Re: music definition change in 2.9.9 or thereabouts?
On Wednesday 28 June 2006 07:41, Paul Scott wrote:
Erik Sandberg wrote:
On Monday 19 June 2006 03:21, Paul Scott wrote:
This used to work in 2.8:
\version 2.9.9
KeyG = \key g \major
{ \KeyG a'' b'' g'' a'' }
Have any keywords been added or something that would break this?
This is now fixed in CVS. Thanks!
Thanks! I've been watching the thread. Any idea when a development
version with the fix will be ready?
Han-Wen will be away for another week, so you'll have to wait for a while.
Meanwhile, you can use:
KeyG = { \key g \major }
--
Erik
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Re: music definition change in 2.9.9 or thereabouts?
Erik Sandberg wrote:
On Wednesday 28 June 2006 07:41, Paul Scott wrote:
Erik Sandberg wrote:
On Monday 19 June 2006 03:21, Paul Scott wrote:
This used to work in 2.8:
\version 2.9.9
KeyG = \key g \major
{ \KeyG a'' b'' g'' a'' }
Have any keywords been added or something that would break this?
This is now fixed in CVS. Thanks!
Thanks! I've been watching the thread. Any idea when a development
version with the fix will be ready?
Han-Wen will be away for another week, so you'll have to wait for a while.
Meanwhile, you can use:
KeyG = { \key g \major }
Sure! Done. Thanks,
Paul
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Re: Some general comments
Ian Hawthorn wrote:
1. An extra lyric line is needed for harmony parts for a few bars.
2. An extra staff and lyric line for a soloist is required for one section.
To add an extra staff, look up ossia. It works something like this:
{
c4 c c c
{c4 c c c}
\new Staff { e4 e e e }
c4 c c c
}
For more details, search the documentation and LSR. I'm not certain how
to add lyrics to this, since I don't do vocal music.
3. The lyrics for one section need to be aligned to a different part
than they are in the rest of the piece.
I believe that this point was addressed in some recent documentation
work (in the 2.9 docs; not yet available in the 2.8 docs).
There are workarounds for these things I know, some in the
documentation and some in the examples or discussed in this forum.
But they are NOT easy to use and here is why.
To an arranger these are simple events which happen at a
particular time and which you'd like to deal with via a simple
command at the point where they happen
I think the ossia example is fairly easy. Lyrics may be much harder to
deal with; I don't know.
Cheers,
- Graham
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RE: Some general comments
That sort of works ... but if Ian wants what I want, then it's a lot
more work than just that ...
This would be a very good example for Fairchild's AllAbouts.
Certainly, until I clean it up, my version is a mess. I've got a
linebreak at the barline where my ossia starts ... with the result that
between two consecutive bars I have THREE different barlines! Plus an
unterminated empty measure (not to mention an unwanted time signature,
which I couldn't work out how to remove because I didn't read the manual
properly :-)
Oh for more time to play and write it all up ... not that they're meant
to be anything else but all the ossia examples in the manual are at a
here's a tip to get you started level.
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Graham Percival
Sent: 28 June 2006 10:16
To: Ian Hawthorn
Cc: lilypond-user@gnu.org
Subject: Re: Some general comments
Ian Hawthorn wrote:
1. An extra lyric line is needed for harmony parts for a few bars.
2. An extra staff and lyric line for a soloist is required for one
section.
To add an extra staff, look up ossia. It works something like this:
{
c4 c c c
{c4 c c c}
\new Staff { e4 e e e }
c4 c c c
}
For more details, search the documentation and LSR. I'm not certain how
to add lyrics to this, since I don't do vocal music.
3. The lyrics for one section need to be aligned to a different part
than they are in the rest of the piece.
I believe that this point was addressed in some recent documentation
work (in the 2.9 docs; not yet available in the 2.8 docs).
There are workarounds for these things I know, some in the
documentation and some in the examples or discussed in this forum.
But they are NOT easy to use and here is why.
To an arranger these are simple events which happen at a
particular time and which you'd like to deal with via a simple
command at the point where they happen
I think the ossia example is fairly easy. Lyrics may be much harder to
deal with; I don't know.
