Re: making fermata effect the MIDI output? tempo along bezier curves?
Ted Walther wrote:
Although I had the impression that \tempo was deprecated and didn't work
anymore? These days I use
\set Score.tempoWholesPerMinute = #(ly:make-moment 100 4)
instead of
\tempo 4=100
Was \tempo fixed to work again?
\tempo has always worked within the music and results both in a metronome
mark in the printed output and in a tempo change in the MIDI output.
The only change was that you can no longer use \tempo within the
\midi{...} block of your score. I recently updated the manual to make this
more clear.
/Mats
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Re: Manually decrease space between notes
How about
g g\breve
/Mats
Bertalan Fodor wrote:
I think I've found a better solution. THat is, something like this:
{
\once \override Voice.NoteHead #'stencil = #ly:text-interface::print %
override the default method of printing a notehead
\once \override Voice.NoteHead #'text = #(markup #:line (#:musicglyph
noteheads.sM1 #:musicglyph noteheads.sM1)) % print a markup text
as the notehead
g'\breve }
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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: Possible Sponsorship : Simplifying Triplets Input (Was: \times vs \tuplet)
You get it for free:
triplet = #(define-music-function (parser location music) (ly:music?)
#{ \times 2/3 $music #})
/Mats
Valentin Villenave wrote:
Hi everybody,
for years I've been looking for missing features to be sponsored, or
any other way I could support LilyPond besides using it and talking
about it everywhere I go to everybody I see...
The recent discussion about the \times function gave me an idea I
already exposed here. Let me just synthesize it one more time:
Here's the point : for beginners or guys like me who write very,
_very_ simple rhythms, typing \times 2/3 each time you want to input
something as trivial as a triplet is still a bit complicated (well,
you can think I'm lazy, but every software has to deal with lazy
users, hasn't it).
2007/1/18, Erik Sandberg [EMAIL PROTECTED]:
it's easy to write a separate function
\triplet {f8 g a}
for this purpose.
(IMHO, this would be a useful addition to the standard lily
distribution)
This would indeed be a very much valuable addition. No matter how easy
it would be to do it, do you non-lazy guys think it would be worth
adding it?
_Or_ there is still my original idea, which was to keep the single
\times function, but to give the user the ability to not specify any
tuplet argument:
If you do not specify a tuplet argument, the argument last entered is
used for the next tuplet. The argument of the first tuplet in input
defaults to 2/3.
Maybe you'll think it would just make things more complicated. Anyway,
I'd be glad to sponsor either of those two choices, if this can help.
Regards,
Valentin Villenave
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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 hide fingering instructions ?
It's much easier to answer such a question if you include a short example of what you are trying to do. I'm not sure I understand what you mean, since a TabVoice doesn't print any fingerings by default. If you search the index of the manual for Transparent objects or Invisible objects, you will find a generic answer. /Mats Stef Epardaud wrote: Hello, It's been a long time since I've tried lilypond and I must say the array of feature it has now is really impressive. Amazing work ! I'm wondering how to hide fingering instructions from a Staff associated with a TabStaff ? Thanks a lot for any help and this great (amazing) program ! -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to hide fingering instructions ?
On Mon, Jan 22, 2007 at 10:16:21AM +0100, Mats Bengtsson wrote:
It's much easier to answer such a question if you include a short example
of what you are trying to do. I'm not sure I understand what you mean,
since a TabVoice doesn't print any fingerings by default.
If you search the index of the manual for
Transparent objects or Invisible objects, you will find a generic
answer.
Damn, it appears I've forgotten my attachment, here it is this time.
