Why aren't repeats unfolded automatically in MIDI?

[Raphael Manfredi]

What is the technical reason for repeats to not be automatically "played"
(i.e. unfolded) as many times as necessary in the MIDI output?

The "\unfoldRepeats" is a crude hack, and I fail to see the justification
behind this feature.  Surely, lilypond knows how to iterate over repeats
to be able to process "\unfoldRepeats" so surely it should not have any
problem generating correct MIDI output without this directive.

Why isn't this behaviour "fixed" to behave normally, i.e have MIDI output
reflect the music as written?

Raphael

P.S: Why aren't pralls, trills, arpeggios not automatically realized
during MIDI output?  When playing baroque music, the lack of realization
of those ornaments really changes the way it sounds.  And typesetting
the realization in the score is cumbersome and messes the visual quality
of the score.


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Re: Trivial (?) question re dynamics positioning

[David Rogers]

On 4-Dec-05, at 6:42 PM, Thomas Ruedas wrote:


Hi,
lately I have been wondering about how to position dynamics commands
(i.e. f, p, mf, etc.) so that they are exactly in the middle between
the two staves of a piano score. The way suggested in the docs is to
put them into the notes of either the right or left hand, but this
results in them being closer to the upper or lower staff,
respectively, and makes it look as if they would only affect the
corresponding hand, which is not normally what I want.
The insertion of the dynamics in the part of one hand or another also
has the side effect that in the MIDI produced from it, only the
respective hand is affected by the dynamics command, but not both,
with is (usually) not what I want either.
Any solutions?


Go here:



Scroll two-thirds of the way down the page, where a template is given  
for this.




Hope it's useful
David


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Trivial (?) question re dynamics positioning

[Thomas Ruedas]

Hi,
lately I have been wondering about how to position dynamics commands 
(i.e. f, p, mf, etc.) so that they are exactly in the middle between 
the two staves of a piano score. The way suggested in the docs is to 
put them into the notes of either the right or left hand, but this 
results in them being closer to the upper or lower staff, 
respectively, and makes it look as if they would only affect the 
corresponding hand, which is not normally what I want.
The insertion of the dynamics in the part of one hand or another also 
has the side effect that in the MIDI produced from it, only the 
respective hand is affected by the dynamics command, but not both, 
with is (usually) not what I want either.
Any solutions?
Thomas
-- 


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Re: 2717 and up creates no pdf of old lys in macosx

[Erik Sandberg]

On Saturday 03 December 2005 14.47, Sean Reed wrote:
> it would appear that it might have something to do with the beaming
> of rests.
> more specifically: when i manually beam a beat together that starts
> and ends with a rest (see example below).

Thanks, added this to the bug repository as crash-beamed-rests.ly:

%crash critical
%Sean Reed

\version "2.7.15"

\header {
  texidoc = "lily segfaults."
reportedin  ="2.7.16"
}

\relative c' {
 r16[ b r8]
}


-- 
Erik Sandberg
Maintainer of the Lilypond bug CVS archive,
http://savannah.gnu.org/cgi-bin/viewcvs/lilypond/lily-bugs/bugs/
http://lilypond.org/bugs/v2.7/


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Re: space

[Graham Percival]

On 3-Dec-05, at 4:14 PM, jutta wrote:


I've just managed to use lillypond  -  just one question:
how can I change the spacing lillypond does for the scores? How can I 
reduce
the space between the scores so that the piece of music only needs one 
page?

What can I do if I only want two bars per score?


For the first two questions, please read the "paper output" section of 
the manual.  For the last, I can't remember where it is, but it's 
somewhere in either the manual or LSR.


Cheers,
- Graham



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Re: piano with melody and lyrics and a chorus with two verses and volta

[David Talmage]

Simon Bailey  gmail.com> writes:  
  
>   
> hi,  
>   
> On 12/4/05, David Talmage  acm.org> wrote:  
> > Would someone please send me an example of how to do this?  In spite of  
reading  
> > the manual and searching through the archives, I can't figure it out.  
>   
> the manual is quite clear on this issue -- try section 6.7.2 Repeat Syntax.  
 
