beam settings

[Herbert Liechti]

Hello

I have some troubles to group beams like the following
picture:



I tried several settings without success:

oben = \transpose c  c'' {
  \clef treble
  \global
  %%\set beatLength = #(ly:make-moment 1 8)

  \repeat volta 2 {
 %\set subdivideBeams = ##t

 %\set Score.beatLength = #(ly:make-moment 1 18)
 %\set Score.beatGrouping = #'(3 3 3 3 3 3)
 %%#(set-time-signature 18 16 '(3 3  3  3 3 3))
 #(override-auto-beam-setting '(end * * 18 18) 3 18)
 #(override-auto-beam-setting '(end * * 18 18) 6 18)
 #(override-auto-beam-setting '(end * * 18 18) 9 18)
 #(override-auto-beam-setting '(end * * 18 18) 12 18)
 #(override-auto-beam-setting '(end * * 18 18) 15 18)
 #(override-auto-beam-setting '(end * * 18 18) 18 18)


 \repeat unfold 6 { \times 2/3 { bes16 g es } } |
 \repeat unfold 6 { \times 2/3 { bes16 as es }  } |
  }
}

An other question: Is it possible to achieve the same 
behavior in the \times 2/3 part, so that the 3 symbol for triplets
is engraved only once?

Thank you for helping
Best regards Herbert



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Re: Discrepancy in documentation,

[David Stocker]

Carl,

I've read and absorbed the first two sections of the Notation reference 
on chords and only have a few minor suggestions. Overall, the 
documentation is very clear and easy to follow. I think these few 
clarifications would avoid any confusion on the part of users who may 
not be as familiar with chord notation.


Notation Reference 2.7.1
   Common chords
  The section beginning with "The table below shows..."

   add "All alterations are based on a major triad (or Dominant 7th 
chord if the 7th is present)"


   somewhere in there. This will clarify the starting basis from which 
all triad and 7th chord alterations are derived from a naming 
standpoint.


  m, m7"This modifier lowers the..."

   Change to "This modifier lowers the 3rd and (if desired) adds a 7th."

   These two changes together will cause the example for 'maj, maj7' to 
not be in conflict with the example for 'm, m7.' In the example for 'm, 
m7,' you say that 'm7' will 'lower the 7th step.' Similarly in the 
example for 'maj, maj7,' you say that either of those modifiers will add 
a 'raised 7th step.' These two disagree with each other since they 
appear to be operating on two different premises. Incidentally, this 
will also make the example for 'dim, dim7' true as well, when if you 
start with a dominant 7th (in this case, B-flat), then using the 
modifier 'dim7' will actually lower the 7th degree (to B-double flat). 
Also, this generally validates the way those of us who read lead sheets 
think about chord naming--that alterations are named according to their 
relationships to the dominant 7th chord. This also works for 9, 11 and 
13 chords as well.



Notation Reference 2.7.2
   Customizing chord names
  The first paragraph beginning "There is no unique system..."

   might be more descriptive if it read "There are many unique systems 
for naming chords." -or- "There is no universally accepted 
standard for naming chords."


I hope these suggestions are useful.

Also, I have some comments about the general behavior of chords 
(placement, spacing, etc.) which I will post in a separate thread within 
the next few days.


Overall, I'm pleasantly surprised by LilyPond's functionality with 
regards to printing chords. Thanks to all who have worked to make this 
functionality what it is and also to those who have made the 
documentation so clear and easy to follow.


Regards,

Dave


Carl D. Sorensen wrote:


On 12/16/08 8:14 AM, "David Stocker"  wrote:

  

Carl,

My confusion comes from not having a firm grasp on how LilyPond handles
chords. I'm only now exploring that functionality and I need to read the
manuals.



Please do read the notation reference on chords.  Before I rewrote it, I
didn't understand about chords at all.  I learned about them, and rewrote
the section.  I think it explains everything, with examples to clarify.

  

I'm working on a project right now that involves using chord symbols and
expect to be at it for a couple days. If I find discrepancies in the
documentation or can suggest improvements, I'll try to do it as I work.



OK, I'll look forward to your comments.  Even if you can't suggest
improvements, but only report on confusion, that would be helpful.

