Noteheads
Hi! How can I - if at all - design my own noteheads? -- Klaus Muth privat [EMAIL PROTECTED] geschaeftlich [EMAIL PROTECTED] -- http://www.hampft.de ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Need Help
From the description of your problem it sounds like you need to check the section in the manual about single staff polyphony. -David Don Hauht wrote: I have been using Lilypond to transfer a peice of existing sheet music for about 3 weeks and i am almost 100% done except for one problem which 1s: How to code the following example : In 3/4 time an alto note 'e' for two beats while the soprano notes 'g' and upper 'c' are slurred. The last note in the measure is no problem and is the chord 'd' sharp with 'a'. Thanks in advance for any help given. Don ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Noteheads
Klaus Muth schrieb: How can I - if at all - design my own noteheads? Of course you can. Note, however, that it requires a knowledge of metafont, and you need to recompile lilypond to actually use the new glyphs. Metafont was written by Donald Knuth almost thirty years ago (as a counterpart to TeX) for precisely the purpose of designing fonts. What you basically do when designing a new glyph is to first specify a couple of points using algebraic relations between their coordinates, in the spirit of let the x-coordinate of z5 be located halfway between those of z1 and z2, and let it lie on the line joining z3 and z4. Actually, that's already a very complicated example; in most cases it's more like let z1, z2, and z3 all have the same y-coordinate. As soon as these points are defined, you tell metafont how to connect them, choosing between various different pen shapes, stroke weigths, etc. This produces the final glyph. A very simplistic example would be the letter 'L'. It could be designed by specifying three points (the 'vertices' of the letter) and joining them with two line strokes, one vertical and one horizontal. It's a fun experience to learn metafont, so if you have the time and are a bit inclined to programming, give it a try. There is a nice introductory tutorial available at http://metafont.tutorial.free.fr/ I'm certain that there are plenty of others, too. Eventually, however, I recommend reading The Metafont Book by Knuth himself (search the archives for another thread on the topic where Han-Wen provided a link). It looks a bit daunting at first glance, but it's excellently written and really fun to read. A final step to make the notehead actually usable is to include a line in scm/output-lib.scm to tell lilypond which glyph to use for the new notehead style (see line 151 ff.). Hope this helps a bit. Have fun, Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Melisma error.
I am trying to add lyrics to a tune which has a note tied across two measures. The usual method of adding a double underscore after the word doesn't work. Since all the examples given happen entirely within one measure, perhaps the command doesn't apply here. I tried using \melisma and \melismaEnd, but got syntax errors. What is the correct method, please? Doug. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: cadenza and accidentals
Hello, I was senging this question a couple weeks ago but didn't got any answer. Please don't be angry for repetition. -- Forwarded message -- From: Antanas Budriūnas [EMAIL PROTECTED] Date: 2007.03.20 12:19 Subject: cadenza and accidentals To: lilypond-user@gnu.org Hello, using \cadenzaOn feature I can't get automatic accidentals working correctly. After \cadenzaOff accidentals aren't resetted. Isn't the bug? How to workaround this? See simple example attached. Thanks Antanas Budriūnas cadenzaAcci.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I mix ly and scheme in define-music-function
Nicolas Sceaux schrieb:
Here is the structure of your function:
setAltStaff =
#(define-music-function (parser location style lowerOctave upperOctave)
(string? number? number?)
(if #t
#{ ..foo.. #})
#{ ..baz.. #})
The function return the last form, which is always #{ ..baz.. #}.
You should write instead:
setAltStaff =
#(define-music-function (parser location style lowerOctave upperOctave)
(string? number? number?)
(if condition
#{ ..foo.. #}
#{ ..baz.. #}))
But is that what Kevin wants to do? As far as I understood, he wants the
#{ ..baz.. #} part to be executed unconditionally. In your construct, it
acts as an _alternative_ to the #{ ..foo.. #} part. I must confess that
I only gave it a quick glance, but since the 'if' construct in his code
uses side-effects, it shouldn't matter what the function actually
returns. So it should work as intended. Or am I wrong?