Thanks for the suggestion.  I read that part of the manual before I posted my 
question and you're right that it's quite clear.  I'm using the volta for the 
repetition in the chorus. 
 
With a bit of fiddling about, I've been able to make the verse lyrics line up 
with the verse music and the chorus lyrics line up with the chorus music.  But 
I'm unable to make all of it appear on the same staff.  Is there a way to 
concatenate staves or join two bits of music together?  It seems to me that I 
need a Voice context composed of two consecutive Voice contexts.   
  
verse = \relative c'' {  
 verse music  
} 
 
chorus = \relative c'' { 
 \repeat volta 2 {  
chorus music  
  }  
  \alternative {  
{chorus ending 1}  
{chorus ending 2} 
  } 
  final notes of the song 
} 
 
verseI = \lyricmode { 
  verse 1 lyrics 
} 
 
verseII = \lyricmode { 
  verse 2 lyrics 
} 
 
chorusI = \lyricmode { 
  chorus 1 lyrics 
} 
 
chorusII = \lyricmode { 
  chorus 2 lyrics 
} 
 
\score { 
 << 
\context Voice = mel { 
  \autoBeamOff 
  \verse 
} 
\new Lyrics \lyricsto mel \verseI 
\new Lyrics \lyricsto mel \verseII 
 
\context Voice = chor { 
  \autoBeamOff 
  \chorus 
} 
 
\new Lyrics \lyricsto chor \chorusI 
\new Lyrics \lyricsto chor \chorusII 
 >> 
... 
} 
 



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Re: 7/8 length in chordmode?

[fiëé visuëlle]

Am 2005-12-04 um 16:59 schrieb Erik Sandberg:

I need a lot of chords to take the length of a 7/8 measure, but there
isn't a appropriate length 'code', is there?

Try d2..:m or d1*7/8:m


Thank you!


Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
http://www.cacert.org (I'm an assurer)




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Re: Vocal Lyric Placement?

[Arvid Grøtting]

In article <[EMAIL PROTECTED]>,
 "Gianluca D." <[EMAIL PROTECTED]> wrote:

> Alle 23:06, venerdì 2 dicembre 2005, Ian Hawthorn ha scritto:
> 
> > I can tell you that what you are asking is a hard problem, so don't get
> > your hopes up that there is an easy answer. 
> 
> The answer is quite easy, once you have learned to use the wonderful ability 
> of Lilypond to merge different music expressions into one context.

There is another answer, too, almost as simple, for those of us that 
like to keep the e.g. first tenor music within a single musical 
expression:

- use "\skip 8" (or some other duration; it's not used within \lyricsto) 
instead of "_" for the "blanks" in lyrics.

- to avoid wasting space in the first system, also "\override 
Score.RemoveEmptyVerticalGroup #'remove-first = ##t".

When the amount of lyrics specific to a voice is very small, consider 
not using \lyricsto (or \addlyrics) at all, and rather specify the 
durations manually (\lyricmode{ \skip 1*15 Bee 4 Bop 8 }).

Example code: http://regina.uio.no/~arvidg/Norges_Fjeld.ly
Resulting PDF: http://regina.uio.no/~arvidg/Norges_Fjeld.pdf

Cheers,

-- 

Arvid



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Re: 7/8 length in chordmode?

[Erik Sandberg]

On Saturday 03 December 2005 14.50, fiëé visuëlle wrote:
> Hi there,
>
> I need a lot of chords to take the length of a 7/8 measure, but there
> isn't a appropriate length 'code', is there?

Try d2..:m or d1*7/8:m

-- 
Erik


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Re: Help with Lyrics and D.S.

[Ruud van Silfhout]

Hi Eduardo,

I  managed to get a version that works. Below you can find a "corrected" 
score. What you see in the score is that the lyrics are now "connected" 
to a certain voice. In the case of the normal verses (1, 2 and 3) they 
are connected to the "voiceB" voice and the lyrics for the second voice 
are extended with the first part of the refrain. The lyrics for the 
second part are 'connected' to the other voice "voiceC". The only thing 
that is now strange is the number of skips that must be introduced 
*before* the second part of the refrain. I would expect that this should 
be 3 times a "\skip 1" (one for every full measure) and a \skip 2 for 
the next half, but that doesn't seem to work. Can someone with more 
lilypond knowledge than me shed some light on this or is this a bug?!
I didn't add the other markup (like the segno symbol and the 'Fine' 
text) to the music but I assume you can manage that yourself.


