Re: question about transposing an interval of a 4th
Then stick a \transpose c' g' in there. Read the doc section
about transposition for help.
... I really don't understand this question. If you already know
how to transpose from C to Bb, why on earth do you need to ask how
to transpose from C to G ?!
- Graham
On Sat, Dec 20, 2008 at 07:06:01PM -0700, chip wrote:
> good question, I'm gonna say diatonic and see how that goes.
>
> Cameron Horsburgh wrote:
>> On Sat, Dec 20, 2008 at 06:16:18PM -0700, chip wrote:
>>
>>> I am inputing a piece in concert C, the use \transpose to output a
>>> part for a Bb Trumpet. Now I want to add second part that will be a
>>> fourth lower. Can Lily do this or do I have to figure out all the
>>> notes a fourth lower and enter them manually? I'd rather just
>>> copy/paste the first part into the second part and let Lily do the
>>> transposing of a fourth interval.
>>> --
>>> Chip
>>>
>>
>> Are you looking for a perfect fourth through the whole piece, or is
>> the fourth to be diatonic to the key? For example, if your melody is
>> in c and goes {a b c} do you want to get {e f g} (diatonic) or {e fis
>> g} (perfect)?
>>
>>
>>
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>>>
>>>
>>
>>
>
>
>
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Re: Linux question
Rob Canning wrote: Ralph Palmer wrote: Hi - I realize this is marginally on topic, and I apologize if it causes anyone distress. i think this is on topic as many users might be interested in GNU/Linux environments which are lilypond friendly - so i post back to list too :) Indeed so; it's always interesting to hear what apps, environments, settings etc. others use. I'm currently a Windows XP user. I would like to mount Linux on an old (circa 2002) Dell laptop my daughter is going to pass along to me. I've narrowed my choices to Ubuntu, Kubuntu, or Debian (a distant third). I'm currently running Fedora 10 on a Compaq nc8000 (circa 2003) -- installation went flawlessy, and everything works out of the box, except for the fn key combo to enter presentation mode. But's that's soon rectified by assigning a keyboard shortcut to an xrandr command. If you're looking at Ubuntu for your first distro, you can't go far wrong. If you're into making music with computers, Linux is a great choice, because of its freedom in both senses (beer and speech). There's a specialised audio distro called Ubuntu Studio, which, like Puredyne, comes ready to go with a realtime-enabled kernel and a heap of great apps to get started, including the JACK sound server, which allows you to route audio and midi data to and from any jack-aware app any way you want. ok so i am biased as i am a developer of puredyne http://puredyne.goto10.org its debian based with a focus on audio / visual work it is a combination of the debian repositories along with the debian multimedia repositories and our own puredyne repositories. I use Fedora with the RPM Fusion, Planet CCRMA, and separate Compiz repositories. The great thing about Free software is that you find a system and setup that you feel comfortable with, and more importantly, one that actually works with your hardware. if you do a "full install" you can just add lilypond with aptitude install lilypond or install using the lilypond installer for the latest 2.11 version To get back on topic, CCRMA was using lilypond 2.10.33 until very recently, so I've been using the lilypond installer for the latest 2.11 version from lily's website. I use gedit for typing up lilypond files, and evince for viewing, but I print from the commandline with lpr, because I find it easier and faster than clicking through dialog boxes. There's also LilyKDE, which integrates several KDE apps into a user-friendly lilypond environment, and LilyPondTool, which also provides a complete environment. Of course, power users will continue to stick with Emacs or Vi, but I've no wish to discuss the merits of one vs the other ;) we will have a dvd version in the next release and this will include lilypond and all the lilypond extensions we can get our hands on - as a lilypond user and a puredyne developer i have a strong interest in making this a super nice environment for lilypond users. - there is also a live version which runs off usbsticks or cd which makes in nice for workshops etc. its super light so works well on old machines - it uses the xfce4 desktop as part of its lightweight ethos but if you want to bloat your system and add kde or gnome thats easy as Xfce is indeed a great environment -- it makes old boxes usable, and fast boxes faster. If you're coming from windows, the first thing you notice is the sheer configurability of the various desktops -- you can have various panels, launchers, taskbars etc. anywhere you want, or not at all -- after all, real geeks only use runlevel 3, right? aptitude install yourfavoritewindowmangerhere as its debian (lenny) based. good luck rob c ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-us ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Custom articulations/pitched single-note trills
Hi,
I'm trying to typeset pitched single-note trills. Since \pitchedTrill only works
for trill spanners, I have resorted to using the following:
trillFlat = -\markup { \vcenter { \musicglyph #"scripts.trill" \smaller \flat }}
\relative { c'\trillFlat c\trill c\trillFlat c\trill }
Unfortunately the \markups are automatically placed below the staff while the
\trills are placed above. If the \markups are manually positioned, as in:
trillFlat = -\markup { \vcenter { \musicglyph #"scripts.trill" \smaller \flat }}
\relative { c'^\trillFlat c^\trill c^\trillFlat c^\trill }
then the \trillFlats appear slightly out of line with the \trills.