Max
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newbie q: staff size
hello; enjoying learning this program!
i want to enlarge the size of my trumpet chart, as we are all getting older
and must apparently continue to play in poorly-lit venues :-(.
what's the easiest way to do this? i've tried
\layout
{#(set-global-staff-size 20)}
but this only generates an error:
Warning: not in toplevel scope
and no change in the printout.
i've also tried
\score
{ .\layout{ #(layout-set-staff-size 15) }}
in different permutations (with without {} at various points etc.) but all
this seems to do is increase the size of the music relative to the staff, so
i get giant notes on a normal-sized staff.
thanks in advance for any help; here's my score so far (I can already hear
everyone laughing!):
-steve
[begin code]
\version 2.10.20
\score
{\relative c'
% Intro
{ \set Score.markFormatter = #format-mark-box-barnumbers
{\set Staff.instrumentName = TPT}
\override MultiMeasureRest #'expand-limit = 1
\set Score.skipBars = ##t R1*3
r4 a'8.- \(b16-- c4-- e--
a2 e4.. a16--
g4-- e2.\) \breathe
e2--- \(d ---
c---\) r2 \bar |: \mark \default
% Verse
\set Score.skipBars = ##t R1*3
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
\set Score.skipBars = ##t R1*2
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
r1
r4 b8.- \(cis16 d4-- cis-.\)
r4 a8.- \(b16 c4-- b-.\)
}
}
\layout
{#(set-global-staff-size 20)}
[end code]
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Re: How do I mix ly and scheme in define-music-function
Maximilian Albert [EMAIL PROTECTED] writes:
Nicolas Sceaux schrieb:
Here is the structure of your function:
setAltStaff =
#(define-music-function (parser location style lowerOctave upperOctave)
(string? number? number?)
(if #t
#{ ..foo.. #})
#{ ..baz.. #})
The function return the last form, which is always #{ ..baz.. #}.
You should write instead:
setAltStaff =
#(define-music-function (parser location style lowerOctave upperOctave)
(string? number? number?)
(if condition
#{ ..foo.. #}
#{ ..baz.. #}))
But is that what Kevin wants to do? As far as I understood, he wants the
#{ ..baz.. #} part to be executed unconditionally.
Ok, I misunderstood.
The music expression that is finally inserted into the surrounding music
is what is *returned* by the music function, that is, the last form. So
the #{..foo..#} has to be conditionaly inserted in the last form,
otherwise it is lost in the void.
setAltStaff =
#(define-music-function (parser location ...)
(...)
(make-music 'SequentialMusic
'elements (list (if ..condition..
#{ ..foo.. #}
;; if condition is not fulfilled, empty music:
(make-music 'SequentialMusic))
#{ ..baz.. #})))
nicolas
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Re: How do I mix ly and scheme in define-music-function
Nicolas Sceaux schrieb: The music expression that is finally inserted into the surrounding music is what is *returned* by the music function, that is, the last form. Ah, that's point. Thanks for the hint! I'm sure this will help me quite a few times in the future (when I finally find the time for typesetting again ...). Max ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Noteheads
You also need to describe where to attach the stems. A few sentences on this would be nice for the documentation. I managed to do it once, but I'm not ready to describe the process myself. Maximilian Albert [EMAIL PROTECTED] writes: It's a fun experience to learn metafont, so if you have the time and are a bit inclined to programming, give it a try. There is a nice introductory tutorial available at http://metafont.tutorial.free.fr/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I mix ly and scheme in define-music-function
Thanks. That was the part I was missing. I didn't realize that all
of the items must be combined, and I didn't know how to combine them anyway.
Is this worth mentioning somewhere in the Music Functions section of
the documentation. Does that mean I have to write it.
Nicolas Sceaux [EMAIL PROTECTED] writes:
setAltStaff =
#(define-music-function (parser location ...)
(...)
(make-music 'SequentialMusic
'elements (list (if ..condition..
