Re: cruft after introduction to vocal piece
It's all explained in chapter 8.3.2. You have to add \override Score.VerticalAxisGroup #'remove-first = ##t somewhere in your score so that RemoveEmptyStaffContext also removes empty staves frome the first system. regards, Tao Original-Nachricht Datum: Thu, 26 Jul 2007 22:34:23 -0700 Von: Paul A. Scott [EMAIL PROTECTED] An: Ed Ravin [EMAIL PROTECTED] CC: lilypond-user@gnu.org Betreff: Re: cruft after introduction to vocal piece Sorry, I sent this from the wrong address. On Jul 26, 2007, at 10:10 PM, Ed Ravin wrote: I'm using LilyPond 2.10.14-1 on Mac OS X. I'm typesetting a piece for piano and singer. The first few bars are an introduction, with no words for the singer. In order to save paper, I want a staff without a vocal line for the first few bars, then a regular PianoStaff with melody and lyrics for the rest of the piece. I got it working using the score block shown below, by modifying an example out of the documentation. There's just one problem. The introduction takes up one line, as planned, but after the double bar line at the end, the staff lines continue past the double bar line, and there's an extra time signature at the far right of the staff. You can view the problem (at the upper right hand corner of the PDF) at: http://www.panix.com/~eravin/showlilyprob.pdf What might I be doing wrong here? Without knowing what's in \melody, \upper and \lower it's difficult to help. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Pt! Schon vom neuen GMX MultiMessenger gehört? Der kanns mit allen: http://www.gmx.net/de/go/multimessenger ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cruft after introduction to vocal piece
On Thu, Jul 26, 2007 at 10:32:45PM -0700, Paul A. Scott wrote:
...
You can view the problem (at the upper right hand corner of the
PDF) at:
http://www.panix.com/~eravin/showlilyprob.pdf
...
Without knowing what's in \melody, \upper and \lower it's difficult
to help.
OK, I created a minimal .ly file that demonstrates the problem - see
attached.
Many thanks,
-- Ed
\paper {
% line-width = 195 \mm
indent = 0.0\mm
ragged-right = ##f
% use low values to maximize systems per page
% between-system-padding = 1\mm
% between-system-space = 1\mm
foot-separation = 5\mm
page-top-space = 2\mm
head-separation = 2\mm
% top-margin = 4\mm
% bottom-margin = 4\mm
next-padding = 1.5\mm
% before-title-space = 13\mm
after-title-space = 2\mm
% for debugging spacing issues
% annotate-spacing = ##t
}
\header {
title = Problem Demonstration
composer = Extra Cruft
piece = Moderato
copyright= Copyright (c) 2007 by Ed Ravin
}
\version 2.10.10
introupper = \relative c' {
\clef treble
\key g \major
\time 2/2
{ b'4 a g a } \\ { c, e1 } |
{ b'4 a g a } \\ { c, ees1 } |
b d g 1 ~ | b d g1 \bar ||
}
introlower = \relative c' {
\clef bass
\key g \major
\time 2/2
a, e' g1 | a ees' g1 | g g'2 d d'2 |
#(set-octavation -1)
g,1
#(set-octavation 0)
\bar ||
}
upper = \relative c'' {
\clef treble
\key g \major
\time 2/2
% verse
{ d,8 e fis g fis e d e } \\ { b1 } |
}
lower = \relative c' {
\clef bass
\key g \major
\time 2/2
%verse
{ d,8 e fis g fis e d e } \\ { g,1 } |
}
melody = \relative c'' {
\clef treble
\key g \major
\time 2/2
d,8\mf e fis g fis e d e |
}
text = \lyricmode {
I could talk for ho -- urs gi -- ving pro and con,
}
\score {
{
\new PianoStaff = introduction
#(set-accidental-style 'piano)
\context Staff = introupper \introupper
\context Staff = introlower \introlower
\break
\new Staff = singer
\new Voice = vocal {
\autoBeamOff
\melody
}
\new Lyrics \lyricsto vocal \new Lyrics { \text }
\new PianoStaff = piano
#(set-accidental-style 'piano)
\new Staff = upper { \upper }
\new Staff = lower { \lower }
}
\layout {
\context { \RemoveEmptyStaffContext }
\context {
\Score
\remove Bar_number_engraver
}
}
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 105 4)
}
}
}
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Re: cruft after introduction to vocal piece
Ok, sorry, I misunderstood your problem. The thing here is that you split your parts and in the score block you create two piano staves whereas one is completely sufficient. the time signature appears because the staff with the melody line begins after the line break. you have to add rests like R1*4 to your melody line and let it begin at the same time the piano intro does and reduce your score block to one PianoStaff. And then add the command I suggested earlier and first system will only show the piano intro. I hope that helps. regards, Tao Original-Nachricht Datum: Fri, 27 Jul 2007 02:38:01 -0400 Von: Ed Ravin [EMAIL PROTECTED] An: Paul A. Scott [EMAIL PROTECTED] CC: lilypond-user@gnu.org Betreff: Re: cruft after introduction to vocal piece On Thu, Jul 26, 2007 at 10:32:45PM -0700, Paul A. Scott wrote: ... You can view the problem (at the upper right hand corner of the PDF) at: http://www.panix.com/~eravin/showlilyprob.pdf ... Without knowing what's in \melody, \upper and \lower it's difficult to help. OK, I created a minimal .ly file that demonstrates the problem - see attached. Many thanks, -- Ed -- Pt! Schon vom neuen GMX MultiMessenger gehört? Der kanns mit allen: http://www.gmx.net/de/go/multimessenger ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond extension/plugin for MediaWiki software
Mark Dewey wrote: I've heard tell that there is a LilyPond extension or plugin for MediaWiki (that's the software they use with Wikipedia). I have a wiki (HymnWiki.org) that uses LilyPond files quite a bit . . . so, I'm interested in finding out what the plugin is for, what it is called, and where I can get it. Do any of you know? There was a disussion about it a few days ago: http://lists.gnu.org/archive/html/lilypond-user/2007-07/msg00400.html Regards, V.Villenave ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
dot-matrix printer
Hi! I think of buying a dot-matrix printer, to reduce costs specially with the draft-prints with lilypond. But does it works (does it prints graphics?)? I found nothing serious about it in the archiv or in the web. I never used a dot-matrix before... Of course I will continue to use my ink-jet for final-prints! I would be very pleased about a short answer. Thanks in advance Francois ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
problem with point-and-click and LilyPondTool
Hello,
I use lilypond 2.10.25 and jEdit with lilypondtool under WinXP sp2 and when I
have larger scores the point-and-click links are not available in jEdits pdf
viewer anymore.
