GDP: NR 1.1 Pitches vastly improved, more comments sought
Well, that was humbling. I honestly thought that NR 1.1 Pitches was almost perfect, but the comments (thank you!) from last time clearly indicated otherwise. When I tried to read the material with a fresh mind (aided by the comments), I found many, many things to fix. As always, GDP here: http://web.uvic.ca/~gperciva/ Some sections have been completely rewritten (particularly Octave check). Please read the new Pitches section and send comments. I'd like to remind people about the TODO lists, in particular the technical todo: http://web.uvic.ca/~gperciva/todo/technical-todo.txt Some of the items in that list are as simple as filing a (proper!) bug report with lilypond or texinfo. I will not be doing anything from that list myself. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Different tempos
In addition to removing the forbid_line_engraver, you may want to use \set Score.allowBeamBreak = ##t (if you use version 2.10) or \override Beam #'breakable = ##t (if you use version 2.11.10 or later) to allow for line breaks when there is a beam in some part. See section Line breaking in the manual for version 2.11. /Mats James E. Bailey wrote: On Monday, January 21, 2008, at 04:13AM, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi James, forbid_line_engraver did the trick Yeah!! I didn't even know about this one... Thanks! Kostia: I've attached my reformatted version of the shortened version of your code, applying James's tip. Notice that I abstracted all of the music into variables, declared before the \score block. I also moved all of the engraver \remove-ing code to the \layout block -- if you need those engravers in *other* Staff or Voice contexts (which aren't currently in the, then you'll need to add them back in, or move the \remove code *back* to where you originally had them (i.e., inside the \score block, where the Staff or Voice is actually instantiated). Hope this helps! Kieren. ___ You know, I thought about abstracting the music as well, it's really difficult to read when it isn't, but I didn't want to change too much so the OP could understand what was going on. For what it's worth, the more I actually *read* the lilypond manuals, the more I believe that everything is possible in the program. ___ 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: midi2ly
In addition: - For some people who have asked similar questions earlier, the real question has rather been how do I start a command prompt and change directory to the folder where my MIDI file is. For MS Windows, you can find such instructions at http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00038.html, for example. - Don't expect too much from midi2ly. Often, it fails to get the rhythm correct, for example. Especially, don't expect to be able to record a MIDI file using a sequencer and then run that through midi2ly to get a nice score. /Mats Joe Mc Cool wrote: On Mon, Jan 21, 2008 at 03:09:36AM +, Christos wrote: could you please give me a brief step by step of this process? on my system, I key: midi2ly test.midi this produces a file test-midi.ly I then run Lily on this file - I assume you know how to do this. If you key: midi2ly -h it will give you some help. But, I am not an expert. -- = 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: GDP: NR 1.1 Pitches vastly improved, more comments sought
Graham Percival wrote: Some sections have been completely rewritten (particularly Octave check). Please read the new Pitches section and send comments. - The text in Octave corrections and checks is contradictory. First it says that an octave check does not change the pitch, then it says in the description of octave checks that If this is not the case, ... and the octave is corrected. As far as I can see, the true difference between the two commands is that the octave correction is specified as a attribute to the note itself in the input, whereas the octave check is a separate command to be inserted between notes in the input. Both have the same effect of correcting the octave (not the pitch, right?) if it's wrong. - In Transpose, I wonder if the second example is correct or if it should have an es major key signature (in the printed output, i.e. a \key c \major in the input file), according to normal notation conventions. Since I don't play any transposing instrument myself, I'm not sure which one is correct. Technically, this second example illustrates a feature, namely that if you don't explicitly specify a key signature, then the transposed music won't have any key signature either, in contrast to what happens if you explicitly specify a key signature. - The transposing-pitches-with-minimum-accidentals-smart-transpose.ly LSR example, included in Transpose didn't work, since the internal representation for alterations has changed between 2.10 and 2.11. I have just tried to submit a 2.11 version to LSR, but since it doesn't compile in 2.10, I'm not sure it was accepted in the LSR database. I'll send it by email otherwise. - Instrument transpositions, first sentence: I'm not sure it's the key of the transposing instrument that should be specified, but I don't know the proper terminology. - I have submitted an even more simplified version of the LSR example Ambiti multiple voices to LSR. The setting of X-offset didn't influence the result at all, as far as I could see. /Mats /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
