Battle of the beginning of a measure: Rehearsal marks vs. Manual volta brackets
Hi all,
I have no knowledge as to how LilyPond does the spacing for this specific
situation, but I seem to have a war going on between the rehearsal mark
(marking the second line as a Coda) and the Volta bracket.
% --- original file --- %
\version 2.10.25#(define-markup-command (jumptext layout props txt)
(string?)(interpret-markup layout props(markup #:small #:italic
txt)))
codatext = \markup \line {\smaller \musicglyph #scripts.coda\jumptext
#Coda}
dsalcoda = \markup \line {\dalsegno\jumptext #al Coda\translate
#(cons 1 1)\small \musicglyph #scripts.coda}
\paper {ragged-right = ##t}\score {\new Voice = test \relative c' {
e2 r4c16 d e g^\markup \dsalcoda\break\bar
||\mark \markup \line { \hspace #0 \translate
#(cons -12 4) \codatext}\set Score.repeatCommands =
#'(start-repeat (volta 1.-3.))a,2 ~ a8 d16 e d c a g\set
Score.repeatCommands = #'((volta #f) end-repeat (volta 4.))a1 ~
\set Score.repeatCommands = #'((volta #f))a1\fermata\bar |.
}}
The three definitions before the score block (jumptext, codatext, and dsalcoda)
are in a file called oldschooljumps.ly which in my actual project is
\included in. I just put them inline here so that the whole thing would compile
as one file.
As you can see, the volta bracket begins after the low half-note A, when in
fact it should begin right before that. What I think is happening is that the
Rehearsal Mark containing the Coda has its own space, and is pushing the volta
bracket a bit to the right. How do I make the volta stretch to the beginning of
the measure? Would it work if I were to remove the Coda from space calculations
by \overriding the TextScript's #'extra-offset?
Thank you very much in advance.
Romel
P.S. When is Version 2.12 coming out?
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Re: How to deal with Time Signatures horizontal alignment?
Hello again,
I'm trying to rewrite the LSR TimeSig snippet (and probably use it in
my own score):
http://lsr.dsi.unimi.it/LSR/Item?id=272
The two modifications I want to add are: remove the
Time_signature_engraver instead of using #'transparent, AND get the
time signatures aligned with the barlines without having to use
empirical extra-offset.
This time, I finally got the point about the updated
break-align-symbols syntax, so I'm using it. But...
...it doesn't work either :(
So, what is wrong??
%%% Snippet %%%
\layout{
\context {
\type Engraver_group
\consists Time_signature_engraver
\consists Axis_group_engraver
\name TimeSig
\override TimeSignature #'font-size = #3
}
\context {
\Score \accepts TimeSig
\override TimeSignature #'break-align-symbols = #'(staff-bar)
}
\context { \Staff
\remove Time_signature_engraver
}
}
timeSignatures = { \time 2/4 s2 \time 3/4 s2. \time 4/4 s1 }
\score {
\new TimeSig \timeSignatures
\new Staff \relative { c'2 c2. c1 }
\new Staff { a2 a2. a1}
}
%%%
Thank you all,
Valentin
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Re: Multiple Titles
A few days ago, I added an example to the LSR (see www.lilypond.org - Documentation) that answers your question. However, it has still not been approved for publication, but you can also find it in http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00221.html /Mats Graham Percival wrote: Matthew Tifford wrote: I want to create a page of music with two short pieces on one page, with a title over each piece. Is lilypond-book the only way to do it? Please read sections 10.1.4 and 10.2.1. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = 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: Multiple Titles
2007/8/21, Mats Bengtsson [EMAIL PROTECTED]: A few days ago, I added an example to the LSR (see www.lilypond.org - Documentation) that answers your question. However, it has still not been approved for publication, I just approved it; here it is: http://lsr.dsi.unimi.it/LSR/Item?u=1id=310 Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: several short pieces with scored titles
2007/8/16, Gilles THIBAULT [EMAIL PROTECTED]: See Mats explications :-) ...and Mats' snippet, which I've just approved: http://lsr.dsi.unimi.it/LSR/Item?u=1id=310 Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
On Tuesday 21 August 2007 18:12, Valentin Villenave wrote: Hello again, I'm trying to rewrite the LSR TimeSig snippet (and probably use it in my own score): http://lsr.dsi.unimi.it/LSR/Item?id=272 The two modifications I want to add are: remove the Time_signature_engraver instead of using #'transparent, AND get the time signatures aligned with the barlines without having to use empirical extra-offset. This time, I finally got the point about the updated break-align-symbols syntax, so I'm using it. But... ...it doesn't work either :( So, what is wrong?? The problem is that 'break-align-symbols is a property in break-alignable-interface (this information can be found in the backend documentation, which is admittedly a little obscure). Therefore, setting 'break-align-symbols will only have an effect on grobs that use this interface (only RehearsalMark and BarNumber). This is because the mechanism for determining the horizontal position of a TimeSignature is completely different to the mechanism for determining the position of a RehearsalMark. Off the top of my head, I would suggest writing a scheme function where something like \timeSig #'(3 . 4) will emit \time 3/4 \mark 3/4 so that you are dealing with RehearsalMarks, which can then be aligned however you want. Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to deal with Time Signatures horizontal alignment?
