Re: THANK YOU for Lilypond-Book
On Fri, Nov 07, 2008 at 10:00:13PM -0600, Jonathan Kulp wrote: Just a quick note to say Thanks to whoever's responsible for Lilypond Hear, hear. Wonderful. -- Thanks Joe Mc Cool Snark, currently LEYC 028 37548074, 07802572441 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three newbie questions
\set chordRootNamer = #(lambda (x) (-)) or something like that (I'm not sure about the syntax), then \unset chordRootNamer would do the trick. Ok, I wasn't able to make some valid lilypond syntax with this. I asked google and didn't get much help there. What's the error message? (Sorry I don't have a running lilypond now) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polyphonic chaos, of sorts
Hi Tom
The problem in bar 3 is that you omitted the chord brackets .. from the
a4. Remember fingering orientation works only for chords, even when there
is only a single note.
The problem in bar 15 is caused because you have set the various fingering
orientations in the (default) Voice context, so they do not apply in the new
temporary voices which are created by the ..\\.. construct. Change all
your definitions like
sfol = \set fingeringOrientations = #'(left)
to
sfol = \set Staff.fingeringOrientations = #'(left)
etc
so they are set for all Voices in the Staff and I think at least this of
your problems will be solved. There is still a note overlap in bar 15 which
needs to be solved. I haven't tried, but one of the \shiftOn commands might
be what is needed.
Trevor
- Original Message -
From: Tom Cloyd [EMAIL PROTECTED]
To: Lilypond lilypond-user@gnu.org
Sent: Saturday, November 08, 2008 12:22 PM
Subject: polyphonic chaos, of sorts
Greetings. Things have been going very well for me with Lilypond, until
now. However, an interesting problem has arisen. (I'm running ver.
2.11.62, on Kubuntu Linux 8.04.1).
In my guitar scores, I like my fingering indications (left hand only) to
precede a voice's note(s), directly to the left. In the score below, I
find that breaking a voice into sub-voices, briefly, destroys the
placement of my fingerings and string indications - rendering the score as
it would be if I utterly failed to use chord constructs. The problem
continues only for as long as the sub-voices are coded separately.
Yet, the Lilypond Learning manual indicates that what I'm doing (brief
specification of subvoices) is possible, and may even be the best way of
handling the brief appearance of an additional voice ( see p. 52 - the
section beginning More deeply nested polyphony constructs are possible,
and if a voice appears only briefly this might be a more natural way to
typeset the music:...
The problem to which I refer occurs in measures 10 (fingering - 3 - for
A on beat 3 collides with rest, as it's placed above rather than to the
side of the note), and 15 (which is such a mess it's unreadable).
I really have no idea what I'm doing wrong. I could get it to come out OK
by explicitly coding 3 voices, but that's simply a lot more work, and
doing the way I'm attempting at present is a much quicker path to a
playable score - or rather it was until now.
I'd appreciate any ideas anyone has.
t. (score code follows)
=== begin score ===
\version 2.11.62
#(set-global-staff-size 20) % 20 this is said to be standard for most
scores
date = #(strftime %Y.%m.%d (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% * centered top *
%dedication=dedication %centered above title, top of page one
title = Chorale #1 %centered below dedication
%subtitle = subtitle %centered below title
subsubtitle = \markup { (2008.11.03) - version \date } %centered below
subtitle
%piece = (piece) %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = Classical Guitar %{ centered below the subsubtitle, and
at the top of pages (other than the first page). %}
% * flush right *
composer = \markup \center-column {Tom Cloyd \small [EMAIL PROTECTED] }
%flush right
%arranger = {arranger} %flush right below composer
%opus = {opus} %flush right below arranger
% * centered, bottom of page *
copyright = © 2008 Tom Cloyd %centered at the bottom of the first
page
tagline = \markup { \small score set with Lilipond
(http://lilypond.org/web/)} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size letter 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =
% LH fingering orientations
sfol = \set fingeringOrientations = #'(left)
sfor = \set fingeringOrientations = #'(right)
sfod = \set fingeringOrientations = #'(down)
sfou = \set fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set strokeFingerOrientations = #'(left)
ssfor = \set strokeFingerOrientations = #'(right)
ssfod = \set strokeFingerOrientations = #'(down)
ssfou = \set strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set stringNumberOrientations = #'(left) %(down right up)
ssnou = \set stringNumberOrientations = #'(up)
ssnod = \set stringNumberOrientations = #'(down)
ssnor = \set stringNumberOrientations = #'(right)
% VOICE ONE
melody = \relative c' {
\clef treble_8
\key a \minor
\time 4/4
\tempo Moderato 4 = 98 %{ metronome marking will be in parentheses, if
accompanied by verbal tempo marking; or just
How to prevent \center-column colliding with other markup?