On Mon, 21 Jan 2008 11:24:22 +0100 Mats Bengtsson [EMAIL PROTECTED] wrote: Graham Percival wrote: Some sections have been completely rewritten (particularly Octave check). Please read the new Pitches section and send comments. - The text in Octave corrections and checks is contradictory. Whoops! My initial impression of these commands was completely incorrect; after creating the example shown on the page, I realized my mistake and fixed them... but apparently not everywhere. As far as I can see, the true difference between the two commands is that the octave correction is specified as a attribute to the note itself in the input, whereas the octave check is a separate command to be inserted between notes in the input. Both have the same effect of correcting the octave (not the pitch, right?) if it's wrong. Not true; with = the d's octave is changed; with \octave the d's octave is not changed. Now, whether this is _deliberate_ or not is a completely separate question. :) To be honest, I couldn't decypher the old docs on this, so I just experimented. (and I /remember/ being completely lost when I wrote the initial docs three years ago...) - In Transpose, I wonder if the second example is correct or if it should have an es major key signature (in the printed output, i.e. a \key c \major in the input file), according to normal notation conventions. Good catch! I'm sure that it should; I know that conductor's scores often have different key signatures for the weird (ie transposing ;) instruments. Technically, this second example illustrates a feature, namely that if you don't explicitly specify a key signature, then the transposed music won't have any key signature either, in contrast to what happens if you explicitly specify a key signature. Noted, thanks. - The transposing-pitches-with-minimum-accidentals-smart-transpose.ly LSR example, included in Transpose didn't work, since the internal representation for alterations has changed between 2.10 and 2.11. I have just tried to submit a 2.11 version to LSR, but since it doesn't compile in 2.10, I'm not sure it was accepted in the LSR database. I'll send it by email otherwise. Please send it to me. (I've complained to Valentin about this, but if you already have the solution, great) - Instrument transpositions, first sentence: I'm not sure it's the key of the transposing instrument that should be specified, but I don't know the proper terminology. I'm not totally certain, but I think that key is the correct term. Anybody? - I have submitted an even more simplified version of the LSR example Ambiti multiple voices to LSR. The setting of X-offset didn't influence the result at all, as far as I could see. Thanks! Valentin, could you make sure it has the right tags, and send me the filename? Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
Graham Percival wrote:
On Mon, 21 Jan 2008 11:24:22 +0100
Mats Bengtsson [EMAIL PROTECTED] wrote:
Graham Percival wrote:
Some sections have been completely rewritten (particularly Octave
check). Please read the new Pitches section and send comments.
- The text in Octave corrections and checks is contradictory.
Whoops! My initial impression of these commands was completely
incorrect; after creating the example shown on the page, I
realized my mistake and fixed them... but apparently not
everywhere.
As far as I can see, the true difference between the two
commands is that the
octave correction is specified as a attribute to the note itself in
the input, whereas
the octave check is a separate command to be inserted between
notes in the input.
Both have the same effect of correcting the octave (not the pitch,
right?) if it's wrong.
Not true; with = the d's octave is changed; with \octave the d's
octave is not changed.
No! The difference is that = modifies the pitch on the current note, whereas
the \octave changes the pitch first on the note after the command, i.e.
\octave d' d is the same as d='
- The transposing-pitches-with-minimum-accidentals-smart-transpose.ly
LSR example,
included in Transpose didn't work, since the internal
representation for
alterations has changed between 2.10 and 2.11. I have just tried to
submit a
2.11 version to LSR, but since it doesn't compile in 2.10, I'm not
sure it
was accepted in the LSR database. I'll send it by email otherwise.
Please send it to me. (I've complained to Valentin about this,
but if you already have the solution, great)
Attached! (It's not the most beautiful solution,but it should work.)
/Mats
\version 2.11.33
#(define (naturalise-pitch p)
(let* ((o (ly:pitch-octave p))
(a (* 4 (ly:pitch-alteration p)))
; alteration, a, in quarter tone steps, for historical reasons
(n (ly:pitch-notename p)))
(cond
((and ( a 1) (or (eq? n 6) (eq? n 2)))
(set! a (- a 2))
(set! n (+ n 1)))
((and ( a -1) (or (eq? n 0) (eq? n 3)))
(set! a (+ a 2))
(set! n (- n 1
(cond
(( a 2) (set! a (- a 4)) (set! n (+ n 1)))
(( a -2) (set! a (+ a 4)) (set! n (- n 1
(if ( n 0) (begin (set! o (- o 1)) (set! n (+ n 7
(if ( n 6) (begin (set! o (+ o 1)) (set! n (- n 7
(ly:make-pitch o n (/ a 4
#(define (naturalise music)
(let* ((es (ly:music-property music 'elements))
(e (ly:music-property music 'element))
(p (ly:music-property music 'pitch)))
(if (pair? es)
(ly:music-set-property!
music 'elements
(map (lambda (x) (naturalise x)) es)))
(if (ly:music? e)
(ly:music-set-property!
music 'element
(naturalise e)))
(if (ly:pitch? p)
(begin
(set! p (naturalise-pitch p))
(ly:music-set-property! music 'pitch p)))
music))
music = \relative c' { c4 d e f g a b c }
naturaliseMusic =
#(define-music-function (parser location m)
(ly:music?)
