old way of vertically centering refrain no longer works
Carl Sorensen referred me a few months back to the hymn Near the Cross
from Mutopia as an example of how centering a refrain is supposed to
work.
I am now using lilypond 2.9.17. Near the Cross was coded for 2.4.2
The method used does not work now, and after further experimentation, I
am not sure it ever worked.
The markup contained the following macros:
setLyricsExtent = \set Lyrics.minimumVerticalExtent = %#'(-1.0 . 1.2)
setLyricsExtentRef = \override Lyrics #'minimumVerticalExtent = %#'(-1.3 . 1.4)
setStaffExtentA = \set Staff.minimumVerticalExtent = #'(-6 . 1)
setStaffExtentB = \set Staff.minimumVerticalExtent = #'(-1 . 5)
setLyricsExtent was put at the beginning of each stanza.
setLyricsExtentRef was put at the beginning of the refrain, which was
included at the end of the \lyrics { } block for the first stanza.
Compiling it under 2.9.17 showed that the refrain was not centered. It
appeared to be centered in the original version because the refrain had
an entire line to itself; it did not start on a line that contained all
four verses.
I did some digging, and replaced the definitions according to the
manual:
% \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
setLyricsExtent = \override Staff.VerticalAxisGroup #'minimum-Y-extent =
#'(-1.0 . 1.2)
setLyricsExtentRef = \override Staff.VerticalAxisGroup #'minimum-Y-extent =
#'(-1.3 . 1.4)
These changes did not work either, but they did get rid of the error
message warning: not a grob name, `Lyrics'
So, my question is, what is the correct way to vertically center a
refrain shared by several stanzas?
I have not read the entire manual, but I did read the sections on text
markup and lyrics and poked through it using the find function in my
browser for keywords and didn't find anything directly relevant.
Ted
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: partcombine not giving joy for hymns
Eduardo, thank you for your insightful reply. I was doing something
similar before, but found it painful. I really want to keep the voices
properly separated because I am experimenting with orchestration via
midi output right now. \partcombine with the Devnull trick is good
enough right now as far as lyrics go, and produces really good results
as far as typesetting the notes goes. I hope partcombine and lyricsto
is fixed soon. I don't have much money but I'm willing to put $$ in the
kitty for such a rewrite.
I read Mats post on Stemming for Hymnal after you mentioned it. Thank
you.
Ted
On Fri, Sep 15, 2006 at 11:46:28AM -0300, Eduardo Vieira wrote:
I have found that \partcombine is not the ideal tool for hymns if you
follow this convention: soprano and alto in the same staff as chords, if
the interval is of a second or unison, then the stems are split (soprano,
stem up; alto, stem down).
Now you have to choices: either typeset the voices like chords (which is
bit harder), and add new voice layer for the splitted parts. Or use
something as the example file below:
This file is a 4-part arrangement in wich soprano and alto are typeset
separately, and tenor and bass like chords.
Check the answer Mats gave in the thread Stemming for Hymnal on May 23,
2005 for a better understanding on this (I'm offline now and don't have
the link, but had this page saved in my reference files). One setback is
that when there is a tie, you'll have to override the tie direction to
obtain the same results as if you were typessetting chords.
Hope this helps while \partcombine is revised.
EXAMPLE %%%
%% Sorry for the messy style %%
\version 2.8.0
#(ly:set-option 'point-and-click #f)
#(set-global-staff-size 16)
\header {
title = Give Me Oil in My Lamp
}
% \include nederlands.ly
versum= \lyricmode {
\set stanza = 1.
Give me oil in my lamp, oil in my lamp,
Give me oil in my lamp I pray;
Give me oil in my lamp, keep me shin -- ing in the camp,
Un -- til the break of day.
}
global = {
\key g \major
\time 4/4
\override Staff.TimeSignature #'style = #'()
\set Staff.autoBeaming = ##f
}
sop = \relative c'' {
\partial 8*2
d8 d
d4 b8 b b2
a4 g8 e g4 e8 e
%3
d4 g8 a b4 d
%4
a2.
%pb
\bar \break
d8 d
d4 b8 b b4 g8 g
a g g e g4 g
b4. g8 b4 a
g2.
}
alto = \relative c'' {
\partial 8*2
g8 g
g4 g8 g g2
e4 e8 c e4 c8 c
b4 d8 d d4 d
d2.
g8 g
g4 g8 g g4 { } \\ { f8 f }
% \oneVoice
e e e c e4 e
d4. d8 g4 fis
d2.
}
basten = \relative c' {
\partial 8*2
g b 8
g b 8
g b 4
g d' 8
g d' 8
g d' 2
c, c' 4
c c' 8
c g' 8
c c' 4
c g' 8
c g' 8
g g' 4
b g' 8
d fis 8
{ g4 } \\ { g4 }
b, g' 4
d fis 2.
g b 8
g b 8
g b 4
g d' 8
g d' 8
g d' 4
g b 8
g b 8
c, c' 8
c c' 8
c c' 8
c g' 8
c c' 4
c g' 4
d g 4.
d b' 8
d d' 4
d c' 4
g, b' 2.