--
Stéphane Epardaud
\version 2.10.10
\header {
title = Delbosh
instrument = Guitars
arranger = Transcribed by Stef Epardaud
composer =Composed by Stef Epardaud
copyright = Copyright Solus Numeri
tagline = Transcribed using LilyPond (www.lilypond.org)
}
#(set-global-staff-size 11)
\include italiano.ly
riffAA = {
lad8[\4( re8\4 la8\4 lad8\4 re8\4]
lad8[\4 re8\4 la8\4 lad8\4 re8\4]
lad8[\4 re8\4 la8\4 lad8\4 re8\4 do'8\4 re8)\4]
}
guitarA = {
\tempo 4=152
\time 17/8
%intro
lad8[^disto\4( re8\4 la8\4 lad8\4 re8\4]
lad8[\4 re8\4 la8\4 lad8\4 re8\4]
lad8[\4 re8\4 la8\4 lad8\4 re8\4 do'8\4 re8)\4]
% bass
\repeat unfold 7 {
\riffAA
}
\repeat unfold 4 {
\riffAA
}
% avec les accords
\repeat volta 2 {
\riffAA
\riffAA
\riffAA
}
% la transition
\riffAA
\riffAA
% les accords
\repeat percent 2 {
\riffAA
}
}
guitarB = {
\time 17/8
\repeat unfold 8{
R8*17
}
%en ternaire
re,\7 la,\6 re\58^.^disto r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r8
r8
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r4
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
% en binaire
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^.
r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
re,\7 la,\6 re\58^. r8
% les accords
\repeat volta 2 {
la,\5 mi\4 la\32 ~ la,\5 mi\4 la\38
lad,\5 fa\4 lad\31 ~ lad,\5 fa\4 lad\32
~ lad,\5 fa\4 lad\31 ~ lad,\5 fa\4 lad\34
do\5 sol\4 do'\32 ~ do\5 sol\4 do'\38
re\5 la\4 re'\34
~ re\5 la\4 re'\31 ~ re\5 la\4 re'\31
~ re\5 la\4 re'\38
}
% la transition en deux mesures
la,\5 mi\4 la\32 ~ la,\5 mi\4 la\38
lad,\5 fa\4 lad\31 ~ lad,\5 fa\4 lad\32
~ lad,\5 fa\4 lad\31 ~ lad,\5 fa\4 lad\34
do\5 sol\4 do'\32 ~ do\5 sol\4 do'\34.
% les accords plus graves
\repeat percent 2 {
fad,\6 dod\5 fad\48^. r4 fad,\6 dod\5 fad\48^. r8
fad,\6 dod\5 fad\48^. r4 fad,\6 dod\5 fad\48^. r8
fad,\6 dod\5 fad\48^. r4
sol,\6 re\5 sol\48^. r8
re,\7 la,\6 re\58^. r8
}
}
riffCA = {
re8^.\5 r4 re8^.\5 r8
re8^.\5 r4 re8^.\5 r8
re8^.\5 r4 re8^.\5 r8 re8^.\5 r8
}
guitarC = {
\time 17/8
\repeat unfold 6{
R8*17
}
\repeat unfold 6 {
R8*17
}
\repeat volta 2 {
re8^.^disto\5 r4 re8^.\5 r8
re8^.\5 r4 re8^.\5 r8
re8^.\5 r4 re8^.\5 r8 re8^.\5 r8
\riffCA
\riffCA
}
}
\score {
\context StaffGroup = staffA
\context Staff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\set Staff.instrumentName = Guitar 1
\set Staff.shortInstrumentName = Gtr1
\set Staff.midiInstrument = distorted guitar
\guitarA
\context TabStaff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\override Staff.Stem #'direction = #1
\set TabStaff.stringTunings = #'(4 -1 -5 -10 -15 -20 -25)
\set TabStaff.keepAliveInterfaces = #'(note-head-interface rest-interface)
\guitarA
\context StaffGroup = staffB
\context Staff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\set Staff.instrumentName = Guitar 2
\set Staff.shortInstrumentName = Gtr2
\set Staff.midiInstrument = distorted guitar
\guitarB
\context TabStaff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\override Staff.Stem #'direction = #1
\set TabStaff.stringTunings = #'(4 -1 -5 -10 -15 -20 -25)
\set TabStaff.keepAliveInterfaces = #'(note-head-interface rest-interface)
\guitarB
\context StaffGroup = staffC
\context Staff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\set Staff.instrumentName = Guitar 3
\set Staff.shortInstrumentName = Gtr3
\set Staff.midiInstrument = distorted guitar
\guitarC
\context TabStaff
% Hide fingering number
\override Staff.Fingering #'transparent = ##t
\override Staff.Stem #'direction = #1
\set TabStaff.stringTunings = #'(4 -1 -5 -10 -15 -20 -25)
\set TabStaff.keepAliveInterfaces =
Re: Fermata on final double bar
One possible trick is to move the mark engraver from the score level to each
stave and then include the ordinary rehearsal marks as well as the
fermata above
the system only in the top stave of the score and the downwards fermata
only in
the bottom stave of the score. Example:
\version 2.10.0
\layout{
\context{
\Staff
\consists Mark_engraver
}
\context{
\Score
\remove Mark_engraver
}
}
\new StaffGroup
\new Staff {
c1
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\mark \fermataMarkup
}
\new Staff { c1 }
\new Staff {
c1
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\override Staff.RehearsalMark #'direction = #DOWN
\mark \markup { \musicglyph #scripts.dfermata }
}
/Mats
Thomas Frank wrote:
Fermatas over and under the last bar in a (conductors-) score have kind of the
opposite meaning of 'attacca' in the scores where I have seen it. At least it
marks the end of a logical musical theme/temper, typically at the end of a
movement.