(naturalise m))
\score {
\new Staff {
\transpose c ais \music
\naturaliseMusic \transpose c ais \music
\break
\transpose c deses \music
\naturaliseMusic \transpose c deses \music
}
\layout { ragged-right = ##t}
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fonts used for tablature
The layout object used to typeset these letters is TabNoteHead, so you can change any of the font related properties on that object, in the same way as is done for the TimeSignature object in example in section Font selection. The detailed documentation of all these properties can be found at http://lilypond.org/doc/v2.10/Documentation/user/lilypond-internals/font_002dinterface#font_002dinterface For some reason, there was no link to the TabNoteHead internal documentation from the section on Tablature basics. I've fixed this in the source code repository. /Mats Ralf Mattes wrote: Dear list members, i need to change the font used for the tablature letters. What's the magic incantation to do so? TIA Ralf Mattes ___ 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: Different tempos
James, the more I actually *read* the lilypond manuals, the more I believe that everything is possible in the program. No question! =) Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: timidity plays back music an octave higher than scored
Daniel Tonda wrote: Maybe when writing guitar parts, adding a \clef G_8 would be an option? Daniel Tonda C. Daniel, Could you elaborate on the function of this command? I'm not familiar with it. ~ Eric. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
Bertalan Fodor (LilyPondTool) wrote: I'm always curious why people spend a lot of time to create something for an editor that has been supported out of the box in jEdit for more than 3 years now. Well, it's bad enough trying to learn LilyPond, without struggling against jEdit, too. Everyone's favourite editor is the one they know best, usually the one they started with. I do use jEdit, but only for LPT. What's wrong with jEdit? For me: - it never looks 'quite right' (Java doesn't really do GTK very well, imo) and the font rendering is not so good - errors (of which there have been many) just throw up loads of bean errors, which are meaningless to me and fail to bring up anything useful in Google - I don't feel comfortable with it because I'm not really familiar with it (or Java) -- vicious circle - about one start out of four or five, I have to go in and reset some preferences, because they've been 'lost' - I can make little sense out of much of the documentation, including that for LPT I'm using jEdit v4.3pre9, as the latest version to have my needed features working. LPT doesn't work at all with pre12 on Linux; pre9 is only missing use of convert-ly (shell errors), but that's not mission-critical for me. So it doesn't necessarily 'work out of the box' for everyone. Above all, don't forget that OSS is partly about choice: just because there's one working solution, doesn't mean that people don't want an alternative. /rant ;) -- Nick. -- View this message in context: http://www.nabble.com/Lilypond-language-definition-for-Notepad%2B%2B-tp14969868p15000585.html 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
Altering font
Hi everybody!
Currently I'm dealing with extending/altering lily's music font
according to my needs. Now I'm stuck with the following:
I want to alter a symbol, e.g. the notehead noteheads.s2. To do so I
open feta20.pfa from /usr/share/lilypond/2.10.5/fonts/type1 in FontForge
(v20061220), choose symbol noteheads.s2 by double-clicking on it, alter
it, close the window and then by choosing File - Generate Fonts... -
PS Type 1 (Ascii) save it again to .../type1/feta20.pfa. When I process
a file containing for example
\relative c'' {c4 d e f}
I still get the old notehead symbol.
Why doesn't the altered symbol appear? Can anyone give me a hint/link?
Are there any other steps I have to do? Is it somehow not that easy as I
think it is to alter/extend the existing font?
Kind regards
Thies
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
But there is no LilyPondTool in NotePad++, so it is not fair to say hey, LilyPondTool is buggy, so I use notepad++ . My question was regarding this. JEdit supports LilyPond syntax highlight out of the box since the end of 2004. Also, even if you have problems with LilyPondTool, ie. you can't use all the features - even in the worst cases you have at least twice as much features as in Emacs. Just think about auto-completion, error list (error underlining), an embedded pdf viewer without any dirty textedit:// hack. Or just show me another editor that will underline the input c.8 with red. So, I can imagine that for many people using JEdit may be a trade-off. But look as an example, the most times critized problem of it, namely using Java. If I didn't use Java it would not exist at all, and certainly I would not have users from Linux, Mac and Windows world. So we must accept this trade-off: I don't like Java, but it is the platform which provides the most features in the shortest time for the most users. And don't get this as an offense. My question was really curiosity. I spent (and spending) huge amounts of my free time for LilyPondTool development. I have no other reward (except the 55EUR donation get in 4 four years :-)) than people using it. So I want to make it a product that everyone uses for LilyPond. And I hope that some time there will be user-provided templates for example. I would also be honored if LilyPondTool were mentioned on the Download page as an officially recommended tool, as Han-Wen suggested a year ago. Bert NJW wrote: Bertalan Fodor (LilyPondTool) wrote: I'm always curious why people spend a lot of time to create something for an editor that has been supported out of the box in jEdit for more than 3 years now. Well, it's bad enough trying to learn LilyPond, without struggling against jEdit, too. Everyone's favourite editor is the one they know best, usually the one they started with. I do use jEdit, but only for LPT. What's wrong with jEdit? For me: - it never looks 'quite right' (Java doesn't really do GTK very well, imo) and the font rendering is not so good - errors (of which there have been many) just throw up loads of bean errors, which are meaningless to me and fail to bring up anything useful in Google - I don't feel comfortable with it because I'm not really familiar with it (or Java) -- vicious circle - about one start out of four or five, I have to go in and reset some preferences, because they've been 'lost' - I can make little sense out of much of the documentation, including that for LPT I'm using jEdit v4.3pre9, as the latest version to have my needed features working. LPT doesn't work at all with pre12 on Linux; pre9 is only missing use of convert-ly (shell errors), but that's not mission-critical for me. So it doesn't necessarily 'work out of the box' for everyone. Above all, don't forget that OSS is partly about choice: just because there's one working solution, doesn't mean that people don't want an alternative. /rant ;) -- LilyPondTool is the editor for LilyPond files. See http://lilypondtool.organum.hu ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
