Re: marche unitonale
David Bobroff wrote: yota moteuchi wrote: How do I do with lilypond what it's called in french : marche unitonale (that I can not translate in english) Which is the translation of a pattern, a chord, keeping the degrees as well as the key ex : \key c \major a c e become \key c \major g b d french readers would enjoy this wonderful example : http://fr.wikipedia.org/wiki/Marche_harmonique ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user If I correctly understand your example the English term you mean is sequence. That is, a pattern which repeats in a different part of the scale. As far as I know this is not possible with LilyPond. There is a \transpose function but this is not what you want, I think. It certainly can be done, but you may have to write a few lines of Scheme code to do it. You may want to take a look at the example called smart-transpose.ly in the Tips and Tricks document, which makes something related. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Collision
You didn't say how you combined these three voices on a single staff.
I just tried to add
\score{
\new Staff \partOne \\ \partTwo \\ \partThree
}
to your example and think that the resulting layout is quite readible.
/Mats
Mark Garner wrote:
I'm working on an organ score for my wife and there is some notation that (to
me) seems to trip up lilypond.
There are three voices on one staff:
one with a quarter note on f at the top of the treble cleff slurred to a
quarter note on g at the top of the treble cleff
one that is the same thing, but down an octave
the third voice is a half note on b inbetween.
Here is the source:
\header {
title = Complicated Slurring
composer = Mark
enteredby=Mark Garner
}
\version 2.10.0
partOne = \relative c'' {
f4 (g4) r4 r4
}
partTwo = \relative c' {
f4 (g4) r4 r4
}
partThree = \relative c'' {
b2 r4 r4
}
(Put them all together on one staff)
What happens is that the half note's stem collides with the other notes making
it look like it is stemmed with the quarter note.
What I'd like to do would be to nudge the half note over just a little so that
this didn't happen.
Any comments or help would be appreciated.
Mark
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Re: SATB with automatic piano reduction - dynamics?
The problem is that \partcombine creates its own voices.
A simple solution is to keep the engraver and just make sure that no
dynamics are printed:
\override DynamicText #'stencil = ##f
\override DynamicTextSpanner #'stencil = ##f
\override Hairpin #'stencil = ##f
However, do you really need \partcombine? Often you can get very far with
\new PianoStaff
\new Staff { \clef treble \Key \Time
\sopranoMusic \\ \altoMusic
} % Staff
...
% Piano Staff
or even
\new PianoStaff
\new Staff { \clef treble \Key \Time
\new Voice \sopranoMusic \altoMusic
} % Staff
...
% Piano Staff
Then, you can easily remove the Dynamic engraver, for example in the
first case you can do:
\new PianoStaff
\new Staff { \clef treble \Key \Time
\new Voice \with {\remove Dynamic_engraver } \sopranoMusic \\
\altoMusic
} % Staff
...
% Piano Staff
assuming that it's the dynamics of the \altoMusic that you want to keep.
/Mats
Jonathan Henkelman wrote:
I am using the template provided in the manual. I have changed the formating
of the ChoirStaff a bit, but otherwise it is unchanged. I have attached a
reduced version of my current code in a followup post (!?) as it doesn't seem
to matter where I put it in this one, I am accused of top-posting! [It seems
fine to have a script to check for top-posting, but what if it's wrong?!)
My question is how to override the dynamics on the piano reduction. I would
be happy with just -say- the soprano dynamics on the piano score. My
inclination is to \remove the Dynamic_Engraver from the relevent voices, but I
don't seem to understand the syntax for this. Something like the following
with a similar snippet for the bass clef.
\new PianoStaff
\new Staff { \clef treble
\set Staff.printPartCombineTexts = ##f
\partcombine { \context Voice \with { \remove Dynamic_engraver }
{ \Key \Time \sopranoMusic }
{ \Key \Time \altoMusic }
}
}
or...
\new PianoStaff
\new Staff { \clef treble
\set Staff.printPartCombineTexts = ##f
\partcombine
{ \Key \Time \sopranoMusic }
{ { \context Voice \with{ \remove Dynamic_engraver } \Key \Time
\altoMusic }
}
}
I suspect another solution would be to create another music stream with just
the dynamics, and only add the soprano to the piano score. I am thinking that
I will find it easier to add the dynamics inline with the music, but if this
is the only solution...
Thanks much. If anyone has the time or inclination, I'm having a hard time
figuring out from the manual just what context a \partcombine is. Hence, I am
finding it difficult to refer to it's context for \override or \remove. Can
it be made into a named context like Staffs and Voices? Also what type of
arguments does it take - voices, or music streams, or something else?
Jonathan
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Re: Left alignment of lyrics when not using lyricsto
Just do
\set associatedVoice = ...
as instructed in section Another way of entering lyrics.
/Mats
Eduardo Vieira wrote:
In the second example, the first 3 lyric-syllables are left aligned to the
note-head because I specified the durations and didn't use lyricsto. Intend
behaviour?
% Created on Thu Dec 14 07:50:40 GMT-03:00 2006
\version 2.10.2
\include english.ly
verse= \lyricmode {
come8 good old friends
}
staffSoprano = \new Staff {
\time 6/8
\key c \major
\clef treble
\relative c' {
\context Voice = melodySop {
\partial 4. g' e 8 f d e c c' e 4. ~ c e
}
\bar |.
}
}
\score {
\staffSoprano
\context Lyrics = lmelodySop { \verse }
}
\score {
\staffSoprano
\context Lyrics = lmelodySop \lyricsto melodySop { \verse }
}
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Sweden
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Re: Tutorial
Thank you, it is working fine.
Manuel
Am 17/12/2006 um 19:42 schrieb Mats Bengtsson:
Quoting Gilles Sadowski [EMAIL PROTECTED]:
Hi.
It seems to be working now. Gilles suggestion (thanks, Gilles)
worked
fine but I couldn't substitute title and composer for piece
and
opus. Eventually I wrote it thus:
In a \score block, you can use only piece and opus.
[title and composer must be set outside of all \score blocks.]
See also the end of the section on Creating titles to learn how
to change the default, so that all titling fields are typeset for
each score.