My solution looks like this:
endFermata =
#(define-music-function (parser location align)
(number?)
#{
\once \override Score.RehearsalMark #'extra-offset = #(cons $align 0)
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'X-extent = #'(0 . 0)
\mark \fermataMarkup
#})
and then say '\endFermata #0.5' after the last bar. The number defines an
x-shift to place it properly over the last bar-line.
Sad enough, it seems, there is no way to put this over AND under the last bar,
because you can not place more than one mark-command at the same position.
(right??)
hope this helps
Thomas
I am trying to typeset a piece of music that has a fermata above and below
the final double barline. I have come across the \mark command in the
manual, but am having difficulty getting it to work when there are no notes
after it. Does anyone have any hints on how to typeset this? Does anyone
have any idea what this means musically, i.e. maybe I'll just typeset the
fermata over the final note!
Thanks in advance
Jonathan
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problem showing tempo
Hi,
I'am a beginner and need some help:
When I put a \tempo 4 = 72 in my score, I don't see it back in the
pdf. I assume that its overwritten by some \override command. But
which one?
thank you for a hint,
best
ole
-
\header { title = Ko Lho }
\version 2.11.12-1
\paper { #(set-paper-size a3) system-count = #6
}
\paper {
between-system-space = 1.2\cm
between-system-padding = #1
ragged-bottom=##f
ragged-last-bottom=##f
}
\layout {
}
\layout {
\context { \Staff
\override VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
}
}
\layout{
\context {
\type Engraver_group
\consists Time_signature_engraver
\consists Axis_group_engraver
\name TimeSig
\override TimeSignature #'font-size = #3
\override TimeSignature #'style = #'()
}
\context {
\Score \accepts TimeSig
}
\context { \Staff
\override TimeSignature #'transparent = ##t
}
}
staffFlute = \new Staff {
\override Score.MetronomeMark #'padding = #5.0
\tempo 4 = 72
\override Voice.TextScript #'padding = #3.0
\override Voice.TrillSpanner #'edge-text = #'( . )
#(set-accidental-style 'modern-cautionary)
\set Staff.instrumentName = Flute
\time 4/4
\set Staff.extraNatural = ##f
\set Staff.midiInstrument= flute
\key c \major
\clef treble
\relative c'' {
\partial2 e2 ~\pp\ | e1 ~ \p\! | e1\startTrillSpan^\markup
{(vibrato ampio)} ~ | e2\\stopTrillSpan ~ e \!\mp\ | e8 ~ \pp\!
[ r16 d16\ppp\startTrillSpan^] ~ d4\stopTrillSpan r16
[ bes\mf ~ bes- r16] | r4 c4:32\f ~ c16 r16 |
\break cih2--\p\ ~ c4 ~ c8\mf\!\ r8 | r4\! cis2.\ppp\ ~ | cis4\!
