Re: How to get swing feel from dotted notation?
Henry Law writes: > On 31/03/16 01:48, Colin Campbell wrote: >> into more of a triplet effect > > If I, as a sometime jazz player, were trying to communicate the effect > of "swing" then I'd say, summarising brutally and rather inaccurately, > "It's written as 4/4 but played as 12/8." > > In other words the player adds something that's not written down, If typeset properly, the spacing will be swung as well (if you have 2 eighths against 3 eighth triplets, the second eighth will be aligned with the last triplet, for example). > which is going to make it rather hard for you to generate MIDI which, > since it's generated from the written-down bits, is /ipso facto/ > lacking the "feel" that the player adds. 8*4/3 8*2/3 should work for both typesetting as well as Midi. But you'd really want to have some music function to do the swinging rather than having to do it manually for every note. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
writing text on the staff & using numbers in music functions
\version "2.19.15" %{ Thanks to everyone who suggested looking at LSR-753 for the "Jazz style" multi-measure rest. That is substantially what I want. In attempts to add parenthesis in the staff around the number within the staff, I ran into several problems. I first tried adding parenthesis as text to the multi-measure rest, as described in http://www.lilypond.org/doc/v2.18/Documentation/snippets/text#text-multi_002dmeasure-rest-markup since it claims to center text. Which it does: %} #(define (white-under grob) (grob-interpret-markup grob (markup #:vcenter #:whiteout #:pad-x 1 (ly:grob-property grob 'text setInlineMMRN = { \set Score.skipBars = ##t \override Score.MultiMeasureRest.expand-limit = 1 \override Score.MultiMeasureRest.minimum-length = #30 } inlineMMRN = { \once \override MultiMeasureRest.layer = #-2 \once \override MultiMeasureRestNumber.layer = #-1 \once \override MultiMeasureRestNumber.Y-offset = #0 \once \override MultiMeasureRestNumber.stencil = #white-under } timeParens = \markup { \huge "(" \magnify #1.4 " " \huge ")" } { \setInlineMMRN \inlineMMRN R1*4^\markup { \timeParens } } %{ But I could not get it to move down onto the staff. As described in http://www.lilypond.org/doc/v2.19/Documentation/notation/formatting-text#text-alignment "Vertical alignment is a bit more complex. As stated above, markup objects can be moved as a whole; however, it is also possible to move specific elements inside a markup block." It took me a while to realize this meant that the techniques using raise, lower, translate, general-align and translate-scaled will NOT affect the "markup object moved as a whole", but rather affect the relative position of objects within the markup object. I also learned that these techniques, in addition to never placing text on the staff, will not place text to the left of the anchor point. Perhaps this section should include a comment to the effect of: "The commands raise, lower, translate, general-align and translate-scaled used within a markup block are limited to printing text outside the staff and to the right of the anchor point." %} { % % An example of a failed attempt to translate text within a markup block % % The translated object will not move to the left, even if it does not collide with anything: d'1^\markup { Acte I \translate #'(-30 . 4) "Scène 1" } 1 1 % It seems the translated object is positioned relative to the first text object % and the entire markup is positioned above the staff. % Here, the lowered second object has the effect of pushing the first object higher up. 1^\markup { Acte I \translate #'(0 . -4) "Scène 1" } 1 1 d'1^\markup { Acte I \translate #'(0 . 