Re: fingerings collide with beams
Hello Markus,
thanks for your reply. Indeed, the sideways numbering works well, but if you
want the numbers to be above the beams, it seems to me that Lilypond should be
able to do this automatically. After all it is an engraving problem and I would
think a frequent situation.
Your final solution (using the \tweak #'padding ...) works for the particular
example, but if the stems flip upwards, then you end up with a big space
between the noteheads and the numbers.
e.g.:
% PUT THIS AT THE END OF PREVIOUS EXAMPLE
< a,-\tweak #'padding #4 -1 c'''-1 >32
< a,-\tweak #'padding #4 -2 c'''-2 >32
< a,-\tweak #'padding #4 -1 c'''-1 >32
< a,-\tweak #'padding #4 -2 c'''-2 >32
%%
I do think this is something one shouldn't have to tweak.
In the mean time, your first solution works best for me...
thanks again,
Victor.
On Thu, Jul 20, 2006 at 12:34:17AM +0200, Markus Schneider wrote:
> Hi again, Victor!
>
> Maybe the last part is the "solution"?
>
>
> \version "2.9.7"
>
> \score {
> {
> \new Staff {
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> \set fingeringOrientations = #'(up left)
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> \set fingeringOrientations = #'(up right)
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> < a-1 c'''-1 >32
> < a-2 c'''-2 >32
> \unset fingeringOrientations
> < a-\tweak #'padding #4 -1 c'''-1 >32
> < a-\tweak #'padding #4 -2 c'''-2 >32
> < a-\tweak #'padding #4 -1 c'''-1 >32
> < a-\tweak #'padding #4 -2 c'''-2 >32
> }
> }
> }
>
>
>
>
>
>
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Re: fingerings collide with beams
Hi again, Victor!
Maybe the last part is the "solution"?
\version "2.9.7"
\score {
{
\new Staff {
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
\set fingeringOrientations = #'(up left)
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
\set fingeringOrientations = #'(up right)
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
\unset fingeringOrientations
< a-\tweak #'padding #4 -1 c'''-1 >32
< a-\tweak #'padding #4 -2 c'''-2 >32
< a-\tweak #'padding #4 -1 c'''-1 >32
< a-\tweak #'padding #4 -2 c'''-2 >32
}
}
}
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17th century keyboard ornament
Hi all,
I'm trying to typeset some 17th century keyboard music from the Southern
Netherlands. An often used ornament is a slanted double dash through the
stem of the note (zie attached image - sorry for the bad quality).
I tried to adapt the tremolo:
-
\version "2.8.5"
doubledash = {\once \override Voice.StemTremolo #'beam-thickness = #0.2 }
\layout { ragged-right = ##t }
\score {
\relative c'
<<
\new Staff { \time 3/4 \doubledash g'':16 g g }
\new Staff { \clef bass << { r4 \doubledash bes,,2:16 } \\ { g2~ g4 } >> }
}
-
This doesn't satisfy me. The vertical space between the dashes is too
large. Especially when the stem is short (as is with the bes in the
above example). I can't find a parameter to control this distance.
Can someone give me a suggestion how to typeset this ornament?
thanks in advance,
Peter van Kranenburg
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Re: fingerings collide with beams
Hi Victor,
this might be an acceptable workaround:
\version "2.9.7"
\score {
{
\new Staff {
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
\set fingeringOrientations = #'(up left)
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
\set fingeringOrientations = #'(up right)
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
}
}
}
Cheers,
Markus
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fingerings collide with beams
Hi,
I have a problem with fingerings colliding with beams.
I searched the mailing lists for some solution and found these two posts
with the same problem:
http://www.nabble.com/Fingering-should-be-above-the-beam-automatically-tf453985.html#a1239094
http://www.nabble.com/Some-more-bug-reports-tf81770.html#a256088
The posts are over a year old and apparently the problem was reported as
a bug... so is the bug still there for v.2.9.7?
