Re: Rhythm mark snippet in LSR not 2.11. compatible?
Hi again,
On 11/02/2008, Risto Vääräniemi wrote:
Thanks for the tip, Gilles. However, that was the first thing I tried
because I wanted to align the rhythm mark at the key signature. It
doesn't quite work even if I align the mark at the time signature as
you suggested. It does drop the first mark on the same level as the
other ones but there's still a considerable gap between the mark and
the staff. :-(
I think I found the reason why 2.11 creates a bigger gap between the
staff and the rhythm mark than 2.10. It's the negative padding for the
RehearsalMark.
\override Score.RehearsalMark #'padding = #-2
2.10 obeys this but 2.11 ignores it. Is there a way to fool 2.11 to
accept that, too? Any other workarounds?
-Risto
%
\version 2.10.33
\paper { ragged-right = ##t }
rhyMarkDottedEighths =
{
\override Score.SpacingSpanner #'common-shortest-duration =
#(ly:make-moment 3 16) % even
{ b'8. b16 }
}
empty = \markup { \tiny }
rhythmMarkStaffReduce = #-3
rhythmMarkLabelFontSize = #-2
rhythmMark = #(define-music-function (parser location musicI ) (ly:music?)
#{
\mark \markup {
\line \vcenter {
\combine % 1st column in line
\empty
\transparent \italic \fontsize #rhythmMarkLabelFontSize f
% This fakes a uniform baseline
%(ie. create common anchor for vcenter)
\score { % 2nd column in line
\new Staff \with {
fontSize = #rhythmMarkStaffReduce
\override StaffSymbol #'staff-space =
#(magstep rhythmMarkStaffReduce)
\override StaffSymbol #'line-count = #0 }
\relative { \stemUp $musicI }
\layout {
ragged-right= ##t
indent = 0
\context {
\Staff
\remove Clef_engraver
\remove Time_signature_engraver }
} % layout
} % 1st Score end
} % line end
} % markup end
#})
\relative c''
{
\key c \major \time 4/4 \clef treble
\override Score.RehearsalMark #'padding = #-2
c1 | \rhythmMark \rhyMarkDottedEighths c
}
%
attachment: swing_rhythm_padding_2_10.pngattachment: swing_rhythm_padding_2_11.png___
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Re: Bug with grace notes and repeat voltas?
On Saturday 16 February 2008 02:46:45 Joseph Wakeling wrote:
Hello everyone,
I've discovered what I think is a bug in 2.10.25. Apologies if this has
been fixed in more recent versions but a Google search didn't raise any
awareness of the issue.
Here's the problem. Suppose I have a repeat volta set up with
alternative end bars:
\repeat volta 2 {
% some notes
}
\alternative {
{ % alternative 1 }
{ % alternative 2 }
}
and further, suppose that I have more than one part and that in _one_ of
them---but not the other---one of the alternatives begins with a grace
note.
This bug (and the workaround you proposed) are described in the manual,
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Grace-notes#Grace-notes
and are still there in V2.11.
Greetings
Marc
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Re: Problems with several parts, movements
Am Samstag, 16. Februar 2008 schrieb Ben Lewis:
I've been typesetting a Telemann concerto for a baroque ensemble that I
play in, and I've been having difficulties with actually producing more
than one part from the same file (I need to input Violin 1,2 and Viola
parts, since we only have hand-written ones.)
You can either use multiple \book {...} sections in one .ly file, which will
then create multiple pdfs, which are unfortunately numbered, e.g.
telemann-1.pdf, telemann-2.pdf, ... You can, however, also use
#(define output-suffix VcB)
to define a suffix for the filename. A number will still be added, so the
filename for the \book(s) after this definition will be telemann-VcB-3.pdf,
etc. This will work only in lilypond = 2.11, though.
Attached is an example to show you how this works. It creates five files for
VI, VII, Va, VcB and a FullScore.
The other way (e.g. if this file naming is too unflexible for you) is to
create separate input files and one file with all the music definitions. Each
file for VI, VI, etc. would include the file with the music definitions, and
you can write a makefile to build all five files with a simple make.
My other problem comes from
the fact that if I give multiple piece names in the \header section, only
the last one is printed for all of them.
You need to add a separate score for each piece, and in each of these scores,
you can set the piece to something separate...
