Re: Pitch/ octave notation

[Erik Sandberg]

On Thursday 16 November 2006 00:49, Han-Wen Nienhuys wrote:
> Erik Sandberg escreveu:
> > On Wednesday 15 November 2006 13:25, Mads Sejersen wrote:
> >> 2006/11/14, Erik Sandberg <[EMAIL PROTECTED]>:
> >> Then he could use 4c8 instead, or does lilypond have any special
> >> meaning for prepended digits?
> >
> > hm, then maybe 8c4 is an even better choice ("8th of pitch c4"). I
> > guessed that the request for c4 syntax for pitches is related to some
> > musicological convention where c4 is the actual pitch name.
>
> I think it is something either from midi or MUSEDATA (aka. Cobol for
> musicologists).
>
> prepended and appended digits are the same due to whitespace being
> insignificant.
>
>   c8 c4 c8 = c8 c 4c8 = c 8c4 c8

yes, but not if he implements the syntax using a preprocessor which doesn't 
ignore whitespace (i.e. something like s/\([0-8]+\)\([a-g]\)4/\2'\1/ )

-- 
Erik


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Re: placing of artificial harmonic

[Mats Bengtsson]

To make a single note in a chord invisible, you have to use the \tweak 
feature:

4

  /Mats

Orm Finnendahl wrote:

Hi,

I'm trying to write a doublestop in a violin piece, where on note is
played as an artificail harmonic.

In the sequence '4'

The harmonic is placed above the 'eih' but should be placed above the
'd'. Is there any way to either flip the noteheads of the eih and d or
move the harmonic diamond horizontally?

I tried to trick lilypond by adding a fourth notehead in order to flip
the harmonic sign and then making the added notehead invisible:

'4'

This doesn't seem to work inside a chord. Also overriding #'notehead
to be transparent doesn't work in this context.

Putting the d with its harmonic in another voice context results in
awkward spacings of the two voices (Stem up and down) and makes the
whole thing quite difficult to read. Using text markup for the diamond
sign is awkward as the notes are placed above the space with some
ledger lines.

Any ideas?

--
Orm


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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: cross staff melody

[Mats Bengtsson]

If you first try your example without the \change Staff ..., you will
notice that the same problem remains. What happens is that your
polyphony in the lower part,
<< { r8 f16 ( g ) f8 } \\ c2. >>
has the same duration as the longest of the two voices, i.e. as the c2.
Then, when you add more 16th notes after the << ... >>, they will
begin after the end of the c2. The solution is just to include all your
16th notes including staff changes within the << {...} \\ {...} >> 
construct:


lower = \relative c
{
   \clef bass
   \key b \major
   \time 6/8

   << { r8 f16 ( g ) f8 \change Staff = "upper"
   g'''16 ( f ) g, f \change Staff = "lower" g, f |}
  \\ c2. >>
  
}


  /Mats


Helge Kruse wrote:

Hello,

I have a voice in the lower staff, that is so high, that it should be noted
in the upper staff, but logically it belongs to "lower". I tried to edit
this with staff change, but the "upper" staff is already full and the six
16th notes are moved to the next measure. 


How can I get these six 16th (gfgfgf) to the first measure? I would prefer
to keep the 2. in the upper staff, but probably this is not possible?

Regards,
Helge

\version "2.7.39"
\include "deutsch.ly"

upper = \relative c'' 
 {

\clef treble
\key b \major
\time 6/8

2. |
}

lower = \relative c
{
\clef bass
\key b \major
\time 6/8

<< { r8 f16 ( g ) f8 } \\ c2. >>

\change Staff = "upper"
		g'''16 ( f ) g, f 
	\change Staff = "lower" 
		g, f |

}

\score 
{

\context PianoStaff <<
   \set PianoStaff.instrument = "HARPE  "
   \context Staff = upper \upper
   \context Staff = lower \lower
>>
\layout { }
}




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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: \afterGrace - afterGraceFraction [Lilypond 2.10.0 Windows]

[Trent Johnston]

Thanks Mats, Bertalan.

I'll give it a try.