They are still present though when I open it with Acrobat.
I attached a file where the problem occurs.
It's not really that large a score yet so I don't really know what causes the
problem.
Hope someone can help me because I use the point-and-click a lot and especially
in large scores it would be a nice feature.
regards,
Tao
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\version 2.10.25
%\include my-drumpitch-init.ly
makeSlash =
{
\override NoteHead #'style = #'slash
\override Stem #'transparent = ##t
}
makeNote =
{
\revert NoteHead #'style
\revert Stem #'transparent
}
rhyOn =
{
\revert Stem #'transparent
\override NoteHead #'style = #'slash
}
rhyOff = \revert NoteHead #'style
flute = \relative c''
{
\set Staff.instrumentName = Flute
\set Staff.shortInstrumentName = Fl.
\clef G
\time 3/4
\key c \major
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} R2.*12 |
%{013%} r4 fis16 g fis f e8 fis |
d8 b a g fis e |
R2.*2 | \bar ||
g'8 g r g r g |
g4 r8 g r g |
g4 r8 g r g |
}
horns =
{
\set Staff.instrumentName = Horns
\set Staff.shortInstrumentName = Hrns.
\clef G
\time 3/4
\key c \major
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} R2.*16 | \bar ||
}
strings =
{
\set Staff.instrumentName = Strings
\set Staff.shortInstrumentName = Strs.
\clef G
\time 3/4
\key c \major
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} R2.*16 | \bar ||
}
guitar = \relative c''
{
\set Staff.instrumentName = Guitar
\set Staff.shortInstrumentName = Gtr.
\clef G
\time 3/4
\key c \major
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} \rhyOn \repeat unfold 12 { b8 b r b b4 }
%{013%} b2.~ |
b2. |
r4 b2~ |
b2. | \bar ||
\makeSlash \repeat unfold 60 { b4 }
}
gtrChords = \lyricmode
{
%{001%} DM2. Cm6 BbM AbM
GM FM GM FM
EbM DbM EbM DbM
%{013%} CM _ _4 Db6/9/s112 _2.
CM2. Bbm7 AbM DbMs11
}
bass = \relative c
{
\set Staff.instrumentName = Bass
\set Staff.shortInstrumentName = Bs.
\clef F
\time 3/4
\key c \major
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} R2.*14 |
%{015%} des4-. des2-~ |
des2\glissando as'4\glissando | \bar ||
c,4. g' |
bes, f' |
}
drKicks = \drummode
{
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} R2.*14 |
}
drSlash = \drummode
{
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 1 2)
%{001%} s2.*16 |
}
dr =
{
\set Staff.instrumentName = Drums
\set Staff.shortInstrumentName = Dr.
\new DrumVoice { \drKicks } \new DrumVoice { \drSlash }
}
\book
{
\paper { #(set-paper-size a4 'landscape) }
\score
{
\new Voice = fl \flute
\new Voice = hr \horns
\new Staff = str \strings
\new Staff = g \new Voice = gtr \guitar
\new Lyrics \with { alignAboveContext = g }
{
%\override Score.LyricText #'font-name = JazzChords
\set associatedVoice = gtr
\gtrChords
}
\new Voice = bs \bass
%\new DrumStaff \with { drumStyleTable = #latin-style } \dr
\layout
{
\context { \RemoveEmptyStaffContext }
\context
{
\Lyrics
\consists Bar_engraver
\consists Separating_line_group_engraver
\override BarLine #'transparent = ##t
}
}
}
}
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Re: problem with point-and-click and LilyPondTool
Hi !
I already had this problem (i searched a long time why ):
Point-and-click don't work with the paper landscap format :-)
When you work put in portrait !
\paper { #(set-paper-size a4 )
regards
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Re: problem with point-and-click and LilyPondTool
Hi !
I already had this problem :
The paper landscap format don't work for Point-and-click :-)
When you work put in portrait !
\paper { #(set-paper-size a4 )
I have
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Re: dot-matrix printer
In the 80's dot-matrix printers were already able to print graphics of good quality. At that time, the problem was more the screen resolutions... Currently, the cost of a dot-matrix may not be lesser than an ink-jet printer. It depends on the contry you live in. Check also the cost of the inks in both cases. If you live in an appartment, check also the noise of the printer you intend to buy. Francois Planiol-Auger wrote: Hi! I think of buying a dot-matrix printer, to reduce costs specially with the draft-prints with lilypond. But does it works (does it prints graphics?)? I found nothing serious about it in the archiv or in the web. I never used a dot-matrix before... -- View this message in context: http://www.nabble.com/dot-matrix-printer-tf4156191.html#a11828391 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cruft after introduction to vocal piece - solved
Hi Ed,
Aha! That works, but not quite as you described. I had to use s
rests, otherwise the unwanted staff line still showed up.