Bye,
Ruud

Eduardo Vieira wrote:


Hello users,
 
I'm slooowly progressing with Lilypond, I would like your help to set 
the lyrics for this song (Twilight is Stealing). It was originally 
made in ABC, then I exported to Lilypond. But now I am at a loss with 
how to fit the lyrics of the "D. S." part under the clef of Bass, 
right where the "segno" glyph starts.
Attached is a pdf file generated from the abc source, that shows where 
the lyrics of the refrain are supposed to go.


\version "2.5.20"
\header {
composer = "Benjamin C. Unseld, 1848-1923 "
crossRefNumber = "1 "
footnotes = ""
tagline = "Lily was here 2.7.17 -- automatically converted from ABC"
title = "Twilight Is Stealing"
}

verseOne = \lyricmode {
Twi -- light is steal -- ing o -- ver the sea,
Sha -- dows are fall -- ing dark on the lea;
Borne on the night -- winds, voi -- ces of yore
Come from the far -- off shore.
}

verseTwo = \lyricmode {
Voi -- ces of loved ones, songs of the past!
Still lin -- ger round me while life shall last;
Lone -- ly I wan -- der, Sad -- ly I roam,
Seek -- ing that far off home.
}

verseThree = \lyricmode {
Come in the twi -- light, come, come to me!
Bring -- ing some mes -- sage  o -- ver the sea;
Cheer -- ing my path -- way while here I roam,
Seek -- ing that far off home.
}

refrain = \lyricmode {
%Refrain
Far a -- way bey -- ond the star -- lit skies,
Where the love -- light nev -- er, nev -- er dies,
}
refrainBass = \lyricmode {
\repeat unfold 17 { \skip 1 }
% The part of the " Dal Segno"
"D.S.-" Glem -- eth a man -- sion filled with de -- light,
Sweet hap -- py home so bright.
}

voiceB =  {
\set Score.defaultBarType = "empty"
\time 4/4  \key g \major <<   g'4d'4   >> <<   d'8.g'8.   
>> << 
a'16d'16   >> <<   b'4g'4   >> <<   d''4g'4   >>   \bar "|" << 
g'4d'4   >> <<   g'8.b'8.   >> <<   b'16g'16   >> <<   
fis'2a'2
 >>   \bar "|" <<   d'4fis'4   >> <<   d'8.fis'8.   >> <<   e'16  
g'16   >> <<   fis'4a'4   >> <<   fis'4c''4   >>   \bar "|" <<   
a'4  
c''4   >> <<   b'8.g'8.   >> <<   fis'16a'16   >> <<   g'2
b'2   >>
\bar "|" <<   d'4g'4   >> <<   d'8.g'8.   >> <<   d'16
a'16   >> <<
 g'4b'4   >> <<   g'4d''4   >>   \bar "|" <<   d'4g'4   >> << 
g'8.b'8.   >> <<   g'16b'16   >> <<   fis'2a'2   >>   \bar 
"|"   <<
 d'4fis'4   >> <<   d'8.fis'8.   >> <<   g'16a'16   >> <<   
fis'4
 a'4   >> <<   b'4fis'4   >>   \bar "|"   g'2.r4   \bar "|" 
<<   g'4 
d''4   >> <<   g'4d''4   >> <<   g'4.b'4.   >> <<   g'8
d''8   >> 
\bar "|" <<   g'8e''8   >> <<   g'8d''8   >> <<   g'8d''8   
>> << 
g'8b'8   >> <<   fis'2a'2   >>   \bar "|" <<   fis'4a'4   >> 
<< 
fis'4a'4   >> <<   fis'4.d''4.   >> <<   fis'8a'8   >>   
\bar "|"
<<   a'8b'8   >> <<   a'8c''8   >> <<   g'8b'8   >> <<   
fis'8  
a'8   >>   g'2r8   \bar "|." 
}