#{ ..foo.. #}
;; if condition is not fulfilled, empty music:
(make-music 'SequentialMusic))
#{ ..baz.. #})))
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Lyric Ties (desperate)
I am preparing a series of typeset manuscripts for both formal publication and my thesis. I cannot do this until I figure out how to typeset lyric ties (http://huge-url/#Entering-lyrics). The problem, as the documentation states, is that you need a font that correctly encodes U+203F. What the documentation does not tell me is the following: 1) Is there a font included in the Lilypond package that does include this character? 2) If not, where exactly can I obtain such a font (such as the stated DejaVuLGC), or how would I even begin a hunt for such a font? 3) Once found, how do I install this font in the Lilypond hierarchy so that it is detected by the binary? 4) And finally, how to I tell Lilypond to use a particular font for all lyrics in an .ly file? The list archives simply turn up an exchange a long time back where PersonX asked the question, PersonY told him to install DejaVuLGC, and PersonX then said, Thanks! I've tried to contact PersonX and PersonY but have not received responses or bounce messages. I am desperate to get this working. I do *not* want to re-typeset all this music in some lame-trash software like Finale. I am indeed using v2.10.x. I normally use the FreeBSD package but also use it on Windows. (My Cygwin install segfaults though, btw.) I sincerely appreciate any guidance anyone can give me in solving this problem. Many thanks, -- Aaron Dalton University of Calgary [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: newbie q: staff size
hi,
try to put the setting directly after the \version tag. This works fine for me:
%%% BEGIN OF CODE %%%
\version 2.10.20
#(set-global-staff-size 40)
\score
{\relative c'
% Intro
{ \set Score.markFormatter = #format-mark-box-barnumbers
{\set Staff.instrumentName = TPT}
\override MultiMeasureRest #'expand-limit = 1
\set Score.skipBars = ##t R1*3
r4 a'8.- \(b16-- c4-- e--
a2 e4.. a16--
g4-- e2.\) \breathe
e2--- \(d ---
c---\) r2 \bar |: \mark \default
% Verse
\set Score.skipBars = ##t R1*3
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
\set Score.skipBars = ##t R1*2
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
r1
r4 b8.- \(cis16 d4-- cis-.\)
r4 a8.- \(b16 c4-- b-.\)
}
}
%%% END OF CODE %%%
2007/4/1, steve berthiaume [EMAIL PROTECTED]:
hello; enjoying learning this program!
i want to enlarge the size of my trumpet chart, as we are all getting older
and must apparently continue to play in poorly-lit venues :-(.
what's the easiest way to do this? i've tried
\layout
{#(set-global-staff-size 20)}
but this only generates an error:
Warning: not in toplevel scope
and no change in the printout.
i've also tried
\score
{ .\layout{ #(layout-set-staff-size 15) }}
in different permutations (with without {} at various points etc.) but all
this seems to do is increase the size of the music relative to the staff, so
i get giant notes on a normal-sized staff.
thanks in advance for any help; here's my score so far (I can already hear
everyone laughing!):
-steve
[begin code]
\version 2.10.20
\score
{\relative c'
% Intro
{ \set Score.markFormatter = #format-mark-box-barnumbers
{\set Staff.instrumentName = TPT}
\override MultiMeasureRest #'expand-limit = 1
\set Score.skipBars = ##t R1*3
r4 a'8.- \(b16-- c4-- e--
a2 e4.. a16--
g4-- e2.\) \breathe
e2--- \(d ---
c---\) r2 \bar |: \mark \default
% Verse
\set Score.skipBars = ##t R1*3
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
\set Score.skipBars = ##t R1*2
a16- \(\parenthesize a a a-. ~ a16 a8-. a16 g8-- a-.\) r4
r1
r4 b8.- \(cis16 d4-- cis-.\)
r4 a8.- \(b16 c4-- b-.\)
}
}
\layout
{#(set-global-staff-size 20)}
[end code]
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removeEmptyStaff one by one
Dear lilypond List
I have something like
\version 2.11.20
\score {
\new StaffGroup
\new Staff {
\voiceA
}
\new Staff {
\voiceB
}
\new Staff {
\voiceC
}
\layout { \context { \removeEmptyStaffContext } }
}
\paper { }
It works nice... but I would like to remove the empty staffes (staves ?) for
the voices A B (when empty) but never for the voice C.