The first line will not show up if you:
1. use R rests (which you really *should*, since s is a skip
not a rest!!);
2. include \context { \RemoveEmptyStaffContext } in your
\layout; and,
3. \override Score.VerticalAxisGroup #'remove-first = ##t
Hope this helps!
Kieren.
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Re: cruft after introduction to vocal piece - solved
On Fri, Jul 27, 2007 at 09:33:38AM +0200, Tao Cumplido wrote:
The thing here is that you split your parts and in the score
block you create two piano staves whereas one is completely
sufficient.
the time signature appears because the staff with the melody line
begins after the line break.
you have to add rests like R1*4 to your melody line and let it
begin at the same time the piano intro does and reduce your score
block to one PianoStaff.
And then add the command I suggested earlier and first system
will only show the piano intro.
Aha! That works, but not quite as you described. I had to use s
rests, otherwise the unwanted staff line still showed up.
After converting to the standard one piano staff, the melody
line looks like this:
melody = \relative c'' {
\clef treble
\key g \major
\override Score.VerticalAxisGroup #'remove-first = ##t
s1 | s1 | s1 | s1 |
\break
d,8\mf e fis g fis e d e |
}
The two sections in the score was a hack because I couldn't get
RemoveEmptyStaffContext working last year when I first needed this
feature. For a while I was using two score {} blocks and not
getting this problem, but MIDI output only worked for the second
section, the measure numbers got reset, and I could see it was
making things unnecessarily complex.
Thanks so much for your help!
-- Ed
\paper {
% line-width = 195 \mm
indent = 0.0\mm
ragged-right = ##f
% use low values to maximize systems per page
% between-system-padding = 1\mm
% between-system-space = 1\mm
foot-separation = 5\mm
page-top-space = 2\mm
head-separation = 2\mm
% top-margin = 4\mm
% bottom-margin = 4\mm
next-padding = 1.5\mm
% before-title-space = 13\mm
after-title-space = 2\mm
% for debugging spacing issues
% annotate-spacing = ##t
}
\header {
title = Problem Solved
composer = now it works
piece = Moderato
copyright= Copyright (c) 2007 by Ed Ravin
}
\version 2.10.10
upper = \relative c'' {
\clef treble
\key g \major
% \time 2/2
% intro
{ b4 a g a } \\ { c, e1 } |
{ b'4 a g a } \\ { c, ees1 } |
b d g 1 ~ |
b d g1 \bar ||
% verse
{ d8 e fis g fis e d e } \\ { b1 } |
}
lower = \relative c' {
\clef bass
\key g \major
% \time 2/2
%intro
a, e' g1 | a ees' g1 | g g'2 d d'2 |
#(set-octavation -1)
g,1
#(set-octavation 0)
\bar ||
%verse
{ d''8 e fis g fis e d e } \\ { g,1 } |
}
melody = \relative c'' {
\clef treble
\key g \major
% \time 2/2
\override Score.VerticalAxisGroup #'remove-first = ##t
% silent during intro
s1 | s1 | s1 | s1 |
\break
% verse begins
d,8\mf e fis g fis e d e |
}
text = \lyricmode {
I could talk for ho -- urs gi -- ving pro and con,
}
\score {
{
\new Staff = singer
\new Voice = vocal {
\autoBeamOff
\melody
}
\new Lyrics \lyricsto vocal \new Lyrics { \text }
\new PianoStaff = piano
#(set-accidental-style 'piano)
\new Staff = upper { \upper }
\new Staff = lower { \lower }
}
\layout {
\context { \RemoveEmptyStaffContext }
\context {
\Score
\remove Bar_number_engraver
}
}
}
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Re: Stem length
i tried: \once \override Stem #'length = #4 g8 [ a ] This does not have any effect. Apparently this override doesn't work when using manual [ ] beaming. Why? Stem lengths under beams are handled with the beamed-length property. Cf. the override-nest.ly regression test file. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
insane spring constant error
Hello Joe, hello everybody,
I noticed a discussion on -devel recently about that; I don't know if
this is related, or if I'm doing something wrong.
I'm getting a weird insane spring constant error message with
lilypond 2.11.28 using the following minimal code:
%%%snippet%%%
\version 2.11
\include italiano.ly
PrologueViolonUn = {
\time 3/4 \relative {\partial 4 r4 si'''?2.~ si2.~
\time 4/4
\repeat tremolo 8 si16~
\repeat tremolo 8 si32~ si8 r mi,,,1 }
}
\score { \new StaffGroup
\new GrandStaff
{
\new Staff \PrologueViolonUn
\new Staff \PrologueViolonUn
\new Staff \PrologueViolonUn
}
}
%%%end%%%
The error disappears if I simply remove the \partial 4 r4. Or the
tremolos.Or the whole music :)
The output is fine though; I wonder why lilypond's still calling me insane...
What is this all about?
Regards,
Valentin
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Re: Bug concerning lilypond-book
See http://lists.gnu.org/archive/html/lilypond-user/2007-05/msg00031.html
and several other emails in the mailing list archives.
/Mats
Daniel Tonda Castillo wrote:
Greetings:
Sorry for the cross-posting but I think I've found a bug.
When I put a section like this in a lilypond file and compile it the
spacing is fine.