voiceC =  {
\set Score.defaultBarType = "empty"
\time 4/4\clef bass  \key g \major <<   g4b4   >> <<   g8.
b8.   >>
<<   c'16   g16   >> <<   d'4g4   >> <<   b4g4   >>   \bar "|" 
<<   g4b4 
>> <<   g8.d'8.   >> <<   d'16g16   >> <<   d2d'2   >>   
\bar "|"
<<   d4a4   >> <<   d8.a8.   >> <<   d16b16   >> <<   d4
c'4 
>> <<   d4a4   >>   \bar "|" <<   d4d'4   >> <<   d'8.d8.   
>> << 
d16d'16   >> <<   g2d'2   >>   \bar "|" <<   g4b4   >> <<   
g8.  
b8.   >> <<   g16c'16   >> <<   g4d'4   >> <<   g4b4   >> 
\bar "|"   <<   g4b4   >> <<   g8.d'8.   >> <<   g16d'16   
>> << 
d2d'2   >>   \bar "|" <<   d4a4   >> <<   d8.a8.   >> <<   
d16  
b16   >> <<   d4c'4   >> <<   d'4d4   >>   \bar "|" <<   g2.
b2. 
>>   r4   \bar "|" <<   g4b4   >> <<   g4b4   >> <<   g4.
b4.   >>
<<   g8b8   >>   \bar "|" <<   g8b8   >> <<   g8b8   >> <<   
g8  
b8   >> <<   g8b8   >> <<   d2fis2   >>   \bar "|" <<   d4
fis4   >>
<<   d4fis4   >> <<   d4. 

Re: different notehead sizes in one chord

[Sean Reed]

On 03.12.2005, at 15:48, Han-Wen Nienhuys wrote:


Bertalan Fodor wrote:

Could an easier and faster way be sponsored?


I could add something along the lines of

  \tag

which would be used like

 <  \tweak #'(style . baroque) c4
>


Cost: 130 EUR (incl VAT for EU individuals)


bertalan: since you expressed your interest in this as well, would  
you maybe consider going halves on me for sponsoring this?


best,
sean



Sean Reed
Hamburg, Germany
Web: www.seanreed.de



--
 Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen


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space

[jutta]

Hi,
I've just managed to use lillypond  -  just one question:
how can I change the spacing lillypond does for the scores? How can I reduce 
the space between the scores so that the piece of music only needs one page? 
What can I do if I only want two bars per score? 
Thanks for e-mailing me back!
jutta



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Re: piano with melody and lyrics and a chorus with two verses and volta

[Simon Bailey]

hi,

On 12/4/05, David Talmage <[EMAIL PROTECTED]> wrote:
> Would someone please send me an example of how to do this?  In spite of 
> reading
> the manual and searching through the archives, I can't figure it out.

the manual is quite clear on this issue -- try section 6.7.2 Repeat Syntax.

basically you're looking for this (the alternative command):

\repeat volta 2 {
  Chorusmusic
}
\alternative {
   { ending1 }
   { ending2 }
}

hth,
sb
--
Do not meddle in the affairs of trombonists, for they are subtle and
quick to anger.


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Re: different notehead sizes in one chord

[Bertalan Fodor]

Cost: 130 EUR (incl VAT for EU individuals)



bertalan: since you expressed your interest in this as well, would  
you maybe consider going halves on me for sponsoring this?


Yes. However, I would like to sponsor this with a package of other 
features, however I don't know how much those cost, so I'd like to know 
before:


1. Unhyphenation possibility lyrics, i.e. when there is not enough place
for a hyphen. The current way of manually turning off padding is almost
good, but when the hyphen is removed I still have to manually move the
syllables, considering kerning as well. Reformatting the score also
makes it bad, because my manual aligning gets useless.

2. An XML file generated from the sources that has the same content as
the Programming Reference. This could be used in LilyPondTool, and
provide a possibility to get automatic completion from the currently
installed binary version of lilypond. Like this:






value="'SystemStartBracket"/>



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