Trent

- Original Message - 
From: "Mats Bengtsson" <[EMAIL PROTECTED]>
To: "Trent J" <[EMAIL PROTECTED]>
Cc: 
Sent: Thursday, November 16, 2006 6:30 PM
Subject: Re: \afterGrace - afterGraceFraction [Lilypond 2.10.0 Windows]


| Actually, afterGraceFraction is defined as an ordinary LilyPond 
identifier,
| in ly/music-functions-init.ly. So, one option for you if you want to
| change the
| setting globally for the full score is to add
| afterGraceFraction = #(cons 7 8)
| at the top level of the file (just as you can define mymelody={c d e f} ).
|
| If you want to change the setting in the middle of a piece, one option
| is to
| use Scheme syntax to change the value of the variable:
| #(define afterGraceFraction (cons 7 8))
|
| (if you do this setting directly after a \afterGrace, then it seems to
| affect also
| this preceding \afterGrace).
|
|/Mats
|
| Trent J wrote:
| > Hello,
| >
| > I'm not sure whether I'm doing this right but the manual states to
| > change the fraction of an afterGrace note(s):
| >
| > The fraction 3/4 can be changed by setting afterGraceFraction, ie.
| >
| > afterGraceFraction = #(cons 7 8). By setting does it mean \set
| > afterGraceFraction = #(cons 7 8).
| >
| > I've tried this and keep running into the following message from
| > Lilypond:
| >
| > warning: can't find property type-check for `afterGraceFraction'
| > (translation-type?).  perhaps a typing error?
| > warning: doing assignment anyway
| >
| >
| > Any help appreciated.
| >
| > Trent
| >
| > _
| > Advertisement: House hunt online now!
| > 
http://a.ninemsn.com.au/b.aspx?URL=http%3A%2F%2Fninemsn%2Erealestate%2Ecom%2Eau%2Fcgi%2Dbin%2Frsearch%3Fa%3Dbhp%26t%3Dres%26cu%3DMSN&_t=758874163&_r=HM_EndText_Nov06&_m=EXT
| >
| >
| >
| >
| > ___
| > 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
| =
|
| 



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Re: Selling music engraved by Lilypond

[Anthony W. Youngman]

In message 
<[EMAIL PROTECTED]>, 
Frédéric Chiasson <[EMAIL PROTECTED]> writes

Hi,

I just saw a message about the tagline "Engraved by Lilypond" and I was
wondering if it is legal to sell our own partitions of our own compositions
engraved with Lilypond? Is there any limitation you put against a ‹commercial› 
use (for now, it is really ‹on the side› but still...)?

Lilypond is, I suspect :-) licensed under the GPL. One of the 
consequences of that is that what you do with the program is your own 
business. Including selling music to which you own the copyright.


Certainly, your work as engraved by Lilypond has no copyright 
obligations to the Lilypond project. And, as a gnu project, what you do 
with the program is none of the developers' business.


Cheers,
Wol
--
Anthony W. Youngman - [EMAIL PROTECTED]



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Re: AW: polyphonic layout

[Mats Bengtsson]

Why do you have a separate <<{...} \\ {...} >> for each bar?
(I agree that it might make the input more readable). Otherwise,
you can save some typing by

lower = \relative c
{
   \clef bass
   \key b \major
   \time 6/8
   
  << { \slurDown \override Rest #'staff-position = #2

   r4 8 ( 4. ) |
   r4 8 ( 4. ) |
   r4 8 ( 4.  ) } \\
 { g,2. | g2. | g2. |} >>
}

Notice also how you can specify the position of the rest.

   /Mats

Helge Kruse wrote:


Cameron, thanks for reply. I really forgot to attach to files. So let me
paste the current ly file here. I have already introduced the changes you
mentioned.

