Re: Clef change before first note
On Mon, 2003-03-17 at 06:01, Daniel Ashton wrote:
> Also, how can I get the curly brace visible to the left of the staves in
> this example?
you could try using \context PianoStaff -- that puts a curly brace to
the side of two staves. if it's not a piano piece, then you could use
\context StaffGroup -- the brace is not curly, but straight.
\score {
<
\context PianoStaff <
\context Staff = "right" <
\right
>
\context Staff = "left" <
\left
>
>
>
}
or
\score {
<
\context StaffGroup <
\context Staff = "right" <
\right
>
\context Staff = "left" <
\left
>
>
>
}
regards,
simon.
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Re: Clef change before first note
Han-Wen Nienhuys wrote: [EMAIL PROTECTED] writes: \partial 8 s8 \bar "" This seems to render a fairly acceptable result, but it really feels like a hack. Is there a less convoluted solution? (It's convoluted partly because every voice now requires a leading s8.) Notice that the problem is only seen when doing a temporary clef change before the first note or rest. After the first note or rest the clef change works just fine, leaving the initial clef visible as expected. We could introduce a special alignment-class for clef changes, but I'm not sure what the proper notation of a clef change at the beginning of the line is ; I believe that 2 clefs at the same musical point would only be necessary at the start of a piece, right? Right. I've attached a scan of the example I'm working from. I would suggest a new command called \clefChange that would be like \clef, but would never override the starting clef at the beginning of the piece. If \clefChange is the first clef command found, then the implicit treble clef should be visible. Also, how can I get the curly brace visible to the left of the staves in this example? Thanks, Daniel -- Daniel Ashton PGP key available http://Daniel.AshtonFam.org mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org mailto:[EMAIL PROTECTED] ICQ# 9445142 http://ZephyrBrass.com <>___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Slurs going both directions
Hans Forbrich wrote: > Look at the examples, tips & trickx andregression tests - I seem to > remember exactly that situation in one of them. > Specifically check > http://lilypond.org/development/input/test/out-www/test.html (or > http://lilypond.org/stable/input/test/out-www/test.html) and search > for slur ... Thank you, Hans. I've just checked both of them, and none of the examples near any occurrence of the word "slur" seem to do what I'm looking for. Let me check again before I hit send . . . nope, none of those slurs look like a letter S on its side. I've scanned the measure in question from its original setting, and am attaching it to this e-mail. If this is truly impossible (as Han-Wen stated - thanks for the reply, Han-Wen) then I'd like to request this as a future feature. -- Daniel Ashton PGP key available http://Daniel.AshtonFam.org mailto:[EMAIL PROTECTED] http://ChamberMusicWeekend.org mailto:[EMAIL PROTECTED] ICQ# 9445142 http://ZephyrBrass.com <>___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Brackets
>>How can I put accidentals in between brackets?
What about on accidentals?
HWN> in 1.7 :
HWN> \markup { \bracket { \musicglyph #"scripts-mordent" } }
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Re: Multi-voice grace note work-around? Also abc2ly questions
> "Hans" == Hans Forbrich <[EMAIL PROTECTED]> writes: Hans> Grace notes ... If this is the same problem, it has been Hans> recently discussed under title "Problems with grace notes, Hans> barlines, accidentals" and is documented as a bug. Hans> Effective workaround seems to be to place a grace 'skip' Hans> note in each staff/voice at the same place. Yes, with the added complication that if the grace note isn't at the beginning of a bar, you also need a \partial statement to tell lily where the next bar line is. Hans> I have noticed the same types of concerns with midi2ly - I Hans> have no experience with abc2ly and I did not expect more out Hans> of a midi source. Hopefully the new NoteEdit release will Hans> help us out ... I have not read about or installed NoteEdit Hans> but I would not mind a abc2ly > noteedit > lilypond cycle, Hans> assuming NoteEdit can handle .ly input. Anyone else have Hans> experience? The last I used noteedit (some time ago), it didn't take .ly input. I would expect that taking ABC input would be easier than general lilypond input. Importing MIDI produced by abc2ly/lilypond or abc2midi might help some with that route. But in general, a lot of the information you're going to want to add to the abc2ly-generated lily is going to be stuff that noteedit doesn't deal with either. -- Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ ) (617) 661-8097 fax: (801) 365-6574 233 Broadway, Cambridge, MA 02139 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Multi-voice grace note work-around? Also abc2ly questions
> "Joyce" == Joyce Wilson <[EMAIL PROTECTED]> writes:
Joyce> I saw in the archives that there is some way to work around the
Joyce> problem with the extra barline being created after a grace note in
Joyce> multi-part music, but I need a bit more explanation to be able to do
Joyce> it successfully, since my attempts so far have just made the grace
Joyce> note disappear. An example would be most welcome.