I cannot find, however, how to write part of the title between
double
quotes, like this:
Branle Quatre branles
You can escape the quotes with a backslash:
\score {
{ c' d' e' f' }
\header {
piece = Branle \Quatre Branles\
opus = Susato
}
}
This is described in the section on Entering Lyrics, which also
points out that this often isn't the best solution.
/Mats
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Re: ???programming error: minimise_least_squares (): Nothing to minimise???
I have no time (sorry) to investigate it but I can send the whole file to anyone interested.. No copyright concerns here, it is copyleft music of my own Will try to do it some time in the future (this is ver. 2.10.2) On Sunday 17 December 2006 14:13, Graham Percival wrote: Mehmet Okonsar wrote: what's that: programming error: minimise_least_squares (): Nothing to minimise continuing, cross fingers It's an error message. If it occurs with the latest lily, please construct a minimal example and send it to the bugs list. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Mehmet Okonsar, pianist-composer-conductor www.okonsar.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
Graham Percival escreveu: David Fedoruk wrote: I have been using the web documentation for lilypond 2.11 quite intensively the last few days. I've begun to get pages in French and a few in Spanish. This seems very odd. A quick check on lilypond-devel will reveal that we are putting in a new mechanism for translating the docs and displaying the appropriate language. I haven't been keeping track of the progress, but you may be interested. If you can reproduce a problem in the stable 2.10 stream, please report it. Bear in mind that 2.11 is the unstable branch and will experience problems from time to time. hi, FWIW, I try to keep .10 and .11 completely synched in terms of bugfixes and build procedures. The former for obvious reasons, the latter because it makes the GUB builds less of a headache. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi2ly error
Quentin Spencer escreveu: Unfortunately, I don't have direct access to any PPC hardware, including those used by the Fedora build system (I can only submit batch jobs to a queue). So, I'm not sure I can do much more unless someone else has a PPC with FC5 (it appears that this doesn't happen with FC6). Actually, I now realize there is a stack trace of the error in the build log, which can be found at: http://buildsys.fedoraproject.org/logs/fedora-5-extras/23882-lilypond-2.10.2-2.fc5/ppc/build.log This is actually a fontconfig problem. FcGlobalCacheSave doesn't even exist in fontconfig 2.4 -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
Mats Bengtsson [EMAIL PROTECTED] writes: I noticed the same problem on the 2.10 documentation pages yesterday, Can you identify one page that has the problem? Setting the Prefered language to include English solves the problem, but it's definitely a bug that the French version is the default if you haven't configured your browser. Why would it not be a browser bug? But even if it is, may want to see if we can `fix' it by faking an english translation that points to the original. Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
Mats Bengtsson [EMAIL PROTECTED] writes: For example, I had problems with http://lilypond.org/doc/v2.10/Documentation/user/lilypond/index Ok, we are missing .en.html symlinks to the plain .html pages. Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can't get markup to go below slur
First of all, why do you use a markup? If you read the section on trills,
it will point you to the section on articulations which tells you that you
can use d2.^\trill.
However, to answer your direct question, use
\override Script #'avoid-slur = #'inside
(assuming that you replaced your markup with \trill).
In general, you can always move things around using the extra-offset
property, as described in Common Tweaks.
/Mats
Carl Youngblood wrote:
I have some notes that are on the upper portion of a piano system,
like this:
{
ees' bes g8 g,_\( bes ees g bes \times 3/2 { ees8[ f] } \times 3/2
{ g[ bes]\! }
\times 3/2 { bes8 aes } \times 3/2 { g f } ees2.
d2.^\markup{ \italic \bold tr. } \grace { c16[ d] } ees2.)
} \\ {
s2. ees4. des
c4. ces bes g2.
bes2. g8 ees bes g' ees bes
}
It's in 12/8 time and the notes are in relative mode. The first
E-flat is the one just above middle C. The problem I'm having is that
when I put the slur on this section as shown above, the trill markup
gets placed way out of the way above the slur. There's plenty of room
for the trill below the slur and above the note. I've tried using
\raise and \lower to no avail. Any lilypond gurus out there have any
tips for me?
By the way, it's been a couple of years since I used lilypond last. I
must say it keeps getting better and better. The placement is usually
very good without my having to do anything. I'm also curious to know
if anyone is working on a jazz font for lilypond. I raised this issue
on the mailing list a few years ago but I'm not sure what's happened
since then.
Thanks,
Carl Youngblood
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Sweden
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Fax: (+46) 8 790 7260
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Re: SATB with automatic piano reduction - dynamics?
Mats Bengtsson mats.bengtsson at ee.kth.se writes:
[snip override solution]
However, do you really need \partcombine? Often you can get very far with
\new PianoStaff
\new Staff { \clef treble \Key \Time
\sopranoMusic \\ \altoMusic
} % Staff
...
% Piano Staff
or even
\new PianoStaff
\new Staff { \clef treble \Key \Time
\new Voice \sopranoMusic \altoMusic
} % Staff
...
% Piano Staff
Then, you can easily remove the Dynamic engraver, for example in the
first case you can do:
\new PianoStaff
\new Staff { \clef treble \Key \Time
\new Voice \with {\remove Dynamic_engraver } \sopranoMusic \\
\altoMusic
} % Staff
...
% Piano Staff
Thanks much. This worked very elegantly. I applyed the \voiceOne, Two etc.
keyword to get the stems the right way. I can apply the tweak in the piano
score section of the manual to get the dynamics centred vertically between the
staves.
It seems to me that this is an easier way to tackle the problem than the
template provided in the manual?
