Script and staff-pading question
Hello,
manual says that articultaions' position can be controlled by Script's
parameters, but i can not manage to do so.
Please, take a look:
% -
\version 2.10.20
\relative c' {
\stemDown
%
% This \override works:
\override Script #'padding = #1.5
%
c- d- e- f- g- a- b- c-
%
% while this one -- doesn't:
\override Script #'staff-padding = #3
%
c,- d- e- f- g- a- b- c-
}
% -
The second \override does nothing -- it but should?
(This is somewhat related to my previous question -- regarding
staff-padding and TextScript under slurred note, i guess)
--
_,-=._ /|_/|
`-.} `=._,.-=-._., @ @._,
`._ _,-. ) _,.-'
`G.m-^m`m'Dmytro O. Redchuk
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Re: Script and staff-pading question
As you can notice at the chart of all available scripts in the section
on Articulation,
some articulations stay close to the note head, whereas others always
are typeset
above/below the stave. The staff-padding property is only in effect for the
articulations that always are typeset outside the stave, such as
staccatissimo,
stopped, turn and lost of others. Once you think of it, this design
choice in
LilyPond makes sense.
The obvious follow-up question is how LilyPond determines which
articulations
should follow the note head into the stave and which should stay outside.
The answer can be found in the initalization file scm/script.scm, where
the articulations that should follow the note head have the property
quantize-position set.
/Mats
Dmytro O. Redchuk wrote:
Hello,
manual says that articultaions' position can be controlled by Script's
parameters, but i can not manage to do so.
Please, take a look:
% -
\version 2.10.20
\relative c' {
\stemDown
%
% This \override works:
\override Script #'padding = #1.5
%
c- d- e- f- g- a- b- c-
%
% while this one -- doesn't:
\override Script #'staff-padding = #3
%
c,- d- e- f- g- a- b- c-
}
% -
The second \override does nothing -- it but should?
(This is somewhat related to my previous question -- regarding
staff-padding and TextScript under slurred note, i guess)
--
=
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: Strange TextScript behaviour?
Dmytro O. Redchuk wrote:
To be short:
measures 2 and 4 should be identical, shouldn't they?
(i mean 11 in 2nd should be positioned like 1 in 4th,
with the same staff-padding)
But they are not.
Probably, it should be so -- but I don't know why, that's why i'm
asking.
As far as I can understand, the explanation, as I described below, is
that the
11 extends sufficiently far to the right that it is considered to be
above the
slur, whereas the 1 is considered to be so far to the left that it's
not influenced
by the slur. For text scripts above slurs, there's another property that
you haven't
noticed yet, namely the avoid-slur property. If you add the setting
\override TextScript #'avoid-slur = #'inside
at the top of your example, then all your text scripts will end up at
the same
vertical position. As an alternative, as I have described earlier, you
could make
the text scripts right aligned, to avoid that they are considered to be
above the
slur (at least in this specific example, where the slur starts on the
same note as
the text script).
/Mats
Thanks,
On Wed, Apr 11, 2007 at 10:40:48AM +0200, Mats Bengtsson wrote:
I don't follow exactly what you try to do. However, the vertical position is
determined based on one of a number of different rules, depending on which
one sets the strictest limits. In your case,
- The staff-padding detemines the minimum distance to the stave.
- The padding determines the minimum distance to the closest
object (stem or stave or note head or whatever). In your particular
example the stem is the closest object.
I asked to put using
\override TextScript #'padding = #-7
so.. So, all markups shall be positioned like in the 1st staff, i thought.
- The slur-padding determines the minimum distance to the slur,
if the text script extends above the slur. In your example, the difference
between 1 and 11 is that LilyPond thinks that the former is only
above the stem, not the slur, whereas 11 extends so far to the right
that it's considered to be above the slur.
Thanks, more clear now :-)
But after \once \override TextScript #'slur-padding = #-7 i expected to
have the same resut, as in measures 1 and 4.
