Re: Lilypond SVG output
BTW, I could never fix the italic font in SVG output (I think the font file inside Lilypond is wrong - it seems to contain Cyrillic characters) so I installed Century Schoolbook Italic fonts separately and altered my .sed file to look like this: s/style=font-family:Schoolbook;font-style:L/style=font- family:Century Schoolbook L;font-style:Roman/g s/style=font-family:L;font-style:Italic/style=font- family:NewCenturySchlbk LT Std;font-style:italic/g s/feta-alphabet[0-9]+/Emmentaler/g s/font-family:L;font-style:Bold/font-family:Century Schoolbook L;font- style:Bold/g This solution has the advantage that it distinguishes between Roman, Italic and Bold font types. On Oct 23, 2007, at 10:23 PM, Graham Percival wrote: Graham Percival wrote: Benjamin Esham wrote: Needless to say, it would be more beneficial overall for someone to simply fix LilyPond's SVG output in the first place ;-) Patches accepted. :) BTW, it might not be all that hard -- the output comes from the file scm/output-svg.scm The file is 353 lines, including comments... as far as large software projects go, that isn't too bad. This could be a nice project, and there's plenty of interest in this. Cheers, - Graham ___ 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
troubles with time change
Hello all
I'm in troubles with a time change from 4/4 to 2/4.
d8. c16 ~ c8 a r2|
\time 2/4 r2 \time 4/4 |
The compiler always complains:
sample.ly:29:32: warning: barcheck failed at: 1/2
d8. c16 ~ c8 a r2
I attach a the score. Hope
that someone can help me. I used this in other
scores without problems.
Thanks for your help and best regards
Herbert
\version 2.11.34
\paper{
ragged-bottom = ##t
printallheaders=##t
}
cstimme = {
\key a \minor
\time 4/4
\relative c'' {
\repeat volta 2 {
r4 e4 d8 c16 e ~ e8 d |
r4 c8 c e e f f |
g c,16 c r2 f8. e16 ~ |
e8 g ~ g4 r2 |
}
r4 a,8 a g4 e8 g |
a8. e16 ~ e4 r4. e8 |
a a4 a8 g4 g |
e r4 r4. e8 |
a8 a a a g8. e16 ~ e8 g |
g4 a r4. e16 e |
f8 f f a g ~ e d8. e16 ~ |
e4 r4 r4. d16 e |
f4 f8 a g e d4 |
c8 a r4 r8 e' g a |
a8. g16 ~ g8 e ~ e d c e |
d8. c16 ~ c8 a r2|
\time 2/4 r2 \time 4/4 |
}
}
harmonies = \chordmode {
\repeat volta 2 {
a1:m | d:m | a:m | a:m |
}
f2 e:m | a1:m | f2 e:m | a1:m |
f2 e:m | a1:m | f2 e:m | a1:m |
f2 e:m | a1:m | r1 | \time 2/4 r2 \time 4/4 |
}
klingend = {
\set Staff.instrumentName = klingend
\clef treble
\cstimme
}
\book {
\header {
breakbefore = ##t
title = I shot the Sheriff
composer =Bob Marley
footer = Trombone, Tuba
arranger = \markup { \tiny {Arr. Herbie Liechti}}
}
\pageBreak
\score {
%% Klingende Stimme
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Staff \klingend
\layout {
papersize = a4
}
}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Stem extension troubles...
I'm not sure if this might have been in the archives, but this isn't
exactly something easy to find information or how-tos on.
I'm trying to typeset a ragtime piece I finished writing a couple of
days ago, and I've found that I've run into a headache. I have a bar in
which I had a tie into a note/rest chord combination. I accidentally
found out that a tie can't be linked to notes inside a \\ context,
so I had to figure out a workaround. I found one, but I now have the
problem of a beam passing through a bass clef, as demonstrated in the
following code snippet:
\layout{ragged-right=##t}
\relative c'' { \clef treble g8 c16 g~ g8 \clef bass g,,, g' }
This isn't my preferred way of doing it, but it seems the easiest.