Thanks much,
Jonathan
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How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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Re: Constructive Criticism and a Question
Graham Percival gpermus at gmail.com writes: Jonathan Henkelman wrote: In terms of making it easier, I don't know if it would be straight forward or not, but if the PDF version of the manual had chapter numbers in the table on contents that showed on the bookmark pane (to the left) it would make it much easier to bounce around and find one's way back again. I'm sure that this can be done by adding a few words to some part of the doc and/or makefiles; the problem is simply finding the right place and figuring out the words. I'll look into this. Thanks much. Is there a copy of the so called programmers documentation in a suitable format to download i.e. PDF (I know it would be long) or a few large HTML files, or an archive (tarball - whatever) of the current HTML documentation. I was hoping to do a bit more work on this over the break, but will have very limited web access... There _is_ a documentation tarball, but I'm not certain if it includes the program reference. I have downloaded the tarball and it had the internals, but the links are broken apparently because the file extensions are not explicitly in the links. I am running IE 6.0. on Win XP. Perhaps it is a configuration problem in IE on my part. Some type of doc. that oulined the lexical construction of Lilypond would be helpful. I am not used to the level on confusion I am experiencing now, when learning a language. As with all open-source projects, documentation depends on interested people writing material. I don't have the time to pursue such a project, but if you (or somebody else) wrote this material, I'd be more than happy to add it to the manual. Ay - I hear you there. I have been considering taking on this project, and I still need to figure out if I have time before I get myself in over my head and unable to keep up with the commitment others might have made to me. A couple of questions I have been pondering in this regard: 1) Since I am fairly new to Lilypond, are there folks out there that would be willing to aid me in the likely event of confusion (I assume this group will do). 2) If/when inconsistencies in the language turn up - as I'm sure they will - is there an interest amoung the programmers to correct these? 3) A complaint I have seen both commonly on this archive and also on the todo list of the co-ordinators for lilypond, is to try and make the learning curve a bit less steep. One logical outcome of a document of this type is that it can be used to clean up the language - i.e. fulfilling this last goal. Is there any interest on the part of the programmers/organizers to undertake this task should I ever get this doc completed. I envision a process whereby the basic notation of lilypond stays the same (obviously), but: - perhaps some command forms would be dropped, - perhaps users would be forced into less freedom in the syntax - perhaps come commands would be morphed to fit into a framework that more closely matches other commands. - any changes would idealy be changeable in input scripts using some sed/diff routines to update routines would be automated (no point in unnecessarily agravating the end user) Some examples: As I can see it now, there are numerous ways to create contexts. In fact if I understand correctly, most commands create contexts. One example I saw in the archive explicly used the context command in all (most?) of these cases. Perhaps either forcing the use of context everywhere a context is being created, or eliminating its use altogether as it is basically implied everywhere would be helpful I have been banging my head against the \combineparts routine. Mats suggested a different form using polyphonic notation which does the task just as nicely. \combineParts does not (to my naive eyes seem to fit the same form as the other commands (e.g. \new Staff, \new Voice etc.) Differences such as this make the learning curve steeper. I think in the end Lilypond would be a cleaner language, but as always happens when trying to eliminate legacy code there is always someones toes being stepped on... What do people think about this... [snip established and reported error] Finally, is the web interface for posting to this archive the most straight forward method? I tried posting this yesterday, but it got lost in the ether. Is there perhaps an email address I can send the post to, where it will get sent back for validation etc. I believe the email address is at the bottom of every message on the list: lilypond-user at gnu.org Not on my web based threaded client (Loom?). I feel like such a newbie, but I can't find it on the FAQ or anywhere else... I can post to gmane.test, but how would I post to followup without using the web interface (i.e. to avoid the top-post checking in cases when I am not actually top-posting...) Thanks, Jonathan
Re: Web documentation automatic language
Jan Nieuwenhuizen [EMAIL PROTECTED] writes: Ok, we are missing .en.html symlinks to the plain .html pages. This is fixed manually on lilypond.org, but we should have the new add-html-footer script should do this. Jonh? Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
Jan Nieuwenhuizen escreveu: Setting the Prefered language to include English solves the problem, but it's definitely a bug that the French version is the default if you haven't configured your browser. Why would it not be a browser bug? because language negotion happens server-side? isn't there a way to configure apache that .en is the default? -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
AppleScript on OSX
Hello, I am a 100% newbie, having just discovered LilyPond last week, but see a big future for it in my work. I would like to request that minimal AppleScriptability be implemented at an appropriate time. I will probably be coding my .ly files in BBEdit or TextWrangler, and being able to run an AppleScript that tells the LilyPond app to run the active file would be a real convenience. Please excuse my ignorance if you already have a unix command for this, I haven't covered the whole manual yet... Best regards, Aaron Brooklyn, NYC http://www.skyflower.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
Jonathan Henkelman wrote: Ay - I hear you there. I have been considering taking on this project, and I still need to figure out if I have time before I get myself in over my head and unable to keep up with the commitment others might have made to me. A couple of questions I have been pondering in this regard: 1) Since I am fairly new to Lilypond, are there folks out there that would be willing to aid me in the likely event of confusion (I assume this group will do). Of course! 2) If/when inconsistencies in the language turn up - as I'm sure they will - is there an interest amoung the programmers to correct these? Since the parser is implemented using lex and bison, there shouldn't be any formal inconsistencies. At second thought, larger and larger parts of the syntax is now implemented as Scheme functions, but they too have a formal syntax check. However, I'm sure you can find lots of language constructs that are confusing. Note that the syntax and semantics has evolved over the years and still is. Many of these changes have in my opinion made the syntax more consequent and simpler. 