Look at the attached ABC file. It demonstrates the workaround, and
also how to put the workaround lilypond into the abc file directory,
instead of having to edit the lilypond after writing the ABC.
test.abc
Description: Binary data
Joyce> On the abc2ly topic, I have a couple of questions. I'm
Joyce> finding that when I run abc through abc2ly, I don't just
Joyce> have to go through and add in whatever extra notation I'm
Joyce> using Lilypond for (measure numbers, breath marks, note
Joyce> accents, text markup like 'D.C. al Fine', and cautionary
Joyce> accidentals like '(#)' -- if it's possible to do this stuff
Joyce> in abc, please tell me and I'll quit bothering the list! :>
Joyce> ).
For some things you can use %%LY statements in the ABC. Other things
are easier to do by writing a script that modifies the lilypond, and
still other things just have to be done by hand. At the moment,
figured bass is in the third category; this is being a problem for my
eyes because it means I can't touch type the figures, which I can in
general with anything that goes into the ABC. So I'm considering a
new %%LY directive that says that any numbers entered as text
annotations in the ABC are figures, and adds them to a figured bass
voice automatically.
Joyce> I also have to make a lot of fixes of things which worked
Joyce> fine in abc. A multipart piece with a time signature
Joyce> change in the middle proved especially problematic (In
Joyce> lilypond, the top line started in 4/4 and switched to 2/4,
Joyce> but the other three lines started out in 2/4, even after I
Joyce> edited the abc to explicitly specify the starting time sig
Joyce> for each part as 4/4)-- I ended up having to convert each
Joyce> part individually, and then reassemble the resulting
Joyce> snippets of lily code.
The problem with different voices having different time signatures can
be solved by moving the Timing_engraver and the
Repeat_acknowledge_engraver from the score context to the staff
context. Attached is a python file that must have worked at least
once to do this automatically, but whether it was on vanilla abc2ly
output or my own massaged output, I can't say.
makescorebars.py
Description: Binary data
Here's a lilypond file that demonstrates how this works. I'm using it
here not because the different voices actually have different time
signatures, but because the proofreading of the ABC input is easier if
you can see which voice has the barline in the wrong place. There may
be more magic of this type necessary to actually print different time
signatures in the different lines:
#(set! point-and-click line-location)
\header {
composer = "Anthony Holborne"
crossRefNumber = "1"
footnotes = ""
tagline = "Lily was here 1.6.5 -- automatically converted from ABC"
title = "64. Galliard: As it fell on a holie Eve"
}
voiceB = \notes {
\property Staff.autoBeaming = ##f
\property Score.breakAlignOrder = #'(
instrument-name
left-edge
ambitus
span-bar
breathing-sign
staff-bar
clef
key-signature
time_signature
custos
)
\forgetAccidentals
\property Voice.NoteHead \override #'style = #'baroque
\property Staff.Custos \override #'style = #'mensural
\property Score.RehearsalMark \set #'extra-offset = #'( -3 . 0 )
\property Score.RehearsalMark \override #'visibility-lambda = #begin-of-line-invisible
\property Staff.automaticMelismata = ##f
\property Staff.midiInstrument = "oboe"
\property Score.defaultBarType="empty"
\property Staff.instrument = "Cantus"
% %MIDI nobarlines
% %MIDI ratio 3 1
\property Staff.TimeSignature \override #'style = #'1style
\time 3/2 \key g \dorian \repeat volta 2 { g''4d''4bes'4g'4
d''2d''2c''4a'2bes'4c''2bes'2a'2b'2c''4
d''2e''4f''4d''4d''4d''2. d''2d''4d''2f''4
ees''2d''2.c''4d''1.} \repeat volta 2 { f''2ees''4
d''2c''4d''2g''2f''4d''4ees''!2d''2c''2
d''2g''4f''4.ees''!8d''4c''4f''4.ees''!8d''4
g''2f''4d''4ees''!2d''2c''2bes'2a'2b'1.}
}
voiceC = \notes {
\property Staff.autoBeaming = ##f
\property Score.breakAlignOrder = #'(
instrument-name
left-edge
ambitus
span-bar
breathing-sign
staff-bar
clef
key-signature
time_signature
custos
)
\forgetAccidentals
\property Voice.NoteHead \override