Thanks,

Carl



  



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Re: question about transposing an interval of a 4th

[chip]

Mark Polesky wrote:

Graham Percival wrote:
1.  Look at the selected snippets for \transpose.  
There's an example that's very close to what he 
wants.



I disagree.

That example modifies the enharmonic spelling of 
notes in an already transposed section. We're looking 
for a function to transpose each note individually by 
the appropriate interval determined by its scale-

degree within a specfied tonality.

input: 
  \relative c' { \key c \major c4 d e f g a b c }


output:
  \relative c' { \key c \major g4 a b c d e f g }

  

2.  Look at
  { \displayMusic { a ais d dis } }
to get some info about how lilypond treats 
pitches. The idea is to write a function that
translates  "a ais" into "d dis". 



Not at all. The idea is to write a function that, 
given the key of C major, translates "a b" into 
"e f".


  
3.  Modify the existing example so that instead of 
producing notes with few accidentals, it changes 
the notename by the desired interval.



How is this helpful? This reminds me of the Monty 
Python skit on how to play the flute: "You blow 
there and you move your fingers up and down here." 
Besides, this doesn't account for the fact that 
different notes will need to be transposed by 
different intervals.


  
If you cannot, or will not, describe what you 
actually want, it's very difficult to help you.



He already has! He clearly stated that he wants to 
transpose music down a 4th, diatonically:

http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00557.html
If you don't know what diatonic means, look it up!

So far, the only post that offers promise is from 
John:

http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00591.html
  

Thanks Mark,
I read that post and it just went in one ear and out the other, 
figuratively speaking, ehm, writing. When I see technical stuff like 
that my eyes start to go blurry and I just kind of gaze at it, not 
understanding a word of it.
I'm sure some of the guys smarter about such things understood what he 
wrote.

--
chip

but the programming is too tricky for me.

So John, if you get a chance to flesh this out, that 
would be awesome.


Thanks.
- Mark


  



  




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Re: question about transposing an interval of a 4th

[chip]

Am 21.12.2008 um 19:07 schrieb chip:

I input in Concert C, transpose to the key of D for Trumpet. 


\transpose c d {}

The First Trumpet part transposes to the key of D just fine. I
would like to just copy/paste the first part into the second part. 


What's the second part?


As mentioned just above your question - it's the first trumpet part, 
just copied/pasted into the 2nd trumpet part.



The second part I want to transpose also for Trumpet, also in the
key of D, but a fourth lower. 

In the key of d, but a fourth lower. Do you mean the key of a? 

Key of A? No, as I said in my post - in the key of D.

Or do you want the part in D major, but a fourth lower than the first 
part? 

Yes, as I said, a fourth lower, in the key of D.

I'm a little confused as to what you want. If it's the the latter, 
then yeah, it's probably doable in scheme, but I don't know scheme and 
can't help you there, and I would just say type it a fourth lower.


melody = {c d e f g a b}
trumpet 1 = {d e fâ g a b câ}
trumpet 2 = {a b câ d e fâ gâ} ??
trumpet 2 = {a b câ d e fâ g} ??

If my piece were only 7 notes long that would work just fine.

Graham Percival wrote:

Chip, I am 90% convinced that the solution to your problem was
posted here:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00586.html
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00585.html
With another person trying to figure out what you wanted here:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00581.html

None of those solutions involve programming, and they are easily
constructed with the knowledge in the LM.  If you cannot, or will
not, describe what you actually want, it's very difficult to help
you.
  
How much clearer can I make it? The questions are answered in the posts 
right above the questions. A trumpet part in the key of D but notated a 
fourth lower, still in the key of D, as described above.
The notes print on the .pdf one fourth lower than what is input in the 
.ly file.
The transposing should not effect the key signature, it starts in the 
key of D and stays there for the transposed notes.

Now, you've done this in Sibelius so it may seem irrelevant now,
but I'm really curious.  Please answer this email:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00581.html
  
Ok, it's answered above. After all is said and done, the output from 
Sibelius sucks, so I've done the long-hand work and just typed in the 
notes a fourth lower in the .ly file so this will be ready for the band 
tomorrow.


I'm gonna re-read those posts your refer to tomorrow morning, and 
experiment a bit and see how it goes.