If you want a fixed distance to the stave, just set a large enough value
of staff-padding, so that this setting dominates the other ones.
Now, i dont want large enough value :-)
That's why i asked to \override TextScript #'padding = #-7
Also, instead of using the extra-offset to change the horizontal position,
you may want to set
\override TextScript #'self-alignment-X = #RIGHT
As you will notice, this setting changes many of your conclusions, for
example
since LilyPond will no longer think that any of the text scripts is
above any slur.
Thank you.
Probably, i need self-alignment-X and a little extra-offset really.
But it doesn't answer my question, i guess :-)
It was: why #'slur-padding = #-7 don't play, and why... Ok, second why is
unclean for me :-)
Why second 1 is above slur even if it had been shifted by extra-offset.
Ok, I'm too new to LilyPond, surely.
I recommend you to remove all your other \override:s as a starting point.
Note also, that your score will look different if you upgrade to the latest
development version (or when you upgrade to version 2.12 when it will
be released some time in the future).
/Mats
Dmytro O. Redchuk wrote:
Hello,
I found that TextScript requires some extra-offset when set above
slurred note AND has more than one symbol. Just take a look:
% -
%
%
%
\version 2.10.20
soprano = \relative c'' {
%
\voiceOne
%
% Text would be 7 units below it's original position...
\override TextScript #'padding = #-7
%
% ... but this padding forces the same position
% for all TextScripts above Staff:
\override TextScript #'staff-padding = #1.0
%
% Shift them a bit left:
\override TextScript #'extra-offset = #'(-3.0 . 0)
%
%
% Markup (two symbols -- no slur) -- no problem,
% as expected:
e4 f ^ \markup { \bold 11 }
g a
%
% Two symbols, slurred note -- 'staff-padding is ignored:
e4 f( ^ \markup { \bold 11 }
g a)
%
\break
%
% Well, 'slur-padding is ignored too?
\once \override TextScript #'slur-padding = #-7
%
e4 f( ^ \markup { \bold 11 }
g a)
%
% But _one symbol_ markup _with slur_ is great,
% with no 'slur-padding :
e4 f( ^ \markup { \bold 1 }
g a)
%
}
{ \soprano }
\paper {
indent = 0
}
% -
Very probably, I have missed something important -- please, tell me.
And, btw, is there other way to get all
Re: Strange TextScript behaviour?
On Thu, Apr 12, 2007 at 12:59:48PM +0200, Mats Bengtsson wrote: Dmytro O. Redchuk wrote: To be short: measures 2 and 4 should be identical, shouldn't they? (i mean 11 in 2nd should be positioned like 1 in 4th, with the same staff-padding) But they are not. Probably, it should be so -- but I don't know why, that's why i'm asking. As far as I can understand, the explanation, as I described below, is that the [...] Thank You, Mats :-) /Mats -- _,-=._ /|_/| `-.} `=._,.-=-._., @ @._, `._ _,-. ) _,.-' `G.m-^m`m'Dmytro O. Redchuk ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Script and staff-pading question
On Thu, Apr 12, 2007 at 12:41:54PM +0200, Mats Bengtsson wrote: As you can notice at the chart of all available scripts in the section on Articulation, some articulations stay close to the note head, whereas others always are typeset above/below the stave. The staff-padding property is only in effect for the articulations that always are typeset outside the stave, such as staccatissimo, stopped, turn and lost of others. Once you think of it, this design choice in LilyPond makes sense. The obvious follow-up question is how LilyPond determines which articulations should follow the note head into the stave and which should stay outside. The answer can be found in the initalization file scm/script.scm, where the articulations that should follow the note head have the property quantize-position set. /Mats Thank You, Mats, thanks a lot :-) -- _,-=._ /|_/| `-.} `=._,.-=-._., @ @._, `._ _,-. ) _,.-' `G.m-^m`m'Dmytro O. Redchuk ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: producing archival scores