\mp ~ cis8. e16\p ~ \times 2/3 { e8 cis8:32 c8 } f2 ~ |
\break \time 2/4 \times 2/3 { r8 r8 c8:32 ~ } \times 2/3 { c4:32\
\acciaccatura cis8 f16.--\!\mf c32 ~ } |\time 3/4 d2.--\mp ~ | d2 ~
\times 2/3 { d8 \acciaccatura d8 cis8--\mf( d8\p) ~ } | d2 ~ d8.\
c16--(\!\f ~ |
\break c8 e\ ~ e16) e-.(\mp\! e-. e-.\times 4/5 { e16-. e-. e-. e-.
e-.) } |\time 2/4 f8:32--\mf f( ~ f16 f-. f-.\) f16:32 ~ |\time 4/4
f8.:32\! r16 r4 r4 f4(\ppp ~ | \time 3/4 f16 e-.\ e-.) e ~ e4 ~ e16
dis e8\!\f ~ |
\break \times 2/3 { e8\mf f4 ~ } f16 feh8.:32 ~ feh4:32 |\time 5/8
e4\startTrillSpan^ ~ e4\stopTrillSpan( ~ \times 2/3 { e8 dis16) } |
\time 2/4 e4 ~ e16 fis16:32 ~ fis 8:32( |\time 3/4 \times 2/3 { f8)
r8 f8:32\mf ~ } f8:32\startTrillSpan^ [ \acciaccatura e8 f]\p ~ f8.
\stopTrillSpan r16 |
\break \times 2/3 { \acciaccatura e8\pp f4( cis8--\mp ~ } cis8.
[ deh16--]\mf\ ~ deh4) ~ |\time 4/4 deh4\!\ r16 cis8.(\p\! ~ cis4
~ cis16 d8. |\time 3/4 \acciaccatura cis8 d4)\mf ~ d8. r16 d8.\p
cis16--\ ~ |\time 2/4 cis8 ~ cis4.:32\f\! |
\pageBreak
}
}
staffClarinet = \new Staff {
\override Voice.TextScript #'padding = #3.0
\override Voice.TrillSpanner #'edge-text = #'( . )
#(set-accidental-style 'modern-cautionary)
\set Staff.instrumentName = Clarinet in Bb
\set Staff.extraNatural = ##f
\set Staff.midiInstrument= clarinet
\clef treble
\relative c'' {
\partial2 d2\ppp\ ~ | d1\p\! ~ | d1 ~ | d4( ~ d16.[ cis32 d8] ~ d4 ~
d16.)\[ cis32--(\!\mp ~ d8)] ~ |\time 3/4 d2 ~ d4(\ ~ |\time 5/8
d8..)\!\mf cis32 d8.. cis32( d8 ~
| \time 4/4 d16[) r16 cis8]\startTrillSpan^\markup {(vibrato
ampio)} ~ cis4\stopTrillSpan ~ cis\ ~ \times 2/3 { cis8 d4\!\mp }
\acciaccatura cis8 | \times 2/3 {d4-- \acciaccatura cis8 d4--
\acciaccatura cis8 d4--\ ~ } d8. \acciaccatura cis8 d16\!\p ~ d4 |
\time 5/4 \acciaccatura cis8 d2.\ ~ d4\!\mf ~ d8. d16--(\f~ |
\times 2/3 { cis4-- d8)\mf ~ } \times 2/3 { d4 d16.( [ cis32]\ } |
e4--\startTrillSpan)\f\!\ ~ e8\stopTrillSpan r8\! r4 | e2\mp ~ e4\
~ | e4 ~ e8.\!\f r16 e8:32\p e8\mf ~ |
\times 2/3 { e8-- e-. e\startTrillSpan\ ~ } e2\! ~ | e8..
\stopTrillSpan \acciaccatura e8 es32(\mf f8.[) e16] ~ | e2.\ ~ e4 \!
\f ~ | e4\startTrillSpan ~ e16\stopTrillSpan [ es16(\mf des8:32]
\acciaccatura c8 es32 [ des32) des16-.\ r16 \acciaccatura f8 e16(]\!