3) A complaint I have seen both commonly on this archive and also on the todo list of the co-ordinators for lilypond, is to try and make the learning curve a bit less steep. One logical outcome of a document of this type is that it can be used to clean up the language - i.e. fulfilling this last goal. Is there any interest on the part of the programmers/organizers to undertake this task should I ever get this doc completed. I envision a process whereby the basic notation of lilypond stays the same (obviously), but: - perhaps some command forms would be dropped, - perhaps users would be forced into less freedom in the syntax This is one concern I have raised a couple of times. There are lots of optional constructs, which often confuses new users. They certainly save some typing and perhaps lower the initial threshold a bit for new users. However, I think the reduced number of key strokes only is significant in small test examples (which is what the main developers mostly do, and myself and other who help on the mailing list) but not in any real world typesetting. - perhaps come commands would be morphed to fit into a framework that more closely matches other commands. - any changes would idealy be changeable in input scripts using some sed/diff routines to update routines would be automated (no point in unnecessarily agravating the end user) That's what convert-ly does. Some examples: As I can see it now, there are numerous ways to create contexts. In fact if I understand correctly, most commands create contexts. One example I saw in the archive explicly used the context command in all (most?) of these cases. Perhaps either forcing the use of context everywhere a context is being created, or eliminating its use altogether as it is basically implied everywhere would be helpful See Creating contexts. Use \new if you want to make sure to get a new unique context. Use \context if you want to add on to an already existing one. However, you can use \context to create a new context if you manually make sure that the identifier is unique, so there's a flexibility that may cause confusion. I have been banging my head against the \combineparts routine. Mats suggested a different form using polyphonic notation which does the task just as nicely. \combineParts does not (to my naive eyes seem to fit the same form as the other commands (e.g. \new Staff, \new Voice etc.) Differences such as this make the learning curve steeper. If you search the mailing list archives, you will find lots of discussions on the \partcombine function. The general conclusion is that it often doesn't do what you want to do and that it's impossible to support since the implementation is too complex. However, there are plans to reimplement it from scratch. I think in the end Lilypond would be a cleaner language, but as always happens when trying to eliminate legacy code there is always someones toes being stepped on... What do people think about this... [snip established and reported error] Finally, is the web interface for posting to this archive the most straight forward method? I tried posting this yesterday, but it got lost in the ether. Is there perhaps an email address I can send the post to, where it will get sent back for validation etc. I believe the email address is at the bottom of every message on the list: lilypond-user at gnu.org Not on my web based threaded client (Loom?). I feel like such a newbie, but I can't find it on the FAQ or anywhere else... I can post to gmane.test, but how would I post to followup without using the web interface (i.e. to avoid the top-post checking in cases when I am not actually top-posting...) See www.lilypond.org - Documentation or www.lilypond.org - About for links to the mailing list
Re: AppleScript on OSX
See Notes for the MacOS X app and Editor support in the manual. If you search the mailing list archives, you will find that people have done these things for lots of different editors and I recall having seen BBEdit mentioned, for example. /Mats Aaron Mendez wrote: Hello, I am a 100% newbie, having just discovered LilyPond last week, but see a big future for it in my work. I would like to request that minimal AppleScriptability be implemented at an appropriate time. I will probably be coding my .ly files in BBEdit or TextWrangler, and being able to run an AppleScript that tells the LilyPond app to run the active file would be a real convenience. Please excuse my ignorance if you already have a unix command for this, I haven't covered the whole manual yet... Best regards, Aaron Brooklyn, NYC http://www.skyflower.com/ ___ 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
\mark in last measure does not show text
Hello
I want a rehearsal mark to show up at the top right of a measure.
The problem: the mark is not displayed if the measure is the last
measure of the piece.
Below is a script that exhibits the problem, followed by a script where
the mark is displayed properly, simply because there is an additional
empty measure after it.
Can anyone tell me what I am doing wrong in the bad script?
Best regards
Nick Didkovsky
BAD SCRIPT
\version 2.10.0
% Staff 1
testStaffAA = {
% Measure 1
\repeat volta 1
{
\override Score.MetronomeMark #'padding = #4.5
\tempo 4=60
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\clef treble
g'4 f'4 b'4 g'4
}
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark 6x
}
GOOD SCRIPT
\version 2.10.0
% Staff 1
testStaffAA = {
% Measure 1
\repeat volta 1
{
\override Score.MetronomeMark #'padding = #4.5
\tempo 4=60
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\clef treble
g'4 f'4 b'4 g'4
}
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark 6x
% Measure 2
R4*4
}
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Re: \mark in last measure does not show text
See the secion on Text marks.
/Mats
Nick Didkovsky wrote:
Hello
I want a rehearsal mark to show up at the top right of a measure.
The problem: the mark is not displayed if the measure is the last
measure of the piece.
Below is a script that exhibits the problem, followed by a script
where the mark is displayed properly, simply because there is an
additional empty measure after it.
Can anyone tell me what I am doing wrong in the bad script?
Best regards
Nick Didkovsky
BAD SCRIPT
\version 2.10.0
% Staff 1
testStaffAA = {
% Measure 1
\repeat volta 1
{
\override Score.MetronomeMark #'padding = #4.5
\tempo 4=60
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\clef treble
g'4 f'4 b'4 g'4
}
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark 6x
}
GOOD SCRIPT
\version 2.10.0
% Staff 1
testStaffAA = {
% Measure 1
\repeat volta 1
{
\override Score.MetronomeMark #'padding = #4.5
\tempo 4=60
\key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\clef treble
g'4 f'4 b'4 g'4
}
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark 6x
% Measure 2
R4*4
}
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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: Constructive Criticism and a Question