On Sat, 7 Apr 2007 16:40:01 -0400 Jason Merrill [EMAIL PROTECTED] wrote: So far, the best option was suggested by Tom: a tool called PDFtoMusic Pro that converts PDF scores into MusicXML. The pros are that it is available right now, and that it presumably works. Downsides are that it is proprietary and not free, and takes what seems to me a rather indirect route towards solving my particular problem. Any other suggestions? Any comments on the likelihood of being able to compile lilypond into a music interchange format at some point in the future? One possibiltiy that has not been mentioned yet is to use lilypond's SVG output instead of PDF. SVG is an open standard developed at the w3c: http://www.w3c.org/Grapics/SVG/ The pros: since SVG is an open standard and not reliant on one company to support it, it is, in a sense, more future-proof than PDF. SVG is an xml dialect and therefore it will be possible to use XSLT to transform the SVG files into future file formats (although I accept that this could be time-consuming). The cons: SVG is not music-aware - it is merely a graphics file. The files can be edited in a graphics program such as Inkscape (http://www.inkscape.org) but this is only in a moving-blobs-and-lines-around-a-screen sense not in a notation editor. It would be possible to make lilypond's SVG output more music-aware (and this is an area that I am interested in) but, as far as I know, there is no svg-based music-aware file format that you could use. You would therefore still have to archive the .ly files or their MusicXML equivalents. SVG are supported in Firefox and Konqueror (in GNU/Linux) but I understand that support in IE is is poor. In conclusion: SVG provide an alternative to PDF which may be more future-proof provided that you are prepared for patchy support in current browsers. Stuart ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
chord fingerings and octavation
Hello,
this is my first post at lilypond-user. I am using lilypond since a
few days and there are some minor problems I could not solve yet:
I am trying to print four V-I progressions for an article on my
homepage:
\version 2.10.0
\chords { g2:7 c g:7 c g:7 c:maj7 g:7.9.13 c:6.9 }
\relative c'' {
#(set-octavation 1)
g d'f b2^\markup \fret-diagram-terse #x;x;5;7;6;7;
g c e c'^\markup \fret-diagram-terse
#x;x;5-(;5;5-);8;
g b f' g^\markup \fret-diagram-terse #x;10;9;10;8;x;
c, e' g c^\markup \fret-diagram-terse
#8-(;10;10;9;8;8-);
#(set-octavation 0)
g f' b d^\markup \fret-diagram-terse #3;x;3;4;3;x;
c e b' e^\markup \fret-diagram-terse #x;3;2;4;5;x;
g f' b e a^\markup \fret-diagram-terse
#3;x;3;4;5-(;5-);
c e a d g^\markup \fret-diagram-terse
#x;3;2-(;2-);3-(;3-);
}
1. As you can see, the chord fingerings are crossing the octavation
bracket. What could I do about that?
2. Is it possible to have the fingerings at the same height? It looks
a bit jagged to me, I would prefer all the fingerings at the level of
the highest one.
3. How could I insert straight lines to show the voice-leading? I would
like to have a line from h to c in the first bar, for example.
I tried to read those up myself, but I could not find the solution.
Thanks
Daniel
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music scores search engine
I use lilypond to adapt music for small guitar ensembles and finding scores to adapt online saves me a trip to the library. I've installed the Nutch search engine software (http://lucene.apache.org/nutch/) on my site and use it to crawl and index websites that have good repositories of scores; finding a particular score is faster than searching via the major search engines. It's a project-in-progress but I find it useful enough to share with others. The url is http://www.blackstock.ca/egroupware/sitemgr/utilities/ and if anybody knows of good sites to index, let me know. Cheers, Mike ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord fingerings and octavation
Sorry, I forgot to expand the tabs:
\version 2.10.0
\chords { g2:7 c g:7 c g:7 c:maj7 g:7.9.13 c:6.9 }
\relative c'' {
#(set-octavation 1)
g d'f b2^\markup \fret-diagram-terse #x;x;5;7;6;7;
g c e c'^\markup \fret-diagram-terse #x;x;5-(;5;5-);8;
g b f' g^\markup \fret-diagram-terse #x;10;9;10;8;x;
c, e' g c^\markup \fret-diagram-terse #8-(;10;10;9;8;8-);
#(set-octavation 0)
g f' b d^\markup \fret-diagram-terse #3;x;3;4;3;x;
c e b' e^\markup \fret-diagram-terse #x;3;2;4;5;x;
g f' b e a^\markup \fret-diagram-terse #3;x;3;4;5-(;5-);
c e a d g^\markup \fret-diagram-terse #x;3;2-(;2-);3-(;3-);
}
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RE: chord fingerings and octavation
When I've been scoring things out for bass and guitar I've found that I often
have to alter the octave that one part is in. As primarily a bass player I
realize that bass parts are written an octave higher than they actually are to
avoid too many ledger lines below the staff. Having never really had to read
guitar music in standard notation I'm not sure if that's actually true.