Cheers,
- Graham
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how to remove system start bracket from the incipit
Hi everybody,
I am having a hard time trying to remove the system start bracket from the
first system. I am transcribing mensural music and I don't want the incipit
(written with mensural note-heads) to start with modern brackets! I tried
to do it by using:
\once \override Staff.SystemStartBracket #'transparent = ##t
and, later:
\override Staff.SystemStartBracket #'transparent = ##f
but it doesn't work...
Any idea? Thank you :-)
Amélie Aubut
\version 2.8.5
global = {
\set Score.skipBars = ##t
#(set-accidental-style 'forget)
% incipit
\key c \major
\time 2/2
\once \override Staff.SystemStartBracket #'transparent = ##t
\override NoteHead #'style = #'neomensural
\override Voice.Rest #'style = #'neomensural
\set Staff.printKeyCancellation = ##f
\cadenzaOn
\skip 1*1
\bar ||
\skip 1*1
\bar
% main
\override Staff.BarLine #'transparent = ##f
\cadenzaOff % turn bar lines on again
\once \override Staff.Clef #'full-size-change = ##t
\set Staff.forceClef = ##t
\key c \major
\time 2/2
\override Voice.NoteHead #'style = #'default
\override Voice.Rest #'style = #'default
\skip 1*1
\set Staff.printKeyCancellation = ##t
\set Staff.forceClef = ##f
\override Staff.SystemStartBracket #'transparent = ##f
}
discantusNotes = \relative g' {
\set Staff.instrument = SUPERIUS
% incipit
\clef sopranog4 c c b8\( c\) \noBeam \skip 1*1
% main
\clef treble \cadenzaOn g4 c c b8 c d4 c4.\( b8\) \noBeam a8 b
\cadenzaOff \bar | \break
\cadenzaOn c4 b b a8 g a4 g2 \cadenzaOff \bar |
\cadenzaOn c4 b a g8 a bes4 a4.\( g8\) fis4 \cadenzaOff \bar |
\pageBreak
}
discantusLyrics = \lyricmode {
_ _ _ _ _
\set stanza = 1.
Des sus l'her -- be __ _ fleu -- ri -- _ e, __ _
De -- dans un verd __ _ bo -- quet,
Ro -- bi -- net et __ _ Ma -- ri -- _ e
}
altusNotes = \relative g' {
\set Staff.instrument = CONTRATENOR
% incipit
\clef alto d4 f e g\skip 1*1
% main
\clef treble\cadenzaOnd4 f e g g e2 f4\cadenzaOff\bar
|
\cadenzaOn e8 f g4 g fis8 g fis!4 d2 \cadenzaOff \bar |
\cadenzaOn a'4 g \set suggestAccidentals = ##t f!
\set suggestAccidentals = ##f e8 f g4 fis4.\( e8\) d4 \cadenzaOff
\bar |
}
altusLyrics = \lyricmode {
_ _ _ _
\set stanza = 1.
Des sus l'her -- be fleu -- ri -- e,
De -- _ dans un verd __ _ bo -- quet,
Ro -- bi -- net et __ _ Ma -- ri -- _ e
}
\score {
\new StaffGroup
\new Voice =
discantusNotes \global \discantusNotes
\new Lyrics =
discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
\new Voice =
altusNotes \global \altusNotes
\new Lyrics =
altusLyrics \lyricsto altusNotes { \altusLyrics }
\layout {
indent = 4.0\cm }
}
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Three more questions: centered instr. names / neomensural noteheads / incipit
My sheet of music would be Perfect:
1) If I could get the instrument names (Superius, Contratenor, etc...) to be
centered, instead of being right-align as they are righ now. I tried to
do:
\set Staff.instrument = \markup{ \right-align Superius}
for each instrument name, but it did not work properly, it gave quite of an
anarchic alignment...
2) If the modern clefs were right beside the double bar (instead of beeing
apart from it). I guess this as something to do with the skips needed so
that the new clefs get printed after the double bar, but I can't see what I
can do to get rid of that huge space between the incipit and the main
body...
3) If, in the Incipit, the stems of neomensural note were centered with the
note heads. In Lilypond's user manual, here,
http://lilypond.org/doc/v2.8/Documentation/user/lilypond/Ancient-note-heads.html#Ancient-note-heads
it is said that The neomensural style differs from the baroque style in
that it uses rhomboidal heads for whole notes and all smaller durations.