Here is my example:
\version "2.9.7"
\new Staff{
{
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
< a-1 c'''-1 >32
< a-2 c'''-2 >32
}
}
Thanks,
Victor.
--
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[EMAIL PROTECTED]
--
http://www.fastmail.fm - Faster than the air-speed velocity of an
unladen european swallow
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Re: Moving rests vertically in drummode
Hi Nicolas,
this should get you started:
%%% Begin of snippet
\version "2.9.11"
cymbals = \drummode {
\times 2/3 { hh16 r hh }
}
% beware! drums is a keyword!
dr = \drummode {
bd8
}
\score {
{
\new DrumStaff
<<
\new DrumVoice { \voiceOne \cymbals }
\new DrumVoice { \voiceTwo \dr }
>>
}
\layout {
ragged-right = ##t
indent = 0\cm
}
}
%%% End of snippet
Cheers,
Markus
P.S. Further details:
http://lilypond.org/doc/v2.9/Documentation/user/lilypond.html#Percussion-staves
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Re: Bar numbering -- tweaking staves?
See the section on "Modifying context plug-ins",
especially about the \new ... \with {...} {...} construct.
/Mats
Till Rettig wrote:
Hello,
I started putting a ChoirStaff together with multimetre mesures.
Because the score context calculates the bar numbering, it cannot
gather anymore information on all staves, since they appear to have
different measure numbers. One possibility is to add the
bar_number_engraver to the staff context, but this invokes ugly
numbers for every single staff. I still would prefer bar numbers on
the top of the system, thus being valid only for the upper voice.
So how can i seperate one staff (or voice) to which i can apply then
the bar_number_engraver, not affecting the other staves?
Greetings
Till
Example-file:
%%%Lily-file%%%
\version "2.8.4"
sopran = { \time 4/4 a b a c f g fis e d c g a d2 c e c }
alt = { \time 3/4 a4 b a c f g \time 4/4 e2 b d f \time 3/4 a4 b a c
g f }
\score {
\new ChoirStaff = Chor
\relative <<
\context Voice = sopran {\sopran \sopran}
\context Voice = alt {\alt \alt}
>>
}
\layout{
\context { \Score
\remove "Timing_translator"
%\consists "Bar_number_engraver"%doesn't show any effect
}
\context {\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
\consists "Bar_number_engraver"
}
}
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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
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Re: tetex 2.5 and lilypond 2.0
The changes necessary to make lily 2.0 compatible with teTeX 3.0 should be very simple. From the top of my head, make a new directory /usr/share/lilypond/fonts/map/ (or wherever your .../lilypond/fonts/ currently is installed) and put a copy of the file lilypond.map in that directory. On a Debian compatible installation, I recall that the LilyPond TeX related files are included into the standard teTeX texmf directory structure, so in that case, there is probably already a fonts/map/ directory where you can place the lilypond.map file. Then, you should also run texhash (as root) to update the filename database. If your LilyPond binary is compiled using an older teTeX you might also get compatibility problems with the version of the kpathsea library which is linked. However, if you compile LilyPond yourself on a machine with teTeX 3.0, that shouldn't be a problem. /Mats Laura Conrad wrote: I sympathize with all the users who are just now running into the difficulties of keeping lilypond files in sync with lilypond development. I've been using lilypond since about 1.4, and it hasn't gotten any easier. I also agree with the people who've been saying that the right answer is to keep old lilypond versions installed, so that you can update a lilypond file in a minor way without going through the conversion and re-tweaking process every time. My problem is that I have several major projects that are in lilypond 2.0. Even where convert-ly performs flawlessly (which it doesn't for a number of features, like multi-verse vocal music), it would be at least hours and more likely days of work to do all the re-tweaking and repaginating to convert these books to lily 2.8. You can't just install lily 2.0 on a modern (less than a year old) linux system, because the fix for having lilypond use tetex 3.0 happened sometime in the 2.4 development cycle, and was never backported to older versions. Until last week, I was dealing with this on my Debian Unstable system by pinning tetex to 2.5. Unfortunately, last week my machine died, and I decided to put Ubuntu