\bar |.
}
\score { \context ChoirStaff
\set ChoirStaff.systemStartDelimiter = #'SystemStartBar
\override ChoirStaff.SystemStartBar #'thickness = #4
\override ChoirStaff.SystemStartBar #'padding = #0.5
\context Staff = mulh {
\global
\context Voice = mel \voiceOne \sop \alto
}
\context Lyrics = stum { \lyricsto mel \versum }
\context Staff = hom {
\clef bass
\global
\context Voice = melb { \basten }
}
\midi {
}
\layout {
indent = 0.0\cm
\context {
\Lyrics
\override LyricText #'font-size = #-1
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1.8)
\override LyricSpace #'minimum-distance = #0.6
}
\context {
\Score
\remove Bar_number_engraver
\override PaperColumn #'keep-inside-line = ##t
}
}
}
\paper { paper-width = 5.5\in
paper-height = 8.5\in
between-system-space = 0.85\cm
between-system-padding = 0.2\cm
line-width = 11.5\cm
ragged-bottom = ##t
after-title-space = 0.1\cm
}
%
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: Lilypond + LaTex (on Mac)
I'm not quite sure what I did wrong but I tried this a few times and it still doesn't want to work. I am able to run steps 1 - 4 but at step 5, the line already reads export PATH=$PATH:/Applications/LilyPond.app/Contents/Resources/bin so it doesn't seem to make sense to add :/Applications/LilyPond.app/ Contents/Resources/bin as stated in step 5. What am I doing wrong? Thanks again, Peter Thanks, Graham. So here's what Peter (and I) need to do, assuming that you moved the LilyPond app off your desktop and into the Applications folder: 1) Open a new terminal window. 2) Type: nano 3) In the program that opens, type CtrlR. Type .profile and hit Enter. You'll probably get a message: .profile not found, which is fine. If that's what happened, skip to step (6) 4) Look in the file that loaded and see if it has a line that begins: export PATH= If it doesn't, then go on to step (6). 5) Move the cursor to the end of line that begins: export PATH= and add this to the end of it: :/Applications/LilyPond.app/Contents/Resources/bin Make sure to hit Return at the end of that line, and make sure not to add any spaces before the colon, which has to be there. My line looks like this: export PATH=/opt/local/bin:/opt/local/sbin:/Applications/ LilyPond.app/Contents/Resources/bin (It's all on one line, with a space between export and PATH, like this: export PATH Upper and lower case makes a difference! Now skip to step (7) 6) Type: export PATH=$PATH:/Applications/LilyPond.app/Contents/Resources/bin 7) Type CtrlO (that's a letter o, not a numeral 0). When it prompts with File to save, type: .profile and hit Enter. If it asks if it's OK to overwrite, you should be able to say Yes safely if you followed the instructions above. Note that I am NOT responsible if, instead of doing anything useful, your computer does something catastrophic, or just quits working the way you want it to. It shouldn't happen, but I make no guarantees. 8) Type CtrlX, which closes the editor. 9) Type: exit and hit Enter 10) Close the terminal window. 11) Open a new terminal window and see if lilypond-book works now. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
Geoff Horton wrote: Thanks, Graham. So here's what Peter (and I) need to do, assuming that you moved the LilyPond app off your desktop and into the Applications folder: Werner mentioned altering the documentation. Just in case you don't have it handy, here's the link: http://lilypond.org/web/devel/participating/documentation-adding 1) Open a new terminal window. Make sure to hit Return at the end of that line, and make sure not to add any spaces before the colon, which has to be there. My line looks like this: export PATH=/opt/local/bin:/opt/local/sbin:/Applications/LilyPond.app/Contents/Resources/bin IMO, it's better to do this: export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin That way the existing path is still used, even if it's set somewhere else (say, /etc/profile). 8) Type CtrlX, which closes the editor. All of these can be condensed to $ cat export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin ~/.profile (or something like that; please test it before suggesting a doc change) 11) Open a new terminal window and see if lilypond-book works now. Peter, did you do this? After making the change, you _must_ quite terminal and then re-start it. In addition, are you sure you have the right directory? Where did you put lilypond? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
Thanks for this Graham (and your patience!). I think I messed it up somewhere. Here's what I have: 1) lilypond.app is in /applications folder 2) I call up a terminal and see this: ip5455a71f:~ peter$ cd '/Applications/' ip5455a71f:/Applications peter$ 3) Then I type: nano 4) next: I hit CtrlR. Type .profile and hit Enter. I get : File to insert [from ./] : 5) I type .profile and hit Enter 6) This is what I now get: export PATH=/opt/local/bin:/opt/local/sbin:/Applications/LilyPond.app/ Contents/Resources/bin export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin So for some reason I get a combination of Geoff's suggestion and your suggestion. What should I do here? Geoff Horton wrote: Thanks, Graham. So here's what Peter (and I) need to do, assuming that you moved the LilyPond app off your desktop and into the Applications folder: Werner mentioned altering the documentation. Just in case you don't have it handy, here's the link: http://lilypond.org/web/devel/participating/documentation-adding 1) Open a new terminal window. Make sure to hit Return at the end of that line, and make sure not to add any spaces before the colon, which has to be there. My line looks like this: export PATH=/opt/local/bin:/opt/local/sbin:/Applications/ LilyPond.app/Contents/Resources/bin IMO, it's better to do this: export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin That way the existing path is still used, even if it's set somewhere else (say, /etc/profile). 