Cheers,
Reinhold
--
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* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
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\version 2.10.5
vI = \relative c'' { g8 a b4 c d | e2 e,8 e( g4) }
vII = \relative c' { c4 d e f | g f d c }
va = \relative c' { \clef tenor c2 c2~ | c1 }
vcb = \relative c { \clef bass c4 b a g | f g a c }
\header { title = Multiple Books in one score }
#(define output-suffix VI)
\book {
\score {
\new Staff \vI
}
\header {instrument = Violino I}
}
#(define output-suffix VII)
\book {
\score {
\new Staff \vII
}
\header {instrument = Violino II}
}
#(define output-suffix Va)
\book {
\header {instrument = Viola}
\score {
\new Staff \va
}
}
#(define output-suffix VcB)
\book {
\header {instrument = Violoncello e Basso}
\score {
\new Staff \vcb
}
}
#(define output-suffix FullScore)
\book {
\header { }
\score {
\new StaffGroup
\new Staff = vISt
\set Staff.instrumentName = Violino I
\set Staff.shortInstrumentName = V.I
\vI
\new Staff = vIISt
\set Staff.instrumentName = Violino II
\set Staff.shortInstrumentName = V.II
\vII
\new Staff = vaSt
\set Staff.instrumentName = Viola
\set Staff.shortInstrumentName = Va.
\va
\new Staff = vISt
\set Staff.instrumentName = \markup \column {Violoncello e Basso}
\set Staff.shortInstrumentName = Vc/B.
\vcb
}
}
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Re: LilyKDE, tool to work with LilyPond in KDE - problems with kpdf
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Samstag, 16. Februar 2008 schrieb Wilbert Berendsen: When LilyPond (or ghostscript) writes the PDF, the old file is deleted and then a new one is created with the same name (I found this out by looking at the inode number). It seems to me that KPDF most times looses the 'watch' on a file when it is removed, even if it is recreated a short while after. Have you reported that bug at bugs.kde.org? Either for kpdf or for the kdirwatcher... Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFHtrdqTqjEwhXvPN0RApe+AKDOt5cXFE5UC95QKQ+800GO2S5vNwCfbID/ eIZ/q+zSRLcunDgyNFTxiBo= =iLcN -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyKDE, tool to work with LilyPond in KDE - problems with kpdf
Op zaterdag 16 februari 2008, schreef Reinhold Kainhofer: Have you reported that bug at bugs.kde.org? Either for kpdf or for the kdirwatcher... Yes, for KPDF. It should listen to the delete() and create() signals as well as dirty() :) 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: Bug with grace notes and repeat voltas?
Marc Hohl wrote: This bug (and the workaround you proposed) are described in the manual, http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Grace-notes#Grace-notes and are still there in V2.11. Sorry, it was late at night when I wrote that email and I didn't read the manual as thoroughly as I should (I read the bugs section on repeat voltas but not on grace notes). Anyway, good to know it's a known issue. -- Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \applyOutput and conditional expression
sorry to bump...
can anyone give a simple working example of \applyOutput - i'm really
stumped and this method should save me a lot of time down the line (i
need to have multiple versions of quite a few example passages, each
with different sets of pitches left out)
cheers
d
On 13 Feb 2008, at 14:59, Damian leGassick wrote:
hi all
i'm trying to modify the example from LM 7.5.2
quote: \applyOutput context proc
where proc is a Scheme function, taking three arguments
using the example given in LM, the following is apparently not the
correct format as it throws an error wherever i stick it, whether
or not i include Staff or \Staff:
\applyOutput \Staff (define (blanker grob grob-origin context)
(if (and (memq (ly:grob-property grob 'interfaces)
note-head-interface)
(eq? (ly:grob-property grob 'staff-position) 0))
(set! (ly:grob-property grob 'transparent) #t)))
what am i doing wrong?
also, the modification i'm after is
for(pitches = {aes, b, d})
transparent = true
anyone throw me a bone?
cheers
d
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Re: \applyOutput and conditional expression
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Samstag, 16. Februar 2008 schrieb Damian leGassick: can anyone give a simple working example of \applyOutput - i'm really stumped and this method should save me a lot of time down the line (i need to have multiple versions of quite a few example passages, each with different sets of pitches left out) Simply search the LSR for applyOutput: http://lsr.dsi.unimi.it/LSR/Search?q=applyOutput But I agree, the documentation on such advanced topics is really sparse. Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFHttuUTqjEwhXvPN0RAoKEAKC8njrhSRyo/lTWTm93YxZXKJ/QvACgquq7 ywzpVXDfgAtHumJ1v0VJwhw= =dYTl -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Rhythm mark snippet in LSR not 2.11. compatible?