2008/1/21, Bertalan Fodor (LilyPondTool) [EMAIL PROTECTED]: If I didn't use Java it would not exist at all, and certainly I would not have users from Linux, Mac and Windows world. So we must accept this trade-off: I don't like Java, but it is the platform which provides the most features in the shortest time for the most users. ...With the major exception of Apple's implementation. For instance, my girlfriend's iBook is still running OSX 10.3.9, and there is no convenient Java implementation to run jEdit on it (when using it to typeset LilyPond code, I have to use an editor like Smultron, and still, even the last versions of Smultron do not run on Panther! Gee, we're talking about a 3-years old OS; it's even much more recent than XP, and nevertheless none would consider dropping XP support!)* However, I think things are changing about the way developers and people see the Java world. Since 2007, Sun seems to have understood they have to become *really* GNU/compatible to be accepted; let's just wait and see how far they're willing to go. And don't get this as an offense. My question was really curiosity. I spent (and spending) huge amounts of my free time for LilyPondTool development. I have no other reward (except the 55EUR donation get in 4 four years :-)) than people using it. So I want to make it a product that everyone uses for LilyPond. And I hope that some time there will be user-provided templates for example. You are right to promote your (great) work. But I think you'll agree if I say I would hate to see LilyPondTool (hence jEdit, hence Java) become a mandatory requirement to use LilyPond. The great thing about Lily, and about Free Software in general, is the freedom of choice; you can choose your platform, you architecture, your OS, and even your editor. I would also be honored if LilyPondTool were mentioned on the Download page as an officially recommended tool, as Han-Wen suggested a year ago. +1! Another cool thing could be to develop a bundled Lily+jEdit+LPT pre-configured easy installer :) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
Bertalan Fodor (LilyPondTool) wrote: And don't get this as an offense. My question was really curiosity. ... So I want to make it a product that everyone uses for LilyPond. No offence taken. It has been a very frustrating time, just to get a half working LilyPondTool and jEdit. I know it's not all your fault, but you happened to be at the Customer Service Desk. ;-) However, better that you see some of the difficulties, rather than have potential users just walk away. If I could have a syntax highlighting scheme for an editor that I am already comfortable with, I wouldn't be using jEdit and I'd make other arrangements for compiling and viewing, with a couple of terminal windows open, if necessary. Satisfactory auto-complete is something that I'm still figuring out ... -- Nick. -- View this message in context: http://www.nabble.com/Lilypond-language-definition-for-Notepad%2B%2B-tp14969868p15003219.html 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: Lilypond language definition for Notepad++
Valentin Villenave wrote: Another cool thing could be to develop a bundled Lily+jEdit+LPT pre-configured easy installer :) Fully cross-platform? :^) Anyway, who would have the time to do that. ;-) (Rhetorical: I know you did, but only for Windows ...) -- Nick. -- View this message in context: http://www.nabble.com/Lilypond-language-definition-for-Notepad%2B%2B-tp14969868p15003225.html 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: Lilypond language definition for Notepad++
On Jan 21, 2008, at 12:10 PM, Valentin Villenave wrote: 2008/1/21, Bertalan Fodor (LilyPondTool) [EMAIL PROTECTED]: If I didn't use Java it would not exist at all, and certainly I would not have users from Linux, Mac and Windows world. So we must accept this trade-off: I don't like Java, but it is the platform which provides the most features in the shortest time for the most users. ...With the major exception of Apple's implementation. For instance, my girlfriend's iBook is still running OSX 10.3.9, and there is no convenient Java implementation to run jEdit on it (when using it to typeset LilyPond code, I have to use an editor like Smultron, and still, even the last versions of Smultron do not run on Panther! Gee, we're talking about a 3-years old OS; it's even much more recent than XP, and nevertheless none would consider dropping XP support!)* However, I think things are changing about the way developers and people see the Java world. Since 2007, Sun seems to have understood they have to become *really* GNU/compatible to be accepted; let's just wait and see how far they're willing to go. And don't get this as an offense. My question was really curiosity. I spent (and spending) huge amounts of my free time for LilyPondTool development. I have no other reward (except the 55EUR donation get in 4 four years :-)) than people using it. So I want to make it a product that everyone uses for LilyPond. And I hope that some time there will be user-provided templates for example. You are right to promote your (great) work. But I think you'll agree if I say I would hate to see LilyPondTool (hence jEdit, hence Java) become a mandatory requirement to use LilyPond. The great thing about Lily, and about Free Software in general, is the freedom of choice; you can choose your platform, you architecture, your OS, and even your editor. I would also be honored if LilyPondTool were mentioned on the Download page as an officially recommended tool, as Han-Wen suggested a year ago. +1! Another cool thing could be to develop a bundled Lily+jEdit+LPT pre-configured easy installer :) Cheers, Valentin I am quite confused. I've been using JEdit on my Mac, not knowing it doesn't work!;-) It moved from OS 10.3 to 10.4 quite easily. I'm currently running 10.4.11 and intend to stay there at least until all issues with LilyPond and Fink are worked out. Also, Smultron has been my favorite text editor through many versions. Hmmm- Stan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Altering font
Op maandag 21 januari 2008, schreef Thies Albrecht:
Hi everybody!
