Stick glyph?
I need a graphic for indicating "hard sticks" in a percussion part (and later also for "soft sticks".) These are simple signs which just look like a percussion stick (!) with either a solid or outlined head. These don't seem to exist in the Feta font, and I'm wondering if anyone knows of a simple workaround for getting them? Cheers,Vivian.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Coloring of note heads of multiple voices in the same staff
Thanks Kieren,
If the merged staff is coded as
\new Staff \trpmusic \\ \tbmusic \\ \altomusic
you'll get three separate (but correctly coloured!) Voices, rather
than the combined single-Voice output you desire.
this works for now. Although it looks a bit messy when flags, rest, triplets
etc. show up in each and every voice.
This shorthand takes care of most of the garbage. I use it now on all the
voices I don't want to have Stems/Beams/tuplets whatever and revert it
later.
NHonly = {
% Remove everything exept note heads.
% Add more if needed, but also do the \revert
% in NHreverts!
\override Voice.Stem #'transparent = ##t
\override Voice.Beam #'transparent = ##t
\override Voice.TupletBracket #'transparent = ##t
\override Voice.TupletNumber #'transparent = ##t
\override Voice.Rest #'transparent = ##t
\override Voice.MultiMeasureRest #'transparent = ##t
}
NHreverts = {
\revert Voice.Stem #'transparent
\revert Voice.Beam #'transparent
\revert Voice.TupletBracket #'transparent
\revert Voice.TupletNumber #'transparent
\revert Voice.Rest #'transparent
\revert Voice.Rest #'staff-position
\revert Voice.MultiMeasureRest #'transparent
}
Also I'll try the partcombiner some time later to pair voices up and hope
that some of the alignmet issues will improve...
Cheers,
Markus
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Re: Lilypond store?
Trevor Bača wrote: On 7/5/06, Stewart Holmes [EMAIL PROTECTED] wrote: I suggest that you start a discussion thread on mutopia's mailing lists: If you have constructive ideas on how to create an archive of high-quality public domain notes, then I would strongly recommend you to use your ideas to improve mutopia; if that's not possible, use mutopia as a base for creating such an archive (i.e., fork the mutopia project). Unfortunately I don't really have constructive ideas how to improve it; Well -- and this is a straw-man argument -- there's always the example of SlashDot and other projects with 'community content-filtering'. If the mutopia crew *could*, somehow, establish a system of community review, well then, maybe mutopia could become a repository of really professional-looking stuff. The difficulty, I think, is that it's probably easier to evaluate the wittiness of others' comments (or the relevance of news stories, as on SlashDot) than it is to evaluate the professional-ness of music engraving. So even if mutopia set up some sort of community filtering, it's not clear that the filtering would work. Dunno. Not that I care too much one way or the other about mutopia, but I do believe community filtering can work if implemented properly, and if there enough people involved who care about it. As a contributor of packages to the Fedora Linux distribution (including a lilypond package), my packages are subjected to a fairly rigorous review process before they are accepted. The process has worked so well that the Core part of the distribution (the part packaged by engineers at Red Hat) has adopted some of the quality control processes used by Fedora Extras (the packages submitted by community members) because Extras was generating better quality work than Core. The same is true of academic journals that require peer review. I think another question regarding selling scores is how much people would be willing to pay. Obviously the engraving quality must be as good or better than any print edition, but even then, while I might be willing to pay a little, I don't know if it would be enough to make this a viable fundraising method (unless the potential audience is quite large). Quentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
ragged line before \break - barnumer resume in next \score-block
Hello list,
I did a bit of research and tried to create a template relating to
segno-coda layout scenarios.
Basically it boils down to the following questions (in order of relevance):
1. Can a line right before a manual line break be ragged individually inside
a score block (something like \breakRagged) while maintaining the overall
justify-alignment afterwards and before that individual line?
2. Can the barnumber count be resumed automatically in a following \score
block?
3. How can the automatic extension of staff lines be avoided right after
\stopStaff (music) \startStaff, if a rehearsal mark is moved to the left
(the staff lines reappear when I do this)?
Now a short story about how and why:
I like to have the coda of a piece on a new line and also have the line just
before this break not justified but ragged.
After studying the ragged-features of lily I realized, that no such thing as
described in 1. exists (right?). Maybe some scheme code can do this? This
would be a clean solution.
So I split the music in a pre-Coda- and a after-Coda-\score block and
got the ragged last line like I want (via score-specific \layout block). But
now the bar number count started from 1 again in the next block (logically),
hence question 2. I'm aware of the \set Score.currentBarnumber = #xx what
could be applied at the beginning of this (second) score block. Kind of a
workaround, but acceptable. Actually I use this solution for now, although
the cloning of the score block is getting complicated with scores containing
lots of different instrument staffs.
