Re: Snippet: Tie does not appear
At Tue, 21 Jun 2011 13:42:01 +1000, Nick Payne wrote: You can't have a tie between notes in different voices. Re-arrange the voices to have the notes in the same voice (or alternatively, create an extra voice with hidden notes that has the tie). This may not always be possible. And BTW, it's normally easier to enter notes using relative mode, where the pitch of each note is relative to the preceding note Normally, sure, but... I'm working on a piece now for sheng, a Chinese instrument related to the free reed mouth organ /khaen/ common in Laos and Northeast Thailand. Like the guitar in the original example here, it's polyphonic (within fingering limitations) and most often notated on one staff. That means a lot of use of layers, and ties/slurs can get tricky. Since I'm just starting out with lilypond, I haven't developed that sixth sense to look at some complex notation and know immediately the best way to divide up the notes among layers. So I have to do a lot of moving notes between layers, preview, no, that doesn't look right, etc., and with every iteration, the octaves always got screwed up using relative mode. The original example is modernistic in the use of a lot of wide intervals. The benefit of relative mode is to avoid writing , or ' on every note, but if the style features a lot of intervals greater than a fourth, then that benefit disappears and absolute mode starts to look more attractive. My gut feeling is, if I will have to look at a lot of ,, and '' in either mode, then I would rather know that ,, *always* means exactly one specific octave... (admitting that all of this is a matter of taste). So for this piece, I'll use absolute mode pretty much throughout. But if my next piece uses more monophonic instruments and a less angular style, then yes, relative mode is a breeze in that case. (Another +1 for Frescobaldi -- convert to relative and convert to absolute.) James -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal. -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Very short lilypond snippets in LaTeX
Hey all,
I am lilypond-booking a latex document where I endeavor to insert short
snippets into fragments of text :
The dynamic should be between
\begin{lilypond}
\markup { \dynamic ppp }
\end{lilypond}
and
\begin{lilypond}
\markup { \dynamic pp }
\end{lilypond}
.
The typeset result is not nearly as nice as \markup { The dynamic should be
between \dynamic ppp and \concat { \dynamic pp .} }. I'd like to achieve
this, but in LaTeX w/o too much hard-coded tweakery. Thoughts?
The reason I can't use the native lilypond is because all of this is going into
a table, and I don't want to go down the slippery slope of reimplementing latex
in lilypond thru markup commands.
Cheers,
Mike
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Re: Very short lilypond snippets in LaTeX
Am Dienstag, 21. Juni 2011, 10:55:29 schrieb m...@apollinemike.com:
Hey all,
I am lilypond-booking a latex document where I endeavor to insert short
snippets into fragments of text :
The dynamic should be between
\begin{lilypond}
\markup { \dynamic ppp }
\end{lilypond}
This could be achieved way easier if you manage to make the feta font
available to latex (actually, I'd need that too. For my critical reports, I
simply use ppp / pp written in the default font, not in the music font).
I started this a while ago, but since I'm no expert on Type1 fonts, the latex
font tree structure and LaTeX's font system in general, I got stuck at a point
where some things are working, but most things are not.
The reason I can't use the native lilypond is because all of this is going
into a table, and I don't want to go down the slippery slope of
reimplementing latex in lilypond thru markup commands.
I can understand this perfectly well. I initially started writing the critical
reports in LilyPond, but soon realized that LilyPond simply is not able to
perform well as a text typesetting programm.