Jonathan «puts the finger» on an interesting topic. While most of the basic commands for note entry are quite intuitive (and that's a good thing!), there are some commands that the syntax seems counter-intuitive for a composer or a simple musician. For example, the command \times. Normally, we only write one number for tuplets, but in contemporary music, it is common to write a ratio to clarify the actual duration of the tuplet. For a triplet, we can write 3, but we can also write 3 : 2 over the note. It says 3 notes in the duration of 2 (I know most of you know that, but it is to explain the syntax. Also my English syntax might be bad). It is useful to make the difference between 7 : 8 and 7 : 4, for example. Some contemporary composers even write 7 : (quarter note figure) to say 7 notes in a quarter note duration But the \times function demands for a triplet to write 2/3. I know it might seem logical to ask for the fraction of the note. But in fact, for a composer, it is far more intuitive to write 3/2 or even better, 3:2 than 2/3 for a triplet. Writing 2/3 for a 3:2 tuplet is not a big problem, but what about 10:7? Also, for simple note entry, I think you should put MORE freedom for the possible order to write all the symbols. For example you want to put a eighth note at c# one octave higher, you want to make an octave check and make sure the sharp appears. We could write it in many ways cis'!=''8 cis'!8='' c8is!'='' cis8'=''! cis'8!='' etc. But LilyPond accepts only one way of writing it ... and I don't remember which one! And I didn't find any syntax rule about the exact order of the commands in the user manual. To put a syntax rule in the user manual would be good, but to make the compiler more flexible would be even better. Finally, it would be a good thing to revise the grammar of the functions in LilyPond by composers and musicians who are NOT programmers to make the LilyPond language more intuitive, so the learning curve would be less steep. That would be a great thing to do for an eventual LilyPond 3.0. And I would be willing to give some of my free time for that! Regards, Frédéric Chiasson 2006/12/18, Mats Bengtsson [EMAIL PROTECTED]: Jonathan Henkelman wrote: Ay - I hear you there. I have been considering taking on this project, and I still need to figure out if I have time before I get myself in over my head and unable to keep up with the commitment others might have made to me. A couple of questions I have been pondering in this regard: 1) Since I am fairly new to Lilypond, are there folks out there that would be willing to aid me in the likely event of confusion (I assume this group will do). Of course! 2) If/when inconsistencies in the language turn up - as I'm sure they will - is there an interest amoung the programmers to correct these? Since the parser is implemented using lex and bison, there shouldn't be any formal inconsistencies. At second thought, larger and larger parts of the syntax is now implemented as Scheme functions, but they too have a formal syntax check. However, I'm sure you can find lots of language constructs that are confusing. Note that the syntax and semantics has evolved over the years and still is. Many of these changes have in my opinion made the syntax more consequent and simpler. 3) A complaint I have seen both commonly on this archive and also on the todo list of the co-ordinators for lilypond, is to try and make the learning curve a bit less steep. One logical outcome of a document of this type is that it can be used to clean up the language - i.e. fulfilling this last goal. Is there any interest on the part of the programmers/organizers to undertake this task should I ever get this doc completed. I envision a process whereby the basic notation of lilypond stays the same (obviously), but: - perhaps some command forms would be dropped, - perhaps users would be forced into less freedom in the syntax This is one concern I have raised a couple of times. There are lots of optional constructs, which often confuses new users. They certainly save some typing and perhaps lower the initial threshold a bit for new users. However, I think the reduced number of key strokes only is significant in small test examples (which is what the main developers mostly do, and myself and other who help on the mailing list) but not in any real world typesetting. - perhaps come commands would be morphed to fit into a framework that more closely matches other commands. - any changes would idealy be changeable in input scripts using some sed/diff routines to update routines would be automated (no point in unnecessarily agravating the end user) That's what convert-ly does. Some examples: As I can see it now, there are numerous ways to create contexts. In fact if I understand correctly, most commands create contexts. One example I saw in the archive explicly used the context command in all (most?) of
Re: accidental-style modern
Michael Kiermaier wrote:
I would like to extend that behaviour to the next two or maybe three or four
measures, since the measures are relative short in my case (3/8 time
signature). Is that possible?
If you want the modern accidentals to be remembered over 3 bar-lines
(instead of the default 1), use
\set Score.autoAccidentals =
#'(Staff (same-octave . 0) (any-octave . 0) (same-octave . 3))
\relative c' { \time 3/8 \key g \major f4. a4. fis4.}
Change the 3 to other values to alter how long the accidentals are
remembered.
-Rune
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Re: Lyrics in poly
that wont assign lyrics to the f4 f4
i tried
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g }
\context Voice = melodia { \voiceTwo f4 f4 } \oneVoice
but it dosent work either i put all stems down even the first voice
On Dec 18, 2006, at 12:56 AM, Eduardo Vieira wrote:
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes
g }
\context Voice = alto { \voiceTwo f4 f4 } \oneVoice
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Re: AppleScript on OSX
Mats Bengtsson wrote:
Aaron Mendez wrote:
I am a 100% newbie, having just discovered LilyPond last week, but
a big see future for it in my work. I would like to request that
minimal AppleScriptability be implemented at an appropriate time. I
will probably be coding my .ly files in BBEdit or TextWrangler
See Notes for the MacOS X app and Editor support in the manual.
If you search the mailing list archives, you will find that people have
done these things for lots of different editors and I recall having seen
BBEdit mentioned, for example.
/Mats
This is the command we're using to run lilypond in TextMate:
#!/bin/bash
. ${TM_SUPPORT_PATH}/lib/webpreview.sh
html_header 'Engrave amp; View' $TM_FILENAME
echo 'h2Engraving…/h2'
: ${TM_LILYPOND:=$(find_app
Lilypond.app)/Contents/Resources/bin/lilypond}
[[ ! -f $TM_LILYPOND ]] TM_LILYPOND=lilypond
if ! type /dev/null -p $TM_LILYPOND; then
echo Error locating lilypond on your system.
exit
fi
cd $TM_DIRECTORY
$TM_LILYPOND $TM_FILENAME | pre
if [[ -f ${TM_FILEPATH%.*}.pdf ]];
then echo Opening PDF…; open ${TM_FILEPATH%.*}.pdf
else echo Error generating PDF file.
fi
This could easily be adapted to work with BBEdit, though you'll have to
take some care with the `TM_*` variables. Basically this command sets
`TM_LILYPOND` to be the lilypond tool inside the .app bundle, if it
isn't otherwise set, then it compiles the document (`TM_FILEPATH`), and
then opens the result in the default pdf viewer. The other issue is
TextMate's `find_app` command-line tool. You could either hardcode the
path to lilypond.app, you could use some other method (an applescript
would work, though it's awfully slow), or you could just download the
`find_app` tool from TextMate's svn repository:
source: http://macromates.com/svn/Bundles/trunk/Tools/find_app/
binary: http://macromates.com/svn/Bundles/trunk/Support/bin/find_app
Or, of course, you could try out TextMate. The bundle is still far from
complete, but it's pretty useful as is, and far more integrated than
BBEdit/TextWrangler is ever likely to be. ;)
-Jacob
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Re: Constructive Criticism and a Question
There are also places where 3/2 is necessary with the current way of
doing things. For example, I was just doing a piece in 12/8 time
where triplets are the norm and I needed to do eighth notes with a
two feel. In this case I had to use \times 3/2 { c8 c } etc. I
guess in this case you're saying it would be more intuitive to do
2/3? I really don't mind the way things are now. It's a syntax that
has to be learned anyway, and once you learn it, it seems about the
same effort either way.
On Dec 18, 2006, at 9:30 AM, Frédéric Chiasson wrote:
Jonathan «puts the finger» on an interesting topic.
