Re: Presentation and first doubt
Do you mean something like http://lilypond.org/doc/v2.6/Documentation/user/lilypond/Blank-music-sheet.html#Blank-music-sheet /Mats Pedro Martínez wrote: Hello comunity, At first place I would like to present myself because this is the first time I write here and I'm so glad to be part of this comunity. My name is Pedro, I have study Musicology and I didn't know the existence of lilypond until a few days ago that I finded it casually at the net; I am very surprised for the posibilities and I hope to learn to use it step by step because I am a newbie in GNU/Linux, LaTeX and of course Lilypond. I am reading the tutorial of the software but firstly at all I have a small doubt: What I want a page with the staves alone to print it? Because the first steps in the tutorial is to learn notes, but I would like to know how to print a page with a format of staves. I am very sorry for my english, there is a long time ago I cannot practice. Thank you very much. Greetings ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Presentation and first doubt
On Wed, 7 Dec 2005, Pedro Mart?nez wrote: Hello comunity, At first place I would like to present myself because this is the first time I write here and I'm so glad to be part of this comunity. My name is Pedro, I have study Musicology and I didn't know the existence of lilypond until a few days ago that I finded it casually at the net; I am very surprised for the posibilities and I hope to learn to use it step by step because I am a newbie in GNU/Linux, LaTeX and of course Lilypond. Then welcome! I am reading the tutorial of the software but firstly at all I have a small doubt: What I want a page with the staves alone to print it? Because the first steps in the tutorial is to learn notes, but I would like to know how to print a page with a format of staves. If what you're looking for is a way to make blank staff paper, I can tell you where to look. If you go to the lilypond website, follow the link at the top of the page, Documentation and a little way down on the first page is a link the the Lilypond Snippet Repository (LSR). If you go to the LSR, and do a search for blank staves (I just did a search for blank and it came up). This is an example that should work with the latest stable version of lilypond, though you may need to make some changes to the file if you want something different than what you see. The LSR is a fine resource, and is a good place to start looking when you're trying to figure out how to do something. Good luck, Josiah___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternate time sigs
After looking at some suggestions I've taken the compound time signature
hack from the docs and modified it for my purposes:
\version 2.7.21
#(define (compound-time grob one two int num)
(interpret-markup
(ly:grob-layout grob)
'(((baseline-skip . 2)
(word-space . 1)
(font-family . number)))
(markup
#:line ( #:column (one int) #:lower 1 #:column (two num)
\score {
\relative c, {
\time 3/4
\override Score.RehearsalMark #'extra-offset = #'( 5.2 . -5.9 )
\mark \markup{\bigger\bigger\bigger\bigger\bigger\bigger\bigger
\bigger ( )}
\override Staff.TimeSignature #'stencil
= #(lambda (grob) (compound-time grob 9 3 8 4))
#(override-auto-beam-setting '(end 1 8 5 8) 1 4)
\clef F
\key a \major
\compressMusic #'(2 . 3) {
e8-[-( cis' b-] a4. ~ a8-[-) gis-( a-]
cis8-[ fis e-] e2.-)
fis,8-[-( d' cis-] b4. ~ b8-[-) ais-( b-] \break
d8-[ gis fis-] fis2.---) ~
}
\times 2/3 { fis8-[ e,-( fis-] } \times 2/3 { gis-[ a b-]-)} cis8.-
( fis,16-)
\compressMusic #'(2 . 3) {
fis4.-- ~ fis8-[ fis-( gis-] a-[ b cis-]-)
}
}
}
The result can be seen here:
http://notendur.centrum.is/~bobroff/lily/time-sig.html
Thanks to Kris for the suggestion to put the () in \markup. It's
working pretty much exactly the way I wanted. Now, however, after
looking at the time-sig hack I'm wondering if it is possible to simply
include the ( ) in that hack.
-David
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Re: moving colliding rests
Why not simply define a macro like
restsUp = {
\override Rest #'direction = #UP
\override MultiMeasureRest #'staff-position = 1
}
/Mats
Jonatan Liljedahl wrote:
I have a little special case where I need to enter music as two voices.