Currently I'm dealing with extending/altering lily's music font
according to my needs. Now I'm stuck with the following:
I want to alter a symbol, e.g. the notehead noteheads.s2. To do so I
open feta20.pfa from /usr/share/lilypond/2.10.5/fonts/type1 in FontForge
(v20061220), choose symbol noteheads.s2 by double-clicking on it, alter
it, close the window and then by choosing File - Generate Fonts... -
PS Type 1 (Ascii) save it again to .../type1/feta20.pfa. When I process
a file containing for example
\relative c'' {c4 d e f}
I still get the old notehead symbol.
Why doesn't the altered symbol appear? Can anyone give me a hint/link?
Are there any other steps I have to do? Is it somehow not that easy as I
think it is to alter/extend the existing font?
From what I understand the *pfa files are generated files, and depending on
desired font size, a symbol is taken from one *pfa or another.
If I'm correct, to alter a symbol the best way is to alter the *.mf files in
mf/ (mf=metafont).
Met vriendelijke groet,
Wilbert Berendsen
--
http://www.wilbertberendsen.nl/
You must be the change you wish to see in the world.
-- Mahatma Gandi
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: timidity plays back music an octave higher than scored
On Mon, 21 Jan 2008 11:41:20 -0400 Eric Patton [EMAIL PROTECTED] wrote: Daniel Tonda wrote: Maybe when writing guitar parts, adding a \clef G_8 would be an option? Could you elaborate on the function of this command? I'm not familiar with it. You can find information about \clef by look for Clef in the table of contents of the manual. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches transposed instruments
Graham- I think on this side of the pond that key is as close as you'll come I just read the section through and it makes perfect sense to me and I use transpose etc frequently Yours- Jay Jay Hamilton www.soundand.com 206-328-7694 --- [EMAIL PROTECTED] wrote: From: [EMAIL PROTECTED] To: lilypond-user@gnu.org Subject: lilypond-user Digest, Vol 62, Issue 105 Date: Mon, 21 Jan 2008 10:43:17 -0500 Send lilypond-user mailing list submissions to lilypond-user@gnu.org To subscribe or unsubscribe via the World Wide Web, visit http://lists.gnu.org/mailman/listinfo/lilypond-user or, via email, send a message with subject or body 'help' to [EMAIL PROTECTED] You can reach the person managing the list at [EMAIL PROTECTED] When replying, please edit your Subject line so it is more specific than Re: Contents of lilypond-user digest... Today's Topics: 1. Re:GDP: NR 1.1 Pitches vastly improved, more comments sought (Mats Bengtsson) 2. Re:GDP: NR 1.1 Pitches vastly improved, more comments sought (Graham Percival) 3. Re:GDP: NR 1.1 Pitches vastly improved, more comments sought (Mats Bengtsson) 4. Re:Lyrics having characters with accents (Mats Bengtsson) 5. Re:Fonts used for tablature (Mats Bengtsson) 6. Re:Different tempos (Kieren MacMillan) 7. Re:timidity plays back music an octave higher than scored (Eric Patton) -- Message: 1 Date: Mon, 21 Jan 2008 11:24:22 +0100 From: Mats Bengtsson [EMAIL PROTECTED] Subject: Re: GDP: NR 1.1 Pitches vastly improved, more comments sought To: Graham Percival [EMAIL PROTECTED] Cc: lilypond-user Mailinglist lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=ISO-8859-1; format=flowed Graham Percival wrote: Some sections have been completely rewritten (particularly Octave check). Please read the new Pitches section and send comments. - The text in Octave corrections and checks is contradictory. First it says that an octave check does not change the pitch, then it says in the description of octave checks that If this is not the case, ... and the octave is corrected. As far as I can see, the true difference between the two commands is that the octave correction is specified as a attribute to the note itself in the input, whereas the octave check is a separate command to be inserted between notes in the input. Both have the same effect of correcting the octave (not the pitch, right?) if it's wrong. - In Transpose, I wonder if the second example is correct or if it should have an es major key signature (in the printed output, i.e. a \key c \major in the input file), according to normal notation conventions. Since I don't play any transposing instrument myself, I'm not sure which one is correct. Technically, this second example illustrates a feature, namely that if you don't explicitly specify a key signature, then the transposed music won't have any key signature either, in contrast to what happens if you explicitly specify a key signature. - The transposing-pitches-with-minimum-accidentals-smart-transpose.ly LSR example, included in Transpose didn't work, since the internal representation for alterations has changed between 2.10 and 2.11. I have just tried to submit a 2.11 version to LSR, but since it doesn't compile in 2.10, I'm not sure it was accepted in the LSR database. I'll send it by email otherwise. - Instrument transpositions, first sentence: I'm not sure it's the key of the transposing instrument that should be specified, but I don't know the proper terminology. - Instrument transpositions, first sentence: I'm not sure it's the key of the transposing instrument that should be specified, but I don't know the proper terminology. I'm not totally certain, but I think that key is the correct term. Anybody? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