Hi,
I am trying to add a \center-column'ed text in my markup block.
However, that part is not properly aligned (at least in my opinion)
and it is partially placed on top of the text that's on its left side.
Should I wrap the \center-column part inside some other markup
function? I already tried \line and \column.
\version 2.11.63
\markup
{
\number \override #'(baseline-skip . 0)
{
\line {\center-column { 7 4 }}
\line {\center-column {\concat {4 + 3} 4 }}
}
}
As you probably already guessed I'm trying to make a custom time
signature. Using a \hspace between the two columns is not a good
solution since if I change the numbers I should also change the
\hspace – I'm planning to put this inside a scheme function.
-Risto
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Re: How to prevent \center-column colliding with other markup?
Hi Risto,
2008/11/8 Risto Vääräniemi [EMAIL PROTECTED]:
Hi,
I am trying to add a \center-column'ed text in my markup block.
However, that part is not properly aligned (at least in my opinion)
and it is partially placed on top of the text that's on its left side.
Should I wrap the \center-column part inside some other markup
function? I already tried \line and \column.
The second column needs to be aligned in relation to the first using
\left-align:
\markup
{
\number \override #'(baseline-skip . 0)
{
\concat {
\center-column { 7 4 }
\left-align
\center-column { \concat { 4 + 3 } 4 }
}
}
}
Cheers,
Neil
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Re: Installing new font
I couldn't get it to work properly. I think I got fontconfig
to cache the font properly; fc-list contains the line
TenorSigns:style=Regular
But when put this in my .ly-file:
c_\markup { \override #'(font-encoding . TenorSigns)
{ \char #0 }
}
What about using \lookup #glyph_name instead of \char?
Werner
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Re: Installing new font
On Sun, 2 Nov 2008, Werner LEMBERG wrote:
Hi, I have a metafont font with embellishment symbols (for Scottish
tenordrum feathering and flourishing) that I'd like to use in
LilyPond.
Do you want to contribute? :-) We could integrate them.
I would love to, but there is no standard for these
symbols, so this is really just a suggestion.
I've used mftrace to convert it to a .pfa type 1 font,
We use mf2pt1 which gives much cleaner results. However, you have
probably to modify your source code.
but I don't know how to install it and use it in LilyPond. I guess
this involves both Pango and LilyPond skills?
No. Make your font known by fontconfig (this normally means adding it
to the right directory so that it gets cached), then you can access it
as any other text font.
I couldn't get it to work properly. I think I got fontconfig
to cache the font properly; fc-list contains the line
TenorSigns:style=Regular
But when put this in my .ly-file:
c_\markup { \override #'(font-encoding . TenorSigns)
{ \char #0 }
}
I get as a result:
programming error: Cannot get a text stencil from this font
continuing, cross fingers
Lilypond completes but the character is missing from the
output. I used fontforge to inspect the font and supposedly
char 0 holds something sensible.
any clues?