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
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Re: Very short lilypond snippets in LaTeX
On 21 June 2011 11:26, Reinhold Kainhofer reinh...@kainhofer.com wrote: This could be achieved way easier if you manage to make the feta font available to latex (actually, I'd need that too. For my critical reports, I simply use ppp / pp written in the default font, not in the music font). I started this a while ago, but since I'm no expert on Type1 fonts, the latex font tree structure and LaTeX's font system in general, I got stuck at a point where some things are working, but most things are not. The reason I can't use the native lilypond is because all of this is going into a table, and I don't want to go down the slippery slope of reimplementing latex in lilypond thru markup commands. I can understand this perfectly well. I initially started writing the critical reports in LilyPond, but soon realized that LilyPond simply is not able to perform well as a text typesetting programm. Philippe Massart is working on a LaTeX package that allow to use LilyPond characters in LaTeX. He spoke a little about it on the French users mailing list: http://lilypond-french-users.1298960.n2.nabble.com/Integrer-les-caracteres-de-Lilypond-dans-LaTeX-td4220131.html (see also John's message). It would be interesting to contact him (because the thread I linked is quite old). It would be great if —thanks to your combined efforts— you could offer a real, great, official LaTeX package to include LilyPond characters! Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very short lilypond snippets in LaTeX
m...@apollinemike.com m...@apollinemike.com writes:
I am lilypond-booking a latex document where I endeavor to insert
short snippets into fragments of text :
The dynamic should be between
\begin{lilypond}
\markup { \dynamic ppp }
\end{lilypond}
and
\begin{lilypond}
\markup { \dynamic pp }
\end{lilypond}
.
The typeset result is not nearly as nice as \markup { The dynamic
should be between \dynamic ppp and \concat { \dynamic pp .} }.
I'd like to achieve this, but in LaTeX w/o too much hard-coded
tweakery. Thoughts?
Images don't inherently have a baseline/descenders. That's a real mess,
but you can't really get around that, or the results will look awful.
The Emacs/AUCTeX WYSIWYG extension preview-latex
URL:http://www.gnu.org/software/auctex/preview-latex.html outputs
messages to the console in the rendering process so that Emacs can pick
up the baseline info (as well as bounding box info). The output is done
to a given baseline (starting at the famous 1in,1in point) without
regard of page boundaries. That way, the postprocessing can render to
the right area. Different options for relaying the bounding box are
invoked with the auctex and lyx options to the preview package, and the
bounding box is relayed to PostScript specials or PDF box dimensions
using the tightpage option.
When not going through PostScript, the tool dvipng can pick up the
baseline info from the PostScript specials nevertheless, and use a
variety of methods for getting it out again: printed info on stdout, or
padding the graphics until the baseline is at the center, and so on. It
is worth taking a look at some of the options it implements.
Note that none of this directly helps for your problem, since you don't
need to get the baseline info out of LaTeX, but out of Lilypond.
Nevertheless, there might be some food for thought here.
The reason I can't use the native lilypond is because all of this is
going into a table, and I don't want to go down the slippery slope of
reimplementing latex in lilypond thru markup commands.
Without the baseline, embedded in-line graphics look awful. You need to
add it by hand (using \raisebox or similar), or devise an automatic
process for getting at it. There is really no acceptably looking
alternative when writing material with descenders, and dynamics
definitely have descenders.
--
David Kastrup
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Re: Very short lilypond snippets in LaTeX
Hello, As I already stated somewhere on this list (and as Xavier mentioned just before), I'm currently working on such a LaTeX package, that allows to consider Lilypond glyphs as glyphs in LaTeX. The idea is to a some commands like, for instance, \fetamf that would include that dynamic in a LaTeX document. I hope that have a preliminary version running during summer holidays (and I'll need some adventurous testers ;) ) Here are some examples : Time signature (including compound) http://old.nabble.com/file/p31893066/Capture%2Bd%25E2%2580%2599%25C3%25A9cran%2B2011-06-21%2B%25C3%25A0%2B12.25.10.jpg Dynamics and other symbols http://old.nabble.com/file/p31893066/Capture%2Bd%25E2%2580%2599%25C3%25A9cran%2B2011-06-21%2B%25C3%25A0%2B12.25.31.jpg http://old.nabble.com/file/p31893066/Capture%2Bd%25E2%2580%2599%25C3%25A9cran%2B2011-06-21%2B%25C3%25A0%2B12.27.17.jpg Basic note figures http://old.nabble.com/file/p31893066/Capture%2Bd%25E2%2580%2599%25C3%25A9cran%2B2011-06-21%2B%25C3%25A0%2B12.28.47.jpg All these can be integrated into tikz/pgf. I guess integration into tables is possible, like in this quick test : http://old.nabble.com/file/p31893066/Capture%2Bd%25E2%2580%2599%25C3%25A9cran%2B2011-06-21%2B%25C3%25A0%2B12.38.18.jpg At this time, my main problems are : - combined glyphs : some glyphs are in fact combination of different glyphs (like some keys with octava) - size : for now, size is fixed and I don't know if it is possible to make it change when changing the general font size (in the LaTeX \documentclass). Hope this helps, Philippe -- View this message in context: http://old.nabble.com/Very-short-lilypond-snippets-in-LaTeX-tp31892431p31893066.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
scheme code for aksak-meters, problem with 2.14.1
Dear community,
in version 2.12.3 I used this code (I think written by Graham) for so called
aksak-meters like 7/8 (2+2+3) etc.:
%%% example for aksak:
\version 2.12.0
aksak = #(define-music-function
(parser layout timesig compound) (list? list?)
