Re: instrument name misalignment
Hi. I have several instances where instrument names are too high, much higher than the staff center line. It happens with both full and short names, but only when a volta bracket is over the first measure. If this rings a bell and merits further discussion, I can provide examples. Without an example, it's hard to gues what's going wrong ;-) Best, Gilles P.S. Keep the example minimal (i.e. just enough code to display the behaviour). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compiling with GUILE and PANGO
On zo, 2009-07-05 at 16:58 +, Michael wrote: I'm trying to compile lilypond-2.12.2 on ALT Linux 4.1 system with Guile 1.8 and receive the following error (as result of ./configure): ERROR: Please install required programs: guile-config = 1.8.0 (installed: 1.6.8) guile-config 1.8 is in /usr/bin in my system That may be, but configure is telling you that earlier in your PATH, there is a guile-config for version 1.6.8, right? Try which guile-config and uninstall that version of guile. You'll probably find /usr/local/bin/guile-config or ~/pkg/guile/bin/guile-config or something. HTH Jan. -- Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond - The music typesetter Avatar®: http://AvatarAcademy.nl| http://lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond 2.13 download
On za, 2009-07-04 at 11:41 +0200, Martin Tarenskeen wrote: I can't download lilypond 2.13.x from the Lilypond website. When I go to http://lilypond.org/web/install/#2.13 I see version 0.0.0 and documentation version 0.0.0-0, and if I point my mouse on any of the downloadlinks I see http://lilypond.org/dev/null; everywhere. Thanks, we are looking into this. Jan. -- Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond - The music typesetter Avatar®: http://AvatarAcademy.nl| http://lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dutch download page (was: lilypond 2.13 download)
Hi guys, Le samedi 04 juillet 2009 à 09:37 -0700, Graham Percival a écrit : This is also true of the site built from git, so it's not a webserver issue. There has never been any file named nl/install/index.html in the web site source tree, and make does not generate any file named install/index.nl.html on my box, so install/index.nl.html that is actually present on lilypond.org must be a stalled file; could you remove it from lilypond.org manually? AFAIK the site build scripts never delete stalled files. Anybody involved in the translations could investigate (the translation infrastructure is too complicated for me), It isn't that complicated, but maybe it's easier (or more motivating) to understand for non native English-speaking people. or we could just wait until the next version of the webpages I doubt it's worth translating install/index.html in Dutch just before the new web site is brought online. (where things should be simpler). I'm not sure about this either :-P John ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[dal segno / da capo] - Kopf Kopf
Hello,
I was looking for quite a long time till I found
\mark \markup { \musicglyph #scripts.coda }
1.: In german this symbol is often called Kopf so this should be mentioned in
the glossary.
2.: There could be an example for a dal segno al Ø-Ø in the NR.
3.: I have some questions about this:
The \mark \markup { \musicglyph #scripts.coda } command I can place after a
\bar || an its printed above.
But unfortunately I cannot put \bar ||_\markup { \italic \bold {{d.s. }}}.
So I have to add the _\markup to a note instead of to the barline.
When I write several voices and put them once in one file, once together in a
Staffgroup, I would like to optain the Symbols (segno an coda) only once (above
the StaffGroup) and also the d.s. only once (beneath).
How to obtain this?
It would be nice to have a possibility to put ^\mark \markup { \musicglyph
#scripts.coda } and _\mark \markup { \italic \bold {{d.s. }}} to the same \bar
||
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Re: [dal segno / da capo] - Kopf Kopf
Werner mey.wer at web.de writes:
It would be nice to have a possibility to put ^\mark \markup
{ \musicglyph #scripts.coda } and _\mark \markup { \italic \bold {{d.s. }}}
to the same \bar ||
After the barline could be a \break
The d.s. should appear at the end of the first line (beneath),
the coda-sign (Kopf) at the beginning of the second (above).
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Re: [dal segno / da capo] - Kopf Kopf
Werner,
You may achieve some of what you're looking for with these variables
that I've been meaning to add to the LSR. You can play around with them
and change some them to suit your purpose.
I've had good luck with putting them in parts and having them display
only once in the score, above the first staff.
There is a fix somewhere on the list to get more than one \mark to
display in a measure, but you'll have to search for it.
Hope this helps,
David
%%% Segno sign
segnoSign = {
\mark
\markup {
\musicglyph #scripts.segno
}
}
%%% includes the words To Coda before the Coda sign and centers the
coda sign horizontally on the barline
textToCoda = {
\once
\override Score.RehearsalMark #'self-alignment-X = #0.770
\mark
\markup
\line
\general-align #Y #CENTER {
\small
\bold
\italic To Coda
\musicglyph #scripts.coda
}
}
%%% text D.S. al Coda right-aligned
dalSegno = {
\once
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\mark
\markup {
\small
\bold
\italic D.S. al Coda
}
}
%%% includes the word Coda after the coda sign
textCoda = {
\once
\override Score.RehearsalMark #'self-alignment-X = #-0.15
\mark
\markup
\line
\general-align #Y #CENTER {
\musicglyph #scripts.coda
\small
\bold Coda
}
}
Werner wrote:
Hello,
I was looking for quite a long time till I found
\mark \markup { \musicglyph #scripts.coda }
1.: In german this symbol is often called Kopf so this should be mentioned in
the glossary.
2.: There could be an example for a dal segno al Ø-Ø in the NR.
3.: I have some questions about this:
The \mark \markup { \musicglyph #scripts.coda } command I can place after a
\bar || an its printed above.
But unfortunately I cannot put \bar ||_\markup { \italic \bold {{d.s. }}}.