Hi Risto
Two changes seem to be required to make this snippet work in
2.11. This may not be the optimum solution, though.
a) The vertical alignment of the inserted score blocks seems
different in the two releases. In 2.11 their vertical
extend is used to centre them vertically. This did not seem
to happen in 2.10, although I can't test this. This can be
fixed in 2.11 by the trick Mats recently suggested - reduce
their Y-extent to zero. So in each of the \Staff \with
blocks add
\override VerticalAxisGroup #'Y-extent = #'(0 . 0) % td
b) The horizontal alignment of the rehearsal mark in 2.11 is
by default on the bar line, or if no bar line is visible, on
the clef. In 2.10 it was just aligned to the bar line.
Aligning it to the clef causes it to be raised to avoid the
collision. However, simply restoring this behaviour in 2.11
does not help much. The very first rehearsal mark can be
instead aligned to the time signature with
\override Score.RehearsalMark
#'break-align-symbols = #'(staff-bar time-signature)
% td
which fixes its vertical alignment by permitting it to drop
down, but doesn't help with the ones at the start of
subsequent lines as there is no time signature to align them
to. So instead, I think we need to fall back on changing
individual X-offsets to move these:
\once \override Score.RehearsalMark #'X-offset = #5 % td
I attach an amended snippet which seems to work in 2.11.34.
Trevor D
ps As you remarked in a later note, setting 'padding does
not have any effect, AFAICS.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:lilypond-user-bounces+t.daniels=treda.co.u
[EMAIL PROTECTED] Behalf Of
Risto Vääräniemi
Sent: 10 February 2008 00:14
To: lilypond-user@gnu.org
Subject: Rhythm mark snippet in LSR not 2.11. compatible?
Hi again,
I found a wonderful snippet in LSR that explained
how to create rhythm
marks (http://lsr.dsi.unimi.it/LSR/Item?id=204).
I tested it and found
out that it doesn't work that well with
2.11.(37). The space between
the mark and the staff is much bigger than in the
example image. If
you have a look at the attached images you'll get
the drift.
To my eye the code contains pretty normal stuff
and I cannot see what
affects the spacing but I'm no expert anyway. Do
you think there's any
hope making it work properly in 2.11?
-Risto
%%% Function: rhythmMark
%%%
%%% Purpose: print a sophisticated rehearsal mark e.g
%%% for rhythm directives
%%%Usage: \rhythmMark label music1 music2
%%%
%%% Variable: label (string)
%%%
%%% Variable: music1 (ly:music)
%%%
%%% Variable: music2 (ly:music)
%%%
%%% Example: \rhythmMark #Swing \rhyMarkIIEighths
%%% \rhyMarkSlurredTriplets
%%%
%%% Constants:
%%% rhythmMarkStaffReduce = #-3
%%% rhythmMarkLabelFontSize = #-2
%%%
%%% Comment: see below for predefined values for music12
%%%
rhythmMarkStaffReduce = #-3
rhythmMarkLabelFontSize = #-2
rhythmMark = #(define-music-function (parser location label musicI musicII )
(string? ly:music? ly:music?)
#{
\mark \markup {
\line \vcenter {
\combine % 1st column in line
\italic \fontsize #rhythmMarkLabelFontSize $label
\transparent \italic \fontsize #rhythmMarkLabelFontSize f
% This fakes a uniform baseline (ie. create common anchor for
vcenter)
\score { % 2nd column in line
\new Staff \with {
fontSize = #rhythmMarkStaffReduce
\override StaffSymbol #'staff-space = #(magstep
rhythmMarkStaffReduce)
\override StaffSymbol #'line-count = #0
\override VerticalAxisGroup #'Y-extent = #'(0 . 0) % td
}
\relative { \stemUp $musicI }
\layout {
ragged-right= ##t
indent = 0
\context {
\Staff
\remove Clef_engraver
\remove Time_signature_engraver }
} % layout
} % 1st Score end
\hspace #-0.1% 3rd column in line
% 4th column in line
\italic \fontsize #rhythmMarkStaffReduce =
\score { % 5th column in line
\new Staff \with {
fontSize = #rhythmMarkStaffReduce
\override StaffSymbol #'staff-space = #(magstep
rhythmMarkStaffReduce)
\override
\override Staff.VerticalAxisGroup #'minimum-X-extent
This \override does not have any effect, no error messages.