The thing is that the second voice is not a real voice but just a layer
that shows a pitch with a parenthesized note-head. I have made
everything but noteheads transparent in this voice.
But sometimes there's a rest in the first voice that collides with the
parenthesized note-head, in that case I want the rest to be moved up
just as if I had put \voiceOne and \voiceTwo in the two voices... But
If I do that, then all stems directions are forced up/down and also
rest positions are changed even when there are no colliding stuff.
It seems like \override Rest #'Y-offset = #0 fixed that, at least it
looks like rests are changed only when they collides with the second
voice noteheads... But the stem direction is still forced, so I tried
to make my own make-voice-props-set scheme function like this, where I
removed all grobs but Rests in the set-direction-loop (I think):
#(define (my-make-voice-props-set n)
(make-sequential-music
(append
(map (lambda (x) (make-grob-property-set x 'direction
(if (odd? n) -1 1)))
'(Rest))
(list
(make-grob-property-set 'NoteColumn 'horizontal-shift (quotient n
2)) (make-grob-property-set 'MultiMeasureRest 'staff-position (if (odd?
n) -4 4 ))
And then I call it with
#(context-spec-music (my-make-voice-props-set 0) 'Voice)
instead of \voiceOne
But nothing happens! It's just as if there was no \voiceOne or
equivalent... Any tips? What am I missing?
/Jonatan-=( http://kymatica.com )=-
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Roadmap to lily code
Interesting question though: if you had to do it again, would you still consider Scheme, or would you rather go for Python D. Han-Wen Nienhuys wrote: Erik Sandberg wrote: I guess Guile was chosen partly because that Scheme implementation existed and integrated well with C++ and with lily's parser. the reasons were political and practical. Political, because GUILE Scheme was supposed to be The One True GNU extension language, and practical because the prefix nature made it easy to add the # hack to LilyPond. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
Darius Blasband wrote: Interesting question though: if you had to do it again, would you still consider Scheme, or would you rather go for Python Yes, that's an intriguing question. I'm not sure, really. The # hack could also have been done in Python, by requiring parentheses, I guess. I do wonder how what the impact on performance would have been. Python objects are more heavyweight than SCMs, and the Garbage Collection opened a lot of possibilities in developing Lily. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
Han-Wen Nienhuys wrote: Darius Blasband wrote: Interesting question though: if you had to do it again, would you still consider Scheme, or would you rather go for Python Yes, that's an intriguing question. I'm not sure, really. The # hack could also have been done in Python, by requiring parentheses, I guess. On the positive side, I guess - Nicolas might contradict me here - that Python would have enabled far more people to hack with the internals., as the procedural-OO paradigm is more popular than functional programming. Besides, as far as I know, I would assume that Python provides enough functional programming primitives for the cases where you truly needed them. I do wonder how what the impact on performance would have been. Python objects are more heavyweight than SCMs, and the Garbage Collection opened a lot of possibilities in developing Lily. I though Python had a GC... Did I miss anything ? D. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
Darius Blasband wrote: On the positive side, I guess - Nicolas might contradict me here - that Python would have enabled far more people to hack with the internals., as the procedural-OO paradigm is more popular than functional programming. Besides, as far as I know, I would assume that Python provides enough functional programming primitives for the cases where you truly needed them. Yes, that's also something to wonder about. I do wonder how what the impact on performance would have been. Python objects are more heavyweight than SCMs, and the Garbage Collection opened a lot of possibilities in developing Lily. I though Python had a GC... Did I miss anything ? It didn't 7 years ago. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternate time sigs
In addition to what has been said, why not do the time signature changes using ordinary \time 9/8 and \time 3/4 commands and use \override Score.TimeSignature #'print-function = ##f to remove the time signature changes. The advantage of such an approach is that when the musicians start complaining about that it's hard to realize what bars have what time signature, then you can easily print the time signatures again. /Mats David Bobroff wrote: I'd like to do this: http://notendur.centrum.is/~bobroff/lily/vartime.png Now, I figure I can handle the invisible changes between 9/8 and 3/4 by using \compressMusic or \times as necessary. I'm guessing that the compound time signature hack could serve as a model for the displaying the time signature as it is in the above example, but I only about half understand how that all works. Insights/comments/suggestions are welcome. -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