So I have to add the _\markup to a note instead of to the barline.
When I write several voices and put them once in one file, once together in a
Staffgroup, I would like to optain the Symbols (segno an coda) only once (above
the StaffGroup) and also the d.s. only once (beneath).
How to obtain this?
It would be nice to have a possibility to put ^\mark \markup { \musicglyph
#scripts.coda } and _\mark \markup { \italic \bold {{d.s. }}} to the same \bar
||
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Re: [dal segno / da capo] - Kopf Kopf
For starters, have a look at these snippets in the LSR: http://lsr.dsi.unimi.it/LSR/Search?q=coda+segno Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrument name misalignment
You're right of course; I just thought it was worth asking on the off chance
that someone would know right away what I was talking about and I could save
myself the hour or so it would take to construct a minimal example.
In the course of doing that I've found one further necessary condition for
the problem to appear: the volta engraver has to be in the Staff context. In
the example below, there should be a line break between first and second
ending at the default line width. The Mar. appears about even with the top
staff line. If you leave the volta engraver in the Score context, the name
is normally centered.
Of course in the example there is no good reason to move the volta engraver,
but in the actual music there is.
Thanks,
Alan
[snippet follows]
\version 2.12.2
\paper {
ragged-last = ##t
}
\layout {
\context {
\RemoveEmptyStaffContext
}
\context { \Score
\override VerticalAxisGroup #'remove-first = ##t
\remove Volta_engraver
}
}
MarOne = \relative cis' {
\clef bass \key a \minor \numericTimeSignature\time 4/4
\repeat volta 2 {
e,8 a16 a16 a8 a8 b8 b8 a8 a16 a16 |
e,8 a16 a16 a8 a8 b8 b8 a8 a16 a16 |
d,8 d8 d cis8 r2 | }
\alternative {
{ r4 r r8 e8 e4 | }
{ r4 fis8 g8 fis8 g8 fis8 g8 | }
}
}
OrgOne = \relative e' {
\clef treble \key a \minor \numericTimeSignature\time 4/4
\repeat volta 2 {
e a8 _. e a8 _. e a8
_. e a8 _. e b'8 _. e b'8 _. e a8 _. e a8 _. |
R1 |
e d'8 _. e d'8 _. e d'8 _. e cis'8 _. r2 | }
\alternative {
{ r4 r r8 e a8 _. e a8 _. e a8 _. | }
{ s1 | }
}
}
OrgThree = \relative e {
\clef bass \key a \minor \numericTimeSignature\time 4/4
\repeat volta 2 {
a,8 _. a8 _. d8 _. a8 _. cis8
_. a8 _. a'4 |
R1 |
a8 ^. a8 ^. a8 ^. a,8 ^. a8 ^. a8 ^. a8 ^. a,8 ^. | }
\alternative {
{ r4 r r8 a'8 ^. a8 ^. a8 ^. | }
{ s1 | }
}
}
\score {
\new Staff \with {
\consists Volta_engraver }
\set Staff.instrumentName = Marimba
\set Staff.shortInstrumentName = Mar.
\context Staff
\context Voice = MarOne { \MarOne }
\new PianoStaff
\set PianoStaff.instrumentName = Organ
\set PianoStaff.shortInstrumentName = Org.
\context Staff = 1
\context Voice = OrgOne { \OrgOne }
\context Staff = 2
\context Voice = OrgThree { \OrgThree }
\layout {}
}
Gilles Sadowski wrote:
Hi.
I have several instances where instrument names are too high, much higher
than the staff center line. It happens with both full and short names,
but
only when a volta bracket is over the first measure.
If this rings a bell and merits further discussion, I can provide
examples.
Without an example, it's hard to gues what's going wrong ;-)
Best,
Gilles
P.S. Keep the example minimal (i.e. just enough code to display the
behaviour).
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--
View this message in context:
http://www.nabble.com/instrument-name-misalignment-tp24348453p24354987.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: instrument name misalignment
Am Montag, 6. Juli 2009 14:58:30 schrieb Alan Shaw:
You're right of course; I just thought it was worth asking on the off
chance that someone would know right away what I was talking about and I
could save myself the hour or so it would take to construct a minimal
example.
In the course of doing that I've found one further necessary condition for
the problem to appear: the volta engraver has to be in the Staff context. In
the example below, there should be a line break between first and second
ending at the default line width. The Mar. appears about even with the
top staff line. If you leave the volta engraver in the Score context, the
name is normally centered.
Of course in the example there is no good reason to move the volta
engraver, but in the actual music there is.
Attached is an even more minimal example (for the bug tracker). I also noticed
that the problem does not appear with the first alternative (if the first
alternative starts in a new line), but only with the second.
The problem also appears with lilypond 2.13.2.
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
\version 2.12.2
\layout {
\context { \Score
\remove Volta_engraver
}
}
testMusik = \relative c'' {
\repeat volta 2 {
c1 \break
} \alternative {
{ c1 \break }
{ c1 \break }
}
c1
}
\score {
\new Staff \with {
\consists Volta_engraver
instrumentName = Instrument
shortInstrumentName = Instr.