Hugo
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proportional notation (a la earle brown etc.) was: Re: uniform-stretching
hi, i've just been looking at the threads on proportional notation (time-space notation) and found these: http://www.mail-archive.com/lilypond-user@gnu.org/msg35955.html http://www.mail-archive.com/lilypond-user@gnu.org/msg35775.html http://www.mail-archive.com/lilypond-user@gnu.org/msg26884.html but not much more.. [quote] I'm planning to do some tutorial on how to get these things done after finishing the score as I think it is a non trivial matter to typeset a score with proportional notation, graphics for the electronic part and such and it might save some time for someone else trying to do it with lilypond. -- Orm [quote] just wondering if there is any documentation like this anywhere? orm did you ever get around to getting anything online? would be really good if anyone with any experince doing work like this could give me some pointers before i start to save me wasting time... also - maybe if there is no documentation on this, this mail could act as a kickstart in that direction :) i'd be happy to contribute as soon as i have something to contribute. many thanks rob ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
point and click brings up two emacs instances
hi, i have this problem using point and click: when i click on the pdf two instances of emacs start - this is nice but one is plenty :) any clues? i am running GNU/Linux pure:dyne (distro based on Debian lenny) GNU LilyPond 2.11.63 xpdf version 3.02 GNU Emacs 22.2.1 i have this in .xpdfrc urlCommand lilypond-invoke-editor %s this in my .emacs ;#lilypond emacs mode# (autoload 'LilyPond-mode lilypond-mode) (setq auto-mode-alist (cons '(\\.ly$ . LilyPond-mode) auto-mode-alist)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) (setq locale-coding-system 'utf-8) (set-terminal-coding-system 'utf-8) (set-keyboard-coding-system 'utf-8) (set-selection-coding-system 'utf-8) (prefer-coding-system 'utf-8) .emacs stuff is not relevant i guess...not sure what else i should tell you... thanks rob ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional notation (a la earle brown etc.) was: Re:uniform-stretching
Rob There is quite a bit on proportional notation in the 2.11 Reference Manual, but you may have missed it as I don't think this section has been indexed yet. See section 4.5.5 Proportional notation. Trevor - Original Message - From: Rob Canning [EMAIL PROTECTED] To: lilypond-user lilypond-user@gnu.org; [EMAIL PROTECTED] Sent: Saturday, November 08, 2008 3:16 PM Subject: proportional notation (a la earle brown etc.) was: Re:uniform-stretching hi, i've just been looking at the threads on proportional notation (time-space notation) and found these: http://www.mail-archive.com/lilypond-user@gnu.org/msg35955.html http://www.mail-archive.com/lilypond-user@gnu.org/msg35775.html http://www.mail-archive.com/lilypond-user@gnu.org/msg26884.html but not much more.. [quote] I'm planning to do some tutorial on how to get these things done after finishing the score as I think it is a non trivial matter to typeset a score with proportional notation, graphics for the electronic part and such and it might save some time for someone else trying to do it with lilypond. -- Orm [quote] just wondering if there is any documentation like this anywhere? orm did you ever get around to getting anything online? would be really good if anyone with any experince doing work like this could give me some pointers before i start to save me wasting time... also - maybe if there is no documentation on this, this mail could act as a kickstart in that direction :) i'd be happy to contribute as soon as i have something to contribute. many thanks rob ___ 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
Re: polyphonic chaos, of sorts
Trevor,
Thanks for the explanation and the fix. All errors are now vanished.
Much appreciated.
Tom
Trevor Daniels wrote:
Hi Tom
The problem in bar 3 is that you omitted the chord brackets .. from
the a4. Remember fingering orientation works only for chords, even
when there is only a single note.
The problem in bar 15 is caused because you have set the various
fingering orientations in the (default) Voice context, so they do not
apply in the new temporary voices which are created by the ..\\..
construct. Change all your definitions like
sfol = \set fingeringOrientations = #'(left)
to
sfol = \set Staff.fingeringOrientations = #'(left)
etc
so they are set for all Voices in the Staff and I think at least this
of your problems will be solved. There is still a note overlap in bar
15 which needs to be solved. I haven't tried, but one of the \shiftOn
commands might be what is needed.
Trevor
- Original Message - From: Tom Cloyd [EMAIL PROTECTED]
To: Lilypond lilypond-user@gnu.org
Sent: Saturday, November 08, 2008 12:22 PM
Subject: polyphonic chaos, of sorts
Greetings. Things have been going very well for me with Lilypond,
until now. However, an interesting problem has arisen. (I'm running
ver. 2.11.62, on Kubuntu Linux 8.04.1).
In my guitar scores, I like my fingering indications (left hand only)
to precede a voice's note(s), directly to the left. In the score
below, I find that breaking a voice into sub-voices, briefly,
destroys the placement of my fingerings and string indications -
rendering the score as it would be if I utterly failed to use chord
constructs. The problem continues only for as long as the sub-voices
are coded separately.
Yet, the Lilypond Learning manual indicates that what I'm doing
(brief specification of subvoices) is possible, and may even be the
best way of handling the brief appearance of an additional voice (
see p. 52 - the section beginning More deeply nested polyphony
constructs are possible, and if a voice appears only briefly this
might be a more natural way to typeset the music:...