However, it looks bad to have the beam between the notes passing through
the clef sign. Is it possible to extend the stems of the quavers so
that the beam passes /above/ the clef sign? This problem has been
driving me to distraction all day. I'm don't really understand more
than the basics of Lilypond -- the more complicated code involving
overrides and contexts is over my head, unfortunately, and what extra
code I have used was pretty much copy-and-pasted from the example code
given in the main documentation.
If anyone could help me with this, it would be very much appreciated.
Sandy
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: troubles with time change
On 24.10.2007 (10:33), Herbert Liechti wrote: Hello all I'm in troubles with a time change from 4/4 to 2/4. d8. c16 ~ c8 a r2| \time 2/4 r2 \time 4/4 | The compiler always complains: sample.ly:29:32: warning: barcheck failed at: 1/2 d8. c16 ~ c8 a r2 It complains because you have a different number of full measures in the two voices: eight full 4/4 measures after the repeat in the tuba part, and seven in the chords part. Thus, the time change that you have indicated in the chords, fall in the middle of the last full tuba measure. BTw, you don't have to indicate time changes in both parts; unless you specify differently, a change in one will apply to the whole score. Eyolf -- Emotional Ketchup Burst: The bottling up of opinions and emotions inside oneself so that they explosively burst forth all at once, shocking and confusing employers and friends -- most of whom thought things were fine. -- Douglas Coupland, Generation X: Tales for an Accelerated Culture ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Description of feathered beams
There is one importatnt caveat with the feathering functions: the numbers in the ratio (here: 2/1) have to be small otherwise our Rational type overflows. 2007/10/23, Graham Percival [EMAIL PROTECTED]: I can't speak to the specifics of feathered beams, but there's two general warnings: - explanations about what the notation means should go in the glossary. I might keep the first sentence in your explanation, but move other parts to the glossary. -- 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
Re: troubles with time change
Eyolf Østrem schrieb: It complains because you have a different number of full measures in the two voices: eight full 4/4 measures after the repeat in the tuba part, and seven in the chords part. Thus, the time change that you have indicated in the chords, fall in the middle of the last full tuba measure. Thanks for your help. I was searching on the wrong place. Sorry for the circumstances. Best Regards Herbie BTw, you don't have to indicate time changes in both parts; unless you specify differently, a change in one will apply to the whole score. ok ;-) -- [EMAIL PROTECTED], ThinX AG, Poststrasse 2, CH-4500 Solothurn Tel +41 (0)32 623 81 66, Mobile +41 (0)76 334 81 66, http://www.thinx.ch ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Suppressing key signature for transposed parts
Hello Lilypond users I want to extract a Bb trumpet part from a concert score. The score is not really in a key signature (atonal music, not c major), so I do not want a key signature in the extracted part. I see that as long as no key is specified in the music file, then no key signature is introduced in the transposed part. However, the transposed part then mixes sharps and flats despite the command which according to 6.1.8 in the docs ought to print only flats. \transpose bes c' \new Staff \jjfStaffAA For example E is transposed to F# instead of Gb If I introduce \key c \major to the music file then the transposed part is spelled using only flats (desired), but a key signature of D major is introduced (not desired) It looks like suppressing the key signature makes Lilypond spell with sharps all those transposed notes that would otherwise be sharp in the D major key signature. Can someone advise how I can both control accidental spelling and suppress key signatures in transposed parts? Thank-you Nick Didkovsky ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem extension troubles...
On Oct 24, 2007, at 3:48 AM, Chakat Sandwalker wrote:
\layout{ragged-right=##t}
\relative c'' { \clef treble g8 c16 g~ g8 \clef bass g,,, g' }
Chakat-
Try using
\once \override Stem #'length-fraction = #1.5 g,,, g'
Play with the number (larger = longer) and placement of the override.