~ |\times 2/3 { e8 f ~ f8:32 ~ } \times 2/3 { f16 [ e--) dis-- } e8]
~ e4 ~ | e8[ r16 dis16(] \acciaccatura b8 c8.--[) e16] ~ e8
\startTrillSpan ~ | e4(\\stopTrillSpan dis16[) \acciaccatura f8 e16
( ~ e16. dis32] | e4--)\f ~ e2\ |
e4 ~ e4\!\ppp ~ e8 r8 | e1\pp\ | e8\!\mf r8 r8 [ f16\pp e]\mp r8 es8
\pp ~ | es8[ cis8]\ ~ cis4\f |
}
}
\score {
\relative
\new TimeSig { \skip 4 * 81
}
\staffFlute
\staffClarinet
\midi {
}
}
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Re: problem showing tempo
\override TimeSignature #'transparent = ##t ? Bert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem showing tempo
What's all that magic with TimeSig context? Do you really need it? Bert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem showing tempo
(Keep the discussion on list) Actually I cannot compile, because I don't have 2.11 right here. But I still don't understand why you need the create a new context for time signatures. Bert I copy that from a template in the tipstricks sektion of the manual. Because there are many changes in the time-sign, the time-signs are written fat above the system. This is usual with 20.Century Musik... When you compile it you will see what I mean... ole Am 22.01.2007 um 16:09 schrieb Bertalan Fodor: What's all that magic with TimeSig context? Do you really need it? Bert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
converting from Encore and using segno+coda
Hi, I want to know if is there any project for implementing a way to convert Encore files for Lilypond, like there is for Finale. I want to stop using Windows, but most of the scores I get are for Encore. Also, in the documentation, it's not clear how to use Segno and Coda, e.g., how to put a D. S. al Coda or To Coda. Thanks, Murilo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem showing tempo
Oh, sorry. I just have understood it. So, I removed the TimeSig magic, and the tempo got displayed. So there may be a connection... Bert Bertalan Fodor írta: (Keep the discussion on list) Actually I cannot compile, because I don't have 2.11 right here. But I still don't understand why you need the create a new context for time signatures. Bert I copy that from a template in the tipstricks sektion of the manual. Because there are many changes in the time-sign, the time-signs are written fat above the system. This is usual with 20.Century Musik... When you compile it you will see what I mean... ole ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problem showing tempo
When I removed the midi { } block I could compile it, and the tempo sign
was also shown. So it is the midi block...
Bert
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Re: converting from Encore and using segno+coda
Hi. [Better to use 2 separate posts for 2 different questions.] Also, in the documentation, it's not clear how to use Segno and Coda, e.g., how to put a D. S. al Coda or To Coda. Maybe something like a^D. S. al Coda Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting from Encore and using segno+coda
Murilo de Lima murilolima87 at gmail.com writes: Also, in the documentation, it's not clear how to use Segno and Coda, e.g., how to put a D. S. al Coda or To Coda. Thanks, Murilo In section 8.1.3 Text Marks, it describes how to place these marks. Section 8.2.3 Rehearsal marks describes how to generate a Segno mark and a Coda mark. From your question, it appears you found section 8.2.3 (you didn't ask about Segno or coda, just about text). I found this information the way I normally do in the manual -- I download the pdf file and use Reader to do a text search. In this case, I searched for the word coda. Hope this helps, Carl Sorensen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting from Encore and using segno+coda
Murilo de Lima murilolima87 at gmail.com writes: Hi, I want to know if is there any project for implementing a way to convert Encore files for Lilypond, like there is for Finale. I want to stop using Windows, but most of the scores I get are for Encore. Encore 4.6 (not yet released) will export MusicXML, which will then be convertible by xml2ly. So if the Encore scores you get are generated by people with 4.6, you could have them send you MusicXML, instead of native Encore. Carl SOrensen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ties between voices
On Wed, Jan 17, 2007 at 08:15:24AM +0200, Joe Neeman wrote:
We've had a few questions about ties between voices (especially ties from
polyphony to chords). It seems that you can get this behaviour simply by
moving the Tie_engraver form the Voice context to the Staff context. Note
that the Tie_engraver was probably designed to live in the Voice context, so
it may not work perfectly, but if people will test it and report problems
then it will get fixed.
\version 2.10.0
\layout {
\context {
\Staff
\consists Tie_engraver
}
\context {
\Voice
\remove Tie_engraver
}
}
\new Staff {
\relative {
{a' b~ c d} \\
{a, b b' c}
}
}
--- --- ---
Thank you very much for the suggestion, Joe. However, in LilyPond
2.11.12, if I add a layout section such as you suggested above, there is
an error message when I invoke LilyPond to process the file--
--- begin error message ---
GNU LilyPond 2.11.12
Processing `blues-in-c-1.ly'
Parsing...
Interpreting music...
Interpreting music... [8][11]
Preprocessing graphical objects...
