Re: acciaccatura slash on beamed eighth notes
There is no direct support for such slashed beams in LilyPond, but if you search the mailing list archives, you should find some tricks that people have used as a workaround. Basically, what you can do is to add a slash as a text script and then move it around to the desired position. /Mats Frédéric Chiasson wrote: Hello, I am trying to transcribe one of my own compositions on Lilypond 2.9.28. I need to have slash beamed gracenotes. I didn't find any way to do it on the mailing list. Did I miss something? The slashed beamed gracenote groups are quite common in contemporary music. I can give you some scanned examples if you need. Thanks for your answers, Frédéric Chiasson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slurs
The slurs follow the musical voices (i.e. the Voice contexts in LilyPond), so as long as you let the voice change staff, the slur will follow. See the example called slur-cross-staff.ly in the Regression Test document included in the on-line documentation for your version of LilyPond. /Mats Christopher A. LaFond wrote: Is there a way to initiate a slur on one staff and have it end on another? For example, in a piano or harp arpeggio that starts in the bass cleff and moves into the treble clef? -- = 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
acciaccatura slash on beamed eighth notes
Hello,I am trying to transcribe one of my own compositions on Lilypond 2.9.28. I need to have slash beamed gracenotes. I didn't find any way to do it on the mailing list. Did I miss something?The slashed beamed gracenote groups are quite common in contemporary music. I can give you some scanned examples if you need. Thanks for your answers,Frédéric Chiasson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Q] Rehearsal marks in parts
On Nov 6, 2006, at 12:38 PM, Graham Percival wrote:Please send future bug reports to the bug-lilypond mailist. Will do. I wasn't sure that this was a bug. There could have been good reasons for it, and I've now learned the trick of putting all marks in a silent part, which is a better way of avoiding mistakes in mark locations.Victor.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
OS X version 10.2.8
I have OSX vs. 10.2.8. What problems will I encounter with LillyPond and use it in 10.2.8. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
slurs
Is there a way to initiate a slur on one staff and have it end on another? For example, in a piano or harp arpeggio that starts in the bass cleff and moves into the treble clef? -- ° Chris° ° ><°> Christopher A. LaFond[EMAIL PROTECTED]http://www.celticharper.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Golpe & Slap
There are several markup commands, where the exact layout depends on some property settings. See the documentation of the \override markup command in "Overview of Markup Commands". /Mats Quoting Kamal <[EMAIL PROTECTED]>: Thank you. This is exactly what I need. But how do you specify the box's line thickness. The documentation says: "\box: Looks at thickness, box-padding and font-size" but it doesn't mention how to set them. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to use thickness with \box in \markup ? Was: Golpe & Slap
-- Forwarded message --
From: Alexander Rose <[EMAIL PROTECTED]>
Date: Nov 6, 2006 8:38 PM
Subject: How to use thickness with \box in \markup ? Was: Golpe & Slap
To: Kamal <[EMAIL PROTECTED]>
Hi,
Am 06.11.2006 um 19:16 schrieb Kamal:
Thank you.
This is exactly what I need.
But how do you specify the box's line thickness.
The documentation says: "\box: Looks at thickness, box-padding and
font-size" but it doesn't mention how to set them.
I have no idea either. I changed the subject to draw some attention...
Alex
On 11/5/06, Alexander Rose <[EMAIL PROTECTED]> wrote:
Am 29.10.2006 um 22:37 schrieb Kamal:
> How can a golpe or a slap notation be achieved in lilypond?
>
>
>
You can use the \markup command: http://lilypond.org/doc/v2.9/
Documentation/user/lilypond/Overview-of-text-markup-
commands.html#Overview-of-text-markup-commands
slap = \markup{ \box \pad-around #-0.1 \fontsize #-2 \sans "x" }
golpe = \markup{ \box \fontsize #+4 "." }
c^\slap d^\golpe
Alex
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Re: Slur usage
Eduardo Vieira-3 wrote:
>
> Hello list, is there a musical difference between these two styles of
> slurring?
>
> { e( f() g) } and { e( f g) }
>
> I have seen songs using either style. Which is more proper? Personally I
> prefer
> the latter. But I'm not a musician.
>
> Eduardo
>
>
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>
Example 2.