8) Type CtrlX, which closes the editor. All of these can be condensed to $ cat export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/ bin ~/.profile (or something like that; please test it before suggesting a doc change) 11) Open a new terminal window and see if lilypond-book works now. Peter, did you do this? After making the change, you _must_ quite terminal and then re-start it. In addition, are you sure you have the right directory? Where did you put lilypond? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Lilypond + LaTex (on Mac)
[Resending my mail to maillist, since Reply does not do the right thing]-- Forwarded message --From: Simon Dahlbacka [EMAIL PROTECTED]Date: Sep 17, 2006 12:51 PMSubject: Re: Lilypond + LaTex (on Mac)To: Peter O'Doherty [EMAIL PROTECTED]you have the .profile in the wrong place, that is, do *NOT* do step 2 so that .profile ends up in your home directory /SimonOn 9/17/06, Peter O'Doherty [EMAIL PROTECTED] wrote: Thanks for this Graham (and your patience!). I think I messed it up somewhere. Here's what I have:1) lilypond.app is in /applications folder2) I call up a terminal and see this:ip5455a71f:~ peter$ cd '/Applications/'ip5455a71f:/Applications peter$3) Then I type: nano4) next: I hit CtrlR.Type .profile and hit Enter.I get : File to insert [from ./] :5) I type .profile andhit Enter6) This is what I now get:export PATH=/opt/local/bin:/opt/local/sbin:/Applications/LilyPond.app/ Contents/Resources/binexport PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/binSo for some reason I get a combination of Geoff's suggestion and yoursuggestion.What should I do here? Geoff Horton wrote: Thanks, Graham. So here's what Peter (and I) need to do, assuming that you moved the LilyPond app off your desktop and into the Applications folder: Werner mentioned altering the documentation.Just in case you don't have it handy, here's the link: http://lilypond.org/web/devel/participating/documentation-adding 1) Open a new terminal window. Make sure to hit Return at the end of that line, and make sure not to add any spaces before the colon, which has to be there. My line looks like this: export PATH=/opt/local/bin:/opt/local/sbin:/Applications/ LilyPond.app/Contents/Resources/bin IMO, it's better to do this: export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin That way the existing path is still used, even if it's set somewhere else (say, /etc/profile). 8) Type CtrlX, which closes the editor. All of these can be condensed to $ cat export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/ bin ~/.profile (or something like that; please test it before suggesting a doc change) 11) Open a new terminal window and see if lilypond-book works now. Peter, did you do this?After making the change, you _must_ quite terminal and then re-start it.In addition, are you sure you have the right directory?Where did you put lilypond? Cheers, - Graham___lilypond-user mailing list lilypond-user@gnu.orghttp://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: old way of vertically centering refrain no longer works
So, my question is, what is the correct way to vertically center a refrain shared by several stanzas? A real hack method is simply to include it only in the middle stanza Verse one line one Verse one line two Verse two line one Verse two line two Refrain line Verse Three line one Verse Three line two Kind of like that. It's not as good with an even number of verses, where you just have to pick one of the middle two and have it be a little off center. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
Hi,
I have written a very simple Lilypond engine for TeXShop, which you may
find here:
http://www.dimi.uniud.it/vitacolo/freesoftware.html
Maybe this can help.
Regards
Nicola
In article [EMAIL PROTECTED],
Michael J Millett [EMAIL PROTECTED] wrote:
I know this doesn't help, but I have had the same problems trying to
get LP to work with Mac TeXShop. I have read the manual over and over,
searched other sites, and tried everything I can think of. But I must
be missing something because I haven't been able to get it to work,
either. So, I am very curious about the solution. I'm glad you asked
the question.
Michael
On Sep 16, 2006, at 6:38 AM, Peter O'Doherty wrote:
I have been using lilypond for some time now, much to my satisfaction
and without problems.
Recently, I have also started using LaTex (on TeXShop) and have been
trying to use lilypond-book, without succes.
My problem is really a beginner's one I guess as my experience with
LaTex is limited.