#{
% measure length + beaming
\set Timing.timeSignatureFraction = #(cons (car $timesig) (cadr
$timesig))
\set Timing.beatLength = #(ly:make-moment 1 (cadr $timesig) 0 1)
\set Timing.beatGrouping = $compound
\set Timing.measureLength = #(ly:make-moment (car $timesig) (cadr
$timesig) 0 1)
#})
\new Staff \relative { \aksak #'(5 16 ) #'(3 2 ) c16 d e f d }
% end of example
Unfortunately this code doesn't work in version 2.14.1.
I tried to update it, with convert.ly and by hand, but without sucess.
Could someone give me a hint?
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RE: Reverting to the 2.13.46 font
Jon, From: lilypond-user-bounces+james.lowe=datacore@gnu.org [lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Xavier Scheuer [x.sche...@gmail.com] Sent: 20 June 2011 17:04 To: Jon Toohill Cc: lilypond-user Subject: Re: Reverting to the 2.13.46 font On 20 June 2011 17:47, Jon Toohill stoneth...@gmail.com wrote: Whoops, I wrote that backwards. The older font (the one I want) is on the right, whereas the newer font that I'm seeing in 2.14 is on the left. Sorry for the confusion. And, in retrospect, I'm not seeing the problem on Linux. In that case, it's just my configuration on the Mac. I'll see what I can do to fix it. OK, that makes more sense (of course!). Could it be the issue of Mac OS X (not due to LilyPond then!) when upgrading to OS X 10.6.7? This Mac OS X issue has been reported there for instance: http://lists.gnu.org/archive/html/lilypond-user/2011-04/msg00619.html Did you recall making such upgrade between 2.13.46 and 2.14? -- Apple 'broke' some aspects of Font handling, but this was fixed in the last signficant Update that came out circa April of this year. If you are unsure, open your system properties, click on Software Update and then click on the 'Installed Software' button at the top. There is an explicit 'Snow Leopard Font Update' mentioned (dated 27/04/2011) - assuming you use Snow Leopard. I cannot recall (if you don't) if this was a 10.6.x specific issue. That's not to say this is your problem* So assuming it isn't just this update then you could simply use a tool like 'Onyx' (freely downloadable) to delete the font cache, then you can reboot and the OS will rebuild it and LilyPond will use the 'correct' font - whatever it is called. James * The symptom reported that this update fixed actually caused LP to generate PDFs without any noteheads (just the stems). So it may not be anything similar or related to your issue. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: scheme code for aksak-meters, problem with 2.14.1
On 21 June 2011 12:46, Stefan Thomas kontrapunktste...@googlemail.com wrote:
Dear community,
in version 2.12.3 I used this code (I think written by Graham) for so called
aksak-meters like 7/8 (2+2+3) etc.:
%%% example for aksak:
\version 2.12.0
aksak = #(define-music-function
(parser layout timesig compound) (list? list?)
#{
% measure length + beaming
\set Timing.timeSignatureFraction = #(cons (car $timesig) (cadr
$timesig))
\set Timing.beatLength = #(ly:make-moment 1 (cadr $timesig) 0 1)
\set Timing.beatGrouping = $compound
\set Timing.measureLength = #(ly:make-moment (car $timesig) (cadr
$timesig) 0 1)
#})
\new Staff \relative { \aksak #'(5 16 ) #'(3 2 ) c16 d e f d }
% end of example
Unfortunately this code doesn't work in version 2.14.1.
I tried to update it, with convert.ly and by hand, but without sucess.