The problem to which I refer occurs in measures 10 (fingering - 3 -
for A on beat 3 collides with rest, as it's placed above rather than
to the side of the note), and 15 (which is such a mess it's unreadable).
I really have no idea what I'm doing wrong. I could get it to come
out OK by explicitly coding 3 voices, but that's simply a lot more
work, and doing the way I'm attempting at present is a much quicker
path to a playable score - or rather it was until now.
I'd appreciate any ideas anyone has.
t. (score code follows)
=== begin score ===
\version 2.11.62
#(set-global-staff-size 20) % 20 this is said to be standard for most
scores
date = #(strftime %Y.%m.%d (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% * centered top *
%dedication=dedication %centered above title, top of page one
title = Chorale #1 %centered below dedication
%subtitle = subtitle %centered below title
subsubtitle = \markup { (2008.11.03) - version \date } %centered
below subtitle
%piece = (piece) %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = Classical Guitar %{ centered below the
subsubtitle, and at the top of pages (other than the first page). %}
% * flush right *
composer = \markup \center-column {Tom Cloyd \small
[EMAIL PROTECTED] } %flush right
%arranger = {arranger} %flush right below composer
%opus = {opus} %flush right below arranger
% * centered, bottom of page *
copyright = © 2008 Tom Cloyd %centered at the bottom of the
first page
tagline = \markup { \small score set with Lilipond
(http://lilypond.org/web/)} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size letter 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =
% LH fingering orientations
sfol = \set fingeringOrientations = #'(left)
sfor = \set fingeringOrientations = #'(right)
sfod = \set fingeringOrientations = #'(down)
sfou = \set fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set strokeFingerOrientations = #'(left)
ssfor = \set strokeFingerOrientations = #'(right)
ssfod = \set strokeFingerOrientations = #'(down)
ssfou = \set strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set stringNumberOrientations = #'(left) %(down right up)
ssnou = \set stringNumberOrientations = #'(up)
ssnod = \set stringNumberOrientations = #'(down)
ssnor = \set stringNumberOrientations = #'(right)
% VOICE ONE
melody = \relative c' {
\clef treble_8
\key a \minor
polyphonic chaos, of sorts
Greetings. Things have been going very well for me with Lilypond, until
now. However, an interesting problem has arisen. (I'm running ver.
2.11.62, on Kubuntu Linux 8.04.1).
In my guitar scores, I like my fingering indications (left hand only) to
precede a voice's note(s), directly to the left. In the score below, I
find that breaking a voice into sub-voices, briefly, destroys the
placement of my fingerings and string indications - rendering the score
as it would be if I utterly failed to use chord constructs. The problem
continues only for as long as the sub-voices are coded separately.
Yet, the Lilypond Learning manual indicates that what I'm doing (brief
specification of subvoices) is possible, and may even be the best way of
handling the brief appearance of an additional voice ( see p. 52 - the
section beginning More deeply nested polyphony constructs are possible,
and if a voice appears only briefly this might be a more natural way to
typeset the music:...
The problem to which I refer occurs in measures 10 (fingering - 3 -
for A on beat 3 collides with rest, as it's placed above rather than to
the side of the note), and 15 (which is such a mess it's unreadable).
I really have no idea what I'm doing wrong. I could get it to come out
OK by explicitly coding 3 voices, but that's simply a lot more work, and
doing the way I'm attempting at present is a much quicker path to a
playable score - or rather it was until now.
I'd appreciate any ideas anyone has.