--
chip

- Graham


On Sun, Dec 21, 2008 at 09:40:34PM -0700, chip wrote:
  
Not everybody has a programmers mind. I don't. I have no interest  
whatsoever in programming. A person should be able to use a piece of  
software without having to be a programmer to do so. If a programming  
degree is necessary to use Lily then it is either a) not complete enough  
for the general public to use, and a warning message to this effect  
should be placed on the web site home page, or b) should be aimed at a  
different audience - programmers/brainiacs.

--
Chip

Graham Percival wrote:


On Sun, Dec 21, 2008 at 06:30:18PM -0800, Mark Polesky wrote:
  
  

Graham,




Great, that helps a lot. I haven't got a clue what scheme is.


In that case, may I courteously extend an invitation that you read 
the bloody Learning Manual?
  
  

Please stop the sarcasm and the indecency. If
you're trying to be funny, it isn't working.



It's a continuation of this email:
http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00439.html

If he doesn't know what scheme is, then he clearly *hasn't* read
the LM cover-to-cover yet.  This means that he's missed some
terminology, missed some of the possibilities of lilypond, and
won't be able to communicate with the lilypond community as
effectively.

  
  

I leave it as an exercise for the reader. Neil,
Trevor, Valentin: please don't give the answer.
  
  

What are you doing? Are you trying to turn people away from LilyPond?



You seem to be unfamiliar with the phrase "an exercise for the
reader".  The idea is that solving the problem is a useful
exercise.

  
  
There have been 15 replies to Chip's original message, and NO ONE has 
answered it yet.

This is embarrassing. If it were as easy to the
rest of us as it obviously is to you, someone
would have answered it. A user asks a perfectly
legitimate question, and the response is, "go
figure it out". 


Give a man a fish, teach a man to fish...

  
  

But what you're doing is the opposite of helpful.
So please, stop. Since it's such an elementary
exercise, please provide it, now. I assume it'll
only take a minute. Then we can all learn.



1.  Look at the selected snippets for \transpose

Re: question about transposing an interval of a 4th

[Mark Polesky]

> Graham Percival wrote:
> 1.  Look at the selected snippets for \transpose.  
> There's an example that's very close to what he 
> wants.

I disagree.

That example modifies the enharmonic spelling of 
notes in an already transposed section. We're looking 
for a function to transpose each note individually by 
the appropriate interval determined by its scale-
degree within a specfied tonality.

input: 
  \relative c' { \key c \major c4 d e f g a b c }

output:
  \relative c' { \key c \major g4 a b c d e f g }

> 2.  Look at
>   { \displayMusic { a ais d dis } }
> to get some info about how lilypond treats 
> pitches. The idea is to write a function that
> translates  "a ais" into "d dis". 

Not at all. The idea is to write a function that, 
given the key of C major, translates "a b" into 
"e f".

> 3.  Modify the existing example so that instead of 
> producing notes with few accidentals, it changes 
> the notename by the desired interval.

How is this helpful? This reminds me of the Monty 
Python skit on how to play the flute: "You blow 
there and you move your fingers up and down here." 
Besides, this doesn't account for the fact that 
different notes will need to be transposed by 
different intervals.

> If you cannot, or will not, describe what you 
> actually want, it's very difficult to help you.

He already has! He clearly stated that he wants to 
transpose music down a 4th, diatonically:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00557.html
If you don't know what diatonic means, look it up!

So far, the only post that offers promise is from 
John:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00591.html

but the programming is too tricky for me.

So John, if you get a chance to flesh this out, that 
would be awesome.

Thanks.
- Mark


  


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Re: question about transposing an interval of a 4th

[Graham Percival]

Chip, I am 90% convinced that the solution to your problem was
posted here:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00586.html
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00585.html
With another person trying to figure out what you wanted here:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00581.html

None of those solutions involve programming, and they are easily
constructed with the knowledge in the LM.  If you cannot, or will
not, describe what you actually want, it's very difficult to help
you.