Could someone give me a hint?
There is a snippet called Compound time signatures in
NR 1.2.3 Displaying rhythms Time signature
http://lilypond.org/doc/v2.14/Documentation/notation/displaying-rhythms#time-signature
or Complex compound time signatures in the LSR:
http://lsr.dsi.unimi.it/LSR/Item?id=743
Does one of them correspond to your aksak-meter?
Cheers,
Xavier
--
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Re: scheme code for aksak-meters, problem with 2.14.1
Dear Xavier,
Yes, I think the second snippet isn't far awy from what I would like to do.
But I would like to get a code, that alows me to use the same syntax like
before \aksak #'(timesignature ) #'(beatgroup ) ) and this I can't do with
the code in this link.
2011/6/21 Xavier Scheuer x.sche...@gmail.com
On 21 June 2011 12:46, Stefan Thomas kontrapunktste...@googlemail.com
wrote:
Dear community,
in version 2.12.3 I used this code (I think written by Graham) for so
called
aksak-meters like 7/8 (2+2+3) etc.:
%%% example for aksak:
\version 2.12.0
aksak = #(define-music-function
(parser layout timesig compound) (list? list?)
#{
% measure length + beaming
\set Timing.timeSignatureFraction = #(cons (car $timesig) (cadr
$timesig))
\set Timing.beatLength = #(ly:make-moment 1 (cadr $timesig) 0 1)
\set Timing.beatGrouping = $compound
\set Timing.measureLength = #(ly:make-moment (car $timesig) (cadr
$timesig) 0 1)
#})
\new Staff \relative { \aksak #'(5 16 ) #'(3 2 ) c16 d e f d }
% end of example
Unfortunately this code doesn't work in version 2.14.1.
I tried to update it, with convert.ly and by hand, but without sucess.
Could someone give me a hint?
There is a snippet called Compound time signatures in
NR 1.2.3 Displaying rhythms Time signature
http://lilypond.org/doc/v2.14/Documentation/notation/displaying-rhythms#time-signature
or Complex compound time signatures in the LSR:
http://lsr.dsi.unimi.it/LSR/Item?id=743
Does one of them correspond to your aksak-meter?
Cheers,
Xavier
--
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Re: scheme code for aksak-meters, problem with 2.14.1
Hello, Another solution, new to 2.14, is listed in the changes (from 2.12) : Image : http://lilypond.org/doc/v2.14/Documentation/cf/lily-c0fe533f.png Code: http://lilypond.org/doc/v2.14/Documentation/cf/lily-c0fe533f.ly Philippe___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Position of slur between two notes in different chords
A slur from one chord to another is positioned relative to the complete chord.
In my opinion this reduces readability of the score. Shouldn't the slur go from
the note inside of the chord wich it actually starts on to the note which it
actually ends on (from a to bes in attached example for flamenco guitar)?
Markus\version 2.14.1
\relative c' { \key f \major
a e' a des e8(~ a e' bes' des e)
}
ChordSlur.pdf
Description: application/force-download
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re: orchestra and individual parts
Marc Mouries marc at mouries.net writes: The common templates for orchestral music require to remove comments when using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359). I am using the following structure that does not require commenting and un-commenting the score parts but this requires to create one more file for each part to generate the individual part. The snippet you linked to can be used without repeated commenting and un- commenting. The intention was that you remove the indicated comments once and forever, and split the one file from the LSR into several files: piece.ly score.ly vn1.ly vn2.ly vla.ly vlc.ly All the notes for all the instruments are in piece.ly (Some people would name it piece.ily to indicated that it is only included in other files, and does not create a score on its own.) the problem with this approach is that one has to edit one file that contains all the music, (which can be long) then has to switch to another file that contains the score part for the part currently being edited. It seems a simple things but it makes a big difference when one has to do that over and over. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Snippet: Tie does not appear
On 11-06-20 09:30 PM, James Harkins wrote: (Side note: on my Ubuntu machine, lilypond 2.14.1 choked on the non-breaking spaces copied over from the HTML-formatted e-mail. Tons of unexpected string errors. I can't think of any good reason why non-breaking spaces should cause parsing to fail. Should I file a bug report?) James No problems on my Natty, with 2.12, 2.13, 2.14 and 2.15, (beyond the complaint about the unterminated tie), James. Perhaps your mail client (or newsreader) is being ungracious about the formatting in the OP? Colin -- The human race has one really effective weapon, and that is laughter. -- Mark Twain ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
Op Mon, 20 Jun 2011 09:20:43 -0400 Brett McCoy idragos...@gmail.com schreef: I was thinking recently what would really make Frescobaldi rock even more is customizable keybindings, I would love to have emacs keybindings. You can customize the keybindings in Frescobaldi 1.x: Settings-Configure Shortcuts. Under the Details button you can even select and create multiple keyboard shortcut schemes, e.g. to experiment with a new binding without loosing the current default key bindings. It is possible to enter multi-key bindings (e.g. C-c C-s). It will take some work to make emacs-compliant bindings and I don't know if all features emacs supports are available as Kate's editing actions. Best regards, Wilbert ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Position of slur between two notes of different chords
A slur from one chord to another is positioned relative to the complete chord.