The pieces I've scored with LP for guitar have seemed to be that way. Just for
reference, I consider the open high E string on a guitar to be the top space on
a treble clef stave. Again, this comes from trial and error, and not wanting
to have absurd ledger lines. But it is tough to put a guitar chord such as an
open E on a single treble clef (since the voicing spans two octaves) and NOT
have ledger lines. At least from the perspective of my limited scoring
experience.If I am wrong I'd appreciate being corrected. :-)
Date: Thu, 12 Apr 2007 21:31:46 +0200 From: [EMAIL PROTECTED] To: [EMAIL
PROTECTED] Subject: Re: chord fingerings and octavation Sorry, I forgot
to expand the tabs: \version 2.10.0 \chords { g2:7 c g:7 c g:7
c:maj7 g:7.9.13 c:6.9 } \relative c'' { #(set-octavation 1) g d'f
b2^\markup \fret-diagram-terse #x;x;5;7;6;7; g c e c'^\markup
\fret-diagram-terse #x;x;5-(;5;5-);8; g b f' g^\markup
\fret-diagram-terse #x;10;9;10;8;x; c, e' g c^\markup
\fret-diagram-terse #8-(;10;10;9;8;8-); #(set-octavation 0) g f' b
d^\markup \fret-diagram-terse #3;x;3;4;3;x; c e b' e^\markup
\fret-diagram-terse #x;3;2;4;5;x; g f' b e a^\markup \fret-diagram-terse
#3;x;3;4;5-(;5-); c e a d g^\markup \fret-diagram-terse
#x;3;2-(;2-);3-(;3-); }
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Re: chord fingerings and octavation
Ed Ardzinski [EMAIL PROTECTED] wrote on Thu, Apr 12, 2007 at 07:41:52PM +: As primarily a bass player I realize that bass parts are written an octave higher than they actually are to avoid too many ledger lines below the staff. Having never really had to read guitar music in standard notation I'm not sure if that's actually true. Yes, guitar voices are written one octave higher than they sound. a treble clef stave. Again, this comes from trial and error, and not wanting to have absurd ledger lines. But it is tough to put a guitar chord such as an open E on a single treble clef (since the voicing spans two octaves) and NOT have ledger lines. At least from the perspective of my limited scoring experience. Well, I used octavation in order to avoid much ledger lines. Unfortunately, the chord fingerings, which are printed above the staff, cross the 8va-, mark. That's my main problem, since I don't know how to move the fingerings up. And I guess that I would have to move the chord symbols, too. But maybe there is some other solution... Any tips? Daniel ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Crescendo past the barline
Greetings - I'm running LilyPond 2.10.16 under WinXP SP2. The default for a hairpin set to end at the first note after a bar line is to end the hairpin at the barline. I'd like the hairpin to extend past the barline, to the note where the \! is. I've been able to change this by using a skip note, but is there a more direct way to get the behavior I'd like? I did check the LSR and the e-mail archives. Thanks for your time and help, Ralph + Ralph Palmer Energy/Administrative Coordinator Keene State College Keene, NH 03435-2502 Phone: 603-358-2230 Cell: 603-209-2903 Fax: 603-358-2456 [EMAIL PROTECTED] ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: music scores search engine