\version "2.7.39"
\include "deutsch.ly"

 upper = \relative c'' 
	 {

\clef treble
\key b \major
\time 6/8
R2.
r4 r8 r g16 ( a b d )
c4. ( c8 ) c16 d es g )
 }
 
 lower = \relative c

 {
\clef bass
\key b \major
\time 6/8
 
   << { \slurDown f4\rest  8 ( 4. ) } \\ { g,2. } >>

   << { \slurDown f'4\rest 8 ( 4. ) } \\ { g,2. } >>
   << { \slurDown f'4\rest 8 ( 4.  ) } \\ { g,2. } >>
% I would like to write it like this: 
%   << { r4  8 ( 4. ) } \\ { g,2. } >>

%   << { r4 8 ( 4. ) } \\ { g,2. } >>
%   << { r4 8 ( 4.  ) } \\ { g,2. } >>
%
 }
 
\book

{
	\score 
	{

\context PianoStaff <<
\set PianoStaff.instrument = "HARPE  "
\context Staff = upper \upper
\context Staff = lower \lower
>>
\layout { }
\midi { \tempo 4=60 }
}
%   \paper { annotate-spacing = ##t }
}

The layout in the lower staff looks now as expected. But it's annoying to
write \slurDown and f4\rest for each measure. Is there any scheme script
that sets the slur direction and the rest position/distance/offset/what-else
for a lot of measures?

Regards, 
Helge




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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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stupid substitution

[yota moteuchi]

Could we add to the doc, section 12.1.2 an example of an even easier
substitution function with no argument.

displayBarNum = #(define-music-function (parser location) ()
 #{
   \once \override Score.BarNumber #'break-visibility = ##f
 #})

Since I took me 15 min to understand how to derive it from the
previous example with one argument.

padText = #(define-music-function (parser location padding) (number?)
  #{
\once \override TextScript #'padding = #$padding
  #})

I hope the syntax is not too bad (the result is correct though)
If I'm wrong or if there is easier way to do this "pure text"
substitution, please correct me

Yota


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Re: placing of artificial harmonic

[Orm Finnendahl]

Am 16. November 2006, 09:40 Uhr (+0100) schrieb Mats Bengtsson:
> To make a single note in a chord invisible, you have to use the \tweak 
> feature:
> 4

thanks, that worked. Unfortunately that creates a new problem: Tieing
two such chords together creates ties between the
invisible 'f" . I tried to change the 'f' into 'fis' in one of the two
chords, but that creates an unwanted accidental...

Is there any way around that (making accidentals transparent or sth of
the like)?

--
Orm


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Re: stupid substitution

[Mats Bengtsson]

In this situation, there is no need for a music function, just use a
normal identifier:

displayBarNum = \once \override Score.BarNumber #'break-visibility = ##f

See section "Saving typing with identifiers and functions", for example.

  /Mats

yota moteuchi wrote:

Could we add to the doc, section 12.1.2 an example of an even easier
substitution function with no argument.

displayBarNum = #(define-music-function (parser location) ()
 #{
   \once \override Score.BarNumber #'break-visibility = ##f
 #})

Since I took me 15 min to understand how to derive it from the
previous example with one argument.

padText = #(define-music-function (parser location padding) (number?)
  #{
\once \override TextScript #'padding = #$padding
  #})

I hope the syntax is not too bad (the result is correct though)
If I'm wrong or if there is easier way to do this "pure text"
substitution, please correct me

Yota


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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: placing of artificial harmonic

[Mats Bengtsson]

One option is to use the new possibility in version 2.10 to specify the
ties separately for each note in the chord, see the NEWS for version 2.10.

  /Mats

Orm Finnendahl wrote:

Am 16. November 2006, 09:40 Uhr (+0100) schrieb Mats Bengtsson:
  
To make a single note in a chord invisible, you have to use the \tweak 
feature:

4



thanks, that worked. Unfortunately that creates a new problem: Tieing
two such chords together creates ties between the
invisible 'f" . I tried to change the 'f' into 'fis' in one of the two
chords, but that creates an unwanted accidental...

Is there any way around that (making accidentals transparent or sth of
the like)?

--
Orm
  


--
=
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: Stupid resolution questions

[Arvid Grøtting]

Rick Hansen (aka RickH  windcrestsoftware.com> writes:

> IOW do I need to do one last compile of my lily work to produce a
> "pre-press" PDF using some option flag I am not aware of ?  Otherwise I will
> tell the shop to select their highest resolution, is this enough?  Am I
> forgetting anything?

You probably don't even need to tell them that.

> Thanks to anyone who has been down this road before.

I've sent Lilypond PDFs to two different print shops on four occations, with
no problem at all.  A print show that accepts PDF input (as *any* print shop
should these days), should have no problem printing any Lilypond PDF
quite beautifully.