If I use the example given here:
http://lilypond.org/doc/v2.6/Documentation/user/lilypond/An-example-
of-a-musicological-document.html#An-example-of-a-musicological-
document
and simply paste the following into an new empty LaTex document
\documentclass[a4paper]{article}
\usepackage{graphics}
\begin{document}
Documents for @command{lilypond-book} may freely mix music and
text.
For example,
\begin{lilypond}
\relative c' {
c2 g'2 \times 2/3 { f8 e d } c'2 g4
}
\end{lilypond}
Options are put in brackets.
\begin[fragment,quote,staffsize=26,verbatim]{lilypond}
c'4 f16
\end{lilypond}
\end{document}
and click Typeset LaTex, I get the following error:
--
This is pdfeTeX, Version 3.141592-1.30.4-2.2 (Web2C 7.5.5)
\write18 enabled.
entering extended mode
(./Untitled-2.tex
LaTeX2e 2003/12/01
Babel v3.8d and hyphenation patterns for american, french, german,
ngerman, d
utch, italian, norsk, portuges, spanish, swedish, nohyphenation,
loaded.
(/usr/local/teTeX/share/texmf.tetex/tex/latex/base/article.cls
Document Class: article 2004/02/16 v1.4f Standard LaTeX document class
(/usr/local/teTeX/share/texmf.tetex/tex/latex/base/size10.clo))
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/graphics.sty
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/trig.sty)
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/graphics.cfg)
(/usr/local/teTeX/share/texmf.tetex/tex/latex/graphics/pdftex.def))
(./Untitled-2.aux)
(/usr/local/teTeX/share/texmf.tetex/tex/context/base/supp-pdf.tex
! Undefined control sequence.
l.9 \relative
c' {
? loading : Context Support Macros / PDF (2004.03.26)
)
! LaTeX Error: Environment lilypond undefined.
See the LaTeX manual or LaTeX Companion for explanation.
Type H return for immediate help.
...
l.8 \begin{lilypond}
?
--
Therefore, it's telling me that the lilypond environment is
undefined. Can someone help me here?
Secondly, I happend upon Nicola Vitacolonna's site where she provided
the following information:
Lilypond is a very good music notation software, which can also be
used with LaTeX. Put Lilypond.engine, Lilypond-LaTeX.engine and
convert-ly.engine into your Library/TeXShop/Engines folder to run
lilypond, lilypond-book and convert-ly, respectively, within TeXShop
(you need to remove the .txt suffix, to make the scripts executable
and to customize the LILYPONDFOLDER variable in the above files to
match your Lilypond installation path). Unfortunately,
pointing-and-clicking on a note will open your source file in the
Lilypond application (point-and-click is not compatible with TeXShop).
However, this does not work, as I get the error:
/Users/peter/Library/TeXShop/Engines/Lilypond-LaTeX.engine does not
have the executable bit set.
Does anyone have experience with the method?
Many thanks,
Peter
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Re: tie problem
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
documentation.
Greetings,
Rainer
Kieren MacMillan wrote:
Hi, Rainer:
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g
a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case. Could you help me please?
Well, you've run into a subtlety of Lilypond that could, perhaps, be
better documented... ;-)
Consider the following code snippet:
%%% BEGIN SNIPPET %%%
\version 2.9.17
\paper
{
indent = 0\in
line-width = 3\in
}
theMusic = \relative c'
{
c d g1 ~ | c d g1\fermata \\ { s2 c4 c } \break
c d g1 ~ | { c d g1\fermata } \new Voice { s2 c4 c }
}
\score
{
\theMusic
}
%%% END SNIPPET %%%
Notice that the tie does not work as expected in the first example,
but does in the second.
This is because, in the first example, the \\ construct
explicitly instantiates TWO voices, BOTH of which are in addition to
the one which contains the c d g that starts the tie -- as a
result, the tie doesn't know where to end, because its Voice doesn't
continue on into the block.
In the second example, the \\ is replaced by an explicit (manual)
instantiation using \new Voice -- this ensures that anything before
the \new Voice command is considered part of the Voice that existed
before the block began, and so the tie knows where to terminate.
Does that make sense?
Or, at the very least, does it explain why you're seeing what you're
seeing? =)
Best regards,
Kieren.