}
\testMusik
}
volta.pdf
Description: Adobe PDF document
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Re: website draft 4, help wanted
On vr, 2009-07-03 at 14:41 -0700, Graham Percival wrote: Here it is: http://percival-music.ca/blogfiles/out/lilypond-general_1.html#Home Okay, so this is starting to be really great. Now, I know you have not been spending too much work on the slick looks side of things, but do we have volunteers who are willing and able to make this look slick/crisp/attractive? I feel we really need to present ourselves in a more attractive/eye-pleasing candy way. Just by accident I looked upon Valentin's page, if only we would be able to steel the header images/gradient and possibly put nicely rounded tabs into the bottom of that header gradient [CSS stealing suggestion: http://tinto-taal.nl ] and also steal other rounded stuff? Also, Valentin's page uses two nice basic colours, light blue-ish and dark-greenish. A lot of [very important] work on content and structure has been done and discussed about, I'd really like to see some work/proposals/ discussions on how the site could look/feel, looking through your eyelashes. -- Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond - The music typesetter Avatar®: http://AvatarAcademy.nl| http://lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
removing naturals
The following is a left-hand octave-exercise for guitar. It has no tempo. I do
not want the natural symbols to appear in the exercise. I used
Staff.extraNatural = ##f is an attempt to eliminate the naturals as per the
instructions on page 6 of the Notation Reference manual, but that did not
help. Is there a way to remove all the natural symbols?
Also, is there a way to increase the font size of the 8 in the treble_8
clef?
===
\version 2.13.3
\include english.ly
#(ly:set-option 'point-and-click #f)
#(set-default-paper-size letter)
#(set-global-staff-size 23)
\paper{
tagline =
} % paper
\layout {
indent = 0.0
\context {
\Staff
\remove Time_signature_engraver
}
} % layout
\score {
\relative c {
\set Staff.extraNatural = ##f
\clef treble_8
\set fingeringOrientations = #'(left left left left)
\cadenzaOn
e,-0 e'-2 f-1 f'-3 fs-2 fs'-4 g-3 g'-0 gs-4 gs'-1 a-0 a'-2
as-1 as'-3 b-2 b'-4
\stemDown c-3 c'-1 cs-4 cs'-2 d-0 d'-3 ds-1 ds'-4 e-2 e'-0
f-3 f'-1 fs-4 fs'-2 g-0 g'-3 gs-1 gs'-4 \bar |
g-0 g'-3 fs-4 fs'-2 f-3 f'-1 e-2 e'-0 ds-1 ds'-4 d-0 d'-3
cs-4 cs'-2 c-3 c'-1
b-2 b'-4 \stemUp as-1 as'-3 a-0 a'-2 gs-4 gs'-1 g-3 g'-0
fs-2 fs'-4 f-1 f'-3 e-0 e'-2 s4 \bar |
} % relative
} % score
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Re: website draft 4, help wanted
2009/7/6 Jan Nieuwenhuizen janneke-l...@xs4all.nl: Just by accident I looked upon Valentin's page, if only we would be able to steel the header images/gradient and possibly put nicely rounded tabs into the bottom of that header gradient [CSS stealing suggestion: http://tinto-taal.nl ] and also steal other rounded stuff? Interesting. Does that kind of accidents happen to you a lot? :) Also, Valentin's page uses two nice basic colours, light blue-ish and dark-greenish. I don't know if you're referring to my personal website or the news.lilynet.net website. Much less rounded stuff on that last one, though. As for me, I still haven't managed to get over the http://meyerweb.com/eric/css/edge/complexspiral/glassy.html that has been posted here some days ago. Actually, this has made me want to redo my whole website. No, actually, this has made me want to close my website and never ever pretend I know a thing or two about CSS again :) A lot of [very important] work on content and structure has been done and discussed about, I'd really like to see some work/proposals/ discussions on how the site could look/feel, looking through your eyelashes. The rounded thingy I used is actually a JavaScript hack from http://www.html.it/articoli/niftycube/index.html Firefox has native support for rounded corners, but it's not compatible with other browsers, and the rounded parts are not anti-aliased (and therefore look a bit rough). JavaScript hacks are ugly, and should be avoided whenever possible. Other than that, it is possible to make frames rounded by simply using background images; however this cannot be used together with a background radient. (And, hell, there still are 25% people out there who can even display alpha-enabled PNG images correctly). Yeah, life sucks -- maybe I could use some of your Avatar thing right now :) Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: removing naturals
Hi Peter, The following is a left-hand octave-exercise for guitar. It has no tempo. I do not want the natural symbols to appear in the exercise. I used Staff.extraNatural = ##f is an attempt to eliminate the naturals as per the instructions on page 6 of the Notation Reference manual, but that did not help. Is there a way to remove all the natural symbols? Setting extraNatural = ##f simply ensures that you don't get (e.g.) a natural *and* a flat when a sharpened note is followed by a flattened one of the same pitch (e.g., A# followed by Ab). Since you've used \cadenzaOn, the entire exercise is (according to Lilypond) in one measure -- therefore, engraving rules state that the naturals have to be there in order to cancel out the previous accidentals in the same bar. Notice, for example, that the second note on the second line is an F# (octaves), but there are no accidentals! No doubt this is not what you want. If you want to eliminate the naturals, you need to trick Lilypond into thinking that these are multiple measures (so that the C major key signature takes over on each note), or apply one of the other accidental rules (as outlined in the docs, e.g. http://lilypond.org/ doc/v2.13/Documentation/user/lilypond/Displaying-pitches#Automatic- accidentals). Also, is there a way to increase the font size of the 8 in the treble_8 clef? Override the Clef stencil, and build the markup yourself -- I don't know any other way. See the docs (especially the LSR) for examples of overriding grob stencil(s). Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
unfoldRepeats for midi - a little hack.
Here is a possible solution for the problem you get when you put all your
\repeat volta structure in a separate variable (often named global) and
then you want unfold all your music (for MIDI output for
example).
.