In my opinion this reduces readability of the score. Shouldn't the slur go from
the note inside of the chord wich it actually starts on to the note which it
actually ends on (from a to bes in attached example for flamenco guitar)?
Markus
\version 2.14.1
\relative c' { \key f \major
a e' a des e8(~ a e' bes' des e)
}
ChordSlur.pdf
Description: application/force-download
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Position of slur between two notes in different chords
A slur from one chord to another is positioned relative to the complete chord.
In my opinion this reduces readability of the score. Shouldn't the slur go from
the note inside of the chord wich it actually starts on to the note which it
actually ends on (from a to bes in attached example for flamenco guitar)?
Markus\version 2.14.1
\relative c' { \key f \major
a e' a des e8(~ a e' bes' des e)
}
ChordSlur.pdf
Description: application/force-download
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Re: Position of slur between two notes in different chords
On Jun 21, 2011, at 1:26 PM, Markus Pfaff wrote: A slur from one chord to another is positioned relative to the complete chord. In my opinion this reduces readability of the score. Shouldn't the slur go from the note inside of the chord wich it actually starts on to the note which it actually ends on (from a to bes in attached example for flamenco guitar)? Hey Markus, Slurs only make sense insofar as they act on individual voices. To improve the readability of your score, you could either : (1) put the two slurred in a second voice (2) create a glissando just between the a and bes remove the slur Option (2) comes up a fair bit in guitar music. Cheers, Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: orchestra and individual parts
Hi Marc, the problem with this approach is that one has to edit one file that contains all the music, (which can be long) then has to switch to another file that contains the score part for the part currently being edited. It seems a simple things but it makes a big difference when one has to do that over and over. It all depends on how much flexibility you want in your output, I think… I almost *always* put the music variables (content) and score definition (presentation) in different files. As one good example of how this helps me, consider my chamber opera, Drunken Moon. I have five different score files: two for the full score (one in C, one transposed), one for the vocal score (with piano reduction), one for the Tango [instrumental interlude] as a separate salon piece for piano trio, and one for the Sarabande [interlude] as a solo piano piece. To try to manage all of this in a single Lilypond file would: 1. be far too confusing (for me, anyway); 2. limit (or maybe eliminate) the possibility of outputting a single one of those 5 score options; 3. restrict (or at least hamper) applying different stylesheets to each score; and 4. add far more complexity scrolling/jumping within the one file, than the small difficulty added by the need to switch between content and presentation files. Of course, if you have a single simple output (e.g., you're always outputting all bookparts, and they all use the same stylesheet), then a single Lilypond file would likely be fine -- that's just not a situation I run into very often in my Lilypond work. But that's one of the great benefits of Lilypond: it is excellent at allowing each user to work according to that user's requirements/habits/preferences. =) Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Position of slur between two notes in different chords
2011/6/21 Markus Pfaff mpf...@aon.at:
A slur from one chord to another is positioned relative to the complete chord.
In my opinion this reduces readability of the score.
Shouldn't the slur go from the note inside of the chord
wich it actually starts on to the note which it actually ends on
(from a to bes in attached example for flamenco guitar)?