Stems are centered on the note heads. An exemple is given, for neomensural
style, but the stems are NOT centered on the note heads. I think it is a
bug... Is there a way I can center them manually?
Here is my sourcecode:
\version 2.8.5
global = {
\set Score.skipBars = ##t
#(set-accidental-style 'forget)
\key c \major
\time 2/2
\override Staff.SystemStartBracket #'transparent = ##t
\override NoteHead #'style = #'neomensural
\override Voice.Rest #'style = #'neomensural
\set Staff.printKeyCancellation = ##f
\cadenzaOn
\skip 1*1 \bar || \skip 1*1 \bar
\override Staff.BarLine #'transparent = ##f
\revert Score.SpacingSpanner #'spacing-increment
\cadenzaOff
\once \override Staff.Clef #'full-size-change = ##t
\set Staff.forceClef = ##t
\key c \major
\time 2/2
\override Voice.NoteHead #'style = #'default
\override Voice.Rest #'style = #'default
\revert Score.SpacingSpanner #'spacing-increment
\skip 1*1
\set Staff.printKeyCancellation = ##t
\set Staff.forceClef = ##f
\override Staff.SystemStartBracket #'transparent = ##f
}
discantusNotes = \relative g' {
\set Staff.instrument = SUPERIUS
\clef soprano
g4 c c b8\( c\) \noBeam
\skip 1*1 % one bar
\clef treble
\cadenzaOn
g4 c c b8 c d4 c4.\( b8\) \noBeam a8 b
\cadenzaOff
\bar | \break
}
discantusLyrics = \lyricmode {
_ _ _ _ _
\set stanza = 1.
Des sus l'her -- be __ _ fleu -- ri -- _ e, __ _ }
altusNotes = \relative g' {
\set Staff.instrument = CONTRATENOR
\clef alto
d4 f e g
\skip 1*1
\clef treble
\cadenzaOn
d4 f e g g e2 f4
\cadenzaOff
\bar | }
altusLyrics = \lyricmode {
_ _ _ _
\set stanza = 1.
Des sus l'her -- be fleu -- ri -- e,}
tenorNotes = \relative g {
\set Staff.instrument = TENOR
\clef tenor
b4 a c d
\skip 1*1
\clef treble_8
\cadenzaOn
b4 a c d b c2 c4
\cadenzaOff
\bar |
}
tenorLyrics = \lyricmode {
_ _ _ _
\set stanza = 1.
Des sus l'her -- be fleu -- ri -- e, }
bassusNotes = \relative g {
\set Staff.instrument = BASSUS
\clef petrucci-f
g4 f a g
\skip 1*1 % one bar
\clef bass
\cadenzaOn
g f a g g, c2 f,4
\cadenzaOff
\bar |
}
bassusLyrics = \lyricmode {
_ _ _ _
\set stanza = 1.
Des sus l'her -- be fleu -- ri -- e, }
\book {
\score {
\new StaffGroup
\new Voice =
discantusNotes \global \discantusNotes
\new Lyrics =
discantusLyrics \lyricsto discantusNotes { \discantusLyrics }
\new Voice =
altusNotes \global \altusNotes
\new Lyrics =
altusLyrics \lyricsto altusNotes { \altusLyrics }
\new Voice =
tenorNotes \global \tenorNotes
\new Lyrics =
tenorLyrics \lyricsto tenorNotes { \tenorLyrics }
\new Voice =
bassusNotes \global \bassusNotes
\new Lyrics =
bassusLyrics \lyricsto bassusNotes { \bassusLyrics }
\layout {
indent = 4.0\cm }} }
Thank you in advance for your help :-)
Amélie Aubut
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Re: Some general comments
Graham Percival wrote:
Ian Hawthorn wrote:
1. An extra lyric line is needed for harmony parts for a few bars.
2. An extra staff and lyric line for a soloist is required for one
section.
To add an extra staff, look up ossia. It works something like this:
{
c4 c c c
{c4 c c c}
\new Staff { e4 e e e }
c4 c c c
}
For more details, search the documentation and LSR. I'm not certain
how to add lyrics to this, since I don't do vocal music.