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Re: Lilypond + LaTex (on Mac)
export PATH=/opt/local/bin:/opt/local/sbin:/Applications/LilyPond.app/Contents/Resources/bin IMO, it's better to do this: export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin That way the existing path is still used, even if it's set somewhere else (say, /etc/profile). I agree. I revised that several times and must have ended up with the wrong stuff in the line. 8) Type CtrlX, which closes the editor. All of these can be condensed to $ cat export PATH=$PATH:$HOME/Apps/LilyPond.app/Contents/Resources/bin ~/.profile (or something like that; please test it before suggesting a doc change) The reason I'd rather not do that is if someone makes a typo when entering that line, they're going to have to know how to use a raw-text editor to fix it anyhow, or end up with a bunch of extra export PATH lines and extra stuff in their PATH. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
Thanks for all your help.I eventually got it to work using Nicola Vitacolonna's Lilypond engine for TeXShop which can be found here: http://www.dimi.uniud.it/vitacolo/freesoftware.htmlI would definately recommend it - it works beautifully.Regards,Peter___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond + LaTex (on Mac)
Peter O'Doherty wrote: ip5455a71f:~ peter$ cd '/Applications/' ip5455a71f:/Applications peter$ You edit/create the .profile in your home directory. Don't change directories; just open up a terminal and create the file. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie problem
Hi Rainer,
Fell free to help. See
http://lilypond.org/web/devel/participating/documentation-adding
- Graham
Rainer Hahnekamp wrote:
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
documentation.
Greetings,
Rainer
Kieren MacMillan wrote:
Hi, Rainer:
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g
a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case. Could you help me please?
Well, you've run into a subtlety of Lilypond that could, perhaps, be
better documented... ;-)
Consider the following code snippet:
%%% BEGIN SNIPPET %%%
\version 2.9.17
\paper
{
indent = 0\in
line-width = 3\in
}
theMusic = \relative c'
{
c d g1 ~ | c d g1\fermata \\ { s2 c4 c } \break
c d g1 ~ | { c d g1\fermata } \new Voice { s2 c4 c }
}
\score
{
\theMusic
}
%%% END SNIPPET %%%
Notice that the tie does not work as expected in the first example,
but does in the second.
This is because, in the first example, the \\ construct
explicitly instantiates TWO voices, BOTH of which are in addition to
the one which contains the c d g that starts the tie -- as a
result, the tie doesn't know where to end, because its Voice doesn't
continue on into the block.
In the second example, the \\ is replaced by an explicit (manual)
instantiation using \new Voice -- this ensures that anything before
the \new Voice command is considered part of the Voice that existed
before the block began, and so the tie knows where to terminate.
Does that make sense?
Or, at the very least, does it explain why you're seeing what you're
seeing? =)
Best regards,
Kieren.
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Re: tie problem
Note that this already is described fairly clearly both in
Basic Polyphony and Explicitly Instantiating Voices.
However, if you have any idea on how to make it even
clearer/easier to find, then they are off course welcome.
Graham Percival wrote:
Hi Rainer,
Fell free to help. See
http://lilypond.org/web/devel/participating/documentation-adding
- Graham
Rainer Hahnekamp wrote:
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and
btw. it
makes completely sense. Should really be better integrated into the
documentation.
Greetings,
Rainer
Kieren MacMillan wrote:
Hi, Rainer:
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g
a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case. Could you help me please?
Well, you've run into a subtlety of Lilypond that could, perhaps, be
better documented... ;-)
Consider the following code snippet:
%%% BEGIN SNIPPET %%%
\version 2.9.17
\paper
{
indent = 0\in
line-width = 3\in
}
theMusic = \relative c'
{
c d g1 ~ | c d g1\fermata \\ { s2 c4 c } \break
c d g1 ~ | { c d g1\fermata } \new Voice { s2 c4 c }
}
\score
{
\theMusic
}
%%% END SNIPPET %%%
Notice that the tie does not work as expected in the first example,
but does in the second.
This is because, in the first example, the \\ construct
explicitly instantiates TWO voices, BOTH of which are in addition to
the one which contains the c d g that starts the tie -- as a
result, the tie doesn't know where to end, because its Voice doesn't
continue on into the block.
In the second example, the \\ is replaced by an explicit (manual)
instantiation using \new Voice -- this ensures that anything before
the \new Voice command is considered part of the Voice that existed
before the block began, and so the tie knows where to terminate.
Does that make sense?
Or, at the very least, does it explain why you're seeing what you're
seeing? =)
Best regards,
Kieren.
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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: Lilypond + LaTex (on Mac)
On 9/17/06 4:18 AM, nicola [EMAIL PROTECTED] wrote: Hi, I have written a very simple Lilypond engine for TeXShop, which you may find here: http://www.dimi.uniud.it/vitacolo/freesoftware.html Maybe this can help. Regards Nicola In article [EMAIL PROTECTED], Michael J Millett [EMAIL PROTECTED] wrote: Thanks for this Nicola. I have gotten the engine to work here but everytime it runs, it wants to rebuild the font cache. Is there a way to prevent this as it adds considerable time to each compile. Walter Hofmeister ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
obey measures with eps backend
Hi there!
I'm just trying to fix the LilyPond moduke for ConTeXt to work with
e.g. the latest 2.9;
the module works similar to lilypond-book.
My problem is, that the EPS is always too big, i.e. much bigger than
defined.