\paper{
line-width = 170.000 \mm
textheight = 250.000 \mm
between-system-space = 1.5\cm
between-system-padding = #1
ragged-bottom=##f
ragged-last-bottom=##f
}
However, when I include the lilypond file in a latex file, and then
lilypond-book the latex file, the ending pdf document does not show
the spacing as in the individually compiled lilypond score, am I
missing something or is this a bug?
Daniel Tonda C.
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=
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: beginning-of-measure padding value?
2007/7/27, Kieren MacMillan [EMAIL PROTECTED]: Final (?) note/tip on this: if anyone else finds Lilypond's default beginning-of-measure spacing too small in general (i.e., even without modifiers like accidentals and arpeggios), you can add a little more space using: \override BarLine #'space-alist #'next-note = #'(semi-fixed- space . 1.8) Great! Can you add it to the LSR please? This way, it'll be much easier to find for everyone... Thanks V.Villenave ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace note leading to chord [solved]
It's a pity that we don't have something similar to the
tie-configuration property but for slurs, so it would be
possible to specify to which note in the chord an
incoming (or outgoing) slur should be connected.
That would have provided a much nicer solution to
the problem below.
/Mats
Gilles THIBAULT wrote:
Yes, perfect solution
I tested an acciaccatura with a chord and with a single note : it's
absolutly the same :
%
\version 2.10.25
\new Staff {
{
\slurDown
\acciaccatura b'8
\once \override NoteHead #'X-extent = #'(0.0 .
0.0)
\hideNotes c''4 \unHideNotes
\slurNeutral
}
{
e' g' c''4
}
\acciaccatura b'8 c''4
}
%%
I had never really understood the X-extent property, i think now i
understand a bit more. Thank you Valentin.
A day, when i am a shemer, i'll try to make a function to make that
staff automatic.
( with this syntax for exemple \acciaChord b'8 e' g' c''4 and
the function will take the first element of the chord ).
A day ...
Gilles
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=
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: set-global-staff-size causes weird printing
2007/7/27, Ledocq-Boccart [EMAIL PROTECTED]: I have just done a cut and try test as I (i.e. newbie) cannot do otherwise as yet. Thank you for testing. Everything works fine since I installed 2.11.28 (maybe it was a .27 bug, or something in my previous installation was corrupted...). Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem length
There's a separate property for beamed notes, see http://lists.gnu.org/archive/html/lilypond-user/2007-02/msg00266.html with followups. /Mats Peter Terpstra wrote: Dear readers, How can i change the stem length so that the voice two fits between voice one and three? i tried: \once \override Stem #'length = #4 g8 [ a ] This does not have any effect. Kind Regards, Peter -- = 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: Stem length
2007/7/27, Peter Terpstra [EMAIL PROTECTED]: i tried: \once \override Stem #'length = #4 g8 [ a ] This does not have any effect. Apparently this override doesn't work when using manual [ ] beaming. Why? V.Villenave ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: set-global-staff-size causes weird printing
Hello Valentin, Valentin Villenave a écrit : ...However, I've just discovered that when I specify a different global-staff-size, the compilation goes fine, no error messages... but the .pdf (as well as the .ps) output is just one empty page! I have just done a cut and try test as I (i.e. newbie) cannot do otherwise as yet. I ran that score on Lilypond 2.10.23 and both 13 and 14 global-staff-size do work. Except that there left some blank half or quarter of pages (probably because of the size of staff systems which force printing to a new page) -(total respectively 8 or 9 pages); (I have modified the size from 12 to 20 without problem) Regards Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cruft after introduction to vocal piece - solved
On Fri, Jul 27, 2007 at 09:58:02AM -0400, Kieren MacMillan wrote: Aha! That works, but not quite as you described. I had to use s rests, otherwise the unwanted staff line still showed up. The first line will not show up if you: 1. use R rests (which you really *should*, since s is a skip not a rest!!); The man page refers to skips as invisible rests. Is that not the case? Anyway, I see that I totally missed the very useful difference between r and R rests. Thanks for the clarification! -- Ed --- 6.1.10 Skips An invisible rest (also called a 'skip') can be entered like a note with note name `s' or with \skip duration ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can I have my own custom LilyPond?
Valentin Villenave wrote:
2007/7/26, Tao Cumplido [EMAIL PROTECTED]:
The only problem is that I can't find a way to place the chords above
the staff now.
Any solutions?
If I remember correctly, this is something like:
\new Staff = mystaff { \new Voice = music {%add notes here...
}}
\new Lyrics \with {alignAboveContext=mystaff} \lyricsto music
\lyricmode {% add chord names here}
What I proposed to Tao was to use explicit syllable durations
in the Lyrics, i.e. not to use \lyricsto. Then, it's just to insert the
\new Lyrics above the \new Staff to get it above the stave.
(Tao, post an example of what you tried if this answer is not
sufficient.)
/Mats
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Re: beginning-of-measure padding value?
Han-Wen (et al.): Thanks for 2.11.28! Joe: Thanks for the spacing fixes, which have appeared in 2.11.28 -- things look *so* much better now (in particular, I've been testing initial accidentals and arpeggios), and I've been able to extract my (incredibly numerous) tweaks! Final (?) note/tip on this: if anyone else finds Lilypond's default beginning-of-measure spacing too small in general (i.e., even without modifiers like accidentals and arpeggios), you can add a little more space using: \override BarLine #'space-alist #'next-note = #'(semi-fixed- space . 1.8) Of course, adjust the numeric value as you see fit. Hope this helps! Kieren. p.s. On a side-note, can anyone explain to me the difference between first-note and next-note in the BarLine space-alist? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cruft after introduction to vocal piece - but...