Dapper on the new machine. It turns out not to be possible to install tetex 2.5 directly on an Ubuntu Dapper machine. A very nice person on the ubuntu users list is attempting to walk me through building the tetex 2.5 from Ubuntu Breezy for Ubuntu Dapper, but it doesn't seem to be easy, and in any case, as a publisher I use TeX for enough things that sooner or later I'm sure I will want something that needs tetex 3.0. So I'm considering the following options: Installing Ubuntu breezy or some other distribution with tetex 2.5 on it in another partition on my giant new hard drive. I only need to change the 2.0 lily files a few times a year, so this might be the most straightforward thing for me to do. Seeing if I can run lilypond 2.0 from a TeX Live CD of the appropriate vintage. Has anyone tried to run any lilypond with any TeX Live CD and what were the results? Finding out what were the changes necessary for lilypond to run on tetex 3.0 and what's involved in backporting them to lilyond 2.0. Can anyone help with this? This would be the most straightforward answer for lilypond development in general. I'm sure I'm not the only person facing problems like this, so I'd be interested in hearing what other people are doing about them. -- = 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
Moving rests vertically in drummode
Hi all !
I just discovered Lilypond and started writing a few scores. But I have a little
problem. I'm writing two-voiced drum scores (one for cymbals, the other for
drums) but when I write something like :
--
{ \times 2/3 { hh16 r hh } } \\
{ bd8 }
--
the rests in the first voice get centered on the staff... And I can't move them
by using the \rest trick because notes aren't defined in drum mode (I
tried hh\rest but it doesn't work as well). I would like to have the rests at
the same height as hh notes, as it happens when the second voice has notes
simultaneous to the rests like in the following :
--
{ \times 2/3 { hh16 r hh } } \\
{ \times 2/3 { r bd r } }
--
in this second example, every rest is aligned along with it's voice's notes...
Do you know a way to do that ? I didn't read the whole doc, but I searched a lot
and didn't find anything...
Thanks !
(ps: i replaced >>'s and <<'s by -- because my client then accused me of
top-posting...)
Nicolas
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Re: Pango font availability
Hi, Mats -- That's exactly the question I answered. Ah... The regression test description doesn't speak of the COMMENT (within the file) to which you were referring. Once I actually looked *inside* the .ly file, I found what you were pointing me towards. =) Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Evolutionary User Strategy - A Compromise
The current parser is implemented using flex/bison. /Mats Anthony Youngman wrote: Might be an idea to look at Antlr then ... I don't know how effective it would be, but part of the purpose behind the v3 rewrite is to increase the number of languages that Antlr can generate. If you can define the grammar in Antlr it could then chuck out a lexer/parser written in Scheme :-) Is the current lily parser hand-written? At the expense of some upfront work, this could save a lot of effort downstream if so. It does sound very much as though what you want to do, is what Antlr is designed to do ... you say Scheme rocks for tree manipulation? Well Antlr was DESIGNED for tree manipulation (and other related tasks :-) ... And yes, preservation of white space is apparently fairly easy. Although, I'm half inclined to say that if you "convert-ly" a piece, then it will or can output stuff according to a "pretty print" standard. Take a look at Antlr - www.antlr.org. I'd go straight to v3, which is due for release this summer. What you would need to do is define the lily grammar using a BNF style notation (I think the technical term for the style of grammar is LA or LLA). Antlr itself is written in Java - run it over your grammar and it will spit out a lexer and parser for you. You could either use the current C++ templates which would create your lexer and parser in C++ for feeding the results to Scheme, or write a bunch of Scheme templates and output the lexer and parser directly in Scheme. I don't mean to teach grandma to suck eggs but it sounds (from the implication that the parser is mixed-language) that you're not using a compiler-compiler such as flex/Bison, PCCTS or Antlr. And of course, going down this route, things head towards the typical