Some very minor notes:

- if you try something fancy like an unusual paper size, make sure to talk
to the printer about it.

- I typically get thinner lines (and thus more "whiteness") from a print shop
than from an office laser printer, and thinner lines from a laser than from an
inkjet.

-- 

Arvid






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Adding a spacer

[Kevin Brown]

I'm brand new to lilypond and attempting to lay out bagpipe music.   
The problem is that the embellishments end up too close to the notes  
that follow them, particularly Throws on D etc.  Image of the output  
I'm complaining about attached.  Essentially, I've read the section  
in the manual about horizontal spacing 3 times, and have attempted to  
do \overrides to transparent throwing various symbols there.  Putting  
s1 or similar seems to place a measure bar there  Nothing seems  
to work.  How do I increase the spacing?  I'd be perfectly happy with  
the equivalent of:


\slurd \spacer d2

Or, even better would be a way to define spacing after specific notes  
so that it happened all by itself.


Thanks for your time.

<>
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Re: Selling music engraved by Lilypond

[Mike Blackstock]

Rick Hansen (aka RickH) wrote:

 


I dont know if I will be selling all that many copies of my jazz
arrangements book by the time it's finished, and by the time I've finally
gotten back copyright permissions to print all these arrangements...  But
when I do, I will be proud to to put a credit in the appendix to the effect
"All music in this book was engraved by Lilypond".  I think authors taking
advantage of such a great free resource should do that much and spread the
word.



 

I agree - I'm typesetting stuff for flute/violin and guitar and I'm 
gonna put

something like "Typeset by Mike Blackstock; engraved by Lilypond" right
up under the title, flush left.

Cheers,
Mike




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pitchedTrill

[Orm Finnendahl]

Hi,

I need to do a pitchedTrill, where the bracketed pitch has to be
played as a harmonic. Using

\pitchedTrill 2~\startTrillSpan  4~
\stopTrillSpan

results in an error.

In addition another pitched Trill with an "es" above the staff (third
ledger line) doesn't display the accidental (using 'es!' doesn't seem
to work either). There is no e-flat before in the measure, so I'm at
loss here.

Is it somehow possible to get that working without having to do it
with Text markup? The pitches are with lots of ledger lines and it is
quite tedious to write a text markup for the ledger lines, accidentals
and notes.

--
Orm


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Re: Adding a spacer

[Kieren MacMillan]

Hi, Kevin:

How do I increase the spacing?  I'd be perfectly happy with the  
equivalent of:

\slurd \spacer d2


Check out the archive thread which includes



Or, even better would be a way to define spacing after specific  
notes so that it happened all by itself.


I think you'd need to do some Scheme programming for that...  =\

HTH!
Kieren.



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how to not view empty lines?

[Daniel Boronka]

Does anyone know how to get empty bars and lines/staves, to not show up in 
following lines where empty bars of music are not needed when music is 
finished? See example below.