2007/8/21, Joe Neeman [EMAIL PROTECTED]: Off the top of my head, I would suggest writing a scheme function where something like \timeSig #'(3 . 4) will emit \time 3/4 \mark 3/4 so that you are dealing with RehearsalMarks, which can then be aligned however you want. Yes; I was thinking about tweaking the \time command itself, to print the results of ly:moment-main-denominator and ly:moment-main-numerator as Marks, but your workaround is much better. I'll work on it. That being said, do you think it would be a good idea to make TimeSignature accept the break-alignable-interface? Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Aligning instrument names - another try
Hi all,
I'll give it another try - I searched a lot on how to left align several
instrument names(different staves), but didn't find even a workaround on
the list. It seems that Thies' workaround which he posted in Oct 2006
doesn't work anymore.
Regards,
Michael
His post:
Here's what I do (I hope I'll remember correctly as I can't find a file
containing it right now):
\set Staff.instrument = \markup {
\combine
\hspace #5.0
My Instrument
}
My example:
\version 2.11.30
\header {
piece = \markup {\fontsize #3 {1. Test} }
}
Key = { \key b \major }
violine = {
\set Staff.instrumentName = \markup {\combine \hspace #5.0 Violino I,
II }
\clef treble
\Key
\time 4/4
\relative c'' {
c4 d b c
d2 c
}
}
sopran = {
\set Staff.instrumentName = \markup {\combine \hspace #5.0 Soprano }
\clef soprano
\Key
\relative c'' {
d2 g
a4 f fis g
}
}
bc = {
\set Staff.instrumentName = \markup {\combine \hspace #5.0 Organo }
\clef bass
\Key
\relative c {
c2 d
e1
}
}
\score {
\new StaffGroup
\new Staff = Violine \violine
\new Voice = Sopran \sopran
\new Staff = b.c. \bc
\layout {
indent = 2.5\cm
}
}
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Re: Battle of the beginning of a measure: Rehearsal marks vs. Manual volta brackets
Hi Romel, How do I make the volta stretch to the beginning of the measure? You can stop the rehearsal mark influencing the volta's spacing by overriding its X-extent property: \once \override Score.RehearsalMark #'X-extent = #'(0 . 0) Assuming your snippet shows where you want the coda mark printed, it's just a matter of tweaking the values in \translate: \translate #(cons - 5.5 6.5) Would it work if I were to remove the Coda from space calculations by \overriding the TextScript's #'extra-offset? I doubt that would work, since #'extra-offset is applied after the spacing calculations have finished. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Battle of the beginning of a measure: Rehearsal marks vs. Manual volta brackets
Thank you for the insight. I'm thinking of submitting my oldschooljumps.ly definitions to the LSR. Maybe someone would find it useful (maybe more useful than my earlier tweak ^_^). Romel - Original Message - From: Neil Puttock To: Romel Anthony Bismonte Cc: lilypond-user@gnu.org Sent: Tuesday 21 August 2007 23 18 Subject: Re: Battle of the beginning of a measure: Rehearsal marks vs. Manual volta brackets Hi Romel, How do I make the volta stretch to the beginning of the measure? You can stop the rehearsal mark influencing the volta's spacing by overriding its X-extent property: \once \override Score.RehearsalMark #'X-extent = #'(0 . 0) Assuming your snippet shows where you want the coda mark printed, it's just a matter of tweaking the values in \translate: \translate #(cons - 5.5 6.5) Would it work if I were to remove the Coda from space calculations by \overriding the TextScript's #'extra-offset? I doubt that would work, since #'extra-offset is applied after the spacing calculations have finished. Regards, Neil___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aligning instrument names - another try
2007/8/21, Michael Käppler [EMAIL PROTECTED]:
It seems that Thies' workaround which he posted in Oct 2006
doesn't work anymore.