nix "toolkit" approach :-) Grammars to input lily ASTs in various versions, grammars to output "pretty printed" or converted .ly files in various versions, grammars to transform ASTs especially ones generated from eg abc, Sibelius, Personal Composer files :-) Just link the appropriate sequence of tools and away you go ... I can see it being a lot of up-front work. The question is, will it save more than that in future ... and I think your answer to "is it possible" is "yes", just is it worth it? Cheers, Wol -Original Message- From: Erik Sandberg [mailto:[EMAIL PROTECTED] Sent: 12 July 2006 19:08 To: lilypond-user@gnu.org Cc: Anthony Youngman Subject: Re: Evolutionary User Strategy - A Compromise On Wednesday 12 July 2006 17:22, Anthony Youngman wrote: I don't really understand grammars etc (which is why my DATABASIC thing is on/off :-). But from my experience with Antlr, I don't see why you should lose stuff. Your PEG article mentions ASTs. I don't see that converting a .ly file into an AST can be that hard. So, for example, we write a Antlr grammar that creates a lexer/parser that turns the .ly into an AST. We now write another grammar that converts the AST to a .ly file. A problem here is code duplication; it takes some effort to maintain two parsers instead of one. I think it will be difficult to automatically test that the current antlr parser corresponds well with the actual grammar the current lilypond version uses. I have been thinking about moving lily's entire parser out to Scheme; this way we could keep one old parser for each version, and use it to generate an AST, which then is converted nicely using rules written in Scheme (Scheme rocks when it comes to tree manipulation). I'm not sure if it's possible though. BTW: Will your solution handle whitespace nicely? -- = 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: Pango font availability
Quoting Kieren MacMillan <[EMAIL PROTECTED]>: Hi, Mats: See the information text for the example "font-family-override.ly" in the Regression tests document. Thanks, but that doesn't actually solve my specific issue... I'm not trying to change the default font set for the whole document (which is what the "font-family-override.ly" docs show) -- rather, I'm trying to 1. determine precisely the set of fonts that Pango currently has available; That's exactly the question I answered. To be more specific, I have added the following to the manual: To get a full list of all available fonts, run the command lilypond -dshow-available-fonts blabla (the last argument of the command can be anything, but has to be present). 2. determine precisely what the conditions are that Pango uses to find fonts; 3. determine how to make Pango-phobic fonts Pango-philic (for use in titles, markup, etc). For #1 and #2, the following thread response helped: lists.gnu.org/archive/html/lilypond-user/2006-07/msg00265.html> Essentially, you can use #(ly:font-config-display-fonts) to display the Pango-d font set Yes, that's an alternative! /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pango font availability
Hi, Mats: See the information text for the example "font-family-override.ly" in the Regression tests document. Thanks, but that doesn't actually solve my specific issue... I'm not trying to change the default font set for the whole document (which is what the "font-family-override.ly" docs show) -- rather, I'm trying to 1. determine precisely the set of fonts that Pango currently has available; 2. determine precisely what the conditions are that Pango uses to find fonts; 3. determine how to make Pango-phobic fonts Pango-philic (for use in titles, markup, etc). For #1 and #2, the following thread response helped: lists.gnu.org/archive/html/lilypond-user/2006-07/msg00265.html> Essentially, you can use #(ly:font-config-display-fonts) to display the Pango-d font set, and the criteria (according to the author) is that "Pango on OSX can only use Truetype fonts (including dfonts) that contain only one font variant". As for #3, I'm currently concluding that I need to use FontForge to generate single-variant TT fonts for each of the fonts I'm hoping to use in a Lilypond score. If I determine differently, I'll certainly update the list (and, where appropriate, the docs). I'll add the corresponding information to the manual. Thanks! That will definitely help people who want to change the default font tree. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pango font availability