 Daniel Boronka



 \version "2.6.4"
   \header {
   title = "Evening Hymn"
   %subtitle = "  "
   composer = "Humperdinck"
   tagline = "duet"
 }
 #(set-global-staff-size 17.5)
global = {\key d \major
\time 4/4}
 }
 sopMusic = \relative c'' {
b1\rest b1\rest d,4 fis fis a b a a2 d4 a a fis fis e8 (d) e4 (e8) b'\rest
g4 g fis fis e2 d4 b'\rest a a a g g4. (fis8) e4 b'\rest }
 sopWords = \lyricmode {  
\set stanza = "1."
When at night I go to sleep
four -- teen an -- gels watch do keep:
two my head are guard -- ing,
two my feet are guid -- ing, 
two are on my right hand, }
altoMusic = \relative c'' { }
 sopWordsverseII =\lyricmode { \set stanza = "2."
A -- bends, will ich schla -- fen gehn,
Vier -- zehn En -- gel um mich stehn:
Zwei zu mei -- nen Häup -- ten,
Zwei zu mei -- nen Fü -- ßen, }
 tenorMusic = \relative c' {
b'1\rest b\rest d,4 d d fis g g fis (e)
d fis fis d d cis8 (b) cis4 (cis8) b'\rest
e,4 e d d d (cis) d b'\rest
fis fis fis e e (dis) e b'\rest }
 tenorWords = \lyricmode {
  \set stanza = "1."
When at night I go to sleep
four -- teen an -- gels watch do keep:
two my head are guard -- ing,
two my feet are guid -- ing, }
bassMusic = \relative c'' { }
 tenorWordsverseII = \lyricmode { \set stanza = "2."  
A -- bends, will ich schla -- fen gehn,
Vier -- zehn En -- gel um mich stehn:
Zwei zu mei -- nen Häup -- ten,
Zwei zu mei -- nen Fü -- ßen, }
 upper = \relative c'' {
\key d \major
<<{d,1~ d}\\{s fis,4 (a) a (d)}>> 
\repeat volta 2
{ ()  () 
 () <<{a'2}\\{d,4 (e)}>> 
<<{d'4 (a2 fis4~ fis e8 d 4. 8)}\\{fis2~ d~ d4 cis8 b}>>
<<{g'2 fis e d8 ([e] fis g)}\\{4. cis8 d!4 d~ d cis b d}>>
<<{a' (a a g g4. fis8 e4) g}\\{ dis8. fis16 fis4 e8 d e4 dis e e}>>
}
\alternative
{{ ()  ()  () 2 r4
  ()  () 2}
{4_ ()  ()  () 2
4 ()  ()
 (8  4)
<<{d'8 (e}\\{4}>>}} 1
 }
 lower = \relative c {
\key d \major
\clef bass
<<{d4 (fis) fis (a) d,2 (fis)}\\{d,2 ^(a')}\\{d,1_ (d1)}>>
<<{fis'2 (a g4 e fis g)}\\{d1~ d}>>
<<{a'~ a4 g g a)}\\{d,2 (fis a,2. g8 fis)}>>
<<{r4 g' a2 b4 a8 g fis2)}\\{e,2 (fis g4 a b a8 g)}>>
<<{r4 c'! b2 c!4 (b8 a g4) b}\\{fis,2 (g a4 b e2)}>>
<<{d1 d}\\{d,~ d}>> <<{d' d}\\{d,~ d}>>
<<{d' d2. cis4}\\{d,1~ d}>> 
<<{b'2. bes4}\\{d,1}>> 1
\bar "|."
}
 \score {
\context ChoirStaff <<
   \context Staff = women <<
  \set Staff.midiInstrument = #"flute"
  \context Voice = sopranos { \voiceOne << \global \sopMusic >> }
  \context Voice = altos { \voiceTwo << \global \altoMusic >> }
   >>
   \context Lyrics = sopranos { s1 }
   \context Lyrics = sopranosverseII { s1 }
   \context Staff = men <<
  \set Staff.midiInstrument = #"flute"
  \context Voice = tenors { \voiceOne <<\global \tenorMusic >> }
  \context Voice = basses { \voiceTwo <<\global \bassMusic >> }
   \context Lyrics = tenors { s1 }
   \context Lyrics = tenorsverseII { s1 }
\set Staff.midiInstrument = #"flute"
   \context PianoStaff <<
   \set PianoStaff.instrument = "piano "
   \context Staff = upper \upper
   \context Staff = lower \lower
>>
   >>
   \context Lyrics = sopranos \lyricsto sopranos \sopWords
   \context Lyrics = sopranosverseII \lyricsto sopranos \sopWordsverseII
   \context Lyrics = tenors \lyricsto tenors \tenorWords
   \context Lyrics = tenorsverseII \lyricsto tenors \tenorWordsverseII
>>
\layout {
   \context {
  \Staff minimumVerticalExtent = #'(-3. 0)
   }
} \midi { \tempo 4=70 }
 }



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Re: Adding a spacer

[Mats Bengtsson]

An alternative might be to redefine all or some of the predefined ornaments
in bagpipe.ly to include a spacer note at the end of the grace notes, 
for example

to replace the definition
dblG = { \grace { \small g32[ G d] } }
by
dblG = { \grace { \small g32[ G d] s } }

  /Mats

Kieren MacMillan wrote:

Hi, Kevin:

How do I increase the spacing?  I'd be perfectly happy with the 
equivalent of:

\slurd \spacer d2


Check out the archive thread which includes




Or, even better would be a way to define spacing after specific notes 
so that it happened all by itself.