On Fri, Jul 27, 2007 at 09:33:38AM +0200, Tao Cumplido wrote: The thing here is that you split your parts and in the score block you create two piano staves whereas one is completely sufficient. the time signature appears because the staff with the melody line begins after the line break. you have to add rests like R1*4 to your melody line and let it begin at the same time the piano intro does and reduce your score block to one PianoStaff. I noticed that there were no longer any time signatures displayed at the beginning of where the vocal part now prints, so I tried to add one by putting \time 2/2 after the \break in the vocal part. LilyPond drew the time signature where it was supposed to, and it also drew the same extra staff lines and extra time signature to the right of the intro that I originally wrote about. If I needed to change the time signature after the introduction, how would I do it without bringing back the problem? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Standalone bar lines in StaffGroup
Hi Siska,
Do you have any idea on how to suppress the global barline settings
(if I understand the terminology well, this is supposed to be
called 'barline engraver'),
but only for those few bars, not for the entire score?
I don't believe you can globally affect the barline_engraver itself.
However, you could always define a macro to accomplish the task
easily, as shown below.
Hope this helps!
Kieren.
__
\version 2.11.27
hideBarlines =
{
\override Score.SpanBar #'transparent = ##t
\override Score.BarLine #'transparent = ##t
}
showBarlines =
{
\override Score.SpanBar #'transparent = ##f
\override Score.BarLine #'transparent = ##f
}
theMusic = \relative
{
a a a a |
b b b b |
\hideBarlines c c c c |
d d d d |
\showBarlines e e e e
}
\score
{
\new StaffGroup \theMusic \theMusic
}
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Re: beginning-of-measure padding value?
On 7/27/07, Mats Bengtsson [EMAIL PROTECTED] wrote: Kieren MacMillan wrote: p.s. On a side-note, can anyone explain to me the difference between first-note and next-note in the BarLine space-alist? See the documentation for the break-aligned-interface in the program reference. Just thinking out loud here ... It's only been in the last couple of months that I've learned how to use the space-alist attribute of some of the preferatory grobs (and also BarLine). And it occurs to me that nowhere in the user manual do we really discuss this (quite useful) attribute? Is that, in fact, the case? If so, maybe a good Samaritan act for somebody (including possibly me when I get some time in the fall) would be to add a subsection to section 11.6 Horizontal spacing called something like 11.6.6 Setting preferatory spacing. Chapter 11 on spacing has truly come along tremendously in 2.11 and this might be a nice extension to that work. Examples of each of the attributes in the break-alignable-interface, break-aligned-interface and break-alignment-interface would go a long way to exhibiting full control over stacking and space what shows up at the beginnings of lines and measures. (Somebody please correct me, however, if we do discuss the space-alist sufficiently somewhere in the docs that I might have missed.) Trevor. -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem length
Peter Terpstra in [EMAIL PROTECTED] : i tried: \once \override Stem #'length = #4 g8 [ a ] This does not have any effect. lilypond version is 2.10.25 -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem length
Mats Bengtsson in [EMAIL PROTECTED] : There's a separate property for beamed notes, see http://lists.gnu.org/archive/html/lilypond-user/2007-02/msg00266.html with followups. Thank you very much. I've been experimenting for a few hours. These \override Beam #'positions = #'($value . $value) in all cases output was ugly. Then i found something else: \once \override NoteColumn #'force-hshift = #0.5 \once \override Stem #'length-fraction = #0.3 These two options make it a lot prettier for me. Not too short and a bit out of the way. Thanks for yor help! Kind regards, Peter -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Stem length
Dear readers, How can i change the stem length so that the voice two fits between voice one and three? i tried: \once \override Stem #'length = #4 g8 [ a ] This does not have any effect. Kind Regards, Peter -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Standalone bar lines in StaffGroup
Hello, I tried out the '\override SpanBar #'transparent = ##t' command, and although it really removes the barlines between staves, the problem is, that if I introduce a barline in a staff (or I put the repeat volta command) I still get the barlines in every stave. Do you have any idea on how to suppress the global barline settings (if I understand the terminology well, this is supposed to be called 'barline engraver'), but only for those few bars, not for the entire score? Thank you, Adam Siska Ádám +36 (70) 207-63-85 http://apocalypse.rulez.org/~sadam Trevor Bača wrote: On 7/26/07, Siska Ádám [EMAIL PROTECTED] wrote: Hello, actually, that was the first thing I checked. My problem is that if I do what was described there, I get separate barlines for the whole movement. I only need at about 2 measures with separate barlines, the rest should have the same time signature and barline. I try to put here in some kind of plain text that part of the piece (without shars and flats to see better what's going on): | gagabgabgabgabg | abca |: gabca :| (*17) | agabgabgabgabga | bacba |: gabacba :| (*12) | gabgabgabgabgab | cgabc |: gabc :| (*21) As you can see, in the first bar, the barlines are at the same time in every staff, so they must be connected. The begin-repeat barlines are at different times, so they shouldn't be connected with each other. Finally, the ending barlines occur at the same time. (There are 17*5 = 85 notes in the first staff inside the repeat, while there are 7 * 12 = 4 * 21 = 84 notes inside the repeats of the other two staves. If you take in account that the repeat block in the first staff begins one note prior to the repeat blocks of the other staves, you'll see that the ending barlines occur at the same time). Now, I have to invent something to engrave this... Hm... If you have to do it manually, do you know about the difference between the Bar and SpanBar grobs? The SpanBar is the element that goes *between* (but not *through) the staves. And you can dynamically hide (and show) the SpanBars at any point using something like \once \override SpanBar #'transparent = ##t. I think the SpanBar lives in a relaitvely high-level context, so you might have to say Score.SpanBar or something to make it work. Try running a small test to see how that works. You can also add bars at any point with \bar | if you do have to go the manual route. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace note leading to chord [solved]
Maybe this could be added to the LSR;
I said perfect solution in my last message but i go on with some tests and
now i wonder ...