See the information text for the example "font-family-override.ly" in the Regression tests document. I'll add the corresponding information to the manual. /Mats Quoting Kieren MacMillan <[EMAIL PROTECTED]>: Hi, everyone -- 1. How can I find out what fonts are available to Pango on my machine (Mac OS X)? From random testing, I can see that some are and some aren't... 2. How can I make available to Pango fonts which currently aren't? I haven't been able to find any such instructions on the web (only installation instructions, etc.). Thanks, Kieren. ___ 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
Re: Regression test package (for non-programmer)
In the gzipped tar file with the source code, they are included in the subdirectory input/regression/ /Mats Quoting "Rick Hansen (aka RickH)" <[EMAIL PROTECTED]>: Hello, Is there a file that I can download that contains all the regression test cases (.ly files) in one package? I want to take advantage of the test cases to set up and verify all the highlighting parameters in my text editor (which supports customizeable language syntax/semantic hilighting). I would hope that I can get the test cases without having to install the whole developers environment. I could not find a URL to just the regression test package on lilypond.org (can someone point me so I dont have to fetch them one-by-one as there are several hundred files)? thanks Rick -- View this message in context: http://www.nabble.com/Regression-test-package-%28for-non-programmer%29-tf1967212.html#a5398960 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ 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
Regression test package (for non-programmer)
Hello, Is there a file that I can download that contains all the regression test cases (.ly files) in one package? I want to take advantage of the test cases to set up and verify all the highlighting parameters in my text editor (which supports customizeable language syntax/semantic hilighting). I would hope that I can get the test cases without having to install the whole developers environment. I could not find a URL to just the regression test package on lilypond.org (can someone point me so I dont have to fetch them one-by-one as there are several hundred files)? thanks Rick -- View this message in context: http://www.nabble.com/Regression-test-package-%28for-non-programmer%29-tf1967212.html#a5398960 Sent from the Gnu - Lilypond - User forum at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making grace notes take up no space
On 7/19/06, Kieren MacMillan <[EMAIL PROTECTED]> wrote: Hi, Trevor: > I stumbled across X-extent leafing through possible solutions in the > program reference, but just couldn't get it to do what I was > expecting. Here was one attempt ... I had no better luck than you... seems X-extent doesn't apply the same way to grace notes?! Sorry, and good luck! NP; the pointer at least cuts off another avenue of exploration! Han-Wen's suggested afterGraceFraction, so I'm gonna give that a try and see what happens ... -- Trevor Bača [EMAIL PROTECTED] ... like the dew, or like lightning ... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Measure problem somewhere
Hi, Ralph:
it looks to me like I have a timing conflict, but I can't find where.
This is precisely why it is recommended that bar checks are used
regularly! =)
I put them in to your piece and immediately found the problems:
1. The R needs a duration (R2.).
2. The last note should be a 16th.
The code I ended up with -- which appears to compile correctly -- is
attached below.
Cheers,
Kieren.
_
\version "2.8.4.1"
\header {}
Music =
{
\clef treble
\key c \major
\override Staff.TimeSignature #'style = #'()
\override Score.MetronomeMark #'padding = #4
\tempo 4=112
\time 5/8
des'8([ bes a)] des'([ bes)] |
e4. ~ e4 \breathe |
\time 6/8
des'8( bes f) f'4 r8 |
e2. |
\hideNotes
\once \override TextScript #'padding = #2.0
\once \override Glissando #'style = #'zigzag
\fatText g''4.\glissando ^\markup\smaller{EXHALE}_\markup {(very
soft sigh)} d'4. |
\emptyText
\unHideNotes
R2.^\fermataMarkup \bar "||" \break |
\time 3/4
ais''2.^\markup { ( \smaller \note #"4" #1 = \smaller "112" )} |
ais''4( e''2) |
ais''4( gis''2) |
b''2.^\fermataMarkup \bar "||" |
ais''16->[_\sfz^\markup { \column { \line {lo stesso} tempo}} r8
ais''16->] r8 ais''16->[ e''] ais''16->[ r8 d'''16->]
}
\score
{
\Music
}
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Measure problem somewhere
Hi -
I think I'm starting to get the hang of it.