It's very simple, just use \lyricsto as usual. Also, if you want the new
stave
placed above the original one, you can use alignAboveContext:
\new Staff = main {
c4 c c c
{c4 c c c}
\new Staff =extrastave { \new Voice = extra {
\set Staff.alignAboveContext = main e4. e8 e e }
}
\new Lyrics \lyricsto extra {
\set alignAboveContext = extrastave ly -- rics a -- bove
}
c4 c c c
}
You can actually use \addlyrics as well
\new Staff = main {
c4 c c c
{c4 c c c}
\new Staff =extrastave {
\set Staff.alignAboveContext = main e4. e8 e e
}
\addlyrics {
\set alignAboveContext = extrastave ly -- rics a -- bove
}
c4 c c c
}
3. The lyrics for one section need to be aligned to a different part
than they are in the rest of the piece.
I believe that this point was addressed in some recent documentation
work (in the 2.9 docs; not yet available in the 2.8 docs).
Read section Switching the melody associated with a lyrics line
which has been in the docs at least since version 2.8.0 if I remember
correctly.
/Mats
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Re: Some general comments
Ian Hawthorn wrote: ... 5. This bit of the song is in unison and needs only one staff. In addition to the answers you have already received, this situation is often easiest handled by the technique described in Hiding Staves in the manual. Then, LilyPond will automatically avoid printing a stave if it only contains rests or spacer notes. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three more questions: centered instr. names / neomensural noteheads / incipit
Bonjour, Amélie! 1) If I could get the instrument names (Superius, Contratenor, etc...) to be centered Take a look at http://lists.gnu.org/archive/html/lilypond-user/ 2006-06/msg00012.html. Best regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three more questions: centered instr. names / neomensural noteheads / incipit
AmXlie Aubut wrote: 2) If the modern clefs were right beside the double bar (instead of beeing apart from it). I guess this as something to do with the skips needed so that the new clefs get printed after the double bar, but I can't see what I can do to get rid of that huge space between the incipit and the main body... Use \set Staff.forceClef = ##t \once \override Staff.Clef #'full-size-change = ##t to get a clef without using skips. Wait a second, you already do that. I have to think a bit more about why you use the skips. 3) If, in the Incipit, the stems of neomensural note were centered with the note heads. In Lilypond's user manual, here, http://lilypond.org/doc/v2.8/Documentation/user/lilypond/Ancient-note-heads.html#Ancient-note-heads it is said that The neomensural style differs from the baroque style in that it uses rhomboidal heads for whole notes and all smaller durations. Stems are centered on the note heads. An exemple is given, for neomensural style, but the stems are NOT centered on the note heads. I think it is a bug... Is there a way I can center them manually? It seems that this bug has already been fixed and should not appear in the coming 2.8.6 version. In the meantime, it should always be possible to move the stem using \override Stem #'extra-offset = #'(-0.5 . 0 ) or whatever value (I can't test it here, since I have compiled my own version of LilyPond using the latest version of the source code from the CVS server, where the bug already is solved). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: music definition change in 2.9.9 or thereabouts?
Erik Sandberg wrote:
On Wednesday 28 June 2006 07:41, Paul Scott wrote:
Erik Sandberg wrote:
On Monday 19 June 2006 03:21, Paul Scott wrote:
This used to work in 2.8:
\version 2.9.9
KeyG = \key g \major
{ \KeyG a'' b'' g'' a'' }
Have any keywords been added or something that would break this?
This is now fixed in CVS. Thanks!
Thanks! I've been watching the thread. Any idea when a development
version with the fix will be ready?
Han-Wen will be away for another week, so you'll have to wait for a while.
Meanwhile, you can use:
KeyG = { \key g \major }
I think I don't have a problem always putting a definition in braces if
it makes a difference. I just discovered one day I didn't need to do it
for that definition.
Paul
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Strange behaviour of breakbefore option
Hi everybody!
I'm using lilypond version 2.8.4.
I was trying to use the breakbefore option in the header block inside
a score to make the second score of my book start on a new page, but I
couldn't afford it.
So, trying on a little test file, I've discovered that breakbefore
apparently works only if piece string is set, and this string can't be an
empty one.
