Re: Relative mode

[Leo Correia de Verdier]

By minimal we mean a piece of code that compiles clean, shows the behavior you 
want to show and is as short as possible, in this case it could be more like 

\version "2.22.1"
{ a'1 \break a'1 }

And a solution could look like

\version "2.22.1"
{ a'1 \break a'1 }
\layout { indent = #0 }

A hint about the code:
If you do not want to keep them separate for some reason I find the code easier 
to read, understand and find and correct errors in if there is only one paper 
and layout block at each place and level, you could combine them, like:

\paper {
  top-margin = 10
  right-margin = 10
  left-margin = 10
  #(define fonts
     (set-global-fonts
      #:roman "Times New Roman"
      #:sans "Nimbus Sans,Nimbus Sans L"
      #:typewriter "Luxi Mono"
      #:factor (/ staff-height pt 18)
      ))
}

\layout {
  \context {
    \Score
    \remove "Bar_number_engraver"
    defaultBarType = ”" 
 }
  \context {
    \Staff
    \remove "Time_signature_engraver"
  }
  ragged-last = ##f
  line-width = 190
  \set includeGraceNotes = ##t
}

> 7 okt. 2021 kl. 17:28 skrev Mahanidhi <mahanidhi@protonmail.com>:
> 
> To speak the truth I tried to have the music all together with /break command 
> but what was happening is that the first line was starting not aligned with 
> the other ones.
> 
> Here a minimal example:
> 
> \version "2.22.1"
> \language "english"
> 
> global = {
> \key gf \major
>  \time 4/4
>  \override Glissando.style = #'trill
>  \override Score.SpacingSpanner.base-shortest-duration = #(ly:make-moment 
> 1/128)
>  \set includeGraceNotes = ##t
>  \override Score.GraceSpacing.common-shortest-duration = #(ly:make-moment 
> 1/132)
> }
> \paper {
> top-margin = 10
> right-margin = 10
> left-margin = 10
> }
> 
> \paper {
>  #(define fonts
>    (set-global-fonts
>     #:roman "Times New Roman"
>     #:sans "Nimbus Sans,Nimbus Sans L"
>     #:typewriter "Luxi Mono"
>     #:factor (/ staff-height pt 18)
>    ))
> }
> \layout {
>  \context {
>    \Score
>    \remove "Bar_number_engraver"
>     defaultBarType = "" }}
> 
> \layout {
>  \context {
> \Staff
>  \remove "Time_signature_engraver"
> }}
> 
> \layout {
>  ragged-last = ##f
>  line-width = 190
> }
> \layout {
>  \set includeGraceNotes = ##t
> }
> 
> \relative c'
> {\global
> \tempo "Moderate-slow" 4 = 80
> df8 df ef [ef] ef4 ef8 ff ff [ef] df4\bar "|"
> \break ef8 ef \glissando gf gf4 af8 gf2.\glissando  \hideNotes c,4^"         
> fine"  \unHideNotes \bar "||"  ff8  [ \melisma ef  df] \melismaEnd df 
> \melisma gf \melismaEnd ff  [ef]ef2.\bar "|"
> }
> 
> \addlyrics {To -- mār  __ _ kri -- pār cha -- ran -- (a) ta -- le
> \break ā -- mār __ _ ā -- mi  -- re __ _ hā -- rā -- bo bā -- le
>  }
> 
> 
> 
> 
> 
> 
> 
> 
> ‐‐‐‐‐‐‐ Original Message ‐‐‐‐‐‐‐
> 
> Il giovedì 7 ottobre 2021 14:29, David Kastrup <dak@gnu.org> ha scritto:
> 
>> Leo Correia de Verdier leo.correia.de.verdier@gmail.com writes:
>> 
>>> The ”command global=” is defining a variable with a series of property
>>> 
>>> settings (mostly), \relative is not a property, it’s a function that
>>> 
>>> is preformed on the music inside the brackets following it.
>>> 
>>> The manual is quite long, but you will eventually need to go through
>>> 
>>> much of it to get what is what in lilyponds syntax and understand what
>>> 
>>> the lines in the code actually mean.
>> 
>> If everything is a score, you can just call relative on it. Something
>> 
>> like
>> 
>> toplevel-music-functions=#(cons relative toplevel-music-functions)
>> 
>> { c g e c }
>> 
>> { g' f g' c }
>> 
>> Mind you, I am not saying that this is a good idea (in fact, I consider
>> 
>> it marvelously bad, not least of all because all helpful editing and
>> 
>> conversion tools as well as human readers will likely have no clue what
>> 
>> you are doing here and will refuse helping you with it).
>> 
>> But it's not like LilyPond has built-in barriers against bad ideas, and
>> 
>> it will give you all the help you need shooting yourself in the foot.
>> 
>> The manuals and the community will lean towards moving you more in the
>> 
>> direction of sustainable best practice.
>> 
>> It's a bit similar with music education: when self-learned musicians
>> 
>> accumulate technical skills of their own design from which they create
>> 
>> their working procedures at an ultimately comparatively high level, they
>> 
>> will have a hard time getting help overcoming any roadblocks because
>> 
>> they'll find no teachers interested in investing the kind of work
>> 
>> upfront required to sort the good from the bad in the idiosyncratic
>> 
>> technique, and then design strategies for ditching or even ameliorating
>> 
>> the bad without sacrificing the good.
>> 
>> ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
>> 
>> David Kastrup