Now, you've done this in Sibelius so it may seem irrelevant now,
but I'm really curious.  Please answer this email:
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00581.html

- Graham


On Sun, Dec 21, 2008 at 09:40:34PM -0700, chip wrote:
> Not everybody has a programmers mind. I don't. I have no interest  
> whatsoever in programming. A person should be able to use a piece of  
> software without having to be a programmer to do so. If a programming  
> degree is necessary to use Lily then it is either a) not complete enough  
> for the general public to use, and a warning message to this effect  
> should be placed on the web site home page, or b) should be aimed at a  
> different audience - programmers/brainiacs.
> --
> Chip
>
> Graham Percival wrote:
>> On Sun, Dec 21, 2008 at 06:30:18PM -0800, Mark Polesky wrote:
>>   
>>> Graham,
>>>
>>> 
> Great, that helps a lot. I haven't got a clue what scheme is.
> 
 In that case, may I courteously extend an invitation that you read 
 the bloody Learning Manual?
   
>>> Please stop the sarcasm and the indecency. If
>>> you're trying to be funny, it isn't working.
>>> 
>>
>> It's a continuation of this email:
>> http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00439.html
>>
>> If he doesn't know what scheme is, then he clearly *hasn't* read
>> the LM cover-to-cover yet.  This means that he's missed some
>> terminology, missed some of the possibilities of lilypond, and
>> won't be able to communicate with the lilypond community as
>> effectively.
>>
>>   
 I leave it as an exercise for the reader. Neil,
 Trevor, Valentin: please don't give the answer.
   
>>> What are you doing? Are you trying to turn people away from LilyPond?
>>> 
>>
>> You seem to be unfamiliar with the phrase "an exercise for the
>> reader".  The idea is that solving the problem is a useful
>> exercise.
>>
>>   
>>> There have been 15 replies to Chip's original message, and NO ONE has 
>>> answered it yet.
>>> This is embarrassing. If it were as easy to the
>>> rest of us as it obviously is to you, someone
>>> would have answered it. A user asks a perfectly
>>> legitimate question, and the response is, "go
>>> figure it out". 
>>
>> Give a man a fish, teach a man to fish...
>>
>>   
>>> But what you're doing is the opposite of helpful.
>>> So please, stop. Since it's such an elementary
>>> exercise, please provide it, now. I assume it'll
>>> only take a minute. Then we can all learn.
>>> 
>>
>> 1.  Look at the selected snippets for \transpose.  There's an
>> example that's very close to what he wants.
>>
>> 2.  Look at
>>   { \displayMusic { a ais d dis } }
>> to get some info about how lilypond treats pitches.  The idea is
>> to write a function that translates "a ais" into "d dis".
>>
>> 3.  Modify the existing example so that instead of producing notes
>> with few accidentals, it changes the notename by the desired
>> interval.
>>
>> - Graham
>>
>>
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Re: question about transposing an interval of a 4th

[chip]

Not everybody has a programmers mind. I don't. I have no interest 
whatsoever in programming. A person should be able to use a piece of 
software without having to be a programmer to do so. If a programming 
degree is necessary to use Lily then it is either a) not complete enough 
for the general public to use, and a warning message to this effect 
should be placed on the web site home page, or b) should be aimed at a 
different audience - programmers/brainiacs.

--
Chip

Graham Percival wrote:

On Sun, Dec 21, 2008 at 06:30:18PM -0800, Mark Polesky wrote:
  

Graham,


Great, that helps a lot. I haven't got a clue 
what scheme is.

In that case, may I courteously extend an 
invitation that you read the bloody Learning 
Manual?
  

Please stop the sarcasm and the indecency. If
you're trying to be funny, it isn't working.



It's a continuation of this email:
http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00439.html

If he doesn't know what scheme is, then he clearly *hasn't* read
the LM cover-to-cover yet.  This means that he's missed some
terminology, missed some of the possibilities of lilypond, and
won't be able to communicate with the lilypond community as
effectively.

  

I leave it as an exercise for the reader. Neil,
Trevor, Valentin: please don't give the answer.
  
What are you doing? Are you trying to turn people 
away from LilyPond?



You seem to be unfamiliar with the phrase "an exercise for the
reader".  The idea is that solving the problem is a useful
exercise.

  
There have been 15 replies to Chip's 
original message, and NO ONE has answered it yet.