***
1- If we simply transpose an octave higher our last exemple, the output
still is perfect but we have an error message.
(in french for me so i cannot tell you the exact translation)
%%
\version 2.10.25
\new Staff {
{
\slurDown
\acciaccatura b''8
\once \override NoteHead #'X-extent = #'(0.0 . 0.0)
\hideNotes c'''4 \unHideNotes
\slurNeutral
}
{
e'' g'' c'''4
}
\acciaccatura b''8 c'''4
}
%%
***
2- what is the best in this case ?:
{...} {...} or{...}\\ {...}
The output seems the same
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Why will this tie not work?
Hello:
First, I'd like to thank the Lilypond programmers for a great job! I
finally finished typesetting two of these Scsarlatti Sonatas, one of
which was from the ubiquitous Longo edition. After sitting at
keyboard and trying to read both, the Longo edition is no longer good
enough. Its almost unreadable and it looks hideous. Lilypond manages
in three pages of easiyl readable score to do what the Longo Edition
makes almost unreadable in 4 pages. Thanks again.
Now my problem, the following lines have one tied note, the a in
the Right Hand upper voice is tied to an a in the next bar. The only
problem I can see for Lilypond is that its at that point which the
bars of two voices merge to become one voice again. I've tried
tweaking it in various ways i.e. coding both bars on the same like,
coding the merged voice immediately following the lower voice, nothing
seems to work.
--- Code Snip -
\version 2.11.27
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\mark Allegro
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
{ \grace bf16 \stemUp cf2 af'4~ | } \\
{ \stemDown cf,2. | }% bar 67,68
\stemUp af'8 \stemDown af[ gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ] | % bar 69
lower = \relative c {
\clef bass
\key e \major
\time 3/4
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ] |% bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
r8 af'8[f d cf af ] | % bar 67
bf,,2. | % bar 68
ef4 r4 r|
% bar 69
r8 af''8[f d cf af ]\bar || % bar 70
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
End Code Snip ---
Thanks for your help.
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
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Re: insane spring constant error
Gosh!
I'm getting the same message again! (in another score)
This time, it disappears if I remove the Time-signature-engraver (but
as it happens, I don't want to remove it...)
Can anybody tell me what's insane about the following snippet?
\include italiano.ly
\layout {
\context { \Staff
%\remove Time_signature_engraver
}
}
ActeUnSceneDeuxViolonTrois= {
\relative do''
{
\time 2/2 sold8( la sold mi re mi sold la | sold mi re mi
sold4)-. sold8( la |
\time 3/4 sold mi re mi sold la | sold mi re mi sold4)-. |
}
}
\score {
\new Staff \ActeUnSceneDeuxViolonTrois
}
%%
Valentin
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Re: Why will this tie not work?
2007/7/27, David Fedoruk [EMAIL PROTECTED]:
First, I'd like to thank the Lilypond programmers for a great job! I
finally finished typesetting two of these Scsarlatti Sonatas, one of
which was from the ubiquitous Longo edition.
I didn't know this sonata; it looks awesome! Do you plan to post it on Mutopia?
Now my problem, the following lines have one tied note, the a in
the Right Hand upper voice is tied to an a in the next bar. The only
problem I can see for Lilypond is that its at that point which the
bars of two voices merge to become one voice again.
yes indeed; why don't you just add an invisible second voice? Here's a
version that works:
\version 2.11.27
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\mark Allegro
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
{ \grace bf16 \stemUp cf2 af'4~ | af8 } \\
{ \stemDown cf,2. | s8 }% bar 67,68
af'[ gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ] | % bar 69
}
lower = \relative c {
\clef bass
\key e \major
\time 3/4
cs8[bs cs ds e fs ] | % bar 61
e[ gs \grace fs16 e8 ds cs b ] \bar || % bar 62
\key eflat \major bf8[cf' bf af g f ] | % bar 63
g8[ bf \grace af16 g8 f ef d ] | % bar 64
ef[d ef f g af ] |% bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
r8 af'8[f d cf af ] | % bar 67
bf,2. | % bar 68
ef4 r4 r
| % bar 69
r8 af'8[f d cf af ]\bar || % bar 70
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
%%%
Regards,
Valentin
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Re: Why will this tie not work?
2007/7/27, Valentin Villenave [EMAIL PROTECTED]: yes indeed; why don't you just add an invisible second voice? Here's a version that works: Oh, and by the way I would add a natural d! at bar 67 (left hand)... Regards, V.V. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ConTeXt table of contents tweak
Adam Good [EMAIL PROTECTED] writes:
Hi everyone,
This may be a bit off-topic but I figure others here may be using
ConTeXt to make books out of Lilypond files. I signed up for the
ConTeXt mailing list a couple days ago but still need to get
approved, impatient as always me.
I believe I asked the same question about LaTeX a couple of months
ago but I can't seem to replicate it in ConTeXt .
I want to add something like a section of chapter to the Table of
Contents in my file without having it print in the pdf on that page.
If that sounds cryptic, here's what I do in LaTeX:
\addcontentsline{toc}{section}{Blah blah lah lah}
and voila it shows up in the TOC.