Could anyone explain or is it a bug?
Thomas
Windows XPSP2
--
\version 2.11.39
\relative c' {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'( -20 . 0 )
\repeat unfold 24 {
{c d e f}
}
}
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Re: \override Staff.VerticalAxisGroup #'minimum-X-extent
Hi Thomas,
This \override does not have any effect, no error messages.
It has an effect... you just can't see it with a single Staff
context! =)
Try this instead:
% BEGIN SNIPPET
\version 2.11.37
\paper { ragged-bottom = ##t }
music = \relative c'
{
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'( -20 . 0 )
\repeat unfold 24 { { c d e f } }
}
\score
{
\new Staff \music
\new Staff \music
}
% END SNIPPET
Hope this helps!
Kieren.
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Re: \override Staff.VerticalAxisGroup #'minimum-X-extent
Thank you Kieren,
it used to work in single staff contexts before, I must have missed
the change.
Thomas
Hi Thomas,
This \override does not have any effect, no error messages.
It has an effect... you just can't see it with a single Staff
context! =)
Try this instead:
% BEGIN SNIPPET
\version 2.11.37
\paper { ragged-bottom = ##t }
music = \relative c'
{
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'( -20 . 0 )
\repeat unfold 24 { { c d e f } }
}
\score
{
\new Staff \music
\new Staff \music
}
% END SNIPPET
Hope this helps!
Kieren.
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Re: \applyOutput and conditional expression - docs suggestion
thanks reinhold - i missed that one yes, the docs the example given in NR is a good one but it would have been much clearer if instead of stating the syntax as \applyOutput context proc it was given as \applyOutput #'Context #proc this applies to many of the advanced tweaks and definitions - it's obvious once you know thanks again d On 16 Feb 2008, at 12:48, Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Samstag, 16. Februar 2008 schrieb Damian leGassick: can anyone give a simple working example of \applyOutput - i'm really stumped and this method should save me a lot of time down the line (i need to have multiple versions of quite a few example passages, each with different sets of pitches left out) Simply search the LSR for applyOutput: http://lsr.dsi.unimi.it/LSR/Search?q=applyOutput But I agree, the documentation on such advanced topics is really sparse. Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFHttuUTqjEwhXvPN0RAoKEAKC8njrhSRyo/lTWTm93YxZXKJ/QvACgquq7 ywzpVXDfgAtHumJ1v0VJwhw= =dYTl -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with several parts, movements
Am Samstag, 16. Februar 2008 schrieben Sie:
As above, I attempted to do so, however the output as I run it states that
there are «unexpected» \header{ } blocks.
Yes, for some weird reason, you have to put the \header block AFTER the
staves. I.e. the following does not work:
\book {
\header { instrument = Violino II }
\score {
\header { piece = Largo }
\new Staff { \globallargoone \violintwolargoone }
}
}
But once you put the \header after the score and after the staff (which I find
much less confusing, since the header also serves as some kind of headline
for me when trying to find the correct score in a large ly file), it works:
\book {
\score {
\new Staff { \globallargoone \violintwolargoone }
\header { piece = Largo }
}
\header { instrument = Violino II }
}
Cheers,
Reinhold
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--
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email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
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Image Attachments
Is it possible to mail a message to this list that has image attachments? I have two questions I need images to be understood. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
GDP: What term do you use?
I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? Since this will go into the glossary, please respond with the preferred term in any of these languages: Danish Dutch English Finnish French German Italian Spanish Swedish Thanks! Kurtis PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with several parts, movements
On Saturday 16 February 2008 13:24:06 Reinhold Kainhofer wrote:
Am Samstag, 16. Februar 2008 schrieben Sie:
As above, I attempted to do so, however the output as I run it states that
there are «unexpected» \header{ } blocks.