t. (score code follows)
=== begin score ===
\version 2.11.62
#(set-global-staff-size 20) % 20 this is said to be standard for most scores
date = #(strftime %Y.%m.%d (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% * centered top *
%dedication=dedication %centered above title, top of page one
title = Chorale #1 %centered below dedication
%subtitle = subtitle %centered below title
subsubtitle = \markup { (2008.11.03) - version \date } %centered
below subtitle
%piece = (piece) %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = Classical Guitar %{ centered below the subsubtitle,
and at the top of pages (other than the first page). %}
% * flush right *
composer = \markup \center-column {Tom Cloyd \small
[EMAIL PROTECTED] } %flush right
%arranger = {arranger} %flush right below composer
%opus = {opus} %flush right below arranger
% * centered, bottom of page *
copyright = © 2008 Tom Cloyd %centered at the bottom of the first page
tagline = \markup { \small score set with Lilipond
(http://lilypond.org/web/)} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size letter 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =
% LH fingering orientations
sfol = \set fingeringOrientations = #'(left)
sfor = \set fingeringOrientations = #'(right)
sfod = \set fingeringOrientations = #'(down)
sfou = \set fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set strokeFingerOrientations = #'(left)
ssfor = \set strokeFingerOrientations = #'(right)
ssfod = \set strokeFingerOrientations = #'(down)
ssfou = \set strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set stringNumberOrientations = #'(left) %(down right up)
ssnou = \set stringNumberOrientations = #'(up)
ssnod = \set stringNumberOrientations = #'(down)
ssnor = \set stringNumberOrientations = #'(right)
% VOICE ONE
melody = \relative c' {
\clef treble_8
\key a \minor
\time 4/4
\tempo Moderato 4 = 98 %{ metronome marking will be in parentheses,
if accompanied by verbal tempo marking; or just precede it with empty
parentheses to obtain metron. marking in parens. %}
\voiceOne
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
e2 f-1 4 ^2/6 C I g-4 |
g4. e8 c2 ^C I |
c d-4 4 e |
d2 ^C III e-4 4 g |
a-4 2 a-4 4 ^5/6 C III g-1 |
% m 6 = = = =
e c g 2 d b-2 g-3 ^C III |
\break
e2 g-4 4 b-4 |
a ^3/6 C V b-4 c-4 2 |
b-4 4 -\tweak #'extra-offset #'(-3 . 0)^3/6 C V a-1 g-1 b,
4. -\tweak #'extra-offset #'(0 . 0)^3/6 C IV a-1 8 |
a e 2 ^C V g\rest |
\bar :|:
% m 11 = = = =
e2 f4 ^C I g-4 |
e2 g-4 |
\break
e d-4 4 b |
c g a b2 |
a-1 b |
% m 16 = = = =
c ^C I c-1 |
d ^C III e |
f-1 2 g4 ^ C III b |
\break
a2 ^C V b-1 4 d-4 |
c-4 2 ^3/6 C V b4 c |
% m 21 = = = =
a-2 4 b-4 gis-4 a |
a-4 1 |
\bar :|:
c,-1 2 c4. ^C
horizontal shift of notes not working
I've gotten this to work fine, until now. It's not working at all. In
the score code below, measure 15 is the problem. On the third beat, I
need to shift either of the top two notes to the right. I've tried to
shift both. Neither will budge a bit. In the score below I'm trying to
shift the top note. It's not working.
Can someone tell me why?
Thanks, in advance...
t.
=== begin score ===
\version 2.11.62
#(set-global-staff-size 20) % 20 this is said to be standard for most scores
date = #(strftime %Y.%m.%d (localtime (current-time))) % define a
variable to hold the formatted date
#(define RH rightHandFinger) %assigns value to RH
\header {
% * centered top *
%dedication=dedication %centered above title, top of page one
title = Chorale #1 %centered below dedication
%subtitle = subtitle %centered below title
subsubtitle = \markup { (2008.11.03) - version \date } %centered
below subtitle
%piece = (piece) %{ useful only with multi-piece set given Opus
number; set flus left below meter %}
instrument = Classical Guitar %{ centered below the subsubtitle,
and at the top of pages (other than the first page). %}
% * flush right *
composer = \markup \center-column {Tom Cloyd \small
[EMAIL PROTECTED] } %flush right
%arranger = {arranger} %flush right below composer
%opus = {opus} %flush right below arranger
% * centered, bottom of page *
copyright = © 2008 Tom Cloyd %centered at the bottom of the first page