On 07/12/05, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Darius Blasband wrote: Interesting question though: if you had to do it again, would you still consider Scheme, or would you rather go for Python Yes, that's an intriguing question. I'm not sure, really. The # hack could also have been done in Python, by requiring parentheses, I guess. I do wonder how what the impact on performance would have been. Python objects are more heavyweight than SCMs, and the Garbage Collection opened a lot of possibilities in developing Lily. I guess that the Python syntax (the indentation rules) would have made it a bit messy. Since we're speculating anyways; perhaps an embedded C++ interpreter would have given hacking opportunities to the most people. Here is such a beast: http://www.softintegration.com/products/sdk/embedch/ It is not GPL though,so I guess that would have been a problem for Lilypond. -- Sven Axelsson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
How much for a migration to python as a sponsored feature :-)? Best -a- On 7 Dec 2005, at 10:39, Han-Wen Nienhuys wrote: Darius Blasband wrote: Interesting question though: if you had to do it again, would you still consider Scheme, or would you rather go for Python Andrea Valle DAMS - Facoltà di Scienze della Formazione Università degli Studi di Torino [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Roadmap to lily code
Sven Axelsson wrote: I guess that the Python syntax (the indentation rules) would have made it a bit messy. Since we're speculating anyways; perhaps an embedded C++ interpreter would have given hacking opportunities to the most people. Here is such a beast: that would be counterproductive. We're have been desperately trying to flush all C++-isms down the toilet for years now :) -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Tremolo chords in Lilypond
Hi
I'm trying to tremolo two piano chords but the tremolo beams are colliding with
the notes, and would also look better slanted (as opposed to horizontal). Can
anyone help with this?
{s4\pp\ s2 s4\ff\! } \\
{\repeat tremolo 16 { des' f aes des32 g, c ees g32 }}
Many thanks
Stuart Taylor
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Re: Roadmap to lily code
On 07/12/05, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Sven Axelsson wrote: I guess that the Python syntax (the indentation rules) would have made it a bit messy. Since we're speculating anyways; perhaps an embedded C++ interpreter would have given hacking opportunities to the most people. Here is such a beast: that would be counterproductive. We're have been desperately trying to flush all C++-isms down the toilet for years now :) Sure, I can appreciate that. But it is still probably what is best known by the casual Lilypond hacker. -- Sven Axelsson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternate time sigs
Mats Bengtsson wrote: In addition to what has been said, why not do the time signature changes using ordinary \time 9/8 and \time 3/4 commands and use \override Score.TimeSignature #'print-function = ##f to remove the time signature changes. The advantage of such an approach is that when the musicians start complaining about that it's hard to realize what bars have what time signature, then you can easily print the time signatures again. That would result in incorrect spacing. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternate time sigs
Are you sure? I got the impression that a layout object does not occupy any space if you set the print-function (or stencil as it's called in the latest versions) to false, in contrast to what happens when you just set transparent = ##t. I just tried an example and couldn't notice any incorrect spacing. /Mats Han-Wen Nienhuys wrote: Mats Bengtsson wrote: In addition to what has been said, why not do the time signature changes using ordinary \time 9/8 and \time 3/4 commands and use \override Score.TimeSignature #'print-function = ##f to remove the time signature changes. The advantage of such an approach is that when the musicians start complaining about that it's hard to realize what bars have what time signature, then you can easily print the time signatures again. That would result in incorrect spacing. -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
context properties within def-markup-command
Dear list, How to obtain context properties from within def-markup-command, or is it possible though? I would like to use it to get properly scaled embeded-ps fragments AUTOMATICALLY. Maybe example would present clearer my problem: this works with an argument: #(def-markup-command (myCustomClefScaled layout props scaleFactor) (number?) (ly:stencil-add (ly:make-stencil (list 'embedded-ps (string-append (ly:number-string scaleFactor) (ly:number-string scaleFactor) scale %%AND HERE GOES FURTHER PART OF PS CODE )) '(-3.5 . 3.5) '(-1.5 . 1.5)) )) and I want to know value of Staff.fontSize inside this macro, which in turn I want to assign to scaleFactor variable. Any help would be appreciated:) Regards from Poland, Andrzej ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: moving colliding rests
You mean that I could do a \restsUp for all colliding rests manually? I
was hoping there was a way to automagically handle such collissions,
just as it's already done (?) with two voices on the same staff with
\voiceOne and \voiceTwo, but disabling stem direction.