Which mean that : even if C is empty (and A or B have some content) : don't
remove it
How could I do ?
I already had a look at the archives without finding a nice trick
Yota
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Re: Lyric Ties (desperate)
Here is the page for downloading the fonts: http://dejavu.sourceforge.net/wiki/index.php/Download If you have windows, this is the direct linc to the ttf's on a zip: http://prdownloads.sourceforge.net/dejavu/dejavu-ttf-2.16.zip?download I extracted the fonts to the c:\windows\fonts folder (where all the fonts are located), and lilypond were able to use them without touching anything. I don't know if it'll be as easy for you. cheers ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
aleatoric
Dear list, How do I write aleatoric music in Lilypond? Actually, I am writing a woodwind quintet, intending to have two group for aleatoric: Horn bassoon is one group playing thythmically together, while flute, clarinet, and oboe is another group playing thythmically together; yet each of these two groups plays rhythmically independently. How do I achieve that in lilypond (2.10.20) - for printing the music out? -- that is, I am not worrring about the midi files for now. Thank you very much neuro ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: aleatoric
Hi, As far as I can say, alea can be notated in thousand ways. You should provide an example of the desidered notation output so that people can suggest solutions. Rhythmically independent is too vague... Best -a- On 2 Apr 2007, at 00:49, Neuro wrote: Dear list, How do I write aleatoric music in Lilypond? Actually, I am writing a woodwind quintet, intending to have two group for aleatoric: Horn bassoon is one group playing thythmically together, while flute, clarinet, and oboe is another group playing thythmically together; yet each of these two groups plays rhythmically independently. How do I achieve that in lilypond (2.10.20) - for printing the music out? -- that is, I am not worrring about the midi files for now. Thank you very much neuro ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Andrea Valle -- CIRMA - DAMS Università degli Studi di Torino -- http://www.cirma.unito.it/andrea/ -- [EMAIL PROTECTED] -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
remove clef
hello, is there any way to have the clef only appear in the first line of a part? i couldn't find anything about that in the 'clef' section in the documentation, and searching the archives for 'clef' produced no results (!?). thanks, -steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Intermittent Lyrics in Choral Piece
I'm looking for a good way to write intermittent lyrics for a choral
part. I'm working on a piece with a repetitive bass figure, so after
the first repetition, there is no need to keep writing out the words.
However, I'd like to write more words at the beginning of the next
section.
An obvious way to do this is to use the \skip command in the lyrics,
but I'm not sure this is the best way. If I could leave a hook in
the notated music, it would save me some counting. Following the
example of divisi lyrics:
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Divisi-lyrics#Divisi-lyrics
I can define a new named voice for the parts that should have words,
then associate the words with that voice using \lyricsto . This seems
like a good solution, but I'm not sure how to use it more than once
for a single part. I want to do something like this:
\version 2.10.20
\new Voice = bass {
\clef bass
\relative c {
\new Voice = bassWords { c4 c c c }
c c c c
\context Voice = bassWords {c d e f}
}
}
\new Lyrics \lyricsto bassWords \lyricmode {
Dm dm dm dm
Dm ba Dm ba
}
Trouble is, the words don't show up in the second section.
Of course, for a trivial example like this, the \skip command seems to
make more sense, but in a longer and more complicated piece, I'm not
sure if it's the best solution.
I've read the sections of the manual I could find that apply to choral
music, but any pointers to any other resources that cover using
lilypond in a choral context would also be appreciated.
Regards,
Jason
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Lilypondit
Is there any lilypond analog to latexit: http://www.apple.com/downloads/macosx/math_science/latexit.html Googling lilypondit and lilypond latexit didn't yield anything too promising. For longer documents, lilypond-book looks like it would be fantastic, but if I want to throw one or two quick examples into a document, or a powerpoint slide or something like that, it's hard to beat the click and drag model of latexit. If no such utility exists, does anyone have a sense of how hard it might be to hack latexit to interpret lilypond? Regards, Jason ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