However, I've got a problem - I think it's a time problem. I'm running
2.8.4.1 under Windows XP. In the following snippet, if I uncomment the
5/8 section, the music seems to work. If I comment it out, it looks to
me like I have a timing conflict, but I can't find where. Can anyone
help?
+
\version "2.8.4.1"
\header {
}
Music = {
\clef treble
\key c \major
\override Staff.TimeSignature #'style = #'()
\override Score.MetronomeMark #'padding = #4
\tempo 4=112
% \time 5/8
% des'8([ bes a)] des'([ bes)]
% e4.~ e4 \breathe
\time 6/8
des'8( bes f) f'4 r8
e2.
\hideNotes
\once \override TextScript #'padding = #2.0
\once \override Glissando #'style = #'zigzag
\fatText g''4.\glissando ^\markup\smaller{EXHALE}_\markup {(very
soft sigh)} d'4.
\emptyText
\unHideNotes
R^\fermataMarkup \bar "||"
\time 3/4
ais''2. ^\markup {
(
\smaller \note #"4" #1
=
\smaller "112"
)}
ais''4( e''2)
ais''4( gis''2)
b''2.^\fermataMarkup
\bar "||"
ais''16->[_\sfz^\markup { \column { \line {lo stesso} tempo}} r8
ais''16->] r8 ais''16->[ e''] ais''16->[ r8 d'''->]
}
\score {
\Music
Thanks for your time and help,
Ralph
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Re: Making grace notes take up no space
Hi, Trevor: I stumbled across X-extent leafing through possible solutions in the program reference, but just couldn't get it to do what I was expecting. Here was one attempt ... I had no better luck than you... seems X-extent doesn't apply the same way to grace notes?! Sorry, and good luck! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Some other articulations
Cc-ing to the list
Hi Vivian,
Thanks for the suggestion. I might use it when producing scores for
others, but for my use it is to cumbersome because both the trill inside
the staff, and the steigend and fallend accents require note spacing to
accomodate them. I know it can be done, but it is too much adjustment
for each case, and I do not even know if it is still seen as good
engraving practice (although the accent falled is quite common in the
old Breitkopf Bach scores).
By the way, I just wanted to congratulate the Lily developers for the
huge improvements in the figured bass in the last year, and thank all
who have sponsored it.
Best regards,
Luise.
On Tue, 18 Jul 2006, Vivian Barty-Taylor wrote:
>
> Any sign can be included in markup if you can get it as an .eps (Encapsulated
> Postscript) file. I'm not sure precisely what the symbols you are describing
> look like, but if you scan them then you can convert them to an .eps file
> using good free software (I use Inkscape for Mac OS X.) Then you put them in
> markup with the line (for example):
>
> c8_\markup{\epsfile #Y #7 #"ampmark.eps"}
>
> where c8 is the note you are attaching the markup to and ampmark.eps is the
> name of your .eps graphic. You can define the size of the graphic with the
> two middle parameters - in my example the graphic would be 7/8ths of the
> original size in the Y axis (I think - this isn't very well documented! I've
> got this by trial and error!)
>
> This isn't a perfect solution if you are using the same articulation many
> times, but you could define some articulations at the beginning of your file
> to override the padding for these articulations to align them as you want.
>
> Hope this helps.
>
> Regards,
>
> Vivian.
>
> - Original Message
> From: Luise Marion Frenkel <[EMAIL PROTECTED]>
> To: lilypond-user@gnu.org
> Sent: Tuesday, 18 July, 2006 7:13:02 PM
> Subject: Some other articulations
>
> Hello,
>
> I am copying some arias from Bach's Passions, after Breitkopf/Dover, and
> I cannot find how to type in Lilypond 2.8.1 some articulations. I
> have looked through the 2.9 Manual, Tips & Tricks and Regression, to no
> avail.