While most of the basic commands for note entry are quite intuitive
(and that's a good thing!), there are some commands that the syntax
seems counter-intuitive for a composer or a simple musician.
For example, the command \times. Normally, we only write one number
for tuplets, but in contemporary music, it is common to write a
ratio to clarify the actual duration of the tuplet. For a triplet,
we can write 3, but we can also write 3 : 2 over the note. It
says 3 notes in the duration of 2 (I know most of you know that,
but it is to explain the syntax. Also my English syntax might be
bad). It is useful to make the difference between 7 : 8 and 7 :
4, for example. Some contemporary composers even write 7 :
(quarter note figure) to say 7 notes in a quarter note duration
But the \times function demands for a triplet to write 2/3. I
know it might seem logical to ask for the fraction of the note. But
in fact, for a composer, it is far more intuitive to write 3/2 or
even better, 3:2 than 2/3 for a triplet. Writing 2/3 for a
3:2 tuplet is not a big problem, but what about 10:7?
Also, for simple note entry, I think you should put MORE freedom
for the possible order to write all the symbols. For example you
want to put a eighth note at c# one octave higher, you want to make
an octave check and make sure the sharp appears. We could write it
in many ways
cis'!=''8 cis'!8='' c8is!'='' cis8'=''!
cis'8!=''etc.
But LilyPond accepts only one way of writing it ... and I don't
remember which one! And I didn't find any syntax rule about the
exact order of the commands in the user manual. To put a syntax
rule in the user manual would be good, but to make the compiler
more flexible would be even better.
Finally, it would be a good thing to revise the grammar of the
functions in LilyPond by composers and musicians who are NOT
programmers to make the LilyPond language more intuitive, so the
learning curve would be less steep. That would be a great thing to
do for an eventual LilyPond 3.0. And I would be willing to give
some of my free time for that!
Regards,
Frédéric Chiasson
2006/12/18, Mats Bengtsson [EMAIL PROTECTED]:
Jonathan Henkelman wrote:
Ay - I hear you there. I have been considering taking on this
project, and I
still need to figure out if I have time before I get myself in
over my head
and unable to keep up with the commitment others might have made
to me. A
couple of questions I have been pondering in this regard:
1) Since I am fairly new to Lilypond, are there folks out there
that would be
willing to aid me in the likely event of confusion (I assume this
group will
do).
Of course!
2) If/when inconsistencies in the language turn up - as I'm sure
they will -
is there an interest amoung the programmers to correct these?
Since the parser is implemented using lex and bison, there
shouldn't be any
formal inconsistencies. At second thought, larger and larger parts of
the syntax
is now implemented as Scheme functions, but they too have a formal
syntax check.
However, I'm sure you can find lots of language constructs that are
confusing.
Note that the syntax and semantics has evolved over the years and
still is.
Many of these changes have in my opinion made the syntax more
consequent
and simpler.
3) A complaint I have seen both commonly on this archive and also on
the todo list of the co-ordinators for lilypond, is to try and
make the
learning curve a bit less steep. One logical outcome of a
document of this
type is that it can be used to clean up the language - i.e.
fulfilling this
last goal. Is there any interest on the part of the programmers/
organizers to
undertake this task should I ever get this doc completed. I
envision a
process whereby the basic notation of lilypond stays the same
(obviously), but:
- perhaps some command forms would be dropped,
- perhaps users would be forced into less freedom in the syntax
This is one concern I have raised a couple of times. There are lots of
optional
constructs, which often confuses new users. They certainly save
some typing
and perhaps lower the initial threshold a bit for new users.
However, I
think the
reduced number of key strokes only is significant in small test
examples
(which
is what the
Re: Tutorial
I'm trying to put fine and da capo al fine in a piece. I found instructions for D.S. al fine, but if I write: \mark da capo al Fine the phrase is engraved above the upper system, not in between both systems, and disrupts the graphic order of the music engraving. If I write: \once \override Score.RehearsalMark #'self-alignment-X = #right \mark da capo al fine the indication is not printed. Where in the tutorial do I find instructions for the da capo... indication? (obviously, I need to put it before double bars). Thank you, Manuel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics in poly
Citando Ezequiel Sierra [EMAIL PROTECTED]:
that wont assign lyrics to the f4 f4
i tried
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g }
\context Voice = melodia { \voiceTwo f4 f4 } \oneVoice
but it dosent work either i put all stems down even the first voice
On Dec 18, 2006, at 12:56 AM, Eduardo Vieira wrote:
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes
g }
\context Voice = alto { \voiceTwo f4 f4 } \oneVoice
Hello!
You did *not* try my suggestion of creating the context alto for VoiceTwo.
I suggest that you *re-read carefully* the chapters of lyrics and Explicitly
instantiating voices
Attached is a modified version of your score. The first line of lyrics is
matching fine. The others must be some typo from your part.
Pay close attention on how I modified your score in the soprano/alto parts. I
recommend you to use a software called K-diff to compare side by side your file
and my changes.
As for the alto and bass. I have the following remarks:
{ \stemDown bes2 ees g4 ees bes' } \\ { \stemUp \slurUp f (aes) }
You are not following the logic of polyphony in lilypond:
-- What comes before \\ is voiceOne, which tells the stems, slurs and ties to be
UP
-- what comes after the first \\ is voiceTwo, which tells the stems to go down
-- avoid chords inside this construct (this is my suggestion, not lilypond's)
Therefore you should replace those things with:
{ f4 (aes) } \\ { bes2 } ees g4 ees bes'
Y así por delante...
Have a good day!
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%**
\version 2.10.2
%**
numeroHimno = 1
tituloHimno = ¡Santo! ¡Santo! ¡Santo!