I agree that it should do so in some cases, but i don't think it
should do so in all cases.
Generally when two chords are slurred, only one slur is used. The
problem arises when a mix of slurs and ties appear. In your case it
would be best to have the slur attached to the notes that change, but
consider this example:
\version 2.14.1
\relative c' { \key f \major
c e g c f ( d f bes d f )
c e g c f ( ~ d f bes d f )
}
Here only one note is tied and 4 notes are slurred. I'd say that there
should be only one slur for the whole chord in this case.
I think the optimal solution here would be to extend slur syntax so
that slurs could be defined inside chords (like ties):
c' ~ g' ( e'' c' a') d''
cheers,
Janek
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Re: Voices, ties and rests
Hi James,
2011/6/16 James Harkins jamshar...@gmail.com:
Is it not possible?
I'm afraid it's not possible to create true cross-staff ties.
I see two possible workarounds, depending on the output you want to
achieve (to be honest i don't know which one is correct from
notational point of view):
- fake ties using slurs
- use \lasissezVibrer
both solutions need tweaking the final shapes, unfortunately.
See attachments.
HTH,
Janek
\version 2.12.3
\include english.ly
\paper {
#(set-paper-size a4)
}
global = {
\key d \major
\numericTimeSignature
\time 4/4
}
right = \relative c' {
\global
s1
r4 b a' d8 b a' d b a' d4 r8 b a' d8
b a' d4 b a' d r2
}
leftUp = \relative c'' {
\global
\change Staff = right
\times 2/3 { b, b'8 ( d d'8 e e'8 ~ }
% It's the last tie in this line that I want to see,
% crossing to the lower staff.
\set doubleSlurs = ##t
e e'4 ~ e e'8. d d'16 e e'4 ) \laissezVibrer ~
\change Staff = left
\voiceOne
e e'1 ) ~ e e'1
}
leftDown = \relative c'' {
\global
d,1 ~ \voiceTwo d ~ d
}
\score {
\new PianoStaff
\new Staff = right { \right }
\new Staff = left \leftUp \leftDown
\layout {
\context {
\RemoveEmptyStaffContext
% need to hide the left-hand staff when not used
% may need to move this into staves later?
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
\version 2.12.3
\include english.ly
\paper {
#(set-paper-size a4)
}
global = {
\key d \major
\numericTimeSignature
\time 4/4
}
right = \relative c' {
\global
s1
r4 b a' d8 b a' d b a' d4 r8 b a' d8
b a' d4 b a' d r2
}
leftUp = \relative c'' {
\global
\change Staff = right
\times 2/3 { b, b'8 ( d d'8 e e'8 ~ }
% It's the last tie in this line that I want to see,
% crossing to the lower staff.
\set doubleSlurs = ##t
e e'4 ~ e e'8. d d'16 e e'4 ) (
\change Staff = left
\voiceOne
e e'1 ) ~ e e'1
}
leftDown = \relative c'' {
\global
d,1 ~ \voiceTwo d ~ d
}
\score {
\new PianoStaff
\new Staff = right { \right }
\new Staff = left \leftUp \leftDown
\layout {
\context {
\RemoveEmptyStaffContext
% need to hide the left-hand staff when not used
% may need to move this into staves later?
\override VerticalAxisGroup #'remove-first = ##t
}
}
}
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Re: Snippet: Tie does not appear
2011/6/21 James Harkins jamshar...@gmail.com: I'm working on a piece now for sheng, a Chinese instrument related to the free reed mouth organ /khaen/ common in Laos and Northeast Thailand. Like the guitar in the original example here, it's polyphonic (within fingering limitations) and most often notated on one staff. That means a lot of use of layers, and ties/slurs can get tricky. Since I'm just starting out with lilypond, I haven't developed that sixth sense to look at some complex notation and know immediately the best way to divide up the notes among layers. So I have to do a lot of moving notes between layers, preview, no, that doesn't look right, etc. I had this problem when i first got some piano music to typeset. Amazingly, marking the paper score with crayons did the trick! I usually begin with looking at slursties (notes connected by them should go to one voice if possible) and finding big uninterrupted fragments that will be voiceOne and voiceTwo of each staff, separating them and then filling the gaps. HTH, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
padding/collision question
Hello all,
Shouldn't (or at least didn't at one time) dynamics and markup fall towards
the staff if there is no collision?