The globalizeMusic.ly (see joined files ) proposes a function
\globalizeMusic that can be used like this :
%%
\globalizeMusic \global
\new StaffGroup
{
\new Staff \musicA
\new Staff \musicB
}
%%
it will have the same effects than
%%
\new StaffGroup
{
\new Staff \global \musicA
\new Staff global \musicB
}
%%
BUT all the \repeat volta .. will be copied inside each Staff
so that you 'll get the right music when you call \unfoldRepeats.
Hope it will be usefull.
Gilles
NB
globalizeMusic.ly uses extractMusic.ly described here :
http://lsr.dsi.unimi.it/LSR/Item?id=542
#(use-modules (srfi srfi-39))
#(define *current-moment* (make-parameter (ly:make-moment 0 1 0 1)))
#(define moment-null (ly:make-moment 0 1 0 1))
#(define (music-has-no-lenght? music)
Is music empty of notes, rests or skips ?
(equal? (ly:music-length music) moment-null))
#(define (simultaneous? music )
(memq (ly:music-property music 'name)
(list 'SimultaneousMusic 'EventChord)))
#(define (defined-music? music)
(not (eq? 'Music (ly:music-property music 'name
#(define (chord-event? music )
(eq? 'EventChord (ly:music-property music 'name)))
#(define (get-duration music )
(ly:music-property music 'duration))
#(define (moment=? momentA momentB )
(not (ly:moment? momentA momentB)))
#(define (moment-inside? moment from-moment to-moment)
(and
(moment=? moment from-moment)
(ly:moment? moment to-moment)))
#(define (whole-music-inside? begin-music end-music left-range right-range)
(and (moment=? begin-music left-range)
(moment=? right-range end-music )
(not (equal? begin-music right-range
#(define (whole-music-outside? begin-music end-music left-range right-range)
(or (moment=? left-range end-music)
(moment=? begin-music right-range )))
#(define (moment-duration moment) ;% see duration.cc in Lilypond sources (Duration::Duration)
(let* ((p (ly:moment-main-numerator moment))
(q (ly:moment-main-denominator moment))
(k (- (ly:intlog2 q) (ly:intlog2 p)))
(dots 0))
(if ( (ash p k) q) (set! k ( 1+ k))) ;% (ash p k) = p * 2^k
(set! p (- (ash p k) q))
(while (begin (set! p (ash p 1))(= p q))
(set! p (- p q))
(set! dots (1+ dots)))
(if ( k 6)
(ly:make-duration 6 0)
(ly:make-duration k dots))
))
#(define (set-rest-duration moment)
(ly:make-duration 0
0
(ly:moment-main-numerator moment)
(ly:moment-main-denominator moment)))
#(define (extract-music music from to)
Keeps only music beetween `from' and `to', `from' and `to' as moment
(let ((begin-pos (*current-moment*))
(end-pos (ly:moment-add (*current-moment*) (ly:music-length music
(cond
((whole-music-inside? begin-pos end-pos from to)
(*current-moment* end-pos)
music)
((whole-music-outside? begin-pos end-pos from to)
(*current-moment* end-pos)
(make-music 'Music))
(else ;% the intervals [begin-pos end-pos][from to] overlaps
(cond;% inside a chords or for multiRest events
((ly:duration? (get-duration music))
(if (moment-inside? begin-pos from to)
(set! end-pos to)
(begin
(set! begin-pos from)
(if (not (moment-inside? end-pos from to))(set! end-pos to
(ly:music-set-property! music 'duration
(if (eq? 'MultiMeasureRestMusic (ly:music-property music 'name))
(set-rest-duration (ly:moment-sub end-pos begin-pos))
(moment-duration (ly:moment-sub end-pos begin-pos
(*current-moment* end-pos)
music)
(else ;% for containers of chords
(let ((elts (ly:music-property music 'elements))
(elt (ly:music-property music 'element)))
(if (ly:music? elt)
(ly:music-set-property! music 'element (extract-music elt from to)))
(if (pair? elts)
(cond
((simultaneous? music) ;% simultaneous music OR EventChords
(ly:music-set-property! music 'elements (filter
(lambda (evt)
(or (music-has-no-lenght? evt) ;% i.e for 'VoiceSeparator
(begin
(*current-moment* begin-pos) ;% restore *current-moment*
(set! evt (extract-music evt from to))
(defined-music? evt
elts))
(*current-moment* end-pos))
(else ;% sequential music
(ly:music-set-property! music 'elements (filter
(lambda (evt)
(set! evt (extract-music evt from to))
(defined-music? evt))
elts)
music)))
%% the main function
extractMusic =#(define-music-function (parser location music from during)
(ly:music? ly:music? ly:music?)