So this header block did not work:
\header {
breakbefore = ##t
}
but this one worked:
\header {
piece =
breakbefore = ##t
}
I think this is really a strange behaviour, since it's quite normal to want a
score start on a new page even if this score has no piece title.
Best regards,
Gianluca D'Orazio
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Re: Strange behaviour of breakbefore option
Gianluca D. wrote: So, trying on a little test file, I've discovered that breakbefore apparently works only if piece string is set, and this string can't be an empty one. Yes, please see the Bugs section of the documentation about breakbefore. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Moving a word at the beginning of a chart ?
Hello, I have a college degree in Music History, taught public school music, and play several instruments. I did back up tracks for about seven years using six computer controlled synthesizers. I have been using Linux for at least 5 years. Recently I have tried notating music with Lilypond. I have to say it's been a very frustrating and arduous experience. Learning to do the smallest task can take hours of experimentation and research, and it's difficult to sort through the documentation. While there are many examples, it seems as though I can't find the ones I need. So for now, I would like to know how to move the word Swing at the top of my little sax transposition chart so that it lines up with the tempo marking. Honestly I have tired to do this using the documentation, and have come up short. Thank you for your patience. MakeMineADouble-T-4AD.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Moving a word at the beginning of a chart ?
Joe:
Recently I have tried notating music with Lilypond. I have to say
it's been a very frustrating and arduous experience.
Sorry to hear that -- I used Finale for over a decade, Igor Engraver
for several years, and even Sibelius for a little while, but find
Lilypond to be far less frustrating and arduous than those
applications. =)
I would like to know how to move the word Swing at the top of my
little
sax transposition chart so that it lines up with the tempo marking.
There are at least a dozen ways I can think of to accomplish what you
are asking -- one would be to use the #'extra-offset feature to
manually move each item to the desired location, e.g.,
\override Score.RehearsalMark #'extra-offset = #'(-0.4 . 2.6)
\mark \markup {\small \bold { Swing }}
\override Score.MetronomeMark #'extra-offset = #'(0 . 3)
\tempo 4=112
This is not necessarily the best way to fix your example, nor would
it be my final recommendation, but it's the one that alters your
original code the least.
Regards,
Kieren.
p.s. For the record, I'd personally put both the tempo and metronome
markings in the same \markup...
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compile problem with 2.8.4
Greetings: I recently upgraded my Debian Etch system (Demudi 1.3) and discovered that my home-built LP 2.8.1 failed with a report concerning Guile. I decided to compile 2.8.4 and got the same report near the end of the build : Parsing...[/home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/init.ly[/home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/declarations-init.ly [/home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly:99:1: error: GUILE signaled an error for the expression beginning here # (use-modules (scm display-lily))invalid module name for use-syntax ((srfi srfi-39)) /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly:99:5: error: syntax error, unexpected '-', expecting '=' #(use -modules (scm display-lily))Backtrace: In unknown file: ?: 0* [lilypond-main (/home/dlphilp/lilypond-2.8.4/ly/generate-documentation)] ?: 1* (letrec ((no-files-handler #)) (if (ly:get-option #) (gui-main files)) ...) In /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/scm/lily.scm: 380: 2 (let ((failed #)) (if (pair? failed) (begin # #) (begin # #))) 380: 3* [lilypond-all (/home/dlphilp/lilypond-2.8.4/ly/generate-documentation)] 398: 4 (let* ((failed #) (handler #)) (for-each (lambda # # # ...) files) failed) 402: 5* [for-each #procedure #f # #] In /usr/share/guile/1.6/srfi/srfi-1.scm: 666: 6 (if (null? rest) (letrec ((lp #)) (lp list1)) ...) ... 