/home/xscd/lilypond/usr/bin/../share/lilypond/current/ly/init.ly:37:1:
error: GUILE signaled an error for the expression beginning here
#
(if (or (pair? toplevel-scores) output-empty-score-list)
Wrong type argument in position 1: ()
/home/xscd/lilypond/usr/bin/../share/lilypond/current/ly/init.ly:37:5:
error: syntax error, unexpected '(', expecting '='
#(if
(or (pair? toplevel-scores) output-empty-score-list)
programming error: Parsed object should be dead: static
scm_unused_struct* Prob::mark_smob(scm_unused_struct*)
continuing, cross fingers
programming error: Parsed object should be dead: static
scm_unused_struct* Context_def::mark_smob(scm_unused_struct*)
continuing, cross fingers
error: failed files: blues-in-c-1.ly
--- end quote of error message ---
However, if I comment-out the layout section (with %{ %}), as in the
attached file, no error message occurs.
best wishes,
Steve D
New Mexico, US
--
The military was created to protect the leisure lifestyles of the
ruling class. -Eli Khamarov
% Blues in C 1, work for piano by Stephen C. Doonan, [EMAIL PROTECTED]
\version 2.11.12
\paper { }
\header {
title = Blues in C 1
composer = \markup \center-align { Stephen C. Doonan \small (1952- ) }
piece = \markup { \bold Andantino ( \tiny \note #4 #0.75 \normalsize
= 85-115 \bold ) }
% Mutopiaproject.org headers
mutopiatitle = Blues in C 1
mutopiacomposer = DoonanSC
mutopiainstrument = Piano
date = 2006/Sep
source = Composer
style = Jazz
copyright = Creative Commons Attribution-ShareAlike 2.5
maintainer = Stephen C. Doonan
maintainerEmail = [EMAIL PROTECTED]
maintainerWeb = http://www.xscd.com/pub/music/;
lastupdated = 2006/September/25
}
rightHand = \relative c'' {
% 1
\key c \major \time 4/4 \clef treble e, g c2.. ees g c8~ |
ees g c~ ees aes c4 ees aes c4 f bes d8~ f bes d4 |
g e'4 e c' \new Voice { \voiceOne c'4. r8 } { \voiceTwo e,8 f g
\oneVoice ees g bes8~ } |
ees g bes4. f a8~ \afterGrace f a2 {bes16[ a]} |
e g2.. \new Voice { \voiceTwo ees8~ |
ees2 aes | }
{ \voiceOne g c8~ |
g c8 aes bes c c d ees f \oneVoice | }
% 7
c g'4 g e' \new Voice { \voiceOne c4. r8 } { \voiceTwo e,8 f g
\oneVoice ees g bes8~ } |
ees g bes4. f a8~ \afterGrace f a2 {bes16[ a]} |
e g2 \new Voice { \voiceOne c'4. r8 } { \voiceTwo e, f g \oneVoice
ees g c8~ } |
ees g c~ ees aes c4 f a d4~ f bes d4 g bes ees8~ |
g bes ees8~ g c ees4 aes c f4~ aes d f4. |
}
leftHand = \relative c, {
% 1
\time 4/4 \key c \major \clef bass c8 g' d' e c g' d e f c'~ |
f c' ees d c bes aes g f |
c g' d' e c g' d e f c'~ |
f c' ees f g d'~ g d'2 |
}
\score {
\new PianoStaff
#(set-accidental-style 'piano-cautionary)
\set PianoStaff.printPartCombineTexts = ##f
\new Staff = up \new Voice = rh \rightHand
\new Staff = down \new Voice = lh \leftHand
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 100 4)
}
}
%{\layout {
\context {
\Staff
\consists Tie_engraver
}
\context {
\Voice
\remove Tie_engraver
}
}
%}
}
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Re: ties between voices
Steve D escreveu:
On Wed, Jan 17, 2007 at 08:15:24AM +0200, Joe Neeman wrote:
We've had a few questions about ties between voices (especially ties from
polyphony to chords). It seems that you can get this behaviour simply by
moving the Tie_engraver form the Voice context to the Staff context. Note
that the Tie_engraver was probably designed to live in the Voice context, so
it may not work perfectly, but if people will test it and report problems
then it will get fixed.