%
\paper {
oddHeaderMarkup = \markup { \bold \large \numeroHimno }
print-page-number = ##f
between-system-space = 0.0\cm
head-separation = 0.0\cm
}
%
%
\header {
title = \tituloHimno
copyright = Iglesia Bautista de Jesucristo
tagline =
meter = \markup { (CAPO I) }
}
%
%
acordes= \chordmode {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees ees1
}
%
#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion context)
(markup #:line (( (ignatzek-chord-names in-pitches bass inversion context)
%
acordesConCapo= \chordmode {
\set chordNameFunction = #parenthesis-ignatzek-chord-names
\transpose ees d {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees4 ees1
}
}
%
%
tope = \relative c' {
\key ees \major
\time 4/4
\new Voice = melodia {
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 ees, bes'4 d bes' } \new Voice { \voiceTwo d ( f ) } \oneVoice
c c' d c' ees c' f c'
g bes2 ees g2 \break
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g } \context Voice = alto { \voiceTwo f4 f4 } \oneVoice
{ \voiceOne ees'2 f, d'4 g bes } \new Voice { \voiceTwo d ( f ) } \oneVoice
{ \voiceOne f d bes' ees c'4. d bes'8} \new Voice { \voiceTwo f4 } \oneVoice
d bes'1 \break
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 } \new Voice { \voiceTwo d,4 ( f ) } \oneVoice ees bes'4 d bes'
\context Voice = melodia { \voiceOne c'4. c8 } \new Voice { \voiceTwo c,4 d} \oneVoice c' ees,4 c f,
g bes2 ees bes'2 \break
ees ees'4 ees ees' ees bes' ees bes'
ees c'2 ees g4 des g
c aes' c f d! f4. ees8
ees ees1
}
}
%
%
versoUno = \lyricmode {
\set stanza = 1.
¡San -- to! ¡San -- to! ¡San -- to! Se -- ñor om -- ni -- po -- ten -- te,
Siem -- pre el la -- bio mà -- o lo -- o -- res Te da -- rá.
¡San -- to! ¡San -- to! ¡San -- to! Te a -- do -- ro re -- ve -- ren -- te,
Dios en tres per -- so -- nas, ben -- di -- ta Tri -- ni -- dad.
}
versoDos =
RE: Constructive Criticism and a Question
You could compromise and use 2/3 to indicate current fractional time the way
it works now, but support using 3:2 to be more musically intuitive. I.e.,
the separator denotes the meaning; '/' for raw division and : for ratio. Not
knowing how the parser works, it could even be done by the parser itself,
automatically converting 3:2 to 2/3...
This also has the virtue of not breaking existing files.
Stephen
-Original Message-
From: [EMAIL PROTECTED] on behalf of David Rogers
Sent: Mon 12/18/2006 3:48 PM
To: lilypond-user@gnu.org
Subject: Re: Constructive Criticism and a Question
Carl Youngblood wrote:
There are also places where 3/2 is necessary with the current way of
doing things. For example, I was just doing a piece in 12/8 time
where triplets are the norm and I needed to do eighth notes with a
two feel. In this case I had to use \times 3/2 { c8 c } etc. I
guess in this case you're saying it would be more intuitive to do
2/3? I really don't mind the way things are now. It's a syntax that
has to be learned anyway, and once you learn it, it seems about the
same effort either way.
The way the syntax is now, is (in musical terms) the opposite of what's
printed. Having the syntax match the print is likely to be easier to learn for
at least the majority, if not everyone. (The way the syntax is now, it makes
mathematical sense; which is nice - but I don't think it serves a practical
purpose.)
David
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2006-12-18, 16:24:45
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Re: Constructive Criticism and a Question
To answer Carl, yes! To put 2 notes instead of 3, I would put 2:3, which
means 2 instead of 3 or 2 for 3. As David Rogers said, it fits what is
printed, or what would be printed if the whole ratio was there.
Also, is there a reason why the function wasn't named simply \tuplet ?
Frédéric
2006/12/18, David Rogers [EMAIL PROTECTED]:
Carl Youngblood wrote:
There are also places where 3/2 is necessary with the current way of
doing things. For example, I was just doing a piece in 12/8 time
where triplets are the norm and I needed to do eighth notes with a
two feel. In this case I had to use \times 3/2 { c8 c } etc. I
guess in this case you're saying it would be more intuitive to do
2/3? I really don't mind the way things are now. It's a syntax that
has to be learned anyway, and once you learn it, it seems about the
same effort either way.
The way the syntax is now, is (in musical terms) the opposite of what's
printed. Having the syntax match the print is likely to be easier to learn
for at least the majority, if not everyone. (The way the syntax is now, it
makes mathematical sense; which is nice - but I don't think it serves a
practical purpose.)
David
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Re: Constructive Criticism and a Question
Yeah, that would be a good solution satisfying everyone.
Frédéric
2006/12/18, Kress, Stephen [EMAIL PROTECTED]:
You could compromise and use 2/3 to indicate current fractional time the
way it works now, but support using 3:2 to be more musically intuitive.
I.e., the separator denotes the meaning; '/' for raw division and : for
ratio. Not knowing how the parser works, it could even be done by the
parser itself, automatically converting 3:2 to 2/3...
This also has the virtue of not breaking existing files.
Stephen
-Original Message-
From: [EMAIL PROTECTED] on
behalf of David Rogers
Sent: Mon 12/18/2006 3:48 PM
To: lilypond-user@gnu.org
Subject: Re: Constructive Criticism and a Question
Carl Youngblood wrote:
There are also places where 3/2 is necessary with the current way of
doing things. For example, I was just doing a piece in 12/8 time
where triplets are the norm and I needed to do eighth notes with a
two feel. In this case I had to use \times 3/2 { c8 c } etc. I
guess in this case you're saying it would be more intuitive to do
2/3? I really don't mind the way things are now. It's a syntax that
has to be learned anyway, and once you learn it, it seems about the
same effort either way.
The way the syntax is now, is (in musical terms) the opposite of what's
printed. Having the syntax match the print is likely to be easier to learn
for at least the majority, if not everyone. (The way the syntax is now, it
makes mathematical sense; which is nice - but I don't think it serves a
practical purpose.)