I could maybe see example 1 used if there were other voices present as well.
But in this case example 1 is redundant because the player cant
re-articulate a second slur at the F anyway, so why use 2 slurs? The only
way someone can articulate the second slur would be to stop and re-start the
F but then they would not be playing whats written.
--
View this message in context:
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Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: Slur usage
On Mon, Nov 06, 2006 at 10:32:01AM -0800, Graham Percival wrote:
> Eduardo Vieira wrote:
> >Hello list, is there a musical difference between these two styles of
> >slurring?
> >
> >{ e( f() g) } and { e( f g) }
> >
> >I have seen songs using either style. Which is more proper? Personally I
> >prefer
> >the latter. But I'm not a musician.
>
> As a string player, the latter is preferred. However, the first one
> might makes sense with other instruments (winds, singers maybe?)
>
> - Graham
I'm a brass player, and I would definitely prefer the second. I don't recall
seeing a lot of the first in the music I've played.
Of course, that;s just me.
--
=
Cameron Horsburgh
=
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Re: [Q] Rehearsal marks in parts
Victor Eijkhout wrote:
parta = { r1 \mark\default r1 }
partb = { c1 \mark\default c1 }
\score {
<<
\new Staff = "x" {\parta}
\new Staff = "y" {\partb}
>>
}
Thanks, I have added this as
http://code.google.com/p/lilypond/issues/detail?id=149
Please send future bug reports to the bug-lilypond mailist.
- Graham
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Re: Slur usage
Eduardo Vieira wrote:
Hello list, is there a musical difference between these two styles of slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I prefer
the latter. But I'm not a musician.
As a string player, the latter is preferred. However, the first one
might makes sense with other instruments (winds, singers maybe?)
- Graham
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Re: Golpe & Slap
Thank you.
This is exactly what I need.
But how do you specify the box's line thickness.
The documentation says: "\box: Looks at thickness, box-padding and
font-size" but it doesn't mention how to set them.
On 11/5/06, Alexander Rose <[EMAIL PROTECTED]> wrote:
Am 29.10.2006 um 22:37 schrieb Kamal:
> How can a golpe or a slap notation be achieved in lilypond?
>
>
>
You can use the \markup command: http://lilypond.org/doc/v2.9/
Documentation/user/lilypond/Overview-of-text-markup-
commands.html#Overview-of-text-markup-commands
slap = \markup{ \box \pad-around #-0.1 \fontsize #-2 \sans "x" }
golpe = \markup{ \box \fontsize #+4 "." }
c^\slap d^\golpe
Alex
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A question about PartCombiner
Hi everybody, I'd like to ask if anyone knows a way to make PartCombine print the "a2" mark at the beginning of every system ( or after every line-break) until the two voices are together, as a reminder (particularly useful at the beginning of a new page). Thank you, Gianluca D'Orazio ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beam breaking in tuplets
On Monday 06 November 2006 12:59, Mats Bengtsson wrote:
> Erik Sandberg wrote:
> > On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
> >
> > Mats, do you think it would be useful with an operator \newClone to clone
> > the current context? E.g.
> > \new Staff \with {\consists Foo_engraver bar=#'baz}
> > { c d \tiny e f \newClone Staff { g f e d} c d e }
> > would be equivalent to:
> > \new Staff \with {\consists Foo_engraver bar=#'baz}
> > { c d \tiny e f \new Staff \with {\consists Foo_engraver bar=#'baz} {
> > \tiny g f e d} c d e }
> >
> > (I think such operator can come out as a side-effect of some work I'm
> > doing)
>
> Would it even make sense to make this the default behaviour of \new?
> At least, it would probably cause less surprise to a newbie than the
> current implementation, in examples like:
> \relative c'{ \tiny c d <<{e d} \\ {c b}>> }
You have a point here. Perhaps we could have a context property
cloneNewContexts, defaulted to #t for voices, which makes sure that contexts
creations in the current context clone the current context, if the context
types match. (so below, the context hierarchy would be Global-Score-Lyrics
where the inner Voice is created, hence no settings would be inherited; this
also means that the inner \new Voice should create a new staff implicitly).
I think the difficult thing is that the syntactical hierarchy of our input
language doesn't match the hierarchy of contexts.