2007/4/12, Mike Blackstock [EMAIL PROTECTED]: I've installed the Nutch search engine software (http://lucene.apache.org/nutch/) on my site and use it to crawl and index websites that have good repositories of scores; finding a particular score is faster than searching via the major search engines. It's a project-in-progress but I find it useful enough to share with others. The url is http://www.blackstock.ca/egroupware/sitemgr/utilities/ and if anybody knows of good sites to index, let me know. I find it's an excellent idea; maybe some extra options could be needed (for instance, to find only LilyPond files, or free-licensed scores :-), but this is indeed good start. Ralph Palmer recently told me about another search engine, which was developed by John Chambers to find ABC scores, with many usefuls options (though undoubtely much less design-appealing than yours): http://trillian.mit.edu/~jc/cgi/abc/tunefind I wish there could be some tool to search *into* LilyPond files, for instance to search for a precise theme or whatever... Applying Google-like world-domination plans to LilyPond! :-) OK, I may have too much imagination... Regards, Valentin. ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Noteheads
Sorry! I just realized that for whatever reason I didn't send this email. Here it is, finally. Kevin Dalley schrieb: You also need to describe where to attach the stems. A few sentences on this would be nice for the documentation. Sure. There are two special variables called 'charwx' and 'charwy'. Lilypond interprets them as the coordinates of the point where the stem is attached. Note that the stem can be regarded as a (very oblonged) rectangle with slightly rounded corners. The attachment point of an upwards pointing stem is the point where the lower right corner would be if it were pointed rather than rounded (i.e. if the stem were a true rectangle). For downwards pointing stems, it should be analogous with the upper right corner (although I'm not 100% sure right now, without having tried it out). In case you want different stem attachments for upwards and downwards pointing stems, you need to define two separate glyphs in the *.mf file that have the same name but are prefixed by u and d, respectively (for up and down, obviously). In each of these glyphs you set the variables charwx and charwy accordingly. If the attachment point is the same for both directions, you use the prefix s (for symmetric). For example, for the fa note head in solfa notation, the two names as given in mf/feta-bolletjes.mf are u0fa and d0fa (here, 0 refers to the duration of the note). Hope this makes things a bit clearer. Cheers, Max ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Simple Question
I have not got a clue whether this is where I should be asking this
question. But here goes.
Please let me know if this should posted elsewhere.
I have a very simple question: I am trying to add a second line to the
song I am writing. I can get the second line to appear, but the first
line plays at the same time as the second line. How do I separate the
two lines?
Here's what I have written so far:
\version 2.10.20
\header{ title = Listen to the Rain }
uppera = \relative c'' {
\clef treble
\key bes \major
\time 4/4
\tempo 4=120
g g a bes d2 c2 bes1
}
lowera = \relative c {
\clef bass
\key bes \major
\time 4/4
g4 g a bes d2 c2 bes1
}
texta = \lyricmode {
Lis -- ten to the ra -- a -- ain
}
upperb = \relative c'' {
\clef treble
\key bes \major
\time 4/4
bes4 bes bes a g ees2. r1
}
lowerb = \relative c {
\clef bass
\key bes \major
\time 4/4
bes4 bes bes a g ees2. r1
}
textb = \lyricmode {
com -- ing down from the throne
}
\score {
\new Staff = uppera { \new Voice = singer \uppera }
\new Lyrics \lyricsto singer \texta
\new Staff = lowera {
\clef bass
\lowera
}
\new Staff = upperb { \new Voice = singer \upperb }
\new Lyrics \lyricsto singer \textb
\new Staff = lowerb {
\clef bass
\lowerb
}
\layout {
\context { \Staff \accepts Lyrics }
\context { \Lyrics \consists Bar_engraver }
}
\midi { }
}
Thank you,
Ron
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