[I don't keep old versions of the app, but I *swear* this is a recent change…]
For example, consider the snippet
\version 2.15.1
\relative d''' {
r2 r4 d^\ppp |
\override DynamicText #'X-offset = #-6
r2 r4 d^\ppp
}
I would expect (hope!) that the second dynamic would fall towards the staff --
at the very least, I should be able to easily turn off whatever is keeping it
aloft.
Any hints/answers would be appreciated.
Thanks,
Kieren.
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Re: padding/collision question
- Original Message -
From: Kieren MacMillan kieren_macmil...@sympatico.ca
To: Lilypond-User Mailing List lilypond-user@gnu.org
Sent: Tuesday, June 21, 2011 3:51 PM
Subject: padding/collision question
Hello all,
Shouldn't (or at least didn't at one time) dynamics and markup fall
towards the staff if there is no collision?
[I don't keep old versions of the app, but I *swear* this is a recent
change…]
For example, consider the snippet
\version 2.15.1
\relative d''' {
r2 r4 d^\ppp |
\override DynamicText #'X-offset = #-6
r2 r4 d^\ppp
}
I would expect (hope!) that the second dynamic would fall towards the
staff -- at the very least, I should be able to easily turn off whatever is
keeping it aloft.
Any hints/answers would be appreciated.
Thanks,
Kieren.
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===
It's identical in 2.12.3 and 2.13.5x
--
Phil Holmes
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Still puzzled by the format of so-called URLs in lilypond-user Digest
On 6/21/2011 8:44 AM, in lilypond-user Digest, Vol 103, Issue 73, lilypond-user-requ...@gnu.org wrote: A non-text attachment was scrubbed... Name: ChordSlur.pdf Type: application/force-download Size: 22869 bytes Desc: not available URL:/archive/html/lilypond-user/attachments/20110621/5c17dd6b/attachment-0001.bin I am still extremely puzzled by the inclusion of information such as this in the lilypond-user Digest. Clearly, the so-called URL above is not at all a URL, although it might be the tail of some legitimate URL. If I click on the URL, I get no joy. In this case, I would really like to see the ChordSlur.pdf file so as to better understand the issues involved in the user report. How exactly would I go about this? Is there some fixed prefix I can prepend to the URL which will result in a valid URL? Another problem with the above URL is the last segment, attachment-0001.bin. That's not a legitimate name for a pdf file. Even if the URL were legitimate, I'm pretty sure that my Firefox on Windows Vista and my Firefox on Mac OSX would not know what to do with the file. And I don't know either. Does the .bin extension indicate some sort of compression has been applied to the pdf? If so, what decompressor would I use under Vista or OSX to decompress attachment-0001.bin? How do list members deal with these issues? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still puzzled by the format of so-called URLs in lilypond-user Digest
Il giorno mar, 21/06/2011 alle 11.35 -0500, Patrick Karl ha scritto: How do list members deal with these issues? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user Click on the link above, then click on Archives. Choose the date and the thread and you'll find the URL of the attachment: https://lists.gnu.org/archive/html/lilypond-user/2011-06/bin0VTS7x7PpT.bin download it and rename the extension of the file, from .bin to .pdf I don't know why the attachments are not included in the digests... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Snippet: Tie does not appear
On 6/21/11 7:19 AM, Colin Campbell c...@shaw.ca wrote: On 11-06-20 09:30 PM, James Harkins wrote: (Side note: on my Ubuntu machine, lilypond 2.14.1 choked on the non-breaking spaces copied over from the HTML-formatted e-mail. Tons of unexpected string errors. I can't think of any good reason why non-breaking spaces should cause parsing to fail. Should I file a bug report?) James No problems on my Natty, with 2.12, 2.13, 2.14 and 2.15, (beyond the complaint about the unterminated tie), James. Perhaps your mail client (or newsreader) is being ungracious about the formatting in the OP? I have the same problem on OSX. Some of the lines have A0 instead of 20 at the beginning; LilyPond chokes on them. I've learned to just run a conversion in vim, but it's a pain. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Snippet: Tie does not appear
Carl Sorensen c_sorensen at byu.edu writes: On 11-06-20 09:30 PM, James Harkins wrote: (Side note: on my Ubuntu machine, lilypond 2.14.1 choked on the non-breaking spaces copied over from the HTML-formatted e-mail. I have the same problem on OSX. Some of the lines have A0 instead of 20 at the beginning; LilyPond chokes on them. I've learned to just run a conversion in vim, but it's a pain. I'm thinking of telling lexer.ll that non-breaking space is white-space : WHITE ([ \n\t\f\r]|\302\240) (untested). The \302\240 is supposed to be the utf8 encoding for U-00A0, but I don't know for sure if that is what LilyPond receives in the toublesome situations. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
stem direction [Was: Snippet: Tie does not appear]
Thanks to all for your quick help!