I have never been able to get all the features of LilyPondTool to work in jEdit. The advanced render and open as PDF has rarely if ever worked for me. I render from a bash or zsh shell and open it manually from the Finder. It may be a bit awkward and not how it was designed to work, but even so, jEdit and LilypondTool are by far the best combination I have yet found. I've also never been able to figure out how to get the lilypond plugin from Open Office to work. But, I probably would not change from jEdit and LilypondTool anyway. The OpenOffice solution may make producing a musicology essay a bit easier since I am not that comfortable with Latex -- but I've even managed that. I know I am impatient with some of these other solutions but I need a text editor to work out of the box without a lot of fiddling. I do enough fiddling and tweaking in Lilypond itself as it is. I am quite confused. I've been using JEdit on my Mac, not knowing it doesn't work!;-) It moved from OS 10.3 to 10.4 quite easily. I'm currently running 10.4.11 and intend to stay there at least until all issues with LilyPond and Fink are worked out. Also, Smultron has been my favorite text editor through many versions. For some reason Smultrons's syntax completion doesn't work for me, hence I abandoned it quickly and remained with jEdit and LilypondTool. 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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond language definition for Notepad++
David Fedoruk írta: I have never been able to get all the features of LilyPondTool to work in jEdit. The advanced render and open as PDF has rarely if ever worked for me. So this is what disappoints me most :-) I would be happier and see more use of my work if you didn't have problems. Could you please send bug reports on http://www.sourceforge.net/projects/lily4jedit? Thanks, Bert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How do I do these chord symbols?
Hi all, I'm working on a piece for a friend of mine, and he has put a couple of chords in it that don't reproduce in a nice fashion. I've looked through the help resources, and wasn't able to find how to make these chords appear as I wish. Can anybody suggest some code that will make the following chords appear as they are here? G6(add9) -- where the 6 is a super-script, of course Fmaj9 -- I don't want the triangle, but the maj Thanks, Fr. Gordon+ -- Fr. Gordon Gilbert Penetanguishene, ON ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I do these chord symbols?
Hi Father Gordon,
Can anybody suggest some code that will make the following chords
appear as they are here?
G6(add9) -- where the 6 is a super-script, of course
Fmaj9 -- I don't want the triangle, but the maj
Noticed that you haven't gotten a response from anyone with more
ChordName(s) experience than I...
Just in case this is an emergency, I thought I'd offer the attached
code, for your consideration.
DISCLAIMERS:
1. This is a TOTAL HACK -- there's more than likely a better way
(using chord-name-exception, etc.).
2. Use this *ONLY* if the ChordNames are being used exclusively for
display -- i.e., this will *NOT* generate clean MIDI, chord note
content, etc.
Hope this helps!
Kieren.
___
\version 2.11.37
chordStuff = \chordmode
{
% hack the maj7 display for each chord
\set majorSevenSymbol = \markup { 6(add9) }
g1:7+
\set majorSevenSymbol = \markup { maj9 }
f:7+
% return to normal output
\unset majorSevenSymbol
g1:6.9
f:maj9
}
\score
{
\new ChordNames \chordStuff
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I do these chord symbols?
Hi Father Gordon,
Sorry... should have done this first... =\
I decided to teach myself chord-name-exception coding -- attached is
your particular example, solved (I believe).
Hope this helps!
Kieren.
___
\version 2.11.37
\include english.ly
chExcMajNine =
{
c e g b d'1-\markup { \super maj9 }
}
chExcSixAddNine =
{
c e g a d'1-\markup { \super 6(add9) }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
chExcSixAddNine #t)
(append (sequential-music-to-chord-exceptions chExcMajNine #t)
ignatzekExceptions))
chordStuff = \chordmode
{
% standard names
g1:maj9
g1:6.9
% names with custom exceptions
\set chordNameExceptions = #chExceptions
g1:maj9
g1:6.9
}
\score
{
\new ChordNames \chordStuff
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I do these chord symbols?
Father Gordon (et al.):
Even better!!
You can put them all in one list of exceptions -- see attached.
[Sorry... I'm just now climbing this particular learning curve.]
Kudos to the Lilypond team... AGAIN!!! =)
Cheers,
Kieren.
_
\version 2.11.37
\include english.ly
FGGChordNames =
{
c e g b d'1-\markup { \super maj9 }
c e g a d'1-\markup { \super 6(add9) }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
FGGChordNames #t) ignatzekExceptions)
chordStuff = \chordmode
{
% standard names
g1:maj9
g1:6.9
% names with FGG's custom exceptions
\set chordNameExceptions = #chExceptions
g1:maj9
g1:6.9
}
\score
{
\new ChordNames \chordStuff
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How do I do these chord symbols?
Gee thanks, Kieren!
I compiled the two snippets you gave me and they worked just fine. I
presume I can incorporate that code into the top of my \chordmode section --
I'll let you know how that works presently.
Thanks again!
Fr. Gordon+
On 21/01/2008, Kieren MacMillan [EMAIL PROTECTED] wrote:
Father Gordon (et al.):
Even better!!