Re: Multi-voice grace note work-around? Also abc2ly questions
Grace notes ... If this is the same problem, it has been recently discussed under title "Problems with grace notes, barlines, accidentals" and is documented as a bug. Effective workaround seems to be to place a grace 'skip' note in each staff/voice at the same place. I have noticed the same types of concerns with midi2ly - I have no experience with abc2ly and I did not expect more out of a midi source. Hopefully the new NoteEdit release will help us out ... I have not read about or installed NoteEdit but I would not mind a abc2ly > noteedit > lilypond cycle, assuming NoteEdit can handle .ly input. Anyone else have experience? /Hans > ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Multi-voice grace note work-around? Also abc2ly questions
Grace notes ... If this is the same problem, it has been recently discussed under title "Problems with grace notes, barlines, accidentals" and is documented as a bug. Effective workaround seems to be to place a grace 'skip' note in each staff/voice at the same place. I have noticed the same types of concerns with midi2ly - I have no experience with abc2ly and I did not expect more out of a midi source. Hopefully the new NoteEdit release will help us out ... I have not read about or installed NoteEdit but I would not mind a abc2ly > noteedit > lilypond cycle, assuming NoteEdit can handle .ly input. Anyone else have experience? /Hans Joyce Wilson wrote: > I saw in the archives that there is some way to work around the problem > with the extra barline being created after a grace note in multi-part > music, but I need a bit more explanation to be able to do it > successfully, since my attempts so far have just made the grace note > disappear. An example would be most welcome. > > On the abc2ly topic, I have a couple of questions. I'm finding that > when I run abc through abc2ly, I don't just have to go through and add > in whatever extra notation I'm using Lilypond for (measure numbers, > breath marks, note accents, text markup like 'D.C. al Fine', and > cautionary accidentals like '(#)' -- if it's possible to do this stuff > in abc, please tell me and I'll quit bothering the list! :> ). I also > have to make a lot of fixes of things which worked fine in abc. A > multipart piece with a time signature change in the middle proved > especially problematic (In lilypond, the top line started in 4/4 and > switched to 2/4, but the other three lines started out in 2/4, even > after I edited the abc to explicitly specify the starting time sig for > each part as 4/4)-- I ended up having to convert each part individually, > and then reassemble the resulting snippets of lily code. I guess my > general question is: are there any tips for writing especially > abc2ly-friendly abc? > > What determines where the line-breaks are in the output from abc2ly? > They seem to be rather random, which makes it difficult for me to find > my way around to do editing. My current (laborious) approach is to go > through the converted lilypond code and insert line breaks before each > "\bar" and then tidy it up so that exactly one measure is on each line. > Then I can at least navigate by counting measures. Is there some way > to get abc2ly to do this for me? > > Graham, thanks for directing me to the lilypond templates-- that did > indeed allow me to get StaffGroup working the way I wanted. > > Pip-pip, > Joyce > > ___ > Lilypond-user mailing list > [EMAIL PROTECTED] > http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Multi-voice grace note work-around? Also abc2ly questions