This is embarrassing. If it were as easy to the
rest of us as it obviously is to you, someone
would have answered it. A user asks a perfectly
legitimate question, and the response is, "go
figure it out". 



Give a man a fish, teach a man to fish...

  

But what you're doing is the opposite of helpful.
So please, stop. Since it's such an elementary
exercise, please provide it, now. I assume it'll
only take a minute. Then we can all learn.



1.  Look at the selected snippets for \transpose.  There's an
example that's very close to what he wants.

2.  Look at
  { \displayMusic { a ais d dis } }
to get some info about how lilypond treats pitches.  The idea is
to write a function that translates "a ais" into "d dis".

3.  Modify the existing example so that instead of producing notes
with few accidentals, it changes the notename by the desired
interval.

- Graham


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Re: question about transposing an interval of a 4th

[Graham Percival]

On Sun, Dec 21, 2008 at 06:30:18PM -0800, Mark Polesky wrote:
> Graham,
> 
> > > Great, that helps a lot. I haven't got a clue 
> > > what scheme is.
> > In that case, may I courteously extend an 
> > invitation that you read the bloody Learning 
> > Manual?
> 
> Please stop the sarcasm and the indecency. If
> you're trying to be funny, it isn't working.

It's a continuation of this email:
http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00439.html

If he doesn't know what scheme is, then he clearly *hasn't* read
the LM cover-to-cover yet.  This means that he's missed some
terminology, missed some of the possibilities of lilypond, and
won't be able to communicate with the lilypond community as
effectively.

> > I leave it as an exercise for the reader. Neil,
> > Trevor, Valentin: please don't give the answer.
> 
> What are you doing? Are you trying to turn people 
> away from LilyPond?

You seem to be unfamiliar with the phrase "an exercise for the
reader".  The idea is that solving the problem is a useful
exercise.

> There have been 15 replies to Chip's 
> original message, and NO ONE has answered it yet.
> This is embarrassing. If it were as easy to the
> rest of us as it obviously is to you, someone
> would have answered it. A user asks a perfectly
> legitimate question, and the response is, "go
> figure it out". 

Give a man a fish, teach a man to fish...

> But what you're doing is the opposite of helpful.
> So please, stop. Since it's such an elementary
> exercise, please provide it, now. I assume it'll
> only take a minute. Then we can all learn.

1.  Look at the selected snippets for \transpose.  There's an
example that's very close to what he wants.

2.  Look at
  { \displayMusic { a ais d dis } }
to get some info about how lilypond treats pitches.  The idea is
to write a function that translates "a ais" into "d dis".

3.  Modify the existing example so that instead of producing notes
with few accidentals, it changes the notename by the desired
interval.

- Graham


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Re: question about transposing an interval of a 4th

[chip]

Thanks Mark,
I was going to reply basically the same way, but from my past experience 
with this mailing list, it only incites more argumentative/sarcastic 
replies.


I've been using PC's since the '80's, I've been using many, many mailing 
lists. This list is by far the least friendly of any I have ever used. 
Unfortunately, it's the place to ask for help with Lily, even though the 
help is usually not provided, other than a curt rtfm. Tonight I 
installed Sibelius and input my piece in that, it transposed the second 
trumpet part a fourth while maintaining the same key sig as the 1st 
trumpet part, no problem. Yes, the printed parts are ugly as sin, but 
the manual is certainly more user friendly. I then saved the parts as a 
midi and imported it to Lily, but the imported file is messed up. But 
that's another problem for another days non-help on this list.


So at this point, looks like I will just have to do the long-hand work 
of typing in all the notes for the second trumpet part. At least it will 
be ready for a first reading tomorrow night.

--
Chip

Mark Polesky wrote:

Graham,

I don't think the tone you're using belongs
here:

  

I really don't understand this question.



Then don't answer it.

  

why on earth do you need to...



Please stop judging users who need things that
you don't understand.

  

I can't find this info in the manuals.
  
... LM 5.3 Scores and parts. Not terribly 
hard to find.



Please stop insulting users.

  
Great, that helps a lot. I haven't got a clue 
what scheme is.
  
In that case, may I courteously extend an 
invitation that you read the bloody Learning 
Manual?



Please stop the sarcasm and the indecency. If
you're trying to be funny, it isn't working.