I think you'd need to do some Scheme programming for that...  =\

HTH!
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: how to not view empty lines?

[Mats Bengtsson]

I took me a while to spot the error in your input file, namely that you
included the PianoStaff within the  \context Staff = men << ... >>.
Once you move up the ending >> to below the basses voice, it should
work better. Also, you do something strange with the alternative endings
of the repeats, since you have three music expressions within the
\alternative{...}, not two.

  /Mats


Daniel Boronka wrote:
Does anyone know how to get empty bars and lines/staves, to not show 
up in following lines where empty bars of music are not needed when 
music is finished? See example below.


 Daniel Boronka



 \version "2.6.4"
   \header {
   title = "Evening Hymn"
   %subtitle = "  "
   composer = "Humperdinck"
   tagline = "duet"
 }
 #(set-global-staff-size 17.5)
global = {\key d \major
\time 4/4}
 }
 sopMusic = \relative c'' {
b1\rest b1\rest d,4 fis fis a b a a2 d4 a a fis fis e8 (d) e4 (e8) 
b'\rest

g4 g fis fis e2 d4 b'\rest a a a g g4. (fis8) e4 b'\rest }
 sopWords = \lyricmode { 
\set stanza = "1."

When at night I go to sleep
four -- teen an -- gels watch do keep:
two my head are guard -- ing,
two my feet are guid -- ing,
two are on my right hand, }
altoMusic = \relative c'' { }
 sopWordsverseII =\lyricmode { \set stanza = "2."   
A -- bends, will ich schla -- fen gehn,

Vier -- zehn En -- gel um mich stehn:
Zwei zu mei -- nen Häup -- ten,
Zwei zu mei -- nen Fü -- ßen, }
 tenorMusic = \relative c' {
b'1\rest b\rest d,4 d d fis g g fis (e)
d fis fis d d cis8 (b) cis4 (cis8) b'\rest
e,4 e d d d (cis) d b'\rest
fis fis fis e e (dis) e b'\rest }
 tenorWords = \lyricmode {
  \set stanza = "1."
When at night I go to sleep
four -- teen an -- gels watch do keep:
two my head are guard -- ing,
two my feet are guid -- ing, }
bassMusic = \relative c'' { }
 tenorWordsverseII = \lyricmode { \set stanza = "2." 
A -- bends, will ich schla -- fen gehn,

Vier -- zehn En -- gel um mich stehn:
Zwei zu mei -- nen Häup -- ten,
Zwei zu mei -- nen Fü -- ßen, }
 upper = \relative c'' {
\key d \major
<<{d,1~ d}\\{s fis,4 (a) a (d)}>>
\repeat volta 2
{ ()  ()
 () <<{a'2}\\{d,4 (e)}>>
<<{d'4 (a2 fis4~ fis e8 d 4. 8)}\\{fis2~ d~ d4 
cis8 b}>>

<<{g'2 fis e d8 ([e] fis g)}\\{4. cis8 d!4 d~ d cis b d}>>
<<{a' (a a g g4. fis8 e4) g}\\{ dis8. fis16 fis4 e8 d e4 dis 
e e}>>

}
\alternative
{{ ()  ()  (a>) 2 r4
  ()  () 2}   
{4_ ()  ()  (a>) 2

4 ()  ()
 (8  4)
<<{d'8 (e}\\{4}>>}} 1
 }
 lower = \relative c {
\key d \major
\clef bass
<<{d4 (fis) fis (a) d,2 (fis)}\\{d,2 ^(a')}\\{d,1_ (d1)}>>
<<{fis'2 (a g4 e fis g)}\\{d1~ d}>>
<<{a'~ a4 g g a)}\\{d,2 (fis a,2. g8 fis)}>>
<<{r4 g' a2 b4 a8 g fis2)}\\{e,2 (fis g4 a b a8 g)}>>
<<{r4 c'! b2 c!4 (b8 a g4) b}\\{fis,2 (g a4 b e2)}>>
<<{d1 d}\\{d,~ d}>> <<{d' d}\\{d,~ d}>>
<<{d' d2. cis4}\\{d,1~ d}>> 
<<{b'2. bes4}\\{d,1}>> 1
\bar "|."
}
 \score {
\context ChoirStaff <<
   \context Staff = women <<
  \set Staff.midiInstrument = #"flute"
  \context Voice = sopranos { \voiceOne << \global 
\sopMusic >> }
  \context Voice = altos { \voiceTwo << \global \altoMusic 
>> }