My LilyPond snippet has
linewidth = 341.43306\pt
but the EPS and PDF are 541 pt wide.
The whole score is uniformly scaled, it's not only a problem of the
linewidth.
1. Why?
2. How can I avoid that?
I call lily like this:
lilypond -b eps -f eps test.ly epstopdf test.eps
(BTW: How can I avoid all that useless intermediate and additional
files?)
My snippet header looks like this (mostly stolen from lilypond-book):
\version 2.9.9
#(set! toplevel-score-handler print-score-with-defaults)
#(set! toplevel-music-handler (lambda (p m)
(if (not (eq? (ly:music-property m 'void) #t))
(print-score-with-defaults p (scorify-music m p)
#(ly:set-option (quote no-point-and-click))
#(define version-seen #t)
#(set-global-staff-size 16)
\paper {
#(define dump-extents #t)
raggedright = ##f
indent = 0.0\pt
linewidth = 341.43306\pt
vsize = 506.45908\pt
printpagenumber = ##f
}
Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
http://www.cacert.org (I'm an assurer)
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Re: tie problem
I believe this approach could also work properly:
c d g1\arpeggio~ \\ s1 | c d g1\fermata \\ {r2 r4 b'32 (c d
e f g a b)}
i.e., a second space voice is added to the first compass. However,
don't take it as example of good style, since I've just started to learn
Lily.
Best,
Maurício
Rainer Hahnekamp wrote:
Hi Kieren,
thank you very much vor answer. (...)
Greetings,
Rainer
Kieren MacMillan wrote: (...)
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g
a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case.
(...)
using \new Voice -- this ensures that anything before
the \new Voice command is considered part of the Voice that existed
before the block began, and so the tie knows where to terminate.
Does that make sense?
Or, at the very least, does it explain why you're seeing what you're
seeing? =)
Best regards,
Kieren.
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problem with line breaking with polyrhythm
Hi list,I'm having problems trying to write scores for some pieces with polyrhythm:lilypond says that:warning: can't find line breaking that satisfies constraintsI put here a minimal example that shows anyway the problem, my real situation is on a much bigger scale, that's why I need to force in that way the notation, and I have to split a measure in the middle.
In many examples in the documentation I've found tuplets splitted in the middle, but when it comes a polyphonic situation (the other voice doing something different), the same warning appears.Any suggestion or workaround?
Best regards,Libero%%% SNIPPET FOLLOWS %%%\version 2.8.6 \score { \new Staff {\time 4/4 a4 a4 \bar \break a4 a4
} \new Staff { \times 4/5 { a4 a4 a4 a4 a4 } } }
\layout { ragged-right = ##t }
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Re: Tie from voices to chord (begginer)
Hi, Maurí cio!
I have two voices that I should tie to a chord. Is it possible to
do that?
Would the attached example for you?
I know it's not *exactly* what you were asking for -- it uses a
convention of engraving that *fakes* two separate voices, rather than
actually *being* two voices -- but I thought it might be sufficient
for your needs (not knowing exactly what they are from your original
question)...
Hope this helps!
Kieren.
%%% BEGIN SNIPPET %%%
\version 2.9.17
\paper
{
indent = 0\in
line-width = 3\in
}
theMusic = \relative c'
{
\time 2/4
\set tieWaitForNote = ##t
c4~ e4~ c e2
\set tieWaitForNote = ##f
}
\score
{
\theMusic
}
%%% END SNIPPET %%%
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Re: problem with line breaking with polyrhythm
Hi Libero! and I have to split a measure in the middle... Line breaks only work at proper bar lines. (see http://lilypond.org/doc/v2.9/Documentation/user/lilypond/Line-breaking.html#index-g_t_005cbreak-1560) In your example the third 4:5 in the second staff overlaps the invisible bar. From my point of view there is little chance for a workaround. :-( Kind regards, Thies -- Feel free - 10 GB Mailbox, 100 FreeSMS/Monat ... Jetzt GMX TopMail testen: http://www.gmx.net/de/go/topmail ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to break timing coordination between my ossia and main staffs?
I'm using a user-created staff context to accepts ossia notes mid-stream
(see OssiaUnsynchronized below).
I have a piece where my ossia length will have a different number of
measures than the main staff (more or fewer). So for example if the ossia
passage has 2 measures to the main staffs 1 measure I would like the ossia
and main staffs to be oblivious to each others timing but each staff still
know its own timing. Below is an example where I would want to see a 2
measure ossia spread under the main score freely (IOW I dont want it to add
the blank measure to the main staff):
How can I make my ossia context totally oblivious to the timing that is
going on in the main score? So that the ossia does it's own thing and the
main staff does it's own thing measure-wise.
I tried some hacking but still could not get what I wanted.