tagline = \markup { \small score set with Lilipond
(http://lilypond.org/web/)} % centered at the bottom of the last page
}
\paper {
#(set-default-paper-size letter 'portrait)
ragged-last-bottom = ##t % turns off vertical justify
left-margin = 0.6\in
line-width = 7\in % works better than specifying R-margin
bottom-margin = 0.7\in
top-margin = 0.7\in
}
% variables =
% LH fingering orientations
sfol = \set Staff.fingeringOrientations = #'(left)
sfor = \set Staff.fingeringOrientations = #'(right)
sfod = \set Staff.fingeringOrientations = #'(down)
sfou = \set Staff.fingeringOrientations = #'(up)
% RH fingering orientations
ssfol = \set Staff.strokeFingerOrientations = #'(left)
ssfor = \set Staff.strokeFingerOrientations = #'(right)
ssfod = \set Staff.strokeFingerOrientations = #'(down)
ssfou = \set Staff.strokeFingerOrientations = #'(up)
% string number orientations
ssnol = \set Staff.stringNumberOrientations = #'(left) %(down
right up)
ssnou = \set Staff.stringNumberOrientations = #'(up)
ssnod = \set Staff.stringNumberOrientations = #'(down)
ssnor = \set Staff.stringNumberOrientations = #'(right)
% VOICE ONE
melody = \relative c' {
\clef treble_8
\key a \minor
\time 4/4
\tempo Moderato 4 = 98 %{ metronome marking will be in parentheses,
if accompanied by verbal tempo marking; or just precede it with empty
parentheses to obtain metron. marking in parens. %}
\voiceOne
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
e2 f-1 4 ^2/6 C I g-4 |
g4. e8 c2 ^C I |
c d-4 4 e |
d2 ^C III e-4 4 g |
a-4 2 a-4 4 ^5/6 C III g-1 |
% m 6 = = = =
e c g 2 d b-2 g-3 ^C III |
\break
e2 g-4 4 b-4 |
a ^3/6 C V b-4 c-4 2 |
b-4 4 -\tweak #'extra-offset #'(-3 . 0)^3/6 C V a-1 g-1 b,
4. -\tweak #'extra-offset #'(0 . 0)^3/6 C IV a-1 8 |
a e 2 ^C V g\rest |
\bar :|:
% m 11 = = = =
e2 ^I f4 ^C I g-4 |
e2 g-4 |
\break
e d-4 4 b |
c g a b2 |
a-1 \once \override NoteColumn #'force-hshift = #1.0 b |
% m 16 = = = =
c ^C I c-1 |
d ^C III e |
f-1 2 g4 ^ C III b |
\break
a2 ^C V b-1 4 d-4 |
c-4 2 ^3/6 C V b4 c |
% m 21 = = = =
a-2 4 b-4 gis-4 a |
a-4 1 |
\bar :|:
c,-1 2 c4. ^C I d8 |
d4. e8 e2 |
g4. e8 e2 |
% m 26 = = = =
g-1 4 a-4 g e |
g e g d 4. ^C III e-4 8 |
e-4 2 e |
e2 f-1 4 g-4 |
\bar :|
r4 e c-1\3 b a-\tweak #'extra-offset #'(0 . -0.5)-3-\tweak
#'extra-offset #'(0 . -0.5)\4 2. |
\bar ||
}
% VOICE TWO
tenor = \relative c' {
\voiceTwo
\sfol %LH fingering placement
\ssfor %RH fingering placement
\ssnol %string number placement
c-1 g e-2 2 c-1 g c,-3 |
c g e, 2 c a-2 f-3 f, |
g e-2 e, 2 a-2 d, f,-1 |
b-2 g-3 g, 1 |
e-3 c-2 a, 2 e-3 c-2 c,-1 |
% m 6 = = = =
e,-3 4 f g,2
b' g e, 2 d-3 g b,-1 4 b g d |
e c a-3 2 e-1 a,-3 a, |
e-1 d-\tweak #'extra-offset #'(0 . -1)-3 e,, e-2 e,-4\5 |
\stemDown
{ c2 a-3 4 c | } \\
{ a,1 | }
% m 11 = = = =
c' a-2 a,2 c a f, |
{ b g 2 b g d |} \\
{e,,1|}
b'' e,-2 c-3 2 g d b-2 |
e a, 2 g d e, |
\stemDown
{ e-1 2 a-1 4 g |} \\
{ c,-2 a-4\6 2
Re: THANK YOU for Lilypond-Book
On Friday 07 November 2008 23:00, Jonathan Kulp wrote: Just a quick note to say Thanks to whoever's responsible for Lilypond Book. The combination of Lilypond with LaTeX is one of the most impressive tools I've ever used. I wish I'd had this when I was working on my doctoral dissertation in the late 1990s. I used it for tengtr.pdf, on my site. It is too gnarly for my application, and the next version will be done in html rather than latex for conversion to pdf. Lilypond-book is ideal for a counterpoint workbook however. I can hardly wait to link to it. I suggest that you include the lilypond examples as separate .ly files rather than having the code in the .latex file, for easier maintenance. I wish I had done that with tengtr.latex. A revision will be much more of a nightmare than it could have been. Regards, daveA -- Free download of technical exercises worth a lifetime of practice: http://www.openguitar.com/dynamic.html You can play the cards you're dealt, or improve your hand with DGT. Very easy guitar music, solos, duets, exercises, etc. [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[ANN] lilypond-kde4, base lilypond package