For the record, displaying a table of contents, or fancy page headers
(eg. showing the title of the current chapter) is possible with
LilyPond. See for instance:
L'art de toucher le clavecin, François Couperin
http://nicolas.sceaux.free.fr/index.php/2006/05/07/4
which uses the latest features of LilyPond 2.11.28. The global layout is
not as refined as when using LaTeX, but having to rely on LilyPond only
for producing a book is quite practical.
nicolas
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Re: Proposed chord name font (PDF included)
I like the chords you propose. Daniel Tonda Castillo 2007/7/27, PabloZum [EMAIL PROTECTED]: This is a proposed Arial-based font that could be included in future versions of LilyPond. Actually, it's more a range of possibilities than a new font. Placing chord extensions like b9 and #11 one above the other is not a new idea, and may be easily achieved by LilyPond wizards. For instance, the chord that appears as a C7 plus a small flat 9th above a small sharp 11th might conceivable be rendered in LilyPond notepad code as c:7[b9/#11]; similarly, a C9 plus a small sharp 11th above a 13th might be rendered as c:9[#11/13]. AND this might be done with virtually ANY font ___ lilypond-devel mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-devel -- Daniel Tonda C. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: insane spring constant error
2007/7/27, David Griffel [EMAIL PROTECTED]: Yes I get the same message with many of my scores since installing 2.11.28. It took a while to realise that the score was in fact compiling OK despite the alarming message. Yes; I reinstalled 2.11.27 and everything is fine. V.V. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: set-global-staff-size causes weird printing
2007/7/27, Valentin Villenave [EMAIL PROTECTED]: (maybe it was a .27 bug, or something in my previous installation was corrupted...). It's definitely a .27 bug; I was able to reproduce it with another installation of .27, on a different OS. V.V. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: insane spring constant error
Valentin Villenave wrote: I'm getting a weird insane spring constant error message with lilypond 2.11.28 using the following minimal code: Yes I get the same message with many of my scores since installing 2.11.28. It took a while to realise that the score was in fact compiling OK despite the alarming message. David -- View this message in context: http://www.nabble.com/%22insane-spring-constant%22-error-tf4157813.html#a11835932 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why will this tie not work?
Hi David,
You don't need invisible notes for this kind of situation; just use the
proper syntax for polyphony, so that the upper voice remains in the main
voice context:
{
\grace bf16
\voiceOne %make stems point up for this voice after grace note
cf2 af'4~ | %tie will continue outside polyphonic section
}
\new Voice { %second voice context created without using \\, so
that first voice isn't in a new context
\voiceTwo %make stems point down here
cf,2. |
}
af'8 %this note is now tied, with stem still pointing up
\oneVoice %return to default voice behaviour
af[ gf f bf af ] |
Regards,
Neil
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Re: Why will this tie not work?
Sorry Neil, that last reply got sent before I was finshed writing it.
This is the code I just tried:
\version 2.11.27
\include english.ly
upper = \relative c'' {
\clef treble
\key e \major
\time 3/4
\mark Allegro
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ] | % bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. | }% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ] | % bar 69
lower = \relative c {
\clef bass
\key e \major
\time 3/4
ef4 ef, r4 |
% bar 66
r8 af'8[f d cf af ] |
% bar 67
bf,,2. |
% bar 68
ef4 r4 r|
% bar 69
}
\score {
\new PianoStaff
\set PianoStaff.instrumentName = Piano
\new Staff = upper \upper
\new Staff = lower \lower
\layout { }
\midi { }
}
This new code also does not add the tie even though it is much simpler to write.
Cheers,
David
On 7/27/07, David Fedoruk [EMAIL PROTECTED] wrote:
I'd better clarify something which is not apparent in the small
amountof score I've posted here. The top voice is the voice which will
continue as the main voice. The lower one, in this case pops in for
two bars, drops out for a bar completely then re-apears for two bars
at which point the notes are stemmed on one stem. So this is sort of
polyphony where it makes sense at the moment from Scarlattii's point
of view.
I wasn't sure how to deal with the creation fo new voices when they
were created so often and dissapears just as often. Do new voices have
to be removed or ended? That is why I am doing it this way.
--- Code Snip --
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ]| bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. | }% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ]
| % bar 69
You don't need invisible notes for this kind of situation; just use the
proper syntax for polyphony, so that the upper voice remains in the main
voice context:
{
\grace bf16
\voiceOne %make stems point up for this voice after grace note
cf2 af'4~ | %tie will continue outside polyphonic section
}
\new Voice { %second voice context created without using \\, so
that first voice isn't in a new context
\voiceTwo %make stems point down here
cf,2. |
}
af'8 %this note is now tied, with stem still pointing up
\oneVoice %return to default voice behaviour
af[ gf f bf af ] |
Regards,
Neil
--
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
--
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
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Re: Can I have my own custom LilyPond?
I have done what you suggested. Please check the devel-list for the pdf with my proposal. http://lists.gnu.org/archive/html/lilypond-devel/2007-07/threads.html___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why will this tie not work?
Hi David,
On 7/27/07, David Fedoruk [EMAIL PROTECTED] wrote:
I'd better clarify something which is not apparent in the small
amountof score I've posted here. The top voice is the voice which will
continue as the main voice. The lower one, in this case pops in for
two bars, drops out for a bar completely then re-apears for two bars
at which point the notes are stemmed on one stem. So this is sort of
polyphony where it makes sense at the moment from Scarlattii's point
of view.
That's exactly why you should avoid { } \\ { } in this situation,
since it creates two new voice contexts which you can't link to the outside
world.
I wasn't sure how to deal with the creation fo new voices when they
were created so often and dissapears just as often. Do new voices have
to be removed or ended?
New voices end automatically in a polyphonic section with the , so you
needn't worry about their housekeeping - LilyPond creates and destroys them
as required.
That is why I am doing it this way.