I saw in the archives that there is some way to work around the problem with the extra barline being created after a grace note in multi-part music, but I need a bit more explanation to be able to do it successfully, since my attempts so far have just made the grace note disappear. An example would be most welcome. On the abc2ly topic, I have a couple of questions. I'm finding that when I run abc through abc2ly, I don't just have to go through and add in whatever extra notation I'm using Lilypond for (measure numbers, breath marks, note accents, text markup like 'D.C. al Fine', and cautionary accidentals like '(#)' -- if it's possible to do this stuff in abc, please tell me and I'll quit bothering the list! :> ). I also have to make a lot of fixes of things which worked fine in abc. A multipart piece with a time signature change in the middle proved especially problematic (In lilypond, the top line started in 4/4 and switched to 2/4, but the other three lines started out in 2/4, even after I edited the abc to explicitly specify the starting time sig for each part as 4/4)-- I ended up having to convert each part individually, and then reassemble the resulting snippets of lily code. I guess my general question is: are there any tips for writing especially abc2ly-friendly abc? What determines where the line-breaks are in the output from abc2ly? They seem to be rather random, which makes it difficult for me to find my way around to do editing. My current (laborious) approach is to go through the converted lilypond code and insert line breaks before each "\bar" and then tidy it up so that exactly one measure is on each line. Then I can at least navigate by counting measures. Is there some way to get abc2ly to do this for me? Graham, thanks for directing me to the lilypond templates-- that did indeed allow me to get StaffGroup working the way I wanted. Pip-pip, Joyce ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Clef change before first note
[EMAIL PROTECTED] writes: >\partial 8 s8 \bar "" > > This seems to render a fairly acceptable result, but it really feels > like a hack. Is there a less convoluted solution? > > Notice that the problem is only seen when doing a temporary clef change > before the first note or rest. After the first note or rest the clef > change works just fine, leaving the initial clef visible as expected. We could introduce a special alignment-class for clef changes, but I'm not sure what the proper notation of a clef change at the beginning of the line is ; I believe that 2 clefs at the same musical point would only be necessary at the start of a piece, right? -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Slurs going both directions
[EMAIL PROTECTED] writes: > > Is this possible? The music I'm typesetting has a voice going from the > right-hand staff to the left-hand staff. (I'm using the \translator > function.) Four quarter-notes are slurred together, the first two on > the upper staff with stems down, the second two on the lower staff with > stems up. The slur should be between the staves. It should have it's > left end tilted up, and its right end tilted down. Is this possible? No. -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Brackets
[EMAIL PROTECTED] writes:
> Hello,
>
>How can I put accidentals in between brackets? And is there a
>better way to achieve this on articulation (and how to center it):
>
> g4^#'(columns ((font-relative-size . 1) ("[ ")) ((raise . 0.8) (music
> "scripts-mordent")) ((font-relative-size . 1) ("]")) )
in 1.7 :
\markup { \bracket { \musicglyph #"scripts-mordent" } }
--
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volta bracket placing
hi all,
trying the following example:
\include "deutsch.ly"
\score {
\notes \relative c' {
\time 4/4
\key b \major
\clef bass
\repeat volta 2 {
r4 g16 a b8 ~ b4 ~ b16 f f8 | f' () c d () b b16 b g8 ~ g8. f16 |
es'4 d c b16 b8. ~ | b2 r2
}
\alternative {
{ R1 * 4 }
{ r4 g16 a b8 ~ b4 ~ b16 f f8 | f' () c d () b b16 b g8 ~ g8. f16 |
es'4 d c b16 b8. ~ | b2 r2\fermata }
}
}
}
the second volta bracket is higher than the first (i'm using lily
1.6.6). is there anyway to get round this? i think that volta brackets
should be placed at the same height, but have no idea how to acheive
this ...
i also think that the standard behaviour should be to place the volta
brackets at the same height automagically... (i've never seen brackets
at different levels in printed music). does lily 1.7.x do this?
and while i'm on that track, i've just started working on a large
project with lily 1.6.x -- can lily 1.7.x understand 1.6. syntax w/out
changes?
thanks, regards,
simon.
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