(let* ((from-length (ly:music-length from))
(during-length (ly:music-length during))
(to-length
Re: removing naturals
Peter Buhr wrote: Is there a way to remove all the natural symbols? #(set-accidental-style 'forget) Also, is there a way to increase the font size of the 8 in the treble_8 clef? \override Staff.OctavateEight #'font-size = #2 HTH - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: removing naturals
Kieren MacMillan wrote Monday, July 06, 2009 3:50 PM Also, is there a way to increase the font size of the 8 in the treble_8 clef? Override the Clef stencil, and build the markup yourself -- I don't know any other way. See the docs (especially the LSR) for examples of overriding grob stencil(s). There is an easier way. The octavation symbol is a separate grob, so the following override will increase its size from the default value of -4, leaving the rest of the clef unaffected. Adjust the number to suit. \override Staff.OctavateEight #'font-size = #1 Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: removing naturals
Hi Trevor (et al.), There is an easier way. The octavation symbol is a separate grob Cool! Yay, Lilypond!! [This will definitely be a setting I adjust in my main \include \init_Lilypond.ily file: I've always found it too small, but have been too busy to tweak it.] Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website draft 4, help wanted
2009/7/6 Valentin Villenave v.villen...@gmail.com: 2009/7/6 Jan Nieuwenhuizen janneke-l...@xs4all.nl: Just by accident I looked upon Valentin's page, if only we would be able to steel the header images/gradient and possibly put nicely rounded tabs into the bottom of that header gradient [CSS stealing suggestion: http://tinto-taal.nl ] and also steal other rounded stuff? Interesting. Does that kind of accidents happen to you a lot? :) Also, Valentin's page uses two nice basic colours, light blue-ish and dark-greenish. I don't know if you're referring to my personal website or the news.lilynet.net website. Much less rounded stuff on that last one, though. As for me, I still haven't managed to get over the http://meyerweb.com/eric/css/edge/complexspiral/glassy.html that has been posted here some days ago. Actually, this has made me want to redo my whole website. No, actually, this has made me want to close my website and never ever pretend I know a thing or two about CSS again :) A lot of [very important] work on content and structure has been done and discussed about, I'd really like to see some work/proposals/ discussions on how the site could look/feel, looking through your eyelashes. The rounded thingy I used is actually a JavaScript hack from http://www.html.it/articoli/niftycube/index.html Firefox has native support for rounded corners, but it's not compatible with other browsers, and the rounded parts are not anti-aliased (and therefore look a bit rough). JavaScript hacks are ugly, and should be avoided whenever possible. Other than that, it is possible to make frames rounded by simply using background images; however this cannot be used together with a background radient. (And, hell, there still are 25% people out there who can even display alpha-enabled PNG images correctly). Yeah, life sucks -- maybe I could use some of your Avatar thing right now :) I'd like to suggest intermediate solutions like mozilla.com , it has rounded corners and gradients, but the background is mostly white. Background gradients can be nightmarish for designers, but partially-filled backgrounds with a limited-size image look beautiful and they are less problematic. Also, not everything is inside boxes, which obviously tend to be rectangular. That gives a general feeling of openess and freedom. -- Francisco Vila. Badajoz (Spain) www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Transpose Command
Hi, New user to Lilypond; a convert from Finale2009. My use of music
notation is for transposition, mainly. I can't afford an A clarinet at
present, so I need to tranpose A clarinet parts for my Bb clarinet. When I
follow the manual, I don't get good results. Example: A clarinet part
starts in F and ends in F. There's a B major change in the middle. This
command does well with the F key signature sections but results in double
sharps in the B major section instead of Bb major: \transpose f e {
Here's the .ly file. Seems I need to wrap each key section in a transpose
command but I can't learn how to do this.
Appreciate suggestions.
Regards,
RDL http://www.nabble.com/file/p24358311/scene_1stclar.ly scene_1stclar.ly
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Re: Transpose Command
2009/7/6 Amiable buffet1150...@verizon.net:
Hi, New user to Lilypond; a convert from Finale2009. My use of music
notation is for transposition, mainly. I can't afford an A clarinet at
present, so I need to tranpose A clarinet parts for my Bb clarinet. When I
follow the manual, I don't get good results. Example: A clarinet part
starts in F and ends in F. There's a B major change in the middle. This
command does well with the F key signature sections but results in double
sharps in the B major section instead of Bb major: \transpose f e {
This is correct and not a fault of lilypond. Transposing F to E gives
an increase of 5 sharps, B major has 5, this makes 10 total, i.e. 7
sharps + 3 double-sharps.
I am pretty sure the common practice for this type of instrumental
transposing is to simplify the signature when the original has many
sharps. So yes, you have to do it by sections.
What I'd do is to enclose the section in B major into \transpose cis
des { } thus gaining 5 extra flats in the key.
--
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www.paconet.org
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Re: Transpose Command
2009/7/6 Francisco Vila paconet@gmail.com:
What I'd do is to enclose the section in B major into \transpose cis
des { } thus gaining 5 extra flats in the key.
... which leads to two new problems: octave changes and relative
doesn't work. The fragment is short and you can fix all pitches
easily:
\transpose cis des {
\key b \major
cis''8 ) r b' ( ais'
gis'-\f ) r r4
R2*20 \bar || \mark #27
}
--
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www.paconet.org
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Re: Transpose Command
On 06.07.2009, at 18:06, Amiable wrote:
Hi, New user to Lilypond; a convert from Finale2009. My use of
music
notation is for transposition, mainly. I can't afford an A
clarinet at
present, so I need to tranpose A clarinet parts for my Bb
clarinet. When I
follow the manual, I don't get good results. Example: A clarinet
part
starts in F and ends in F. There's a B major change in the
middle. This
command does well with the F key signature sections but results in
double
sharps in the B major section instead of Bb major: \transpose f e {
Here's the .ly file. Seems I need to wrap each key section in a
transpose
command but I can't learn how to do this.
Appreciate suggestions.
I'm assuming the middle section should be in b-flat major instead of
a-sharp major? if you wrap the b-major section with
\transpose ais' a' {
\relative {
\key b \major
...
}
}
You should get what you're looking for.