--- Code Snip --
ef[d ef f g af ]| % bar 65
g[ bf \grace af16 g8 f ef df ]| bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. | }% bar
67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df
] | %
bar 69
That won't work - it just tells LilyPond to insert a new voice, so you get
an extra bar. You must have the present for simultaneous music.
Regards,
Neil
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Re: ERROR hara-kiri pure-height
Hello,
I get this error on all but the most rudimentary piano scores in version
2.10.28.
Here's a snippet which I've tried to pare down as much as possible:
\version 2.11.28
lh = { \change Staff = lower}
rh = {\change Staff = upper}
\paper { ragged-right = ##t }
\score {
\new PianoStaff {
\context Staff = upper \relative c'' {
c'8 g c, \lh g c,[- \rh c']
}
\context Staff = lower { s1 }
}
}
This compiles error-free if any of the following is removed:
1. Staff change
2. Manual beaming
3. Script on c,
Regards,
Neil
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Re: Why will this tie not work?
Then it was just fluke or Lilypond's forgiving nature that this
rendered properly *this* time. This is sometimes disconcerting --
Lilypond tries so hard to figure out what you intended that it will
allow a mistake and lead someone new at it astray.
To answer a previous poster who asked If I would be posting this to
Mutopia, No, not until I can do better coding; I don't want other
people to have problems or create messy code for someone else to
correct. Right now these projects of mine are for me to learn and for
me to have a readable score at the keyboard. I'm happy to share with
anyone, but to post it for general distribution would not be fair at
this point. But thanks for the vote of confidence anyway
Cheers,
David
--- Code Snip --
ef[d ef f g af ]|
% bar 65
g[ bf \grace af16 g8 f ef df ]| bar 66
\grace bf16 \stemUp cf2 af'4~ |
\new Voice { \stemDown cf,2. |
}% bar 67,68
af'8[ af gf f bf af ] |
gf[bf \grace af16 gf8 f ef df ]
| % bar 69
That won't work - it just tells LilyPond to insert a new voice, so you get
an extra bar. You must have the present for simultaneous music.
Regards,
Neil
--
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
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Lilypond-book on OS X
Hello, How can I execute lilypond-book from the Mac OS X application? I suppose the file is inside the Lilypond.app folder somewhere, but if I simply try to enter in terminal something like lilypond-book test.tex I get a command-not-found error. How could I include this command in my default path? Or is there a way to execute lilypond-book from inside the OS X application itself? Thank you, Adam Siska Ádám +36 (70) 207-63-85 http://apocalypse.rulez.org/~sadam ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: grace note leading to chord [solved]
I have tried to implement the solution to my piece and I found a problem in
one of the bars. Here it is:
%
\new Staff {
\time 3/4
\key ees \major
\relative {
eeses'4 des des |
}
\\
\relative {
ces aes'8 ces beses' ces beses' ces aes' ces aes'
bes ges' |
}
\\
\relative {
s4 \slurDown \acciaccatura ces'8
\once \override NoteHead #'X-extent = #'(0.0 . 0.0)
beses8 \slurNeutral s4. |
}
}
%
As you can see I haven't hidden the beses note so you can clearly see it
does not blend with the chord, even though I have overridden the NoteHead
X-extent.
Can someone please help me solve this?
I added the pdf output to the email...
http://www.nabble.com/file/p11838810/test4.pdf test4.pdf
Gilles THIBAULT wrote:
Yes, perfect solution
I tested an acciaccatura with a chord and with a single note : it's
absolutly the same :
%
\version 2.10.25
\new Staff {
{
\slurDown
\acciaccatura b'8
\once \override NoteHead #'X-extent = #'(0.0 .
0.0)
\hideNotes c''4 \unHideNotes
\slurNeutral
}
{
e' g' c''4
}
\acciaccatura b'8 c''4
}
%%
I had never really understood the X-extent property, i think now i
understand a bit more. Thank you Valentin.
A day, when i am a shemer, i'll try to make a function to make that staff
automatic.
( with this syntax for exemple \acciaChord b'8 e' g' c''4 and the
function will take the first element of the chord ).
A day ...
Gilles
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Compilation problems with fontforge 20070511
I'm running into build errors when attempting to build version 2.10.25 in the Fedora development build system. It builds fine on a Fedora 7 system. The failure appears to be related to fontforge. Fedora 7 has fontforge 20061220, and the development (future Fedora 8) is now at 20070511. The end of the build log looks like this: /usr/bin/fontforge -script ../buildscripts/pfx2ttf.fontforge /usr/share/fonts/default/Type1/c059036l.pfb /usr/share/fonts/default/Type1/c059036l.afm ./out//usr/bin/fontforge -script ../buildscripts/pfx2ttf.fontforge /usr/share/fonts/default/Type1/c059033l.pfb /usr/share/fonts/default/Type1/c059033l.afm ./out//usr/bin/fontforge -script ../buildscripts/pfx2ttf.fontforge /usr/share/fonts/default/Type1/c059016l.pfb /usr/share/fonts/default/Type1/c059016l.afm ./out//usr/bin/fontforge -script ../buildscripts/pfx2ttf.fontforge /usr/share/fonts/default/Type1/c059013l.pfb /usr/share/fonts/default/Type1/c059013l.afm ./out/ true Copyright (c) 2000-2007 by George Williams. Executable based on sources from 14:46 11-May-2007. RemoveATT: This scripting function no longer works. Try RemoveLookupSubtable or RemovePosSub. Called from... ../buildscripts/pfx2ttf.fontforge: line 24 I really don't know anything about fontforge. Is it possible that there is something about the latest version of fontforge that is not compatible with the way it is being used in the current lilypond build process? Quentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