I was wondering if there is a way to create custom articulations, which would
solve both of my problems? If not, then how should I make the \trillFlats above
appear in line with the \trills? I've tried adjusting #'padding,
#'staff-padding, and #'minimum-space, none of which seem to have any effect.
Thanks in advance.
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Re: question about transposing an interval of a 4th
good question, I'm gonna say diatonic and see how that goes.
Cameron Horsburgh wrote:
On Sat, Dec 20, 2008 at 06:16:18PM -0700, chip wrote:
I am inputing a piece in concert C, the use \transpose to output a part
for a Bb Trumpet. Now I want to add second part that will be a fourth
lower. Can Lily do this or do I have to figure out all the notes a
fourth lower and enter them manually? I'd rather just copy/paste the
first part into the second part and let Lily do the transposing of a
fourth interval.
--
Chip
Are you looking for a perfect fourth through the whole piece, or is
the fourth to be diatonic to the key? For example, if your melody is
in c and goes {a b c} do you want to get {e f g} (diatonic) or {e fis
g} (perfect)?
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Re: question about transposing an interval of a 4th
On Sat, Dec 20, 2008 at 06:16:18PM -0700, chip wrote:
> I am inputing a piece in concert C, the use \transpose to output a part
> for a Bb Trumpet. Now I want to add second part that will be a fourth
> lower. Can Lily do this or do I have to figure out all the notes a
> fourth lower and enter them manually? I'd rather just copy/paste the
> first part into the second part and let Lily do the transposing of a
> fourth interval.
> --
> Chip
Are you looking for a perfect fourth through the whole piece, or is
the fourth to be diatonic to the key? For example, if your melody is
in c and goes {a b c} do you want to get {e f g} (diatonic) or {e fis
g} (perfect)?
>
>
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>
>
--
Cameron Horsburgh
Blog: http://spiritcry.wordpress.com/
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question about transposing an interval of a 4th
I am inputing a piece in concert C, the use \transpose to output a part for a Bb Trumpet. Now I want to add second part that will be a fourth lower. Can Lily do this or do I have to figure out all the notes a fourth lower and enter them manually? I'd rather just copy/paste the first part into the second part and let Lily do the transposing of a fourth interval. -- Chip ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unable to generate a pdf file
Barti,
I've moved this to the lilypond-user list, which is the best place to get
help like this.
Thanks,
Carl
On 12/20/08 6:16 AM, "Barti" wrote:
> Hello,
>
> I have a big problem with Lilypond : I can't generate a pdf file !
> I'm on XP Pro SP3, the error message is :
>
> Conversion à « ./test.pdf
> ┬╗...E:/Programmes/LilyPond/usr/share/lilypond/curre
> nt/scm/backend-library.scm:24:15: In procedure system in expression (system
> sile
> nced):
> E:/Programmes/LilyPond/usr/share/lilypond/current/scm/backend-library.scm:24:1
> 5:
> Invalid argument
>
> The .ly is a very basic .ly:
> \version "2.11.65"
> {c' d' e' f' g'}
>
> The .ps is generate but not the .pdf...