   >>
   \context Lyrics = sopranos { s1 }
   \context Lyrics = sopranosverseII { s1 }
   \context Staff = men <<
  \set Staff.midiInstrument = #"flute"
  \context Voice = tenors { \voiceOne <<\global 
\tenorMusic >> }
  \context Voice = basses { \voiceTwo <<\global \bassMusic 
>> }

   \context Lyrics = tenors { s1 }
   \context Lyrics = tenorsverseII { s1 }
\set Staff.midiInstrument = #"flute"
   \context PianoStaff <<
   \set PianoStaff.instrument = "piano "
   \context Staff = upper \upper
   \context Staff = lower \lower
>>
   >>
   \context Lyrics = sopranos \lyricsto sopranos \sopWords
   \context Lyrics = sopranosverseII \lyricsto sopranos 
\sopWordsverseII

   \context Lyrics = tenors \lyricsto tenors \tenorWords
   \context Lyrics = tenorsverseII \lyricsto tenors 
\tenorWordsverseII
>>   
\layout {

   \context {
  \Staff minimumVerticalExtent = #'(-3. 0)
   }
} \midi { \tempo 4=70 }
 }




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=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 7

Re: Adding a spacer

[Kevin Brown]

Thanks both of you!

I defined spacer as mentioned in the archive thread, and I'm simply  
adding it to the definitions of the ornaments I feel need more space  
so that I never have to bother with it.


Perhaps these changes should be merged into the bagpipe.ly file  
that's shipped with Lilypond?  Anyway, it works like a charm.



On Nov 16, 2006, at 8:00 AM, Mats Bengtsson wrote:

An alternative might be to redefine all or some of the predefined  
ornaments
in bagpipe.ly to include a spacer note at the end of the grace  
notes, for example

to replace the definition
dblG = { \grace { \small g32[ G d] } }
by
dblG = { \grace { \small g32[ G d] s } }

  /Mats

Kieren MacMillan wrote:

Hi, Kevin:

How do I increase the spacing?  I'd be perfectly happy with the  
equivalent of:

\slurd \spacer d2


Check out the archive thread which includes



Or, even better would be a way to define spacing after specific  
notes so that it happened all by itself.


I think you'd need to do some Scheme programming for that...  =\

HTH!
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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Hiding empty staves

[Andrew Longland-Meech]

Hi all!

I'm using \RemoveEmptyStaffContext to 'French' a piece that I'm
typesetting, but the first system still shows the empty staves. In the
manual section on hiding empty staves it states "...If empty staves
should be removed from the first system too, set remove-first to true in
VerticalAxisGroup.
\override Score.VerticalAxisGroup #'remove-first = ##t   "

I don't understand where this should go. Is it in the \score section? Or
in the \layout section? Or in with the notes? Please can someone guide
me in the right direction?

Regards

Andrew

ps Lilypond is a great piece of software. Many thanks to all involved.



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Re: Hiding empty staves

[Graham Percival]

Andrew Longland-Meech wrote:

\override Score.VerticalAxisGroup #'remove-first = ##t   "

I don't understand where this should go. Is it in the \score section? Or
in the \layout section? Or in with the notes? Please can someone guide
me in the right direction?


Please see chapter 5 of the docs.