670: 7 (begin (f (car l)) (lp (cdr l))) 671: 8* [#procedure #f # /home/dlphilp/lilypond-2.8.4/ly/generate-documentation$ In /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/scm/lily.scm: 404: 9* [lilypond-file #procedure #f # ...] 413: 10 [catch ly-file-failed #procedure #f () #procedure #f (x . args)] In unknown file: ?: 11* [#procedure #f ()] In /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/scm/lily.scm: 414: 12* [ly:parse-file /home/dlphilp/lilypond-2.8.4/ly/generate-documentation] In /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly: 45: 13* (display-lily-init parser) /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly:45:56: In expression (display-lily-init parser): /home/dlphilp/lilypond-2.8.4/out/share/lilypond/current/ly/music-functions-init.ly:45:56: Unbound variable: display-lily-init make[2]: *** [out/lilypond-internals.texi] Error 2 make[2]: Leaving directory `/home/dlphilp/lilypond-2.8.4/Documentation/user' make[1]: *** [all] Error 2 make[1]: Leaving directory `/home/dlphilp/lilypond-2.8.4/Documentation' make: *** [all] Error 2 Can anyone tell me what's going on ? Guile is version 1.6.8. Best, dp ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Three questions
Hi everybody!I'm using lilypond version
2.8.5
I would like to know how to move the _expression_
"III. a" at the line 45 of myText01_ExtraitProblemVoix1.ly
joint
Trois questions:
Three questions:
A) Comment réduire les espaces entre:
How does we do dwindle the spaces
between:
l'élément '4.' et le 'e' provoqué par la commande
item '4.' and the 'e'
cause by command
subtitle = \markup { \bold
4. \super e Position } line 11 of the enclose part
2. l'élément 'III.' et le 'a' provoqué par la commande
item 'III.' and the 'a' cause
by command
_\markup { III. \super } line 25 of the
enclose part
B) la commande de déplacement de la ligne 45 de la pièce
jointe ne s'opère pas, s'agit-il d'un bug?
The command move in question line 45 of the
enclose part dont' operate
I don't know, if it's a feature or a bug, but
at least it should be possible tooverride it, which I couldn't manage to
do. The following exampleillustrates the same phenomenon.
C) Comment effectuer deux déplacements, indépendants,
apposées sur la même note:
How effect two moves separate affixed on the
same note, fingering and number of the cello string
_d'une part, celui d'un doigté,
_d'autre part, celui de l'indication de la corde
du violoncelle 'III. \super a'.
J'ai fait une démonstration des problèmes dans le
fichier .ly que j'ai joint.
The following exampleillustrates the same
phenomenon.
Voici toutes les commandes de ce fichier.
Thank you for your patience.
\version "2.8.5"
#( ly:set-option 'point-and-click #f )
#( set-global-staff-size 35 )
\paper {
indent = 10\mm
line-width = 170\mm
}
\header {
date = # ( strftime "%d %B %Y" ( localtime (
current-time ) ) )
title = "Leçon du N° 21"
subtitle = \markup { \bold 4. \super e Position }
tagline = \markup { \fontsize #-4 { "Edition du"
\date
# ( ly:export ( string-append "Music engraving by
LilyPond version "
( lilypond-version ) ) )
\with-url #"http://www.lilypond.org" "-
www.lilypond.org" } } }
{
\clef bass
\key c \major
\time 4/4
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Aucun déplacement n'est imposé, présence d'une
collision.
e4-3 _\markup { III. \super a }
( c'-4 _\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%5
c'2-4 c, |
\bar "|." \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Résolution de la collision par le déplacement
de 'II. \super a' vers le haut.
e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%10
c'2-4 c, |
\bar "|." \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Commande du déplacement de 'III.\super a'.
Cette commande est ignorée, s'agit-il d'un bug?
\once \override TextScript #'extra-offset = #' (
-1. 5. 1.0 ) e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%15
c'2-4 c, |
\bar "|." \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Déplacement du 'doigté': qui se produit
effectivement.
\once \override Fingering #'extra-offset = #'(-0.3
. -1.8) e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%20
c'2-4 c, |
\bar "|."
