Fwd: Test
Hi! Being a Lilypond newbee, I want to check with you if this is possible: I want to create an inivisble sync part with sync noteheads drawn in white. Main reasons: 1. The invisible white noteheads of the sync part should produce clickable links in the output pdf. These links, and their coordinates on the the pdf-page, could be used as a basis for syncing a graphical moving pointer to a wav playback of the example. (I'm using a midi to wav for converting, so I know what the playback position of the notes are in the wav file...) 2. The invisible sync part could produce a metronome click midi track. I would prefer the sync part to NOT affect the x-spacing of the visible parts. Have a look at the jpg file, hopefully it should make things clearer. Best regards! Jonas Nyström attachment: InvisibleButClickableSyncPart.jpg___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Invisible sync part - is this possible?
Hi! (Sorry for posting this earlier with wrong subject header..!) Being a Lilypond newbee, I want to check with you if this is possible: I want to create an inivisble sync part with sync noteheads drawn in white. Main reasons: 1. The invisible white noteheads of the sync part should produce clickable links in the output pdf. These links, and their coordinates on the the pdf-page, could be used as a basis for syncing a graphical moving pointer to a wav playback of the example. (I'm using a midi to wav for converting, so I know what the playback position of the notes are in the wav file...) 2. The invisible sync part could produce a metronome click midi track. I would prefer the sync part to NOT affect the x-spacing of the visible parts. Have a look at the jpg file, hopefully it should make things clearer. Best regards! Jonas Nyström attachment: InvisibleButClickableSyncPart.jpg___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Test
Sorry for posting this with wrong subject header! I've given it another try! Jonas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Stem #'neutral-direction = #up versus \stemup
Dear Readers,
I don't get this.
\stemup gives me a lot of errors but works, Stem #'neutral-direction = #up
does nothing. Its about the middle (Alt) voice.
This is the case:
~ Start snippet
\relative c''
% Treble
{ \repeat volta 2 {
g,= b 4 a c c e | b d 4. g b 8 a c b d | % 3
c e 4 d fis e g | cis! d r | \break % 5
b d 4. b'8 a g | g-44 fis8 c d c d c d }
}
% Alt
\\ { \override Stem #'neutral-direction = #up
\override Stem #'length-fraction = #0.2
s2. s % 3
s s % 5
s4. b=8 b b s4 c4. s }
% Bass
\\ { \stemDown
g,=,2. r4 g' r % 3
r8 g4 g g8 ais! g b4 s % 5
g8 d g d g d s4 a'8 d, a' d, fis d }
}
~ End ly snippet.
TIA,
Peter
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Re: Stem #'neutral-direction = #up versus \stemup
Peter Terpstra in [EMAIL PROTECTED] : Stem #'neutral-direction = #up versus \stemup Lilypond version is 2.10.29 P. -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Proposed chord name font (PDF included)
Maybe it would be really better than to have a single font for chords.
I created my font with letters and numbers from CentureySchL and sharp and flat
from emmentaler and I can type G4 to get G4.
If I type GS4 the output will be Gsus4 or if I just type GS i get just Gsus
(which is the way I prefer).
The problem in Lilypond is I think that it tries to connect explicit tones to a
chord symbol (correct me if I am wrong).
But chord names shouldn't be like that, they should be just text and let the
interpreter have some space to make his/her own thing of the chord name.
for example the symbol C7alt. means a dominant seventh chord with altered
extensions where it is free to the interpreter if he/she raises or lowers the
ninth.
with the font and mats suggestion to use them as a lyricline I don't have much
problems anymore with typing chord names into my scores.
only as pablo pointed out the transpose function is lost and I have to create a
new chord line for tranposed instruments. but that's only a minor problem.
I don't know about legal issues since I copied glyphs from CenturySchL and
emmentaler but if someone tells me it's ok I'd like to post a table of my font
so you can see how it works.
regards,
Tao
Original-Nachricht
Datum: Mon, 30 Jul 2007 16:05:55 +0200
Von: Dominic Neumann [EMAIL PROTECTED]
An: PabloZum [EMAIL PROTECTED], lilypond-user@gnu.org
Betreff: Re: Proposed chord name font (PDF included)
Maybe it would be a good idea to make all the chordname things more
flexible for the users. For example, it would be nice to rename some
chord names like one can already do with \set majorSevenSymbol =
\markup { ... }.
I´d like to have this for the sus4 chords, because i like it more to
have G4 that Gsus4.
So it would be nice if all these new ideas for chords would then be
usable and extensible for every user.
2007/7/30, PabloZum [EMAIL PROTECTED]:
Do you want users to be able to write out any _chord_ (which is a
collection of notes), or any _chord name_ (which is a description for a
collection of notes)?