At last I tried to fake a ragged line break myself to avoid the cloning
needed above, what lead to question 3, among other grob-positioning problems
that arise with \stopStaff issued. Because of this, that approach requires
too much individual tweaking of layout objects and it almost certainly won't
work anymore after the next lily-upgrade.
Thanks for any input about any of these questions!
For those of you willing to dig deeper into this issue I append two
lily-files with all the details I've worked out until now. Have fun!
Markus
begin 666 segno_coda_two_score.ly
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M)24E(TM+2TM#0HE)24@(!=AE4V5G;F]236%R:R!=]#;V1A4DUAFL@
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PROTECTED]=AE
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M('5N9F]L9 X('[EMAIL
Re: Re: Lilypond store?
Quentin Spencer [EMAIL PROTECTED] wrote: I think another question regarding selling scores is how much people would be willing to pay. Obviously the engraving quality must be as good or better than any print edition, but even then, while I might be willing to pay a little, I don't know if it would be enough to make this How to price a score? I have used a web site http://www.everynote.com which offers scans of out of print editions of scores for only a few dollars. For example, I donwloaded the violin and piano score of Prokofiev's violin concerto #1 for $US 3.50I thought that was a reasonable price. Charles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Clarifying otave check (\octave) in Section 6.2.2
C below middle C is just c all by itself so the syntax should be
a, b, c= d e f g a b
(rising steadily up the bass clef :-)
I remember using this test recently, and it does work. The problem I had
(Han-Wen sent me a fix) was that I needed the facility to force an
octave change, but I didn't want an error message that I knew all about.
Note that if you have any note durations it's c=4. - that threw me
initially and I was wondering why I couldn't get it to work.
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
.org] On Behalf Of Charles Cave
Sent: 06 July 2006 06:29
To: lilypond-user@gnu.org
Subject: Clarifying otave check (\octave) in Section 6.2.2
I am exploring the use of the feature described in section 6.2.2 of
checking that the notes are in the correct octave.
The manual says:
Octave checks make octave errors easier to correct: a note may be
followed by =quotes which
indicates what its absolute octave should be. In the following example,
\relative c'' { c='' b=' d,='' }
the d will generate a warning, because a d'' is expected (because b' to
d'' is only a third), but
a d' is found. In the output, the octave is corrected to be a d'' and
the next note is calculated
relative to d'' instead of d'.
Question
Specifing ' is fine for octaves above middle C, but specifying , for
octave below doesnt work.
Here is a test program:
\version 2.8.3
\score {
\new Staff
\relative c''' {
c b a g f e d
% should now have reached the C above middle C
c='' b a g f e d
% should now have reached Middle C
c=' b a g f e d
% should now have reached the C below Middle C
% Problemhow can I check if the next c is
% The C one octave below middle C?
c= b a g f e d
c=, b a g f e d % this doesnt work
}
\layout { }
}
Error:
octavecheck.ly:20:6: warning: octave check failed; expected c', found:
c,
c=, b a g f e d
---
Charles Cave
Sydney, NSW, Australia
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Re: Re: Lilypond store?
I don't think there's much problem about people willing to buy... the quality can be as good or better as printed editions, thanks to Lilypond, and the price can be very reasonable due to very little overhead. I'd quite happily buy (decent) scores from the internet if they were around the same price/cheaper than printed editions. Other people obviously do too, as evidenced by www.everynote.com, and www.musicnotes.com (which is pretty expensive, and the scores not that great). I think this really could be work. To take the example of http://www.everynote.com/goods.1/JSB_PreFug_1_01.pdf from everynote, which costs $1.87. Would you rather pay for that, or a similar amount for a nicely typeset Lilypond version, e.g. http://www.mutopiaproject.org/ftp/BachJS/BWV846/wtk1-prelude1/wtk1-prelude1-a4.pdf (one of the better engraved parts of Mutopia)? Stewart - Original Message - From: Charles Cave [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Thursday, July 06, 2006 2:50 PM Subject: Re: Re: Lilypond store? Quentin Spencer [EMAIL PROTECTED] wrote: I think another question regarding selling scores is how much people would be willing to pay. Obviously the engraving quality must be as good or better than any print edition, but even then, while I might be willing to pay a little, I don't know if it would be enough to make this How to price a score? I have used a web site http://www.everynote.com which offers scans of out of print editions of scores for only a few dollars. For example, I donwloaded the violin and piano score of Prokofiev's violin concerto #1 for $US 3.50I thought that was a reasonable price. Charles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