Mats Bengtsson [EMAIL PROTECTED] wrote:
Why not simply define a macro like
restsUp = {
\override Rest #'direction = #UP
\override MultiMeasureRest #'staff-position = 1
}
/Mats
Jonatan Liljedahl wrote:
I have a little special case where I need to enter music as two
voices. The thing is that the second voice is not a real voice but
just a layer that shows a pitch with a parenthesized note-head. I
have made everything but noteheads transparent in this voice.
But sometimes there's a rest in the first voice that collides with
the parenthesized note-head, in that case I want the rest to be
moved up just as if I had put \voiceOne and \voiceTwo in the two
voices... But If I do that, then all stems directions are forced
up/down and also rest positions are changed even when there are no
colliding stuff.
It seems like \override Rest #'Y-offset = #0 fixed that, at least it
looks like rests are changed only when they collides with the second
voice noteheads... But the stem direction is still forced, so I tried
to make my own make-voice-props-set scheme function like this, where
I removed all grobs but Rests in the set-direction-loop (I think):
#(define (my-make-voice-props-set n)
(make-sequential-music
(append
(map (lambda (x) (make-grob-property-set x 'direction
(if (odd? n) -1 1)))
'(Rest))
(list
(make-grob-property-set 'NoteColumn 'horizontal-shift (quotient
n
2)) (make-grob-property-set 'MultiMeasureRest 'staff-position (if
(odd? n) -4 4 ))
And then I call it with
#(context-spec-music (my-make-voice-props-set 0) 'Voice)
instead of \voiceOne
But nothing happens! It's just as if there was no \voiceOne or
equivalent... Any tips? What am I missing?
/Jonatan-=( http://kymatica.com )=-
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
/Jonatan-=( http://kymatica.com )=-
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aligning RehearsalMarks outside staff area
A few months ago, I could put RehearsalMarks outside the staff boundary
box, but the changes to Y-offset-callbacks result in this code not
working.
Parsing...marks.ly:1:20: While evaluating arguments to list in
expression (list Self_alignment_interface::aligned_on_parent):
marks.ly:1:20: Unbound variable:
Self_alignment_interface::aligned_on_parent
Does anybody know how to do this with the new callback code?
- Graham
\version 2.7.15
{
\override RehearsalMark #'Y-offset-callbacks = #(list
Self_alignment_interface::aligned_on_parent )
\clef bass
c''4 c'' c'' c''
\mark \default
c'' c'' c'' c''
}
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Re: triplets
On 6-Dec-05, at 11:21 PM, jutta wrote: Now, the figure 3 above each triplet is too close to the beam. How can I increase the space? (1 mm) I would like to have the 3´s above the beams only in the first measure. For the rest of the score I would like to switch them off. What can I do? Please read the section on changing defaults. This chapter discusses how to do this kind of advanced typesetting in lilypond. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: aligning RehearsalMarks outside staff area
Graham Percival wrote:
A few months ago, I could put RehearsalMarks outside the staff boundary
box, but the changes to Y-offset-callbacks result in this code not working.
Parsing...marks.ly:1:20: While evaluating arguments to list in
expression (list Self_alignment_interface::aligned_on_parent):
marks.ly:1:20: Unbound variable:
Self_alignment_interface::aligned_on_parent
Does anybody know how to do this with the new callback code?