Eventually I want my template to have 2 different kind of ossia contexts
(see OssiaUnsynchronized and OssiaSynchronized below), one with coordinated
timing (OssiaSynchronized) and one that is free form and ignores the main
staff timing (OssiaUnsynchronized the object of my question). The latter
should simply render a chunk of music without affecting the main staff at
all (my how-to question).
Thanks for any help, the example below will run as-is:.
%EXAMPLE BEGIN
\version 2.9.17
\include english.ly
% Music file
myMusic = \relative c'' {
| e4 e e e
%\set timing = ##f
{ a b c d } \context OssiaUnsynchronized { a b c d d c b a }
%\set timing = ##t
| b b b b
}
% Template file
\score {
\myMusic
\layout {
\context { \Score
\remove Span_bar_engraver
\override SpanBar #'break-visibility = #center-invisible
\remove System_start_delimiter_engraver
\accepts OssiaUnsynchronized
\accepts OssiaSynchronized
}
\context { \Staff
\name OssiaUnsynchronized
\remove Clef_engraver
\remove Time_signature_engraver
\remove Key_engraver
\remove Timing_translator
}
\context { \Staff
\name OssiaSynchronized
\remove Clef_engraver
\remove Time_signature_engraver
\remove Key_engraver
}
}
}
% EXAMPLE END
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Re: Tie from voices to chord (begginer)
Kieren MacMillan wrote:
Hi, Maurí cio!
I have two voices that I should tie to a chord. Is it possible to do
that?
Would the attached example for you?
(...)
theMusic = \relative c'
{
\time 2/4
\set tieWaitForNote = ##t
c4~ e4~ c e2
\set tieWaitForNote = ##f
}
No, it doesn't... I'm trying to typeset a manuscript where the
composer wrote two voices in a compass (one voice is a D, the other is a
rest followed by a A) and both ties to the first of a sequence of D A
E chords in the next compasses.
However, I think I could use your example if I could get lilypond to
draw the first c4 as a c2, while keeping that note time as a 1/4. Do you
think that is possible?
Maurício
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Re: Tie from voices to chord (begginer)
Hi, Maurí cio:
if I could get lilypond to draw the first c4 as a c2, while keeping
that note time as a 1/4.
Do you think that is possible?
With Lilypond, *anything* is possible! ;-)
theMusic = \relative c'
{
\time 2/4
\set tieWaitForNote = ##t
c2*1/2~ e4~ c e2
\set tieWaitForNote = ##f
}
If you absolutely need the rest (in the second voice), I might be
able to take a few seconds and whip up a solution.
Best,
Kieren.
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Re: Orchestral score file organization
It's really up to you. In the end the goal is to separate music from structure so that you can freely re-use your template files for subsequent pieces without having to change or re-write the templates. I tend to keep all the music variable setting for all parts in a single file, then I make an outer file that includes the music file then whatever template staffs I want to score, so if I wanted a score of only the sax section (for a sectional rehearsal) the file might look like this: With the arrangement below using high-level include files that organize lower level include files, I can mizx and match my templates and paper sizes easily without changing templates across songs, because all the song related variables are in single by-song files. Example1: ItHadToBeYou_SaxSection.ly contains this... \include CommonGlobalVariables.ly % common variables varBetweenSystemSpace = #10 % change based on paper size include below varSystemCount = #5 % change based on paper size include below \include PaperLetterSize.ly % contains the paper block and references spacing system count variables above \include ItHadToBeYou.ly % this contains all the variables for all the parts of this song, song title, composer, key, time, notes, etc \include CommonHeader.ly% contains header block and begins a score block and begins a nested choir staff block \include AltoSax1.ly % generic template for alto sax and transposes for Eb \include AltoSax2.ly % etc \include TenorSax1.ly % etc \include TenorSax2.ly % etc \include BaritoneSax.ly % etc \include CommonTrailer.ly % ends the choir staff block, states the layout block, and ends the score block Example2 If I want to score the Alto players part: ItHadToBeYou_AltoSax1.ly contains this... \include CommonGlobalVariables.ly % common variables varBetweenSystemSpace = #35 % change based on paper size include below varSystemCount = #5 % change based on paper size include below \include PaperLetterSize.ly % contains the paper block and references spacing system count variables above \include ItHadToBeYou.ly % this contains all the variables for all the parts of this song, song title, composer, key, time, notes, etc \include CommonHeader.ly% contains header block and begins a score block and begins a nested choir staff block \include AltoSax1.ly % generic template for alto sax and transposes for Eb \include CommonTrailer.ly % ends the choir staff block, states the layout block, and ends the score block This, I think is the one aspect of LilyPond that separates it from all the other GUI based notation software out there, productivity and re-use exponentiated! OnionRingOfDoom wrote: I'm working on writing out a full orchestral score, and I have a lot of the individual instruments done. I was just wondering, what would be the best way to combine all the pieces into the score itself? Should I keep each part as a seperate file and include them in another seperate score file? Or should I do it like the did in this http://lilypond.org/doc/v2.8/Documentation/user/lilypond/String-quartet.html#String-quartet string quartet template and have one huge file for all the music, and then have seperate little files for each part that refference the one big file? To me, at least, the first option makes the most sense. However, what do most people do in this situation? -- View this message in context: http://www.nabble.com/Orchestral-score-file-organization-tf2288589.html#a6357277 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: Orchestral score file organization