Are chord names unique for a collection of notes, or can there be
multiple
chord names for one collection of notes?
I want to be able to write out any chord *name*. I'm in the early stages
of
writing a book in two versions, one in English and one in Brazilian
Portuguese. The Brazilian chord naming standard is different from both
the
European and the American ones, and is not supported in LilyPond's
current
version; neither is the American jazz chord naming standard, with
stacked
modifiers.
I'm currently trying out an idea given by Mats Bengtsson in the users
forum,
which is to write out the chord names as an additional set of timed
lyrics
above the score. It's easy to do and it works fine, except that the
transposing function is lost.
All the same, I'd like to try and learn how to write sourcecode for
LilyPond. Is there a manual or a tutorial? I've looked around but just
found
a tutorial manual for users, not for developers.
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RE: Test
Could you use a rhythm context and only include it in the midi output? Date: Sat, 18 Aug 2007 10:28:40 +0200From: [EMAIL PROTECTED]: lilypond-user@gnu.org; [EMAIL PROTECTED]: Fwd: TestCC: Hi!Being a Lilypond newbee, I want to check with you if this is possible:I want to create an inivisble sync part with sync noteheads drawn in white. Main reasons: The invisible white noteheads of the sync part should produce clickable links in the output pdf. These links, and their coordinates on the the pdf-page, could be used as a basis for syncing a graphical moving pointer to a wav playback of the example. (I'm using a midi to wav for converting, so I know what the playback position of the notes are in the wav file...) The invisible sync part could produce a metronome click midi track.I would prefer the sync part to NOT affect the x-spacing of the visible parts.Have a look at the jpg file, hopefully it should make things clearer. Best regards!Jonas Nyström _ Connect to the next generation of MSN Messenger http://imagine-msn.com/messenger/launch80/default.aspx?locale=en-ussource=wlmailtagline___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Test
Hi Ed! That gives me the information for a midi click track, but it doesn't solve the tricky part of calculating the music placement coordinates on the page... The only solution that I can see is using the PDF coordinates for the noteheads... Jonas 2007/8/18, Ed Ardzinski [EMAIL PROTECTED]: Could you use a rhythm context and only include it in the midi output? -- Date: Sat, 18 Aug 2007 10:28:40 +0200 From: [EMAIL PROTECTED] To: lilypond-user@gnu.org; [EMAIL PROTECTED] Subject: Fwd: Test CC: Hi! Being a Lilypond newbee, I want to check with you if this is possible: I want to create an inivisble sync part with sync noteheads drawn in white. Main reasons: 1. The invisible white noteheads of the sync part should produce clickable links in the output pdf. These links, and their coordinates on the the pdf-page, could be used as a basis for syncing a graphical moving pointer to a wav playback of the example. (I'm using a midi to wav for converting, so I know what the playback position of the notes are in the wav file...) 2. The invisible sync part could produce a metronome click midi track. I would prefer the sync part to NOT affect the x-spacing of the visible parts. Have a look at the jpg file, hopefully it should make things clearer. Best regards! Jonas Nyström -- Connect to the next generation of MSN Messenger Get it now! http://imagine-msn.com/messenger/launch80/default.aspx?locale=en-ussource=wlmailtagline ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Med vänlig hälsning! Jonas Nyström [EMAIL PROTECTED] 070-670 36 50 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem #'neutral-direction = #up versus \stemup
Hi Peter,
On 8/18/07, Peter Terpstra [EMAIL PROTECTED] wrote:
Dear Readers,
I don't get this.
\stemup gives me a lot of errors but works, Stem #'neutral-direction =
#up
does nothing. Its about the middle (Alt) voice.
I think you're confused as to the purpose of #'neutral-direction: it sets
the default behaviour of stems on the centre line of the stave. Compare the
following:
\relative c'' {
g4 a b c %default, stem on b points down
\override Stem #'neutral-direction = #up
g a b c %override, stem points up
}
Since your alto voice is lower down, it has no effect.
You can set the default stem directions using \voiceThree and \voiceFour,
then use #'force-hshift to tidy up the alto voice:
\relative c''
% Treble
{ \time 3/4 \repeat volta 2 {
g,= b 4 a c c e | b d 4. g b 8 a c b d |
% 3
c e 4 d fis e g | cis! d r | \break % 5
b d 4. b'8 a g | g-44 fis8 c d c d c d }
}
% Alt
\\ { \voiceThree
s2. s % 3
s s % 5
s4.