> On the other hand, it would probably make it less obvious for the advanced
> user to predict exactly what LilyPond does, for example in situations like
>
> \relative c' \new Voice{
> c d e f
> <<
> c1
> \new Lyrics \lyricmode {
> Some4 text
> << \new Voice \notemode { c d e2 }
> {some more text }
>
> }
>
> }
> where it's not obvious if the inner Voice context would inherit anything
> from the outer one (maybe this is already crystal clear to you).
--
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Slur usage
Hello list, is there a musical difference between these two styles of slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I prefer
the latter. But I'm not a musician.
Eduardo
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Re: misusing arpeggios
Am 05.11.2006 um 22:38 schrieb Mats Bengtsson:
One solution is [...]
/Mats
Nice, it works fine, thanks! But I think I found a bug, when you use
fingering instructions on the left in that setting. See attached
example.
For the record: I also put your solution into a function for easier
reuse.
A question: Is there a way to leave the \relative context inside the
\relative{ ... }, like \relative{ c c \absPitches{ e f g'' e} } ? I
would like to do that from within a music-function.
Alex
temp.ly
Description: Binary data
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Re: changing proportional notation duration in mid-line
Am 06. November 2006, 13:09 Uhr (+0100) schrieb Mats Bengtsson:
> Just as any other context property, you can set it with \set. Example:
>
> \relative c'{
> c d e f g f e d
> \set Score.proportionalNotationDuration = #(ly:make-moment 1 64 )
> c d e f g f e d
> \unset Score.proportionalNotationDuration
> c d e f g f e d
> }
Thanks a lot, Mats. Both suggestions worked. You made my day!
:-)
--
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Re: changing proportional notation duration in mid-line
Just as any other context property, you can set it with \set. Example:
\relative c'{
c d e f g f e d
\set Score.proportionalNotationDuration = #(ly:make-moment 1 64 )
c d e f g f e d
\unset Score.proportionalNotationDuration
c d e f g f e d
}
/Mats
Orm Finnendahl wrote:
Hi,
I would like to change the amount of horizontal space for a specified
duration in the middle of a line (reflecting a tempo change) globally
(without having to deal with compress music for each staff).
Is there a way to override the setting of
Score.proportionalNotationDuration on the fly, or can someone think of
another way?
--
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=
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: beam breaking in tuplets
Erik Sandberg wrote:
On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
Victor Eijkhout wrote:
So, if you want a limited scope, you can explicitly create a short-lived
context.
Here's an example that uses smaller note heads for one measure:
\relative c'{ c d e f \new Voice {\tiny g f e d } c d e d c1 }
/Mats
Mats, do you think it would be useful with an operator \newClone to clone the
current context? E.g.
\new Staff \with {\consists Foo_engraver bar=#'baz}
{ c d \tiny e f \newClone Staff { g f e d} c d e }
would be equivalent to:
\new Staff \with {\consists Foo_engraver bar=#'baz}
{ c d \tiny e f \new Staff \with {\consists Foo_engraver bar=#'baz} { \tiny g
f e d} c d e }
(I think such operator can come out as a side-effect of some work I'm doing)
Would it even make sense to make this the default behaviour of \new?
At least, it would probably cause less surprise to a newbie than the
current implementation, in examples like:
\relative c'{ \tiny c d <<{e d} \\ {c b}>> }
On the other hand, it would probably make it less obvious for the advanced
user to predict exactly what LilyPond does, for example in situations like
\relative c' \new Voice{
c d e f
<<
c1
\new Lyrics \lyricmode {
Some4 text
<< \new Voice \notemode { c d e2 }
{some more text }
>>
}
>>
}
where it's not obvious if the inner Voice context would inherit anything
from the outer one (maybe this is already crystal clear to you).
/Mats
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Re: parametrized macros
I hope you have looked in the manual for version 2.9, which is much better
than version 2.8 in this aspect. In particular, look into section "Advanced
tweaks with Scheme" and references therein.
/Mats
Orm Finnendahl wrote:
Hi,
can someone point me to the documentation of parametrized definitions?
