passage for longer than just the delayed turn part.
How can I improve on the placement of the turn and the accidental.
In your updated example, the problem is different so I'm adding a new answer.
You are using the double backslash construct in the temporary polyphonic passage and the turn displays below the staff. This happens because you never define the voices explicitely. In the Notation Reference 1.5.2:
The << {…} \ {…} >> construct, where the two (or more) expressions
are separated by double backslashes, behaves differently to the
similar construct without the double backslashes: all the expressions
within this construct are assigned to new Voice contexts. These new
Voice contexts are created implicitly..
So LilyPond will assign \voiceOne to the first voice and \voiceTwo to the second voice. In \voiceTwo the \turn and other similar objects are displayed below the staff. I recommend reading Explicitly instantiating voices.
Solution: either remove the \\ or add \voiceThree in the second voice of the temporary polyphonic passage (\voiceOne is implicitely used in the first voice of the passage and if you use it in the second you'll have a collision with the slur; that's why you need \voiceThree).
You shouldn't use the \turn within a \markup block; instead, attach it immediately to the note:
\once \hideNotes b16-\turn
By the way, this is the example in the lilypond documentation.
I could not compile your snippet so I recreated it from scratch (disclaimer: I don't play piano and my musical knowledge is limited) but it looks fine to me:
\version "2.19.40"
global = {
\key bes \major
\numericTimeSignature
\time 12/8
}
right = \relative c'' {
\global
% bar 14
<<
{ d4.-> c2. c4.-2( | }
{
s1 s4
\once \set suggestAccidentals = ##t
\once \override AccidentalSuggestion.outside-staff-priority = ##f
\once \override AccidentalSuggestion.avoid-slur = #'inside
\once \override AccidentalSuggestion.font-size = -3
\once \override AccidentalSuggestion.script-priority = -1
\single \hideNotes
b4-\turn
}
>>
f'4.-5) ees4-3
}
left = \relative c {
\global
% bar 14
e8\sustainOn([ c' bes g' c, bes] e, g' bes, ees,\sustainOn f' a,) |
ees8\sustainOn f' bes,-2 f-5\sustainOff
}
\score {
\new PianoStaff
<<
\new Staff = "right" \right
\new Staff = "left" { \clef bass \left }
>>
\layout { }
}
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.