- Graham
\version 2.7.15
{
\override RehearsalMark #'Y-offset-callbacks = #(list
Self_alignment_interface::aligned_on_parent )
Y-offset = Self_alignment_interface::y_aligned_on_parent
--
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Re: context properties within def-markup-command
Andrzej Kopec wrote: Dear list, How to obtain context properties from within def-markup-command, or is it possible though? I would like to use it to get properly scaled embeded-ps fragments AUTOMATICALLY. Maybe example would present clearer my problem: this works with an argument: #(def-markup-command (myCustomClefScaled layout props scaleFactor) (number?) (ly:stencil-add (ly:make-stencil (list 'embedded-ps (string-append (ly:number-string scaleFactor) (ly:number-string scaleFactor) scale %%AND HERE GOES FURTHER PART OF PS CODE )) '(-3.5 . 3.5) '(-1.5 . 1.5)) )) and I want to know value of Staff.fontSize inside this macro, which in turn I want to assign to scaleFactor variable. Staff.fontSize ends up in the font-size property in PROPS. You can't access context variables from markups. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternate time sigs
Mats Bengtsson wrote: Are you sure? I got the impression that a layout object does not occupy any space if you set the print-function (or stencil as it's called in the latest versions) to false, in contrast to what happens when you just set transparent = ##t. I just tried an example and couldn't notice any incorrect spacing. the problem is that a single beat should be spaced the same in 3/4 and 9/8. In 9/8, a beat is 3 8ths, while it is 2 8ths in 3/4. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
switch to lilypond from finale
Hi list, i use to work as engraver for publishers companys. I work with finale2004 under MacOSX, im really impressed by this new software, but ive got a few questions: - How much quick can be this program? I use to work with really big scores for large orchestra. - What about avant garde notation? i engrave new compositions from alive composers, they put a lot of grafics and so. Can lilypond do this stuff?is better to work on a grafical software after the first edition in lilypond? thanks, Josué. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: switch to lilypond from finale
On Thu, 8 Dec 2005, Josu wrote: Hi list, i use to work as engraver for publishers companys. I work with finale2004 under MacOSX, im really impressed by this new software, but ive got a few questions: - How much quick can be this program? I use to work with really big scores for large orchestra. I can only speak for my experience, but for me it generally seems faster. Especially when dealing with larger groups, since extracting parts is much, much easier. With Finale, I always found it best to have two scores: one which would be a conductor's score, and then another that would be used for part extraction. Cleaning up parts and score was always very time consuming. I usually find Lilypond to be quicker and easier in this respect. Granted, there are some notable exceptions to this. Dynamics and text markups frequently have to be manually moved around to keep from colliding with slurs and articulations, and managing dynamics and hairpins can be a little counter-intuitive if not placed directly below a note (for example, a whole note that begins at forte, diminuendo to piano). In general, though, I find that a first draft with Lilypond looks better than a first draft with Finale. - What about avant garde notation? i engrave new compositions from alive composers, they put a lot of grafics and so. Can lilypond do this stuff? is better to work on a grafical software after the first edition in lilypond? Depends on the level of graphics needed. If all you need to do is make squiggly lines, postscript commands are pretty easy to do. Otherwise, graphical software is probably faster and easier to work with. Josiah ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
vertical spacing of dynamics
I am trying to increase the vertical distance between the top of the staff and my dynamic markings, i.e. crescendo and descrescendo, due to interference with slurs. I know it's there somewhere in the manual but I can't find it. Can anyone help me out? Arthur ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: aligning RehearsalMarks outside staff area
On 7-Dec-05, at 4:01 PM, Han-Wen Nienhuys wrote:
Graham Percival wrote:
{
\override RehearsalMark #'Y-offset-callbacks = #(list
Self_alignment_interface::aligned_on_parent )
Y-offset = Self_alignment_interface::y_aligned_on_parent
Sorry, I still can't figure out the syntax.
\override RehearsalMark #'Y-offset = #'Self_align... ?
\override RehearsalMark #'Y-offset-callbacks = #(list
Y-offset = Self_alignment_interface::y_aligned_on_parent
)
?
- Graham
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