4) "Scène 1" } % The documentation for moving objects suggests using extra-offset. % http://lilypond.org/doc/v2.19/Documentation/learning/moving-objects % Likewise, this does not work on the multi-measure rest. \setInlineMMRN \inlineMMRN \once \override TextScript #'extra-offset = #'(0 . -3.7) R1*8^\timeParens } % What did allow me to place text in the staff was attaching it to an empty chord. wideTimeParens = \markup { \magnify #11.5 " " \huge "(" \magnify #1.4 " " \huge ")" } inlineMMRN = { \once \override MultiMeasureRest.layer = #-2 \once \override MultiMeasureRestNumber.layer = #-1 \once \override MultiMeasureRestNumber.Y-offset = #0 \once \override MultiMeasureRestNumber.stencil = #white-under \once \override TextScript #'extra-offset = #'(0 . -3.7) <>^\wideTimeParens } { \setInlineMMRN \inlineMMRN R1*4 } % But then I lost the auto-centered-ness of attaching it to the multi-measure rest. { \setInlineMMRN \inlineMMRN R1*44 \inlineMMRN R1*8 \inlineMMRN R1*12 } % So I can tweak these into submission. inlineMMRN = { \once \override MultiMeasureRest.layer = #-2 \once \override MultiMeasureRestNumber.layer = #-1 \once \override MultiMeasureRestNumber.Y-offset = #0 \once \override MultiMeasureRestNumber.stencil = #white-under \once \override TextScript #'extra-offset = #'(0 . -3.7) } { \setInlineMMRN \inlineMMRN <>^\markup { \magnify #10.4 " " \huge "(" \magnify #4 " " \huge ")" } R1*44 \inlineMMRN <>^\markup { \magnify #13.1 " " \huge "(" \magnify #1.9 " " \huge ")" } R1*8 \inlineMMRN <>^\markup { \magnify #12 " " \huge "(" \magnify #3.9 " " \huge ")" } R1*12 } %{ Finally, here is the real point of my post: It would be nice to have a function that could take these arguments: duration, number of measures, X-tweak, Y-tweak. I've done music functions before music and text, but not with numbers. My template for a music function that takes numbers comes from http://lilypond.org/doc/v2.18/Documentation/notation/substitution-function-examples padText = #(define-music-function (parser location padding) (number?) #{ \once \override TextScript.padding = #padding #}) \relative c'' { c4^"piu mosso" b a b \padText #1.8 c4^"piu mosso" b a b \padText #2.6 c4^"piu mosso" b a b } So, here is my attempt. Does anyone have any hin
Re: How to get swing feel from dotted notation?
On 16-03-30 08:49 PM, Stephen MacNeil wrote: Hi Colin Sometime ago I came across a file on the net... not sure where. It was written by Johannes Rohrer I believe. Anyway all you do is \include "../SwingMarks.ly" % location of file #(load "../swing.scm") % location of file and it will play the midi in swing and example is on my site http://www.mglessons.com/lilypond/ source for the example is http://www.mglessons.com/lilypond/svg/Ex25.ly you can also download the files there You, sir, are a gentleman, a scholar, and an undoubted prince among men! My heartfelt thanks for what looks like it will solve my problem very neatly indeed, as well as adding to my toolkit. Cheers, Colin -- I stay cool and dig all jive, That's the way I stay alive. My motto, as I live and learn, is "Dig and be dug in return." - Langston Hughes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How to get swing feel from dotted notation?
Hi Colin Sometime ago I came across a file on the net... not sure where. It was written by Johannes Rohrer I believe. Anyway all you do is \include "../SwingMarks.ly" % location of file #(load "../swing.scm") % location of file and it will play the midi in swing and example is on my site http://www.mglessons.com/lilypond/ source for the example is http://www.mglessons.com/lilypond/svg/Ex25.ly you can also download the files there HTH Stephen ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get swing feel from dotted notation?
On 31/03/16 01:48, Colin Campbell wrote: into more of a triplet effect If I, as a sometime jazz player, were trying to communicate the effect of "swing" then I'd say, summarising brutally and rather inaccurately, "It's written as 4/4 but played as 12/8." In other words the player adds something that's not written down, which is going to make it rather hard for you to generate MIDI which, since it's generated from the written-down bits, is /ipso facto/ lacking the "feel" that the player adds. Sounds to me as if you're going to have to play it on a keyboard and save the (quantized) note values as MIDI. -- Henry LawManchester, England ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How to get swing feel from dotted notation?