>
> 1) (most important): accent steigend and accent fallend. I am
> mimicking these with \repeatTie but the localization is not good and
> results pretty ambiguous. To write them as acciacaturas with the
> "grace" note with note head and stem invisible is very cumbersome and
> does not seem good either.
>
> 2) a kind of trill, whose sign is not tr but some sort of tc or t+accent
> fallend. Seems impossible to immitate, so I am just writing a t in
> markup.
>
> 3) a prallup with a more pronounced "up" wich litterally goes up the
> next note because it is not written above the staff, but between the
> notes, and requires a greater spacing of the notes. I am just moving the
> existing prallup and remembering what it should be.
>
> I would like to know if these are no longer seen as good engraving
> practice and for what they should be exchanged, or if they can be done
> using Lily.
>
> Unfortunately I am completely unable to sponsor any related feature,
> although I would be happy to see these articulations included in
> Lilypond.
>
> TIA,
>
> Luise.
>
>
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>
>
>
>
>
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Re: End-of-piece trill?
And just for the record... Using: f'4*63/64 \startTrillSpan s4*1/64 \stopTrillSpan virtually eliminates the gap. This is relevant, if your line is ragged. Markus @Han: Not terminating will result in a warning: "warning: unterminated trill spanner" ... and in the pdf no trill at all will show. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond on max os x takes huge amount of time
Peter van Kranenburg schreef: One remark: We have several mac systems here. All the users have their home dir on the network, so they can login on every computer. For some users it is sufficient to copy the lilypond font cache (the one that was generated correctly) to the home dir of the user. But for other users it is necessary to build the font cache in /System/Library/Fonts on the machine they are using. I don't understand this difference. Frankly, I don't know what's happening there. I have never used Macs in networked setting. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond on max os x takes huge amount of time
Han-Wen Nienhuys wrote: It's a possibility. I recommend that you run fc-cache in /System/Library/Fonts and /Library/Fonts this will speed up future calls as well. Thanks. This solved our problem. One remark: We have several mac systems here. All the users have their home dir on the network, so they can login on every computer. For some users it is sufficient to copy the lilypond font cache (the one that was generated correctly) to the home dir of the user. But for other users it is necessary to build the font cache in /System/Library/Fonts on the machine they are using. I don't understand this difference. regards, Peter -- Peter van Kranenburg MA MSc Ph.D. Student WITCHCRAFT Project Department of Information and Computing Sciences Utrecht University Visiting Address: Meertens Instituut Room 0.54 Joan Muyskenweg 25 1096 CJ Amsterdam Netherlands Postal Address: Postbus 94264 1090 GG Amsterdam Netherlands email: [EMAIL PROTECTED] tel: +31 (0)20 4628507 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Putting ambitus between Incipit and Main music.
Hello! Working on some editions on renaissance music on the 2.8.5 Lily. Using a variation of the template from manual. (Putting incipit in Ancient notation and Main music in separate strings/tags to get a midi free of the extra bars with a separate score block for midi.) Question is, which I haven't bee able to find answer or solution to on my own) is there a way to get ambitus markings for the parts between incipit(ancient notation) and Main score (modern notation)? Yours Anders Stenberg ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: End-of-piece trill?
Trevor Bača schreef: Hi, What's the right way to end a piece with a trill on the last note? what happens if you dn'ot terminate it? -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volta + rehearsal mark?
Hi Stewart,
you have to use the "\once \overide..." _right_ before your "\mark ..." - no
other notes, rests etc. in between.
This applies to "\once" in general. The "\once \override..." has to (wants
to) change something right after, if there's nothing to apply to (e.g.