Yes it does: you just have to give enough amount of hspace so the
instrument names can fit in. Look at the following snippet (maybe I'll
add it to the LSR, unless you have some improvements to propose).
Regards,
Valentin
Key = { \key b \major }
violine = {
\set Staff.instrumentName = \markup {\combine \hspace #20.0 This is
a long name }
\clef treble
\Key
\time 4/4
\relative c'' {
c4 d b c
d2 c
}
}
sopran = {
\set Staff.instrumentName = \markup {\combine \hspace #20.0 Shortname }
\clef soprano
\Key
\relative c'' {
d2 g
a4 f fis g
}
}
bc = {
\set Staff.instrumentName = \markup {\combine \hspace #20.0 Name }
\clef bass
\Key
\relative c {
c2 d
e1
}
}
\score {
\new StaffGroup
\new Staff = Violine \violine
\new Voice = Sopran \sopran
\new Staff = b.c. \bc
\layout {
indent = 5 \cm}
}
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Re: lilypond installation
I am a newbie to lilypond and music too ;) as far as I understand your question here is my explanation : when you click on the lilypond shortcut, which is probably on your desktop, the cmd.exe program runs and a black window appears... this is where lilypond runs... then a text file with .ly extension opens in front of you... that's the lilypond template file which you can save to write your lilypond notation scripts... now save that file under a directory where you will be working to create lilypond scripts and close it... the cmd.exe window will be closed automatically... say you save the template file under the name LilyTemp.ly.. . after that you can copy the LilyTemp.ly file under another name, probably something related to what are you doing, say Bethoven_xyz.ly... then open it and write your own lilypond script inside that new file... save it and double click it... now the cmd.exe window will open to execute you script and create the Bethoven_xyz.pdf file if you are lucky enough your script is error free... the cmd.exe window will close automatically... in case you have errors in your script the errors will be placed into the Bethoven_xyz.log file which you can right click and open with notepad.exe to find out what is wrong with your script... if you have created you Bethoven_xyz.pdf file and you want to listen to the music, adding the appropriate script into your Bethoven_xyz.ly file and double clicking it will also create the Bethoven_xyz.midi file which you can also double click to listen to the music... be careful that when one of these files either Bethoven_xyz.pdf or Bethoven_xyz.log or Bethoven_xyz.midi is open (no problem if Bethoven_xyz.ly is open) lilypond will not produce any output... so Bethoven_xyz.ly is your lilypond notation script (open it with Notepad.exe) Bethoven_xyz.logis the error log of your script (open it with Notepad.exe) Bethoven_xyz.pdfis the output notation document file Bethoven_xyz.midi is the music file I hope it helps... Vasil On 8/19/07, carlobarato [EMAIL PROTECTED] wrote: I have just installed lilypond. all seems working but. when I click upon lilypond icon the windows C:WINDOWS\system32\cdm.exe opens .Why? I'm a newbie I use xp and the installer was packaged by lilypond development team. I could find help nowhere. I have needed more time to try installing lilypound than to learn Finale.Your tutorial about installation is not clear enought..for me thankyou greetings ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- --- VASIL KADIFELI sayfalarımızı ziyaret edin yararlanın :) http://www.kadifeli.com http://www.kadifeli.com/vasil http://www.kadifeli.com/fedon === yeni bir hizmet : http://www.yeri.com === ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving question
Hi everyone, I can't help but to comment on this. For one thing, how would such an analysis as Han-Wen proposes proceed -- statistically? From all of my observation of European hand engraving, clefs only take up extra horizontal spacing when it is necessary for the sake of fitting the clef. Otherwise, the clef occupies as little space as possible - in either polyphonic or monophonic music. I could find reams and reams of such examples. I would like to see examples of clefs taking up extra space where such extra space is not needed - where it is simply used aesthetically. The only examples I can find use extra space extremely judiciously - and not that noticeably at that. My understanding of the idea is this (not from technical engraving practice, simply from much observation): horizontal space is primarily concerned with rhythmic representation. Time signatures obviously take space because they occur at the beginnings of measures, as do key signatures (usually). A clef takes up unnecessary horizontal space within a measure when the note-to-note distance occupies more space than is needed for the notated rhythm *and* the clef would comfortably fit in less space. Clefs taking up this kind of space skew the rhythmic representation in horizontal space. As a performer, I find this unnecessary clef space distracting - the rhythmic skew throws me off. And as an observer of hand-engraved scores, I can't seem to find substantial examples of it. It seems to me clefs should be horizontally invisible unless they can't fit otherwise. Hope that helps. I'll keep my eyes peeled in a sort of informal analysis. I could follow this up with a discussion of the merits of Joe's space-to-barline property, which I think has promise... And many, many thanks for the efforts to improve this excellent program. Neil On 8/19/07, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: Joe Neeman escreveu: 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. This is good as a temporary solution, but there are very, very few people that know where to find this kind of option, let alone how to modify them effectively. I would welcome some more analysis what the Right Thing for this is. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ 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
In case i forgot to say ...