Alternatively, you could use
\layout{ragged-right=##t}
\relative c'' { \clef treble g8 c16
\override Stem #'length-fraction = #1.5
g~ g8 \clef bass g,,, g'
\revert Stem #'length-fraction g' g,}
Hope this helps-
Stan
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suppressing key signature for transposed parts
On 24/10/2007, Nick Didkovsky [EMAIL PROTECTED] wrote: Hello Lilypond users I want to extract a Bb trumpet part from a concert score. The score is not really in a key signature (atonal music, not c major), so I do not want a key signature in the extracted part. I see that as long as no key is specified in the music file, then no key signature is introduced in the transposed part. However, the transposed part then mixes sharps and flats despite the command which according to 6.1.8 in the docs ought to print only flats. \transpose bes c' \new Staff \jjfStaffAA For example E is transposed to F# instead of Gb If I introduce \key c \major to the music file then the transposed part is spelled using only flats (desired), but a key signature of D major is introduced (not desired) It looks like suppressing the key signature makes Lilypond spell with sharps all those transposed notes that would otherwise be sharp in the D major key signature. Can someone advise how I can both control accidental spelling and suppress key signatures in transposed parts? Hello Nick, Transposing an E (concert pitch) for a Bb instrument should always produce an F#, since the interval E-F# is a major second, like the interval Bb-C. If you prefer the E to transpose to a Gb you can use \transpose ais c' \new Staff \jjfStaffAA since the interval E-Gb is a diminished third, like A#-C. However, that will probably lead to lots of nasty double-flats for the rest of your music. I tried a small example, and (using LilyPond 2.11.34) I always get an F#, both with and without a key signature. Perhaps you could post some of your code that produces a Gb? -- Groeten, Alard. Ceterum censeo MS Word esse delendam. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suppressing key signature for transposed parts
I think some of your conclusions are wrong. As the following example shows,
an E is always transposed to a F#, regardless of the key specified if
you use
\transpose bes c'
\version 2.10.0
m = \relative c'{ bes b c cis des d dis es e f fis ges g gis as a ais bes }
\transpose bes c' \m
mInBes = \relative c'{\key bes \major bes b c cis des d dis es e f fis
ges g gis as a ais bes }
\transpose bes c' \m
mInC = \relative c'{\key c \major bes b c cis des d dis es e f fis ges g
gis as a ais bes }
\transpose bes c' \mInC
Which accidentals are shown and what key signature is shown depends on
the original key signature. As you have noted, no key signature is
shown in the transposed part if non is specified in the non-transposed
music.
If you want an e to be transposed into an Gb, you should instead use
\transpose ais c'
but you probably don't want the double flats you get on some other notes.
As an alternative, you can search for Smart transpose in the LSR,
http://lsr.dsi.unimi.it/
/Mats
Nick Didkovsky wrote:
Hello Lilypond users
I want to extract a Bb trumpet part from a concert score. The score is
not really in a key signature (atonal music, not c major), so I do not
want a key signature in the extracted part.
I see that as long as no key is specified in the music file, then no
key signature is introduced in the transposed part.
However, the transposed part then mixes sharps and flats despite the
command which according to 6.1.8 in the docs ought to print only flats.
\transpose bes c' \new Staff \jjfStaffAA
For example E is transposed to F# instead of Gb
If I introduce \key c \major to the music file then the transposed
part is spelled using only flats (desired), but a key signature of D
major is introduced (not desired)
It looks like suppressing the key signature makes Lilypond spell with
sharps all those transposed notes that would otherwise be sharp in the
D major key signature.
Can someone advise how I can both control accidental spelling and
suppress key signatures in transposed parts?
Thank-you
Nick Didkovsky
___
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
time signature
Usin the time command \time 4/4 as recommended in you documentation, I do not get the results I am after. What else should I do to make it work?___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: time signature
On 24.10.2007 (10:25), andrew wood wrote: Usin the time command \time 4/4 as recommended in you documentation, I do not get the results I am after. What else should I do to make it work? That depends on what you want to do. A little more information, please. Eyolf -- The onset and the waning of love make themselves felt in the uneasiness experienced at being alone together. -- Jean de la Bruyere ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
kerning in lyrics?