Here is a simple example of separating music from structure, just make sure
all the music goes into variables, then the templates only reference
variables, not any particular songs music:
myMusic_ForConcertoNo3.ly would contain this kind of stuff:
varViolinINotes = \relative c' { a-4 b c d }
varViolinIINotes = \relative c' { d2 f }
varClarinetNotes = \relative c' { d16 e f g d f g a d2 }
varTitle = Concerto Number 3
varKey = { \key c \major }
varTime = { \time 4/4 }
varStyle = Moderato
varComposer = Beat-hooven
myStructure_ViolinI.ly might contain this kind of stuff and is re-useable
because it never references any particular song, only variables:
\new Staff \with {
instrument = \markup { \sans Violin I }
stringNumberOrientations = #'(left)
fingeringOrientations = #'(right)
} % end with
{
#(set-accidental-style 'modern)
\clef treble
\once \override Score.RehearsalMark #'self-alignment-X = #left \mark
\markup { \bold \smaller \varStyle }
\varKey
\varTime
\varViolinINotes
}
Now myStructure_ViolinI.ly can be refined over time and re-used for all your
music, because it just provides structure, and is not affiliated with any
particular musical piece.
To compile you just make a 3rd .ly file that includes these 2 files
together:
myCompileViolinI_ForConcertoNo3.ly would contain this:
\include myMusic_ForConcertoNo3.ly
\include myStructure_ViolinI.ly
Now to compile the Violin I part for your next piece, a Mozart score (not
the Beat-hooven score), use this:
myCompileViolinI_ForMozartConcerto.ly would contain this:
\include myMusic_ForMozartConcerto.ly
\include myStructure_ViolinI.ly
Note that you no longer ever have to write another Violin I score, as long
as you are only adding references to variables to it and not music. IOW
keep music separate from structure.
Of course to have headings you will need structure files for heading block
which references to varTitle set in your music file. To combine staffs into
conductor scores just concatenate them as shown in my first post, those
high-level .ly files can also contain any staff grouping blocks. In the end
keeping music separated from structure makes you very productive by the time
you've scored your 60th symphony, because all the work is completed, except
for entering the notes, if you can re-use the part templates.
OnionRingOfDoom wrote:
Rick Hansen (aka RickH) wrote:
It's really up to you. In the end the goal is to separate music from
structure so that you can freely re-use your template files for
subsequent pieces without having to change or re-write the templates. I
tend to keep all the music variable setting for all parts in a single
file, then I make an outer file that includes the music file then
whatever template staffs I want to score, so if I wanted a score of only
the sax section (for a sectional rehearsal) the file might look like
this: With the arrangement below using high-level include files that
organize lower level include files, I can mizx and match my templates and
paper sizes easily without changing templates across songs, because all
the song related variables are in single by-song files.
Whoaaa. You totally just lost me there at separate music from structure.
What part of my score is the structure anyway? As it stands now, each
instrument's part is it's own seperate file. For example, if I were to
print ViolinI.ly, it would print out the complete 1st Violin part, title
and everything. And what are my template files supposed to be? And what
are these music variable settings?
Pretty much the only thing that all my files have in common is this:
% Violin I.ly
\version 2.7.39
\header {
title = Liberi Fatali
composer = Nobuo Uematsu
arranger = Jeremy Abel
instrument = Violin I
%}
\paper {
#(set-paper-size a4)
}
\relative c''{
\set Score.skipBars = ##t
\override Score.RehearsalMark #'Y-offset = #0.08
\override MultiMeasureRest #'expand-limit = 1
Then after that, there's the actual music. Each file has that part up
there in common, with only the file name and the instrument name changed.
If I need to transpose anything or use a different clef, I put that below
the \set Score.skipBars line usually. So, which part of all that goes in
which files you talked about?
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Re: Tie from voices to chord (begginer)
Kieren MacMillan wrote:
Hi, Maurí cio:
if I could get lilypond to draw the first c4 as a c2, (...)
With Lilypond, *anything* is possible! ;-)
(...)
If you absolutely need the rest (in the second voice), I might be able
to take a few seconds and whip up a solution.
Best,
Kieren.
Cool! The code below does exactly what I need (I'm using \include
espanol.ly, so, mi=e, re=d, la=a):
{ r4. s4. | mi2. } \\
{ \set tieWaitForNote = ##t re,2.*1/2~ la'4.~ | re, la'2. }
Thanks a lot!
Maurício
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