Thanks for all the music i now can make with lilypond! I'm happy with it. Kind regards, Peter -- mailto:[EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aligning instrument names - another try
Hi Valentin,
Yes it does: you just have to give enough amount of hspace so the
instrument names can fit in. Look at the following snippet (maybe I'll
add it to the LSR, unless you have some improvements to propose).
Many thanks first. It really works.
Michael
Maybe you could enhance your example by something like this:
\version 2.11.30
% To avoid inequal spacing if some systems start with a brace and others
don't,
% make all systems have braces and then optically remove the unwanted ones.
Key = { \key bes \major }
violine = {
\set Staff.instrumentName = \markup {\combine \hspace #15.0 \large
Violino I, II }
\clef treble
\Key
\time 4/4
\relative c'' {
c4 d b c
d2 c
}
}
sopran = {
\set Staff.instrumentName = \markup {\combine \hspace #15.0 Soprano }
\clef soprano
\Key
\relative c'' {
d2 g
a4 f fis g
}
}
bc = {
\set Staff.instrumentName = \markup {\combine \hspace #15.0 Organo }
\clef bass
\Key
\override StaffGroup.SystemStartBracket #'transparent = ##t % Brace
becomes invisible
\relative c {
c2 d
e1
}
}
\score {
\new StaffGroup
\new Staff \violine
\new Staff \sopran
\new StaffGroup
\new Staff \bc
\layout {
indent = 2.5\cm
\context {
\StaffGroup
\override SystemStartBracket #'collapse-height = #0.1 % Make braces
appear even on a single staff
}
}
}
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Figured bass - enlarging accidentals
Hi all, is there a way to enlarge only the accidental signs in a figured bass, leaving the numbers' size unchanged? Regards, Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cm, mm.. units in markup function
Hi all, is it possible to use absolute units in a scheme markup function? The following example doesn't work: #(define-markup-command (iname layout props name) (string?) (interpret-markup layout props (markup #:combine #:hspace (* 50 mm) #:large name)) ) Greets, Michael ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Barré sign
How about:
%%%snippet%%%
barr=
\markup {\postscript
#0.2 setlinewidth -0.5 -3 moveto -1 -3 lineto 0 10 rlineto stroke
}
{
f_\barr
}
%%%
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initial acciaccatura confuses things?
I am trying to transcribe a piano piece that beings with a grace note in
the lower staff.
lower = \relative c, {
\clef bass
\key c \major
\time 4/4
% e4 fs g a |
\acciaccatura bf,16 bf4 d' f4 ef g8 f a g bf a c |
}
If I uncomment the e4 fs g a | line, then everything renders as expected.
But when the first element is the acciaccatura, everything renders weird.
The clefs and time signatures are drawn twice on the melody line and upper
staff, the time signature (but not the clef) is drawn twice on the lower
staff, and the acciaccatura on the lower staff is stretched across from
one time signature to the next.
What on earth is going on here? For the details, see:
http://www.panix.com/~eravin/brokenlily/broken.pdf
And the full LilyPond source file is there at:
http://www.panix.com/~eravin/brokenlily/broken.ly.txt
I'm using LilyPond 2.10.29 on a G4 Mac OS 10.3.9.
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