Yes, for some weird reason, you have to put the \header block AFTER the
staves. I.e. the following does not work:
\book {
\header { instrument = Violino II }
\score {
\header { piece = Largo }
\new Staff { \globallargoone \violintwolargoone }
}
}
But once you put the \header after the score and after the staff (which I
find
much less confusing, since the header also serves as some kind of headline
for me when trying to find the correct score in a large ly file), it works:
\book {
\score {
\new Staff { \globallargoone \violintwolargoone }
\header { piece = Largo }
}
\header { instrument = Violino II }
}
Thanks! This works, and now the parts work fine! Now, I just need to decipher
the rest of the writing.
Cheers,
Reinhold
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email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien,
http://www.fam.tuwien.ac.at/
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-Ben
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Re: GDP: What term do you use?
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Samstag, 16. Februar 2008 schrieb Kurt Kroon: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? German To play/sing something an octave higher or lower is called oktavieren (the verb), the noun is Oktavierung. See e.g. http://de.wikipedia.org/wiki/Oktavierung PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. At least the English wikipedia page does not give a proper term for it, either: http://en.wikipedia.org/wiki/Octave#Notation http://dict.leo.org/forum/viewUnsolvedquery.php?idThread=106516idForum=1lp=endelang=de Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFHt1ImTqjEwhXvPN0RAoIxAJ9lg70Xuf0r19yFuMYG/qyhTqbfMwCeOubL x340xpNxG41dYAevFk/Vmag= =ptz6 -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use?
Hi all, To play/sing something an octave higher or lower is called oktavieren That should really be ovtaKIEREN... ;-) At least the English wikipedia page does not give a proper term for it I tend to call it octave displacement myself... Cheers, (ovta)Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
GDP: What term do you use? (redux)
On 2/16/08 12:48 PM, Kurt Kroon [EMAIL PROTECTED] wrote: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. ... Oh, yeah ... I was also wondering: What the Dutch, Danish, Finnish and Swedish words for 128th- and 256th-notes and -rests? Thanks! Kurtis ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Showing instrument name and correct clef with cue notes
Am Freitag, 15. Februar 2008 schrieb Simon Bailey:
i remembered that there was an instrumentCueName property defined at
some point, and have extended the solution a bit more.
On Feb 15, 2008, at 9:57 AM, Simon Bailey wrote:
tec = { \once \override Staff.Clef #'font-size = #-3 \clef tenor }
bc = { \once \override Staff.Clef #'font-size = #-3 \clef bass }
%% Trombone 3 preQuote setup
tIIIpq = {
\set fontSize = #-3
\bc
\set Voice.instrumentCueName = Trbn. III
}
second = \relative c' {
[...]
\tag #'cued { \cueDuring #trbnIIIquote #1
{ \tIIIpq R1*3 \tec }}
\tag #'uncued { R1*3 }
[...]
}
Okay, this works in most cases, but when there is a line break immediately
before the cue notes, the clef for the cue notes is already shown on the
previous line and also as the clef for the whole staff (of course, since
that's what we are setting as a workaround...). This is confusing at best,
since e.g. the staff for Vc/B would suddently show a treble clef.
Attached is an example...
is there any setting to cause a clef change to come into effect only
immediately after the start of the measure (i.e. show the bass clef for the
whole staff and then after the key signature show the small clef for the cue
notes)?
Inserting s1*0 right before the clef does not work (s1*1/256 does, but that
messes up the measure checks...), either, since that does not change the
moment.
Thanks for any tips,
Reinhold
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung Jung-Wien, http://www.jung-wien.at/
\version 2.11.39
\header { title = \markup {\column {Clef for cue notes should only be shown after line break!} } }
\paper { line-width = 4\cm }
% just change the clef (shown in smaller font)
setClef = #(define-music-function (parser location clef) (string?)
#{ \once \override Staff.Clef #'font-size = #-3 \clef $clef #} )
Solo = \relative c'' {
\clef bass
c,,2 c | \break
\cueDuring #vIQuote #UP { \setClef treble R1*2 \setClef bass }\break
c2 c |
}
vI = \relative c'' { \clef treble f2 f | f f | f f | f f | }
\addQuote vIQuote { \vI }
% Solo score with cue notes, unfortunately the clef change of the cue notes
% shows the clef at the very beginning of the line
\score {
\new Staff \Solo
}
cue_clef_change_problem.pdf
Description: Adobe PDF document
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Re: GDP: What term do you use?