Notehead, Stem, TextScript, Script, RehearsalMark, whatever...), it will be
wasted. In your case, the "\once \override..." will _not_ be preserved until
the next occurrence of a rehearsal mark. I read about this somewhere so I
think this is by design.
Example:
This will work...
a1
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark \markup { "Markup" } |
... this won't!
\once \override Score.RehearsalMark #'self-alignment-X = #right
a1
\mark \markup { "Markup" } |
I attach a example file you may find useful with some functions and
variables I use regarding volta bracket / rehearsal mark placement.
Cheers,
Markus
begin 666 volta_def_pos.ly
M)[EMAIL PROTECTED]:6X@;V8@R D
M;&[EMAIL PROTECTED](" @(WTI#0H-"FUA2!V86QU92!B971W965N#0HE)[EMAIL PROTECTED]
M+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM+2TM
M+2TM+2TM+2TM#0HE)[EMAIL PROTECTED]:6%B;&4Z('!A9&1I;F<@*&YU;6)EPT*(" @(" @7&[EMAIL PROTECTED]&]V97)R:61E(%-C;W)E+E)E:&5AR D;&[EMAIL PROTECTED]
M(" @(WTI#0H-"[EMAIL PROTECTED]('1H:7,@87,@;F5W(&1E9F%U;'0@:68@>6]U(&9E
[EMAIL PROTECTED]&AE('9O;'1A'138W)I<'0@(R=S96QF+6%L:6=N;65N="U8(#T@(S N,R!]#0HE)[EMAIL PROTECTED]
M+2TM+2TM+2T-"@T*97AA;7!L94D@/2!<<[EMAIL PROTECTED]PT*(" @('[EMAIL PROTECTED]"!A('T-"B @("![('P@
M82!]#0H@('T-"B @7&)R96%K#0I]#0H-"F5X86UP;&5)22 ](%QR96QA=&EV
M92!C)R<@>PT*("!"[EMAIL PROTECTED]@(" @?"!A,0T*(" @('[EMAIL PROTECTED]"B @("!<;6%R
M:TP@(R)-87)K=7 @;"(-"B @?0T*("!<86QT97)N871I=F4@>PT*(" @('L@
M?"!A('T-"B @("![('[EMAIL PROTECTED]@('T-"B @7&)R96%K#0I]#0H-"F5X86UP
M;&5)24D@/2!<<[EMAIL PROTECTED]"[EMAIL PROTECTED])(@T*(" @(%QM87)K06Q0
M860@(S @(S4N-2 C(DUAR!\(&[EMAIL PROTECTED]("!]#0H@(%QB&%M<&QE258@/2!<<[EMAIL PROTECTED]"[EMAIL PROTECTED]@(" @7&UAPT*(" @('[EMAIL PROTECTED]"!A('T-
M"B @("![('[EMAIL PROTECTED]@('T-"B @7&)R96%K#0I]#0H-"F5X86UP;&56(#T@
M7')E;&%T:79E(&,G)R![#0H@([EMAIL PROTECTED]&$@,B![#0H@(" @7&UO
M=F544PT*(" @('[EMAIL PROTECTED]@N(%8B#0H@(" @7&UAPT*(" @('L@
M?"!A('T-"B @("![('[EMAIL PROTECTED]R![#0H@(%QN97<@4W1A9F8-"B @7'-E="!3=&%F9BYI;G-TR -"B @(" B4FEG:'[EMAIL PROTECTED]"!2
M96AE87)S86Q-87)K(B -"B @(" B=7-I;F<@7&UA6]U
M="![( T*(" @(')A9V=E9"UR:6=H=" ](",C= T*(" @(&EN9&5N=" ](#A<
M8VT-"B @?0T*?0T*#0I&%M<&QE5DD@/CX-"B @?0T*("!<
M;&%Y;W5T('[EMAIL PROTECTED]@(" @http://lists.gnu.org/mailman/listinfo/lilypond-user