I'm transcribing a piece originally written with a lot of syncopation, using half-values ties across the beat, as well as what I think must be intended as a "swing" feel, notated with dotted rhythms. No problem reproducing the visual elements, but I also need to produce practice tracks for an amateur chorale, and the output in MIDI is very jerky. I've read /ly/articulate.ly but didn't see anything understandably useful. I think I need to turn the rhythms, both syncopated and dotted, into more of a triplet effect, in order to get the smooth swing I need. I've set up two \score blocks, to separate \layout and \midi, and \included "articulate.ly", but clearly, I need further suggestions. A typical couple of bars look like this: * { \time 4/4 \key e \major r2 r4 r8 b e8 b16 e~ e8 fs16 a~ a gs8. fs16 e d8 e16 cs~ cs2 r8 b } *** Cheers, Colin -- Theatre is Life. Film is Art. Television is Furniture. -- :-( Xjahn, The TheatrElf :-) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple stanza lines under second section of music
On Mon, 28 Mar 2016 18:53:13 +0100, Richard Shann wrote: > On Mon, 2016-03-28 at 19:30 +0200, David Kastrup wrote: > > Henry Law writes: > > > > > 3. On 28/03/16 13:05, Christoph Friedrich wrote: > > >> refrain-empty = \lyricmode { > > >> " " " " " " " " " " " " > > >> } > > > > > > (Blush) no it isn't. I'd used underscores, which seemed to work. > > > Yes, I know not to do that now. > > > > Why? I think that's what the underscores are actually for. > > There is a comment in the docs saying that underscores are for melisma > and that \skip is good otherwise. This came up recently in the denemo > list, I put in a command to take a selection of notes and create a \skip > for the appropriate number of syllables, as the only thing I could > suggest otherwise was melisma. If underscores are used for skipping notes, there is one problem to be aware of: the first underscore causes the previous syllable to be treated as the start of a melisma, moving it from centre- to left-aligned. Because I prefer _ to \skip1 on several counts †, I'm careful to replace the first underscore (which is sufficient to break the melisma) with something else. I used to write invisibledot = \lyricmode { \once \override LyricText.font-size = #-19 "." } but I now use · = \markup \char ##x00A0 where that centred dot could be almost any convenient character. † more typing; weird durations; putting extraneous letters and digits amongst the lyrics, confusing the eye; the syntax highlighter colouring them so they stand out even more. Spaces, ie " ", are treated exactly like underscores, but are error-prone and confuse the eye when several occur together. Cheers, David. \version "2.18.2" \header { tagline = ##f } · = \markup \char ##x00A0 notes = { e'' d'' c'' b' a' g' f' e' e' f' g' a' b' c'' d'' e'' \bar "|." } bad = \lyricmode { Here is one _ _ _ Here is two " " " " " " Is it right? × } good = \lyricmode { Here is one \skip1 \skip1 \skip1 Here is two \· _ _ Is it right? √ } \new Staff << \new Voice { \notes } \addlyrics { \bad } >> \new Staff << \new Voice { \notes } \addlyrics { \good } >> lyskp.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: naturalize pitches
> Sometimes it preferable to change the source directly instead of using > function calls. Could you explain when this is the case? This is only a transposing instrument situation so it should be doable. I used the \transpose function and \naturalize form the documentation which ended up working fine. The problems I had were caused by conflicts with the arrow microtones I was using. best, J ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unfold: volta for typesetting, unfold for MIDI generation?
Am 2016-03-30 um 16:43 schrieb Johannes Waldmann : > What is the recommended way to obtain the following behaviour > from one and the same source code: > repeats typeset as "\repeat volta N" > (so the page is not filled with duplicates) > but MIDI generated as with "\repeat unfold N" > (so the duplicates are heard). You need two different \score sections for MIDI and PDF output like here: https://gist.github.com/fiee/8171f1228cd560788e88 and employ \unfoldRepeats for MIDI. Greetlings, Hraban --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rhythm shift
Ciao Robert, sorry if I reply so late. What you propose to do is a bit too complicated for me and I'll use it as a last resort. What I'm trying to do now is just to open the midi file with musescore and add a note in the file to correctly shift the others. Anyway, it would be great having some programming tools to manipulate lilypond source code like what I was asking for. Thank a lot for you help Robert!!! Best regards, Gianmaria ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
unfold: volta for typesetting, unfold for MIDI generation?
Hi. What is the recommended way to obtain the following behaviour from one and the same source code: repeats typeset as "\repeat volta N" (so the page is not filled with duplicates) but MIDI generated as with "\repeat unfold N" (so the duplicates are heard). Thanks, Johannes. (in other words, "MIDI generation is broken for \repeat volta", and in fact "the abstract syntax for \alternative is broken", but these seem to be design decisions ...) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do we specify the midi instrument sine wave in Lilypond
Lilypond supports the 128 instruments that are specified by the General Midi version 1 ( GM1) standard. Sinewave is not included in that list. But use for example "flute" as instrument in your Lilypond source, and then let your soundsource replace the corresponding programchange number with a sinewave. P.S. I have always wanted to be able to select Midi Programs by number instead of by name in Lilypond. Not every soundsource (softsynth, soundfont, hardware synth) has sounds organized as GM standard instruments. Oorspronkelijk bericht Onderwerp: How do we specify the midi instrument sine wave in LilypondVan: Salil Kashyap Aan: lilypond-user@gnu.orgCc: Hello,Does anybody have an idea as to how can we specify the midi instrument--sine wave-- in Lilypond?Looking forward to hearing from someone.Sincerely,Salil___lilypond-user mailing listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
How do we specify the midi instrument sine wave in Lilypond
Hello, Does anybody have an idea as to how can we specify the midi instrument-- sine wave-- in Lilypond? Looking forward to hearing from someone. Sincerely, Salil ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user