James E. Bailey
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Re: Transpose Command
2009/7/6 James E. Bailey derhindem...@googlemail.com:
On 06.07.2009, at 18:06, Amiable wrote:
Hi, New user to Lilypond; a convert from Finale2009. My use of music
notation is for transposition, mainly. I can't afford an A clarinet at
present, so I need to tranpose A clarinet parts for my Bb clarinet. When I
follow the manual, I don't get good results. Example: A clarinet part
starts in F and ends in F. There's a B major change in the middle. This
command does well with the F key signature sections but results in double
sharps in the B major section instead of Bb major: \transpose f e {
Here's the .ly file. Seems I need to wrap each key section in a transpose
command but I can't learn how to do this.
Appreciate suggestions.
I'm assuming the middle section
should be in b-flat major instead of a-sharp major? if you wrap the b-major
section with
\transpose ais' a' {
\relative {
\key b \major
...
}
}
This effectively transposes the music, I'd rather say \transpose ais
bes { } to keep everything in its place.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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AAA accordion notation in LilyPond?
I'm a very new LilyPond user and I play accordion. I've been asked by my small band to do some arrangements. I can write lead sheets off the top of my head, but since our keyboardist needs help with reading music, it would be unfair for me to teach him to read treble and bass clef and use lead sheets for me. When I first learned to play accordion, I learned AAA (American Accordionists Association) notation. AAA notation was invented many years ago to take advantage of the Stradella bass system that's fairly common on piano-accordions and, with some variation, on chromatic button accordions. There are six rows of buttons for the bass -- two of them sound single bass notes and five sound ready-made chords. In AAA notation, the treble clef is the same as it would be for piano. The bass clef is different, and here's where I need help in designing a template for AAA accordion notation. Here are the bass clef properties: 1. All notes below the third line and third-line notes with stems pointing up represent single bass notes (there would be no problem with my doing these in LilyPond.) 2. Bass notes as above that are intended to be played in the counter-bass row have a short line under them below the staff. To distinguish it from a ledger line, it would be a little thicker. When such a note is called for, this line would have to be there whether there are fingering numbers below the staff or not. I'd be interested in any ideas you might have for doing this. 3. All notes above the third line and third-line notes with stems pointing down are chords. The type of chord is represented by a single character above the first chord of its type in a given measure as follows -- M for major, m for minor, 7 for dominant-seventh and d for diminished-seventh. I would guess that the easiest way to do this would be to include those symbols as lyrics, but if any of you can think of another way to do it, I'd be interested. Thanks for any help you might offer. Alan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \mark beneath instead of above
Thanks for the hints. But there is not yet a solution. While lilypond is intelligent enough, to print the \mark -segno and coda symbols only once *above* if they are places in several voices/staves of a system/StaffGroup at the same position, I'm really missing a similar possibility for placing something (here: dal segno) *beneath* the system. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website draft 4, help wanted
On Mon, Jul 6, 2009 at 8:33 AM, Francisco Vilapaconet@gmail.com wrote: 2009/7/6 Valentin Villenave v.villen...@gmail.com: 2009/7/6 Jan Nieuwenhuizen janneke-l...@xs4all.nl: Just by accident I looked upon Valentin's page, if only we would be able to steel the header images/gradient and possibly put nicely rounded tabs into the bottom of that header gradient [CSS stealing suggestion: http://tinto-taal.nl ] and also steal other rounded stuff? Interesting. Does that kind of accidents happen to you a lot? :) Also, Valentin's page uses two nice basic colours, light blue-ish and dark-greenish. I don't know if you're referring to my personal website or the news.lilynet.net website. Much less rounded stuff on that last one, though. As for me, I still haven't managed to get over the http://meyerweb.com/eric/css/edge/complexspiral/glassy.html that has been posted here some days ago. Actually, this has made me want to redo my whole website. No, actually, this has made me want to close my website and never ever pretend I know a thing or two about CSS again :) A lot of [very important] work on content and structure has been done and discussed about, I'd really like to see some work/proposals/ discussions on how the site could look/feel, looking through your eyelashes. The rounded thingy I used is actually a JavaScript hack from http://www.html.it/articoli/niftycube/index.html Firefox has native support for rounded corners, but it's not compatible with other browsers, and the rounded parts are not anti-aliased (and therefore look a bit rough). JavaScript hacks are ugly, and should be avoided whenever possible. Other than that, it is possible to make frames rounded by simply using background images; however this cannot be used together with a background radient. (And, hell, there still are 25% people out there who can even display alpha-enabled PNG images correctly). Yeah, life sucks -- maybe I could use some of your Avatar thing right now :) I'd like to suggest intermediate solutions like mozilla.com , it has rounded corners and gradients, but the background is mostly white. Background gradients can be nightmarish for designers, but partially-filled backgrounds with a limited-size image look beautiful and they are less problematic. Also, not everything is inside boxes, which obviously tend to be rectangular. That gives a general feeling of openess and freedom. I would *love* to have the site looking like mozilla.com; it's too bad they are using a fixed-width layout though. I agree my layouts tend to be kind of boxy and that background image/gradients can help replace this technique. The problem I have is adapting these techniques to the liquid layout we are using. If anyone knows how to code rounded corners for the tabs on the top navigation bar, please speak up! I don't have that much experience with these matters. Thanks, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transpose Command
On 6 Jul 2009, at 18:49, Francisco Vila wrote:
I'm assuming the middle section
should be in b-flat major instead of a-sharp major? if you wrap the
b-major
section with
\transpose ais' a' {
\relative {
\key b \major
...
}
}
This effectively transposes the music, I'd rather say \transpose ais
bes { } to keep everything in its place.
Let me try:
The part is written A and should be transposed to be in Bb. So the
normal thing would be
\transpose bes a {
% part in A.