\override NoteColumn #'force-hshift = #0 %Force quavers back into
alignment with treble voice
\once \override Beam #'positions = #'(- 1.5 . -2) %This works better
than #'length-fraction
b=8 b b \revert NoteColumn #'force-hshift s4 c4. s }
% Bass
\\ { \voiceFour
g,=,2. r4 g' r % 3
r8 g4 g g8 ais! g b4 s % 5
g8 d g d g d s4 a'8 d, a' d, fis d }
Regards,
Neil
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Re: Stem #'neutral-direction = #up versus \stemup
Neil Puttock in [EMAIL PROTECTED] : Thanks for your answer! \once \override Beam #'positions = #'(- 1.5 . -2) %This works better than #'length-fraction This gives me errors and the stem comes down, while #'length-fraction works without any complaint. Kind regads, Peter -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem #'neutral-direction = #up versus \stemup
Peter Terpstra in [EMAIL PROTECTED] : This gives me errors Sorry errors, but the stem does not get shorter. Kind regards, Peter -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem #'neutral-direction = #up versus \stemup
On 8/18/07, Peter Terpstra [EMAIL PROTECTED] wrote:
Peter Terpstra in [EMAIL PROTECTED] :
This gives me errors
Sorry errors, but the stem does not get shorter.
Kind regards,
Peter
Sorry, gremlins seem to have crept in! There's a rogue space between the
minus sign and the number. Furthermore, I misunderstood why you were using
#'length-fraction. Is this better:
\relative c''
% Treble
{ \time 3/4 \repeat volta 2 {
g,= b 4 a c c e | b d 4. g b 8 a c b d |
% 3
c e 4 d fis e g | cis! d r | \break % 5
b d 4. b'8 a g | g-44 fis8 c d c d c d }
}
% Alt
\\ { \voiceThree
s2. s % 3
s s % 5
s4.
\override NoteColumn #'force-hshift = #0 %Force quavers back into
alignment with treble voice
\once \override Beam #'positions = #'(-1.5 . -2)
\override Stem #'length-fraction = #0.2
b=8 b b \revert NoteColumn #'force-hshift s4 c4. s }
% Bass
\\ { \voiceFour
g,=,2. r4 g' r % 3
r8 g4 g g8 ais! g b4 s % 5
g8 d g d g d s4 a'8 d, a' d, fis d }
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mark sugestion
Hi All: Working in a Mozart Flute and Harp Concerto, I found a turn mark during the flute part. The \turn mark seems have to be placed in the middle of to notes. This is logical becouse, turn afects two notes not only one note. Lylipond put the \turn over the note where it is wirtten. My sugestion if is posible is to make the \turn mark be positioned in the middle of the concernig notes. As you can find in the Breitkopf Härtel (from complete works edition 1877-1883). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mark sugestion
Hi.
Working in a Mozart Flute and Harp Concerto, I found a turn mark during the
flute part. The \turn mark seems have to be placed in the middle of to
notes. This is logical becouse, turn afects two notes not only one note.
Lylipond put the \turn over the note where it is wirtten. My sugestion if is
posible is to make the \turn mark be positioned in the middle of the
concernig
notes. As you can find in the Breitkopf Härtel (from complete works edition
1877-1883).
You can try something like this:
\relative c'' {
g4 {a4 b}{s8 s\turn s4} c |
}
Best,
Gilles
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remaining Unset question
In hopes of finding an answer to an 'unset question' I went to a previous discussion set... After finding/examining the file given as an answer (I found it!) and re-reading all the posts/follow-ups I am still completely unable to find a clear explanation of how to unset EasyHeads! It seems such a simple thing to do and much has been said about how to find the source of the answer... However, having put effort into it and having reached a dead end I am now searching for someone willing to simply share a command that has worked in this case. Many of my students are too good at reading to have all the notes in easyNoteHead form, but not good enough to leave easy heads out completely. We love having lilypond, and all the student's parents are urged to donate at least once (and then reminded again at Christmas) in honor of the contribution lily has made to their kid's understanding of music. Thanks, e ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question
On Saturday 18 August 2007 11:48, Han-Wen Nienhuys wrote: 2007/8/16, Joe Neeman [EMAIL PROTECTED]: I'm trying to tweak the spacing code, and I've come across a case where I'm not sure what to do. In the attached example, I have a note followed by a clef change followed by a bar line. Given that the clef fits in the space that would be there anyway, should it take up extra space? Any strong opinions (they will be regarded more highly if they come with references, of course)? To follow this up, the default now is to do the tight spacing as suggested by Mark Knoop. To enable looser spacing, I've added a new property to NoteSpacing: \override NoteSpacing #'space-to-barline = ##f will put more space before a clef. I've made the tight spacing the default because it works with both polyphonic and monophonic music. Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