You can put them all in one list of exceptions -- see attached.
[Sorry... I'm just now climbing this particular learning curve.]
Kudos to the Lilypond team... AGAIN!!! =)
Cheers,
Kieren.
_
\version 2.11.37
\include english.ly
FGGChordNames =
{
c e g b d'1-\markup { \super maj9 }
c e g a d'1-\markup { \super 6(add9) }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
FGGChordNames #t) ignatzekExceptions)
chordStuff = \chordmode
{
% standard names
g1:maj9
g1:6.9
% names with FGG's custom exceptions
\set chordNameExceptions = #chExceptions
g1:maj9
g1:6.9
}
\score
{
\new ChordNames \chordStuff
}
--
Fr. Gordon Gilbert
Penetanguishene, ON
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
On Mon, 21 Jan 2008 12:36:32 +0100
Mats Bengtsson [EMAIL PROTECTED] wrote:
Graham Percival wrote:
Not true; with = the d's octave is changed; with \octave the d's
octave is not changed.
No! The difference is that = modifies the pitch on the current note,
whereas the \octave changes the pitch first on the note after the
command, i.e. \octave d' d is the same as d='
I wish it was that simple:
\relative c'' {
c2 d \octave c'
}
foo.ly:2:7: warning: Failed octave check, got: c''
c2 d
\octave c'
I understand the old docs now; \octave c' inserts a fake note and
checks the relative octaves before and after it. Argh, what an
annoying function. :(
(given that nobody's complained about this section, evidently
nobody uses this functions anyway...)
Attached! (It's not the most beautiful solution,but it should work.)
Thanks, applied.
Cheers,
- Graham
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: timidity plays back music an octave higher than scored
Whenever I code a guitar or bass piece, since they are written an octave above their actual sound, I use the sub_8va clefs for the G and F clef. However, in pieces I bought the clef that appears for the guitar is the standard G clef without the 8va symbol, but I don't mind if it appears. Daniel T. 2008/1/21, Graham Percival [EMAIL PROTECTED]: On Mon, 21 Jan 2008 11:41:20 -0400 Eric Patton [EMAIL PROTECTED] wrote: Daniel Tonda wrote: Maybe when writing guitar parts, adding a \clef G_8 would be an option? Could you elaborate on the function of this command? I'm not familiar with it. You can find information about \clef by look for Clef in the table of contents of the manual. - Graham -- Daniel Tonda C. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
On Jan 21, 2008 3:15 AM, Graham Percival [EMAIL PROTECTED] wrote: Well, that was humbling. I honestly thought that NR 1.1 Pitches was almost perfect, but the comments (thank you!) from last time clearly indicated otherwise. When I tried to read the material with a fresh mind (aided by the comments), I found many, many things to fix. As always, GDP here: http://web.uvic.ca/~gperciva/ http://web.uvic.ca/%7Egperciva/ Some sections have been completely rewritten (particularly Octave check). Please read the new Pitches section and send comments.http://lists.gnu.org/mailman/listinfo/lilypond-user Umm, can we check something here? 1.1.1.3 Accidentals about a third of the way down has ... Half-flats and half-sharps are formed by adding eh and ih; ... ... which sounds absoutely crazy to me and should instead read ... Quarter-flats and quarter-sharps are formed by adding eh and ih; ... And I had written another paragraph explaining that I'd seen this half-flat (and even more amazingly sesqui-flat) type of terminology other places in the docs and that it is finally time for that terminology to die and never return. HOWEVER googling for half sharp and half flat produces this wiki entry ... http://en.wikipedia.org/wiki/Accidental_%28music%29 ... which includes both terms in the caption towards the bottom of the page. To me this is an obvious error and I immediately want to know who's behind the wiki article (as is, alas, so frequently the case on wiki). But can we get a quick show of hands? I've worked with microtonal accidentals for years and have always only heard the symbol standing in front of a c-quarter-flat as a quarter-flat. And I certainly have never heard either of the terms half-flat or half-sharp used by anyone, ever, whether a composer, performer, or otherwise. Have I lost my mind? Or is this is a UK thing? Or what? (I understand the purported logic of the half-type type of teminology: such a symbol carries half the flattening power of a normal flat; but this completely misses the point that the accidentals are relative to *complete* (whole) tones and not to *semitones*. How on earth would you talk about third-tones and sixth-tones and eighth-tones with such a system? Use a half-flat to notate c-quarter-flat ... and use a quarter-flat to notate c-eighth-flat ... and use a third-flat to notate c-sixth-flat ...? The hell?) -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: timidity plays back music an octave higher than scored