}
To get a 12-equal enharmonic equivalent transposition, one these
should be replaced with the enharmonic equivalent, for example A#
instead of Bb. So
\transpose ais a {
% part in A
}
Hans
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Re: website draft 4, help wanted
On Mon, Jul 6, 2009 at 6:27 AM, Jan Nieuwenhuizenjanneke-l...@xs4all.nl wrote: On vr, 2009-07-03 at 14:41 -0700, Graham Percival wrote: Here it is: http://percival-music.ca/blogfiles/out/lilypond-general_1.html#Home Okay, so this is starting to be really great. Now, I know you have not been spending too much work on the slick looks side of things, but do we have volunteers who are willing and able to make this look slick/crisp/attractive? I feel we really need to present ourselves in a more attractive/eye-pleasing candy way. Just by accident I looked upon Valentin's page, if only we would be able to steel the header images/gradient and possibly put nicely rounded tabs into the bottom of that header gradient [CSS stealing suggestion: http://tinto-taal.nl ] and also steal other rounded stuff? What's really awesome about tinto-taal.nl is that the rounded corners are implemented with SVG images! I wish all browsers supported SVG... Oh well. -Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \mark beneath instead of above
Have a look at LSR 402: http://lsr.dsi.unimi.it/LSR/Item?id=402 (The \mark command makes a RehearsalMark.) Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website draft 4, help wanted
Patrick McCarty wrote: What's really awesome about tinto-taal.nl is that the rounded corners are implemented with SVG images! I also like the layout of gimp.org. Click their menu links too. Nice looking site. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: website draft 4, help wanted
2009/7/6 Mark Polesky markpole...@yahoo.com: I also like the layout of gimp.org. Click their menu links too. Nice looking site. Since you're mentioning that, http://www.blender.org/ has a top-menu that is very similar to the new Lily website's draft. Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Reuse \header definitions: Is it possible?
Good evening! I'm currently typesetting a string quartet. So far, I have all separate parts already programmed, but I want to put all of them in a single PDF file. I was thinking about using a single \header definition for all the separate parts, so the same title, subtitle, composer and arranger are shown in each part. The layout is organized in bookparts (one for each instrument) and notes are defined in variables in separate files. Is there a way to reuse a \header definition? Do I have no choice rather than copy/paste it? Thanks for your help in advance! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transpose Command
Hans Aberg wrote:
On 6 Jul 2009, at 18:49, Francisco Vila wrote:
I'm assuming the middle section
should be in b-flat major instead of a-sharp major? if you wrap the
b-major
section with
\transpose ais' a' {
\relative {
\key b \major
...
}
}
This effectively transposes the music, I'd rather say \transpose ais
bes { } to keep everything in its place.
Let me try:
The part is written A and should be transposed to be in Bb. So the
normal thing would be
\transpose bes a {
% part in A.
}
To get a 12-equal enharmonic equivalent transposition, one these
should be replaced with the enharmonic equivalent, for example A#
instead of Bb. So
\transpose ais a {
% part in A
}
Hans
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... which solves the B major part, but transposes f major to Fb major, which
is even more horrible to read than a# major...
but while we are at it:
why don't \transpose and \relative cooperate the normal way an innocent
musician might expect?
in similar cases i am getting single notes in the wrong octave, and the
like...
is that a bug or a feature?
yours, arno
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Re: Reuse \header definitions: Is it possible?
Hi.
Is there a way to reuse a \header definition?
Yes; you put all your header items in a file which you then include wherever
you need them:
In file header.inc.ly:
---CUT---
title = ...
subtitle = ...
composer = ...
% etc.
---CUT---
And, in other files:
---CUT---
\header {
\include header.inc.ly
}
---CUT---
Best,
Gilles
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Re: \mark beneath instead of above
Hello Robin and David.
Robin Bannister rcb at dataway.ch writes:
Have a look at LSR 402:
http://lsr.dsi.unimi.it/LSR/Item?id=402
This hint would solve my problem if
David Stocker dstocker at thenotesetter.com writes:
There is a fix somewhere on the list to get more than one \mark to
display in a measure, but you'll have to search for it.
I could find a solution for that.
What works nearly as it should is:
% example1
a,1 |
\mark \markup { \musicglyph #scripts.coda }
gis2
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
e'
\bar ||
\break
% Coda
\mark \markup { \musicglyph #scripts.coda }
g1
\bar |.
% end example1
But example 2 and 3 don't work. Unfortunately if there would be only one note in
the measure, it also wouldn't work.
% example2
a,1 |
\mark \markup { \musicglyph #scripts.coda }
gis2
e'
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
\bar ||
\break
% Coda
\mark \markup { \musicglyph #scripts.coda }
g1
\bar |.
% end example2
% example3
a,1 |
\mark \markup { \musicglyph #scripts.coda }
\once
\override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \italic \bold {{d.s.}}}
gis2
e'
\bar ||
\break
% Coda
\mark \markup { \musicglyph #scripts.coda }
g1
\bar |.
% end example3
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Re: Transpose Command
On 6 Jul 2009, at 23:15, ArnoWaschk wrote:
Let me try:
The part is written A and should be transposed to be in Bb. So the
normal thing would be
\transpose bes a {
% part in A.
}
To get a 12-equal enharmonic equivalent transposition, one these
should be replaced with the enharmonic equivalent, for example A#
instead of Bb. So
\transpose ais a {
% part in A
}
... which solves the B major part, but transposes f major to Fb
major, which
is even more horrible to read than a# major...
but while we are at it:
why don't \transpose and \relative cooperate the normal way an
innocent
musician might expect?