Here's what I want to do:
I need to set time signatures above the score without using horizontal
space. Therefore I removed the time signature engraver and added a
markup at each bar with a changed time signature like this:
s1*0^\markup { \hspace #-2 \column
{ \line {\hspace#-0.5 \override #'(font-name . "Helvetica Bold") \raise #-0.8 "3" }
\line {\hspace#-0.5 \override #'(font-name . "Helvetica Bold")
"4"}}}
Since there are many time signature changes in the piece (nearly every
measure), I'd like to define the above expression as a macro with the
nominator and denominator as parameters.
I looked for quite a while but couldn't find the right place in the
documentation.
Thanks for any help,
Orm
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Royal Institute of Technology
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Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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parametrized macros
Hi,
can someone point me to the documentation of parametrized definitions?
Here's what I want to do:
I need to set time signatures above the score without using horizontal
space. Therefore I removed the time signature engraver and added a
markup at each bar with a changed time signature like this:
s1*0^\markup { \hspace #-2 \column
{ \line {\hspace#-0.5 \override #'(font-name . "Helvetica
Bold") \raise #-0.8 "3" }
\line {\hspace#-0.5 \override #'(font-name . "Helvetica
Bold") "4"}}}
Since there are many time signature changes in the piece (nearly every
measure), I'd like to define the above expression as a macro with the
nominator and denominator as parameters.
I looked for quite a while but couldn't find the right place in the
documentation.
Thanks for any help,
Orm
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changing proportional notation duration in mid-line
Hi, I would like to change the amount of horizontal space for a specified duration in the middle of a line (reflecting a tempo change) globally (without having to deal with compress music for each staff). Is there a way to override the setting of Score.proportionalNotationDuration on the fly, or can someone think of another way? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beam breaking in tuplets
On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
> Victor Eijkhout wrote:
> So, if you want a limited scope, you can explicitly create a short-lived
> context.
> Here's an example that uses smaller note heads for one measure:
>
> \relative c'{ c d e f \new Voice {\tiny g f e d } c d e d c1 }
>
>/Mats
Mats, do you think it would be useful with an operator \newClone to clone the
current context? E.g.
\new Staff \with {\consists Foo_engraver bar=#'baz}
{ c d \tiny e f \newClone Staff { g f e d} c d e }
would be equivalent to:
\new Staff \with {\consists Foo_engraver bar=#'baz}
{ c d \tiny e f \new Staff \with {\consists Foo_engraver bar=#'baz} { \tiny g
f e d} c d e }
(I think such operator can come out as a side-effect of some work I'm doing)
--
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Re: overriding Auto Beam
Chris probably wants c4. c8[ b a ] /Mats Panteck wrote: Try: c4. c8 b8[ a8] The [] characters are used to manually start and stop beams. --Steven -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher A. LaFond Sent: Sunday, November 05, 2006 2:23 PM To: lilypond-user@gnu.org Subject: overriding Auto Beam Hi Everyone, I'm new to Lilypond and to the list, and I'm hoping that someone can answer what should be an easy question. I have a measure with a dotted quarter, then three eighth notes (in 3/4 time). I don't want the first of the three eighth notes to beam to the other two, but can't get it to unbeam. Here is the line: c4. c8 b8 a8 -- = 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: beam breaking in tuplets
Victor Eijkhout wrote:
Beam breaking is a visual operation, not a mathematical one. I want a
sixteenth beam broken at any beat boundary, no matter whether this is
in 4/4 time or in a 27 over 26 fragment.
I don't agree completely. Beam breaking is used to clarify the rhythmic
structure,
so you have to tell LilyPond where the beats are.
Btw, that raises another question I''ve been meaning to ask: do
assignments have scope? Can I limit this beam setting overriding to
one fragment, without explicitly restoring the old rules? (Lilypond
looks so much like TeX that I would really expect such a mechanism to
exist.)
If you do a \set ... or \override ..., the setting will be active within
the current
context (unless you explicitly specify \set Score. ... or whatever other
level in
the context hierarchy) from the current moment until the context dies
(or you
change the setting). Even though the #(override-auto-beam-setting) is a
function
that is slightly more advanced than an ordinary \set or \override, the
scoping
principle is the same.
So, if you want a limited scope, you can explicitly create a short-lived
context.
Here's an example that uses smaller note heads for one measure:
\relative c'{ c d e f \new Voice {\tiny g f e d } c d e d c1 }
/Mats
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