}
Gilles Quesne
[EMAIL PROTECTED]
\version 2.8.5
#( ly:set-option 'point-and-click #f )
#( set-global-staff-size 35 )
\paper {
indent = 10\mm
line-width = 170\mm
}
\header{
date = # ( strftime %d %B %Y ( localtime ( current-time ) ) )
title = Leçon du N° 21
subtitle = \markup { \bold 4. \super e Position }
tagline = \markup { \fontsize #-4 { Edition du \date
# ( ly:export ( string-append Music engraving by LilyPond version
( lilypond-version ) ) )
\with-url #http://www.lilypond.org; - www.lilypond.org } } }
{
\clef bass
\key c \major
\time 4/4
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Aucun déplacement n'est imposé, présence d'une collision.
e4-3 _\markup { III. \super a }
( c'-4 _\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%5
c'2-4 c, |
\bar |. \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Résolution de la collision par le déplacement de 'II. \super a' vers le haut.
e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%10
c'2-4 c, |
\bar |. \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Commande du déplacement de 'III.\super a'. Cette commande est ignorée, s'agit-il d'un bug?
\once \override TextScript #'extra-offset = #' ( -1. 5. 1.0 ) e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%15
c'2-4 c, |
\bar |. \break
e,2 c_4 |
b,2 a,4 ( b, ) |
c2
%%% Déplacement du 'doigté': qui se produit effectivement.
\once \override Fingering #'extra-offset = #'(-0.3 . -1.8) e4-3 _\markup { III. \super a }
( c'-4 ^\markup { II. \super a } ) |
b2-3 a4-1 ( b ) |
%%20
c'2-4 c, |
\bar |.
}
%%% Comment provoquer deux déplacements, indépendants, apposées sur la même
Re: finding first page of score in scheme
Graham Percival [EMAIL PROTECTED] writes: I'd like to display something in the footer of the first (and last) pages of each score in a book. My current thought is to create a function (called at the beginning of each score) that records the page number into some global variable(s), and then create a first-page-score function which checks to see if the current page number is equal to one of those numbers. This seems like a ugly hack, though. Can anybody see a nice solution? You may have to hack the function that builds the pages (the page-breaking function set in the \paper block). See scm/layout-page-layout.scm. But this is not trivial. A page is created, then filled with lines (text or music systems). When the page is created, the footer and header are also created (using the markups defined in ly/titling-init.ly), so that the spacing function should know how much space is left on the page for the lines. But you want to change the footer or header depending on what is on page, that is after it has been filled, and thus after the header and footers have been created. So you have to create them again, and make sure there is still enough space for all the lines, etc. Or: you define your header and footer markup so that they always take the same space. (then the lines already on the page still fit on it). I'm not sure that what I wrote is crystal clear. nicolas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: AllAbout Examples
Graham, I think this is a FANTASTIC suggestion and I am willing to contribute some examples. I am really struggling to learn enough about Lilypond to create a simple cello + piano accompaniment score. The resulting output would be the cello part, and the piano part. The Lilypond has a lot of detail but it reminds me of trying to learn another language with just a dictionary. I would like to see a COOKBOOK approach (think of the Oreilly Perl Cookbook for example) with a COMPLETE set of files to demonstrate how to achieve a particular output. My main areas of interest are: cello + piano accompaniment violn + piano accompaniment (should be similar to above) Strin quartet Piano quintet I would like to see some suggestions on file naming conventions and Best practice Lilypond coding. I often look at the mutopiaproject for examples, but I get annoyed to find they are old versions and require time to upgrade and fiddle around with. I would like to see the Lilypond examples to include annotations in comments suggesting alternatives and a commentary of what is going on. Thank you, Charles Cave Sydney, NSW, Australia Fairchild wrote: LilyPond documentation is good. Newbies get started quickly with the User Manual. Regression Tests and Tips and Tricks contain a wealth of tutorial material. The Program Reference has detail for the initiated. I propose using the rendered Examples section of the documentation (now empty) to post a series of AllAbouts, prepared by users, each being an ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three more questions: centered instr. names / neomensural noteheads / incipi
Thanks a lot Kieren! My instrument names got centered thanks to your help! Merci encore, Amélie Original Message Follows From: Kieren MacMillan [EMAIL PROTECTED] To: Amélie Aubut [EMAIL PROTECTED] CC: lilypond-user@gnu.org Subject: Re: Three more questions: centered instr. names / neomensural noteheads / incipit Date: Wed, 28 Jun 2006 08:29:15 -0400 Bonjour, Amélie! 1) If I could get the instrument names (Superius, Contratenor, etc...) to be centered Take a look at http://lists.gnu.org/archive/html/lilypond-user/ 2006-06/msg00012.html. Best regards, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