Hi Daniel and Valentin, and other LilyPond + KDE or LilyKDE users, I just released a basic package for lilypond editing under KDE 4.1+ http://lilykde.googlecode.com/files/lilypond-kde4-0.1.tar.gz It contains - three icons for LilyPond documents, based on oxygen, crystalsvg and one neutral one, based on the LilyPond note XPM icon, converted to SVG. - katepart indent script (lilypond.js) for nice LilyPond auto-indenting. - textedit service handler that is able to automatically open the preferred editor with the right arguments, and can be configured to support more/other editors, and can also talk via DBus to a running LilyPond editor. It depends on Qt4.4 and KDE 4.1 or higher. I think this lilypond-kde4 package could serve as a common basis for LilyPond editing under KDE 4. It is my intention to keep this package as small as possible. Other packages could provide a servicemenu, plugins or standalone apps etc. But you are welcome to add comments and improvements! with best regards, Wilbert Berendsen PS: The LilyPond syntax definitions are already part of KDE, and I updated them to the upcoming 2.12 LilyPond release in KDE 4.1.3 and KDE 4.2 (trunk). Since KDE 4 uses the FreeDesktop.org shared-mime-info, installing a LilyPond mimetype in KDE is not necessary anymore. The shared-mime-info package knows LilyPond's *.ly file type as text/x-lilypond since version 0.23 I believe. -- http://www.wilbertberendsen.nl/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [ANN] lilypond-kde4, base lilypond package
2008/11/8 Wilbert Berendsen [EMAIL PROTECTED]: I just released a basic package for lilypond editing under KDE 4.1+ Hi Wilbert, wonderful! I'll have a look right away. - three icons for LilyPond documents, based on oxygen, crystalsvg and one neutral one, based on the LilyPond note XPM icon, converted to SVG. I hope you've also had a look at the icon I drew at http://lists.gnu.org/archive/html/lilypond-devel/2008-09/msg2.html :-) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: THANK YOU for Lilypond-Book
David Raleigh Arnold wrote:
I used it for tengtr.pdf, on my site. It is too gnarly for my
application, and the next version will be done in html rather
than latex for conversion to pdf. Lilypond-book is ideal for a
counterpoint workbook however. I can hardly wait to link to it.
I suggest that you include the lilypond examples as separate
.ly files rather than having the code in the .latex file, for
easier maintenance. I wish I had done that with tengtr.latex.
A revision will be much more of a nightmare than it could
have been. Regards, daveA
Yes, I already have it set up this way. Each chapter is a separate
.lytex file, and each of the exercises and musical examples is a
separate .ly file. There's an main index file containing the preamble
and links to each of the chapter files via \input{filename.lytex}. The
structure of the project is working great. I wrote a shell script that
runs the lilypond book command and opens the dvi file for preview, or if
I include a -p flag it converts the dvi file to .pdf and then opens it
for preview.
I'll share the workbook once it's in decent shape. Glad you're
interested :)
Jon
--
Jonathan Kulp
http://www.jonathankulp.com
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Re: [ANN] lilypond-kde4, base lilypond package
Op zaterdag 8 november 2008, schreef Valentin Villenave: I hope you've also had a look at the icon I drew at http://lists.gnu.org/archive/html/lilypond-devel/2008-09/msg2.html Yes! I used the same approach. Your oxygen variant is even better, with the shadowed note! :-) best regards, Wilbert Berendsen -- LilyKDE, LilyPond for KDE: http://lilykde.googlecode.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics font problem
Hello, Still for my song. The full orchestral score has finished yesterday, but I don't know how to override the font of Lyrics. It seems that LyricText can't accept #'font-name, and though I used #仿宋_GB2312 For the Chinese texts, Lily still says the warning for not knowing how to embed the font, which it displays only when I didn't specify the font name. Could you help me? Sincerely Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