I adjusted the voices so that the E naturals I
intend to tie are in the same lilypond voice. The tie
now renders and correct notation results _however_ the
problem I have now, is that direction of the stems that
lilypond has chosen for each voice is _not_ the direction
I wish.
How does one override lilypond's stem directions for a
particular note or voice.
Also, though tie renders in the attached image, but I prefer
the curve of the tie _below_ the E naturals, not _above_ as
in the attached image. Is there a way to force in which direction
the tie is written?
Thanks again!
\version 2.12.3
\include english.ly
\score {
\new Staff = guitar
{
\clef treble_8
\time 4/4
% guitar m01
{ s2. g'8. [e,16~] }
\\
{ r2. f8 [b8] }
% guitar m02
{ e,1}
\\
{ fs f' a'4. g' bf'8 g' b'8 bf a' cs''4. }
\\
{ s2 g'16 [gs16] s4 }
}
}
attachment: test_tie_02.png___
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stem direction [Was: Snippet: Tie does not appear]
-- Forwarded message --
From: Sepand Shahab sepandsha...@alum.calarts.edu
Date: Tue, Jun 21, 2011 at 6:02 PM
Subject: Re: stem direction [Was: Snippet: Tie does not appear]
To: Ivan Kuznetsov ivan.k.kuznet...@gmail.com
Hi Ivan,
You can use \stemUp \stemDown and \stemNeutral to go back to normal.
Similarly, \tieUp \tieDown and \tieNeutral
hope that helps,
Sepand
On Tue, Jun 21, 2011 at 5:50 PM, Ivan Kuznetsov
ivan.k.kuznet...@gmail.comwrote:
Thanks to all for your quick help!
I adjusted the voices so that the E naturals I
intend to tie are in the same lilypond voice. The tie
now renders and correct notation results _however_ the
problem I have now, is that direction of the stems that
lilypond has chosen for each voice is _not_ the direction
I wish.
How does one override lilypond's stem directions for a
particular note or voice.
Also, though tie renders in the attached image, but I prefer
the curve of the tie _below_ the E naturals, not _above_ as
in the attached image. Is there a way to force in which direction
the tie is written?
Thanks again!
\version 2.12.3
\include english.ly
\score {
\new Staff = guitar
{
\clef treble_8
\time 4/4
% guitar m01
{ s2. g'8. [e,16~] }
\\
{ r2. f8 [b8] }
% guitar m02
{ e,1}
\\
{ fs f' a'4. g' bf'8 g' b'8 bf a' cs''4. }
\\
{ s2 g'16 [gs16] s4 }
}
}
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Re: stem direction [Was: Snippet: Tie does not appear]
Ivan Kuznetsov ivan.k.kuznetsov at gmail.com writes: How does one override lilypond's stem directions for aparticular note or voice. Is there a way to force in which directionthe tie is written? \stemDown \tieDown You probably want to learn to create and name voices with \new Voice = second and \context Voice = second : http://lilypond.org/doc/v2.14/Documentation/learning/explicitly-instantiating- voices ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
list of changes in minor versions
I just saw that version 2.15.2 was released. Is there a page somewhere listing the list of bug fixed? PS: I went to http://lilypond.org/doc/v2.15/Documentation/changes-big-page.html but the page lists changes about the major version from 2.12 to 2.14 -Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