Cheers,
- Graham


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Re: stupid substitution

[Nicolas Sceaux]

Mats Bengtsson <[EMAIL PROTECTED]> writes:

> yota moteuchi wrote:
>> [...]
>> displayBarNum = #(define-music-function (parser location) ()
>>  #{
>>\once \override Score.BarNumber #'break-visibility = ##f
>>  #})
>> [...]
>> I hope the syntax is not too bad (the result is correct though)
>> If I'm wrong or if there is easier way to do this "pure text"
>> substitution, please correct me
>>
> In this situation, there is no need for a music function, just use a
> normal identifier

Yota,

Mats is right. But just for the record: music functions with no argument
still have their use, for instance:

displayBarNum =
#(define-music-function (parser location) ()
   (if (eq? #t (ly:get-option display-bar-numbers))
   #{ \once \override Score.BarNumber #'break-visibility = ##f #}
   #{#}))

Then, having used \displayBarNum inside the score, the actual displaying
of bar numbers is triggered by a command line option:

  lilypond -d display-bar-numbers foo.ly

It's valuable when you make different editions of the same score to
enable or disable some features that way (using different clefs,
transposing parts, etc).

nicolas


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Re: how to invoke lilypond from vim

[Benjamin Esham]

[Sorry about that… I replied to the sender and forgot to include the  
list.]


Allan Spagnol Comar wrote:

Good night to all, I was wondering how can I invoke lilypond from  
vim ? I
tried with :make but it invokes gnu make. I looked at  
lilypond.vim on
compilers folder of vim plugin and it seams to me that what I  
should do

was just run make  what did i miss ?


Here's what I've got in my .vimrc for Lilypond:

" process and view PDF of a ly file
nmap l :call LilyPondCompileOpen()

" open this file's corresponding pdf
nmap p :call Open_PDF()

" :: change a file's extension
function! ChangeExt(name, ext)
let name = substitute(a:name, "\.[a-zA-Z0-9_]*$", "\.".a:ext, "")
return name
endfunction

" :: compile and open a LilyPond file
function! LilyPondCompileOpen()
write

let pdfname = ChangeExt(expand("%"), "pdf")

	exe "!/Applications/Lilypond.app/Contents/Resources/bin/lilypond - 
dno-point-and-click --pdf '%' && open '" . pdfname . "'"

endfunction

" :: open the PDF associated with this file (used for ly, tex)
function! Open_PDF()
silent exe ":!open '".ChangeExt(expand("%"), "pdf'")
endfunction

HTH,
--
Benjamin D. Esham
[EMAIL PROTECTED]  |  AIM: bdesham128  |  Jabber: same as e-mail
"It is the unknown we fear when we look upon death and darkness,
nothing more." — Albus Dumbledore in HBP



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Space between 2 headers

[Kamal]

I have the following:

\score {
{ c }
\header {
  title = "Title1"
}
\layout {
  indent = 0.0
}
}
\score {
{ c }
\header {
  title = "Title2"
}
\layout {
  indent = 0.0
}
}

\version "2.8.6"

What is the property which sets the vertical length between score1 &
score2 (indicated by a cross on the attached pic)?

I used:
\paper{
printallheaders=##t
annotate-spacing = ##t
}
But it doesn't show clearly what is the property name.


header.png
Description: PNG image
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How do I add fingering for chords

[Kevin Dalley]

Can I add fingering information for ChordNames when chords are entered
using chordmode?  Fingering when using staffs might be interesting as
well.  Since this is for an accordion, a single finger is often
sufficient, and I don't need 1 number per note.

\version "2.9.19"
\include "english.ly"
#(set-global-staff-size 20)
harmonies =
\relative c, {
  \chordmode {
\time 4/4
c1:m c:m d:m7 e:m f2:m g:7 \bar "||"
  }
}

\score {
  <<
\context ChordNames {
 \harmonies
}
  \context Staff = lower {
\clef treble
\key c \minor
%  \lower
\harmonies
  }
  >>
  \layout {
\context { \GrandStaff \accepts "Lyrics" }
\context { \Lyrics \consists "Bar_engraver" }
  }
}


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Re: Space between 2 headers

[Mats Bengtsson]

My first recommendation is to upgrade to version 2.10, where
several of these page layout issues have been improved.

   /Mats

Quoting Kamal <[EMAIL PROTECTED]>:


I have the following:

\score {
{ c }
\header {
  title = "Title1"
}
\layout {
  indent = 0.0
}
}
\score {
{ c }
\header {
  title = "Title2"
}
\layout {
  indent = 0.0
}
}

\version "2.8.6"

What is the property which sets the vertical length between score1 &
score2 (indicated by a cross on the attached pic)?

I used:
\paper{
printallheaders=##t
annotate-spacing = ##t
}
But it doesn't show clearly what is the property name.







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