The problem is that somewhere in the second half of the 20th century
people start to believe that the 12 equal temperament is the basis of
Western music :-), whereas the notation system is designed before
that, to work with any diatonic tuning system (i.e., built up by minor
and major seconds). In an extended meantone or Pythagorean tuning, for
example F# and Gb are not the same notes.
LilyPond does the correct thing, and adheres to the conventions of the
notation system. It means that 12-ET enharmonic equivalences must be
applied explicitly. The notation system is not designed for 12-equal
temperament.
The normal way to write music for instruments that are not fixed pitch
tuned to 12-ET is to apply enharmonic equivalence as a notational
simplification. Strictly speaking, this implies a small slip in pitch,
but human performers will adapt to smooth it out. However, if these
pitches are played exactly, they can be heard, and may produce strong
unwanted beats.
Hans
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Re: Transpose Command
2009/7/6 ArnoWaschk hamama...@gmx.de:
Hans Aberg wrote:
On 6 Jul 2009, at 18:49, Francisco Vila wrote:
I'm assuming the middle section
should be in b-flat major instead of a-sharp major? if you wrap the
b-major
section with
\transpose ais' a' {
\relative {
\key b \major
...
}
}
This effectively transposes the music, I'd rather say \transpose ais
bes { } to keep everything in its place.
Let me try:
The part is written A and should be transposed to be in Bb. So the
normal thing would be
\transpose bes a {
% part in A.
}
To get a 12-equal enharmonic equivalent transposition, one these
should be replaced with the enharmonic equivalent, for example A#
instead of Bb. So
\transpose ais a {
% part in A
}
Hans
... which solves the B major part, but transposes f major to Fb major, which
is even more horrible to read than a# major...
Exactly. Doing the enharmonic thing only for the B major block solves
the problem.
but while we are at it:
why don't \transpose and \relative cooperate the normal way an innocent
musician might expect?
To use relative mode within transposed music, an additional \relative
must be placed inside \transpose [copypasted from the docs]. Think of
it as pitches into a \transposed block belonging to a scope that is
out of reach of \relative.
I don't know how it works, but can imagine that the transpose function
should be *much* more clever than it currently is, to realize itself
it is inside a relative block. So it leaves the user with the task of
doing it manually whenever needed.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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Re: \mark beneath instead of above
On 06.07.2009, at 23:39, Werner wrote: Hello Robin and David. Robin Bannister rcb at dataway.ch writes: Have a look at LSR 402: http://lsr.dsi.unimi.it/LSR/Item?id=402 This hint would solve my problem if David Stocker dstocker at thenotesetter.com writes: There is a fix somewhere on the list to get more than one \mark to display in a measure, but you'll have to search for it. I could find a solution for that. Have you also moved the rehearsal mark engraver to the staff context? If you absolutely need it, I can show you an example. I have several scores with marks on one staff above, and another below. If I understand correctly what you want, you need to move the Rehearsal mark engraver to the staff context, remove it from the score context, and then change the direction. James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dutch download page (was: lilypond 2.13 download)
On Mon, Jul 06, 2009 at 01:56:19PM +0200, John Mandereau wrote: Hi guys, Le samedi 04 juillet 2009 à 09:37 -0700, Graham Percival a écrit : This is also true of the site built from git, so it's not a webserver issue. There has never been any file named nl/install/index.html in the web site source tree, and make does not generate any file named install/index.nl.html on my box, so install/index.nl.html that is actually present on lilypond.org must be a stalled file; could you remove it from lilypond.org manually? AFAIK the site build scripts never delete stalled files. I deleted it; we'll see what happens in an hour or two. Anybody involved in the translations could investigate (the translation infrastructure is too complicated for me), It isn't that complicated, but maybe it's easier (or more motivating) to understand for non native English-speaking people. It involves the build system, odd python files, etc. (where things should be simpler). I'm not sure about this either :-P How will it be different from the doc translations? It's all texinfo files. In fact, these texinfo files don't have any @lilypond sections, so wouldn't it be even easier? I admit that translators might want to replace some svg images (in Text input), but surely the base system for translations wouldn't be hard? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrument name misalignment
Thanks, added as
http://code.google.com/p/lilypond/issues/detail?id=789
Cheers,
- Graham
On Mon, Jul 06, 2009 at 03:22:26PM +0200, Reinhold Kainhofer wrote:
Am Montag, 6. Juli 2009 14:58:30 schrieb Alan Shaw:
You're right of course; I just thought it was worth asking on the off
chance that someone would know right away what I was talking about and I
could save myself the hour or so it would take to construct a minimal
example.
In the course of doing that I've found one further necessary condition for
the problem to appear: the volta engraver has to be in the Staff context. In
the example below, there should be a line break between first and second
ending at the default line width. The Mar. appears about even with the
top staff line. If you leave the volta engraver in the Score context, the
name is normally centered.
Of course in the example there is no good reason to move the volta
engraver, but in the actual music there is.
Attached is an even more minimal example (for the bug tracker). I also
noticed
that the problem does not appear with the first alternative (if the first
alternative starts in a new line), but only with the second.
The problem also appears with lilypond 2.13.2.
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
\version 2.12.2
\layout {
\context { \Score
\remove Volta_engraver
}
}
testMusik = \relative c'' {
\repeat volta 2 {
c1 \break
} \alternative {
{ c1 \break }
{ c1 \break }
}
c1
}
\score {
\new Staff \with {
\consists Volta_engraver
instrumentName = Instrument
shortInstrumentName = Instr.
}
\testMusik
}
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