David
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Re: marche unitonale
yota moteuchi wrote:
How do I do with lilypond what it's called in french : marche
unitonale (that I can not translate in english)
I did that long time ago:
http://www.mail-archive.com/lilypond-user@gnu.org/msg00067.html
Here the file is converted to 2.10 (only tested on 2.11 but guess it
should work):
\version 2.10.0
#(define ((shift-pitch amount) p)
(let* ((o (ly:pitch-octave p))
(a (ly:pitch-alteration p))
(n (ly:pitch-notename p)))
(set! n (+ amount n))
(while ( n 0) (begin (set! o (- o 1)) (set! n (+ n 7
(while ( n 6) (begin (set! o (+ o 1)) (set! n (- n 7
(ly:make-pitch o n a)))
#(define ((shift amount) music)
(let* ((es (ly:music-property music 'elements))
(e (ly:music-property music 'element))
(p (ly:music-property music 'pitch))
(body (ly:music-property music 'body))
(alts (ly:music-property music 'alternatives)))
(if (pair? es)
(ly:music-set-property!
music 'elements
(map (shift amount) es)))
(if (ly:music? alts)
(ly:music-set-property!
music 'alternatives
((shift amount) alts)))
(if (ly:music? body)
(ly:music-set-property!
music 'body
((shift amount) body)))
(if (ly:music? e)
(ly:music-set-property!
music 'element
((shift amount) e)))
(if (ly:pitch? p)
(begin
(set! p ((shift-pitch amount) p))
(ly:music-set-property! music 'pitch p)))
music))
sega = \relative c'
\context Voice=va {\stemUp e8^4 f e g^5 d^2 e}
\context Voice=vb {\stemDown c4._2 b_1 }
segb = \relative c''
\context Voice=va {\stemUp e4.^4 f^5 }
\context Voice=vb {\stemDown c8_2 b c a d^4 c }
sequence = {
\sega
\applyMusic #(shift 1) \sega
\applyMusic #(shift 2) \sega
\applyMusic #(shift 3) \sega
\applyMusic #(shift 4) \sega
\applyMusic #(shift 5) \sega
\applyMusic #(shift 6) \sega
\segb
\applyMusic #(shift -1) \segb
\applyMusic #(shift -2) \segb
\applyMusic #(shift -3) \segb
\applyMusic #(shift -4) \segb
\applyMusic #(shift -5) \segb
\applyMusic #(shift -6) \segb
\context Voice=va {\stemUp e'2.}
\context Voice=vb {\stemDown c'2.}
}
\score {
\context Staff {
\time 6/8
\sequence
\transpose c g \sequence
\transpose c d \sequence
\transpose c a \sequence
}
}
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Re: Web documentation automatic language
Hello: For the web to work correctly, it needs a dialogue between the browser and the server. Obviously this is true for the first request. What you don't see is what is going on behind the scenes, http headers is an example. Each web browser sends enough information to the server so that the server can send a page configured so that browser can display it correctly. A different page is sent if you are requesting the page from a small screen telephone for instance, and a different one for a 24 inch wide screen monitor. Language preferences are among those the server needs to process a page. Something as sophisticated as automatic language processing requires more accurate information from the browser. You can see what your browser is sending to the server by visiting this page: http://gemal.dk/browserspy/accept.php What you configure in your preferenes directly affects what the server will send as well as what your browser will accept. Setting the Prefered language to include English solves the problem, but it's definitely a bug that the French version is the default if you haven't configured your browser. Why would it not be a browser bug? because language negotion happens server-side? It happens from both sides.. as I pointed out above, this is a dialogue between browser and server (client and server) just the way your computer negotiates an IP address from your ISP. isn't there a way to configure apache that .en is the default? Yes, but that defeats the who concept of automatic language configuration. Cheers, David -- David Fedoruk B.Mus. UBC,1986 Certificate in Internet Systems Administration, UBC, 2003 http://recordjackethistorian.wordpress.com Music is enough for one's life time, but one life time is not enough for music Sergei Rachmaninov ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
Jan Nieuwenhuizen wrote: Jan Nieuwenhuizen [EMAIL PROTECTED] writes: Ok, we are missing .en.html symlinks to the plain .html pages. This is fixed manually on lilypond.org, but we should have the new add-html-footer script should do this. Jonh? I'll add a routine to write .en.html symlinks in add-html-footer. I hope I have enough time to send a complete patch tomorrow. The docs internationalization is still in experimental state. Besides this automatic language selection issue, there are other bugs that I'll hopefully fix: - Other languages menu is missing. - Node names with dashes are not translated. -- John Mandereau [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Web documentation automatic language
John Mandereau [EMAIL PROTECTED] writes: I'll add a routine to write .en.html symlinks in add-html-footer. I hope I have enough time to send a complete patch tomorrow. Great. I already added something to add-html-header. The docs internationalization is still in experimental state. Besides this automatic language selection issue, there are other bugs that I'll hopefully fix: - Other languages menu is missing. Yes, this keeps coming up. It used to work... - Node names with dashes are not translated. Greetings, Jan. -- Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics in poly
Ezequiel Sierra wrote: nop it dosent work :( On Dec 18, 2006, at 9:25 PM, Eduardo Vieira wrote: associatedVoice Yes, it does work. I tried Eduardo's example myself. David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
I send a copy of this request to bug-lilypond, for the record.
/Mats
Frédéric Chiasson wrote:
To answer Carl, yes! To put 2 notes instead of 3, I would put 2:3,
which means 2 instead of 3 or 2 for 3. As David Rogers said, it
fits what is printed, or what would be printed if the whole ratio was
there.
Also, is there a reason why the function wasn't named simply \tuplet ?
Frédéric
2006/12/18, David Rogers [EMAIL PROTECTED]
mailto:[EMAIL PROTECTED]:
Carl Youngblood wrote:
There are also places where 3/2 is necessary with the current way of
doing things. For example, I was just doing a piece in 12/8 time
where triplets are the norm and I needed to do eighth notes with a
two feel. In this case I had to use \times 3/2 { c8 c } etc. I
guess in this case you're saying it would be more intuitive to do
2/3? I really don't mind the way things are now. It's a syntax that
has to be learned anyway, and once you learn it, it seems about the
same effort either way.
The way the syntax is now, is (in musical terms) the opposite of
what's printed. Having the syntax match the print is likely to be
easier to learn for at least the majority, if not everyone. (The
way the syntax is now, it makes mathematical sense; which is nice
- but I don't think it serves a practical purpose.)
David
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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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