Hi, is it possible to activate kerning in lyricmode? regards, Tao -- GMX FreeMail: 1 GB Postfach, 5 E-Mail-Adressen, 10 Free SMS. Alle Infos und kostenlose Anmeldung: http://www.gmx.net/de/go/freemail ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem extension troubles...
Thanks for the suggestions. They were quite helpful, and I'll be sure
to keep them in case I have other uses for them in future. I also
discovered that introducing a second Voice for that bar allows me to
typeset the score as originally written (i.e. with a tie held into a
note/rest chord) using the following:
\layout{ragged-right=##t}
\voiceOne \clef treble {g8[ c16 g~] g4}
\new Voice=1 { \voiceTwo r4 r8 \clef bass g,,, g' } \oneVoice
\oneVoice
It's clunky (isn't a lot of code?) but it works.
Again, thanks for the provided suggestions.
Sandy
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stem extension troubles...
On Oct 24, 2007, at 1:23 PM, Chakat Sandwalker wrote:
Thanks for the suggestions. They were quite helpful, and I'll be
sure to keep them in case I have other uses for them in future. I
also discovered that introducing a second Voice for that bar allows
me to typeset the score as originally written (i.e. with a tie held
into a note/rest chord) using the following:
\layout{ragged-right=##t}
\voiceOne \clef treble {g8[ c16 g~] g4}
\new Voice=1 { \voiceTwo r4 r8 \clef bass g,,, g' } \oneVoice
\oneVoice
It's clunky (isn't a lot of code?) but it works.
Again, thanks for the provided suggestions.
Sandy
Sandy-
The code must have become garbled in your message- I believe you
meant something like
%% ***
\layout{ragged-right=##t}
\voiceOne
\relative c''{
\clef treble g8[ c16 g~] g4
}
\relative c''{
\voiceTwo r4 r8 \clef bass g,,, g'
}
\oneVoice
%% ***
Stan
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
slurs for cue notes
Hi there!
I've just started using lilypond to transpose an ochestral horn part
from c to f. It's starts with quoting the viola h4 to g2 with a slur on
top. I used the example in the documentation to create the quote, but no
slur appears on them, whereas in the horn part the slurs work just fine.
Any suggestion?
Many thanks, Renee.
p.s.: My code(snippet):
\set fontSize = #-2
\override Stem #'length-fraction = #0.8
\override Beam #'thickness = #0.384
\override Beam #'length-fraction = #0.8
}
hornersterSatz = \relative c' {
\new Staff \relative
% setup a context for cue notes.
\addQuote violin \relative c'' {
\partial 4 b4( g2) r4 e4
}
\new Voice = cue { \smaller \skip 1*21 }
\set Score.skipBars = ##t
\new Voice {
\transposedCueDuring #violin #UP c' {
\partial 4 r4 \tempoMark #3.0 #Allegro non troppo | r1
}
e1( d1) f1( e1)
}
}
--
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
A minor hairpin problem...
Having got past my stem extension problem, I'm now at the end of the
piece, where I have two \alternative bars at the end. In the bar
preceding the first \alternative I'm starting a hairpin with \ and
ending it with \! inside the \alternative bar, and the problem I have is
that there doesn't seem to be a way to 'continue' the hairpin to finish
it inside the second \alternative bar. The code I have (slightly
modified for the example) is:
\version 2.10.25
\layout{ragged-right=##t}
\relative c' {
\repeat volta 2 {
\key c \major
f16 d a e'~ e\ a c8
}
\alternative
{
{
b16 a gis c, e a~ c e a8 d f g-.\!
}
{
b'16 c d8 e, g c4-.\f
}
}
}
Is there a way to continue the hairpin, or should I not worry about it,
and leave it to the performer to figure out the implication.
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