\version 2.10.0
\layout {
\context {
\Staff
\consists Tie_engraver
}
\context {
\Voice
\remove Tie_engraver
}
}
\new Staff {
\relative {
{a' b~ c d} \\
{a, b b' c}
}
}
--- --- ---
Thank you very much for the suggestion, Joe. However, in LilyPond
2.11.12, if I add a layout section such as you suggested above, there is
an error message when I invoke LilyPond to process the file--
this should be fixed in .13, currently uploading.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
LilyPond Software Design
-- Code for Music Notation
http://www.lilypond-design.com
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Re: ties between voices
First, on Wed, Jan 17, 2007 at 08:15:24AM +0200, Joe Neeman wrote:
We've had a few questions about ties between voices (especially ties from
polyphony to chords). It seems that you can get this behaviour simply by
moving the Tie_engraver form the Voice context to the Staff context. Note
that the Tie_engraver was probably designed to live in the Voice context, so
it may not work perfectly, but if people will test it and report problems
then it will get fixed.
\version 2.10.0
\layout {
\context {
\Staff
\consists Tie_engraver
}
\context {
\Voice
\remove Tie_engraver
}
}
\new Staff {
\relative {
{a' b~ c d} \\
{a, b b' c}
}
}
--- ---
Then, Steve D wrote:
Thank you very much for the suggestion, Joe. However, in LilyPond
2.11.12, if I add a layout section such as you suggested above, there is
an error message when I invoke LilyPond to process the file--
--- ---
Then Han-Wen wrote:
this should be fixed in .13, currently uploading.
--- ---
Steve D continues:
Yes, the error message disappears with LilyPond 2.11.13. Thank you so
much Han-Wen.
And Joe, thank *you* so much for the suggestion to move the Tie_engraver
from the default Voice context to the Staff context instead. So far,
working with staves in a PianoStaff context, your suggestion is working
brilliantly, although I have only begun to test it and the piano piece
I'm working on now will really stress-test the technique I believe,
because it has many of these temporary splitting of the notes of the
right or left hand into two or more voices per hand, often for just a
fraction of a measure or spanning just parts of two or more measures.
If this technique (removing the Tie_engraver from the Voice context to
the Staff context) continues to work well, and if any bugs it causes can
be fixed or sponsored to fix, then this is an incredibly good solution
to the problem of temporary, non-formal, intermittent voices that often
occur in the notated music of polyphonic instruments such as piano. It
*greatly* simplifies the LilyPond code in such circumstances, and I am
personally very excited and enthused about the results so far.
Thank you Joe (Neeman), and thank you Han-Wen and other developers.
-Steve D
New Mexico, US
--
Good fortune is what happens naturally in the life of a happy
man.
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Re: White diamond, black diamond, and possible small sponsorship?
Trevor,
I suppose you thought of just changing the size of the black diamond, like
this:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\override NoteHead #'font-size = #6
\once \set shapeNoteStyles = ##(mi mi mi mi mi mi mi)
c'4
}
%%% END %%%
Obviously, the shape is still not the same although the sizes now match. You
can also try something like this, although it might seem a bit too hacky:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup #:combine #:musicglyph
noteheads.s0harmonic #:fontsize 2 #:musicglyph noteheads.s2neomensural)
c'4
}
%%% END %%%
Notice how, while the diamonds are now identical in shape, the stem of the
black diamond does not reach its correct position. Not sure exactly why, but
I guess you would have to make a \once tweak of this too.
Let me know if you find a better way.
Victor.
On 1/19/07, Trevor Bača [EMAIL PROTECTED] wrote:
Hi,
The black diamond shape notehead carries a different shape than the
white diamond harmonic notehead.
%%% BEGIN %%%
\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\once \set shapeNoteStyles = ##(mi mi mi mi mi mi mi)
c'4
}
%%% END %%%
Does anyone know a way to get a black diamond notehead that carries
exactly the same shape as the white diamond harmonic (a filled
harmonic, in other words)?
I've poked around and don't believe this is currently possible.
If I'm correct and it is, in fact, not currently possible, would
anyone be interested in creating such a notehead? I'd be willing to
put a small bounty of some euros on it. (Seems like making this filled
harmonic glyph might be a fun side project for somebody who's been
looking for an excuse to dive in and modify the source, and therefore
might not distract Han-Wen, which is another bonus.)
If interested, please let me know ...
--
Trevor Bača
[EMAIL PROTECTED]
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