>
> Thanks in advance for your help :)
>
> P.S: Sorry for my bad english :/
>
>
>
>
>
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Re: hide notes and slurs also hide gliss
Hi Haipeng
Several comments:
a) The hidden notes and slurs do not affect the glissandi, but there is no
need to hide the slurs in this way. It is easier to simply remove them
from the score.
b) There is a problem with \hideNotes - it does not remove the beams above
the hidden notes. These must be removed with \autoBeamOff and turned on
again when needed with \autoBeamOn
c) Some of the glissandi are too short. They may be lengthened with a
couple of overrides:
\override Glissando #'minimum-length = #20
\override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods
d) All this is very messy. Have you considered using \bendAfter? This
prints a slightly curving line going up or down from the note as far as
is specified. This is much easier to type and I think indicates correctly
what you want to show.
I have changed your code to implement (a) to (c) above, and repeated the
first bar underneath using \bendAfter. Here it is:
\relative c'' {
\clef treble \key g \minor \time 4/4
\override Glissando #'minimum-length = #5
\override Glissando #'springs-and-rods = #ly:spanner::set-spacing-rods
\autoBeamOff g8*1/2\mf\glissando \hideNotes bes16 \unHideNotes
g16*1/2\glissando \hideNotes bes32 \unHideNotes \autoBeamOn g32 g d'8 d
\grace d16( c2)^\fermataMarkup |
c4 d8.([ f16)] g,8 bes4.*5/6\upmordent^\fermataMarkup\glissando g16 |
\autoBeamOff d8*1/2\glissando \hideNotes g16 \unHideNotes \autoBeamOn d
d32 d bes'8 bes \grace bes16( g2) |
bes4\< g8([ bes)] d\! \grace d16( c4^\fermataMarkup d8) |
\time 2/4 bes8\> d, bes'4 |
\time 4/4 \grace bes16( g1)\!\p^\fermataMarkup \bar "||"
}
\relative c'' {
\clef treble \key g \minor \time 4/4
\bendAfter #2 g8 \mf \bendAfter #2 g16 g32 g d'8 d \grace d16(
c2)^\fermataMarkup |
}
Trevor
- Original Message -
From: "胡海鹏 Hu Haipeng"
To: "lilypond-user"
Sent: Friday, December 19, 2008 10:38 PM
Subject: hide notes and slurs also hide gliss
Hello:
I showed the full score of my song to my mother last evening, and she was
very happy. But she said that my implementation failed, because the hidden
notes and slurs also hide glissandi. In Chinese music, some notes will be
sung or played with an ascending or descending end, thus a "tail". I use
these commands at the introduction:
% should \sequential be removed?
% I don't know why you use this command to hide notes,
% so I used it in case of problems, but...
hideSlur = \sequential {
\override Slur #'stencil = ##f
}
unHideSlur = \sequential {
\revert Slur #'stencil
}
\relative c'' {
\clef treble \key g \minor \time 4/4
\hideSlur g8*1/2(\mf\glissando \hideNotes bes16) \unHideNotes
g16*1/2(\glissando \hideNotes bes32) \unHideNotes g32 g d'8 d \unHideSlur
\grace d16( c2)^\fermataMarkup |
c4 d8.([ f16)] g,8 \hideSlur
bes4.*5/6(\upmordent^\fermataMarkup\glissando g16) |
\hideSlur d8*1/2(\glissando \hideNotes g16) \unHideNotes d d32 d bes'8
bes \unHideSlur \grace bes16( g2) |
bes4\< g8([ bes)] d\! \grace d16( c4^\fermataMarkup d8) |
\time 2/4 bes8\> d, bes'4 |
\time 4/4 \grace bes16( g1)\!\p^\fermataMarkup \bar "||"
}
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