On Tue, 22 Jan 2008 00:43:31 -0600 Daniel Tonda [EMAIL PROTECTED] wrote: Whenever I code a guitar or bass piece, since they are written an octave above their actual sound, I use the sub_8va clefs for the G and F clef. However, in pieces I bought the clef that appears for the guitar is the standard G clef without the 8va symbol, but I don't mind if it appears. I would personally recommend that you include the _8va explicitly, but you may omit it if you wish. See the info lower on the Clef page for hints about this. For anybody else, especially those who think I hate LSR and tweaks in the NR (you know who you are): this would be a perfect example of a great snippet that I'd like to include in the NR. One (or possibly two) lines of text, short example that shows how to get a treble clef that displays notes an octave higher than they actually are, but without the _8 below it. (this crops up in cello music as well, especially from Dvorak and Schumann. I detest it, since non-Romantic composers write with proper treble clefs and performs must therefore guess whether they're looking at a real treble clef or a play an octave lower than it looks, but we're not going to give you a hint about this treble clef, but it /is/ used, so somebody trying for a reproduction as faithful as possible might want it) You can figure this out from the existing snippet in Clefs, but that's way too complicated for a common (well, more common than the current snippet) solution. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches vastly improved, more comments sought
On Tue, 22 Jan 2008 01:16:51 -0600 Trevor Ba__a [EMAIL PROTECTED] wrote: Umm, can we check something here? Please, that's the whole point of this. Half-flats and half-sharps are formed by adding eh and ih; ... ... which sounds absoutely crazy to me and should instead read ... Quarter-flats and quarter-sharps are formed by adding eh and ih; ... I agree; I've never encountered the term half-flats. But maybe it's a European thing? (or a poor translation from the appropriate terms in Dutch or French or something?) http://en.wikipedia.org/wiki/Accidental_%28music%29 ... which includes both terms in the caption towards the bottom of the page. To me this is an obvious error and I immediately want to know who's behind the wiki article (as is, alas, so frequently the case on wiki). If you're really interested in tracking it down (and sending insulting emails or something ;) you could check the history for the page. Have fun, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
VoltaBracket end line missing - Was: invisible barlines
Hi,
On Jan 17, 2008 3:30 PM, Mats Bengtsson wrote:
Below, you can find a complicated alternative solution that adds a new
bar type with this behaviour, so you could say \bar e|:.
Thanks for the tip, Mats.
I was experimenting with custom bar lines based on Mats' example. The
piece I'm working on has two alternate endings, one for a cappella
performance and the other when there's an orchestra. The a cappella
ending is presented first and it ends with an \bar |.. The orchestra
ending starts on the next line / system and it begins with a \bar
||. Therefore I created a special bar line: \bar |.|| with
#(define my-bar-glyph-alist'( stuff removed (|.|| . (|. . ||))
stuff removed )).
So far so good.
The problem arises with the volta bracket I'm using for marking the
endings. If I use the special bar line the first volta bracket doesn't
have the vertical end line. With a standard \bar |. I get it. I
guess there's no way to get it without digging deep into LP's source
code. Is there?
Possible feature request:
If a volta bracket ends at a custom bar line, which has either |. or
:| as the first symbol the ending vertical line should be printed.
One more thing... If I use my custom bar line and don't enter a line /
system break the bar line disappears completely.
-Risto
%%% Start code
\version 2.11.37
#(define my-bar-glyph-alist
'((:|: . (:| . |:))
(||: . (|| . |:))
(dashed . (dashed . '()))
(| . (| . ()))
(||: . (|| . |:))
(|s . (() . |))
(|: . (| . |:))
(|.|| . (|. . ||)) ;; my bar line
(|. . (|. . ()))
;; hmm... should we end with a bar line here?
(.| . (| . .|))
(:| . (:| . ()))
(|| . (|| . ()))
(.|. . (.|. . ()))
( . ( . ))
(: . (: . ))
(. . (. . ()))
(empty . (() . ()))
(brace . (() . brace))
(bracket . (() . bracket))
))
#(define (index-cell cell dir)
(if (equal? dir 1)
(cdr cell)
(car cell)))
#(define (bar-line::my-calc-glyph-name grob)
(let* (
(glyph (ly:grob-property grob 'glyph))
(dir (ly:item-break-dir grob))
(result (assoc glyph my-bar-glyph-alist))
(glyph-name (if (= dir CENTER)
glyph
(if (and result (string? (index-cell (cdr result) dir)))
(index-cell (cdr result) dir)
#f)))
)
glyph-name))
#(define-public (bar-line::my-calc-break-visibility grob)
(let* ((glyph (ly:grob-property grob 'glyph))
(result (assoc glyph my-bar-glyph-alist)))
(if result
(vector (string? (cadr result)) #t (string? (cddr result)))
#(#f #f #f
\paper
{
ragged-right = ##t
indent = #(* mm 0)
}
{
\override Score.VoltaBracket #'font-encoding = #'latin1
\override Score.VoltaBracket #'font-family = #'roman
\override Score.VoltaBracket #'font-series = #'bold
c'1
\set Score.repeatCommands = #'((volta a capp. ))
c' \bar |.|| \break
\set Score.repeatCommands = #'((volta #f))
\set Score.repeatCommands = #'((volta with orchestra ))
c' c'
\set Score.repeatCommands = #'((volta #f))
\bar |.
}
\layout
{
\context
{
\Score
\override BarLine #'glyph-name =
#bar-line::my-calc-glyph-name
\override BarLine #'break-visibility =
#bar-line::my-calc-break-visibility
}
}
%% END %%
attachment: custom_barline.png___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