Hi Kurt, The only other term I've heard is octavization, which is as ugly-sounding as octavation. I prefer octave transposition, which describes exactly what is going on in your piece. Cheers, Ian Hulin Kurt Kroon wrote: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? Since this will go into the glossary, please respond with the preferred term in any of these languages: Danish Dutch English Finnish French German Italian Spanish Swedish Thanks! Kurtis PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. __ This email has been scanned by Netintelligence http://www.netintelligence.com/email ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly problems
2008/2/9, Reinhold Kainhofer [EMAIL PROTECTED]: The set data type is new in Python 2.3, and is needed in musicxml2ly to prevent duplicate definitions (i.e. I store all needed additional definitions are you sure it's 2.3 ? From the looks, this is a mac, which ships with 2.3 in /usr/bin . On other platforms, we ship 2.4 inside the lilypond package. -- 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: GDP: What term do you use?
I agree with Ian: octave transposition. Thinking about it, the term octavation (and octavated) is, in fact, in my English vocabulary, but only for artificial harmonics at the octave (ie, those string harmonics where the diamond notehead appears exactly one octave above the capotasto / stopped note / fundamental / round notehead; so: octavated harmonics). But my teacher for these sorts of things was Italian ... and so I'm pretty sure I've got a stow-away from Italian lurking around in my English here. Yeah, I can't think of a single native use of the term octavation (or related) at all. Have to fall back on octave transposition here. On Feb 16, 2008 6:58 PM, Andrew Hawryluk [EMAIL PROTECTED] wrote: The Grove Dictionary of Music gives no English term, only the Italian all'ottava or all'8va (meaning 'at the octave'). For comparison, the Finale 2006 user manual index lists the topic under 8va/8bv. The index entries for 15ma, Ottava, and Quindecima all say see 8va/8bv. Andrew On Feb 16, 2008 5:12 PM, Ian Hulin [EMAIL PROTECTED] wrote: Hi Kurt, The only other term I've heard is octavization, which is as ugly-sounding as octavation. I prefer octave transposition, which describes exactly what is going on in your piece. Cheers, Ian Hulin Kurt Kroon wrote: I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. Here's the scenario: You've written a composition with a passage that needs to be played in a different octave. When you describe it (this passage) to another musician, what term do you use? And do you use the same term or a different one for the actual _process of writing_ the passage in a different octave (if you even bother to name the process)? Since this will go into the glossary, please respond with the preferred term in any of these languages: Danish Dutch English Finnish French German Italian Spanish Swedish Thanks! Kurtis PS: Internally, LilyPond calls this octavation ... which I only included because I couldn't think of a better term. __ This email has been scanned by Netintelligence http://www.netintelligence.com/email ___ 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 -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use?
Hello: The only term I've ever heard in english for this is octave displacement and its notation is 8va .. dotted line over the affected passage. I lieu of any other acceptable english terminology I'd go with Groves as it widely accepted as a standard English language reference work for music. I believe that Groves in right in deferring to the Italian since that is the usually accepted language for musical terminology. Octave transposition seems a confusing, since transposition in music usually implies that the passage is to be played in a different key. Octave displacement does not change the key. 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: GDP: What term do you use? (redux)
I'm working on the Glossary for the GDP, and I'm stuck -- so, I'm canvassing the list. ... Oh, yeah ... I was also wondering: What the Dutch, Danish, Finnish and Swedish words for 128th- and 256th-notes and -rests? In English, this would depend on which side of the Atlantic you live in. Here in North America the standard terminology would be 128th note/rest or 256th note or rest. I'm not sure what the British call it. It will be something like semi-demi-hemi-quaver I believe.. someone will correct me if I'm wrong (quite possible!) Most people in North America simply will not understand the British terms. 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: ANN: LilyKDE, tool to work with LilyPond in KDE
Op vrijdag 15 februari 2008, schreef Andrew Black: On Wed, Feb 13, 2008 at 08:39:11AM +0100, Wilbert Berendsen wrote: Hi, I just released version 0.3 of my shiny new lil' pet project: LilyKDE. It combines the power of KDE, Kate and KPDF to make editing LilyPond files in KDE easier. If you use KDE you might like it: http://lilykde.googlecode.com/ Does this work with Gnome (Kate does). Yes, I think so. It works with Kate and KPDF, and those can certainly be run from within GNOME. best regards, Wilbert Berendsen -- http://www.wilbertberendsen.nl/ LilyKDE: http://lilykde.googlecode.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