  

I leave it as an exercise for the reader. Neil,
Trevor, Valentin: please don't give the answer.



What are you doing? Are you trying to turn people 
away from LilyPond? Do you work for Finale or 
something? There have been 15 replies to Chip's 
original message, and NO ONE has answered it yet.

This is embarrassing. If it were as easy to the
rest of us as it obviously is to you, someone
would have answered it. A user asks a perfectly
legitimate question, and the response is, "go
figure it out". 

This mailing-list is for users helping other 
users, not insulting them. Yes, the manual is

there, but the relevant information is obviously
not where he expects it to be. 

Meanwhile, his problem still remains -- has it 
occurred to you he may have a deadline, or that

he's forced to do it the long way because it's
not worth it for him to start learning Scheme?

Providing the answer may in fact help him to 
learn a thing or two about Scheme. That's been

my experience - when someone helps me by giving
a solution that works, if I don't understand it,
I can study it and learn something from it that
way. I've actually learned a lot that way.

But what you're doing is the opposite of helpful.
So please, stop. Since it's such an elementary
exercise, please provide it, now. I assume it'll
only take a minute. Then we can all learn. I'm 
curious myself, and I'm at least an elementary-

level Schemer. Chip's question is an interesting
one and the solution should be documented. 

Remember, the LilyPond manual is not a math 
textbook with exercises "left to the reader", it
is a manual with answers, not questions. And so 
should be this mailing-list.


- Mark


  



  




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Re: question about transposing an interval of a 4th

[Mark Polesky]

Graham,

I don't think the tone you're using belongs
here:

> I really don't understand this question.

Then don't answer it.

> why on earth do you need to...

Please stop judging users who need things that
you don't understand.

> > I can't find this info in the manuals.
> ... LM 5.3 Scores and parts. Not terribly 
> hard to find.

Please stop insulting users.

> > Great, that helps a lot. I haven't got a clue 
> > what scheme is.
> In that case, may I courteously extend an 
> invitation that you read the bloody Learning 
> Manual?

Please stop the sarcasm and the indecency. If
you're trying to be funny, it isn't working.

> I leave it as an exercise for the reader. Neil,
> Trevor, Valentin: please don't give the answer.

What are you doing? Are you trying to turn people 
away from LilyPond? Do you work for Finale or 
something? There have been 15 replies to Chip's 
original message, and NO ONE has answered it yet.
This is embarrassing. If it were as easy to the
rest of us as it obviously is to you, someone
would have answered it. A user asks a perfectly
legitimate question, and the response is, "go
figure it out". 

This mailing-list is for users helping other 
users, not insulting them. Yes, the manual is
there, but the relevant information is obviously
not where he expects it to be. 

Meanwhile, his problem still remains -- has it 
occurred to you he may have a deadline, or that
he's forced to do it the long way because it's
not worth it for him to start learning Scheme?

Providing the answer may in fact help him to 
learn a thing or two about Scheme. That's been
my experience - when someone helps me by giving
a solution that works, if I don't understand it,
I can study it and learn something from it that
way. I've actually learned a lot that way.

But what you're doing is the opposite of helpful.
So please, stop. Since it's such an elementary
exercise, please provide it, now. I assume it'll
only take a minute. Then we can all learn. I'm 
curious myself, and I'm at least an elementary-
level Schemer. Chip's question is an interesting
one and the solution should be documented. 

Remember, the LilyPond manual is not a math 
textbook with exercises "left to the reader", it
is a manual with answers, not questions. And so 
should be this mailing-list.

- Mark


  


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Re: Vertical alignment of Chords - Feature / Bug??? Subtle Solution

[Carl D. Sorensen]

On 12/21/08 12:39 PM, "Neil Puttock"  wrote:

> Hi Carl,
> 
> 2008/12/19 Carl D. Sorensen :
> 
>> You should be able to fix this by setting the ChordName grob's
>> outside-staff-horizontal-padding property.  You can read about this property
>> in the Notation reference.  You will want to make the value larger.  The
>> effect of this property is to make the space taken up by the ChordName so
>> large that it can't fit into spaces in the lyrics line above.
> 
> I've tested this, but can't get it to work.
> 
> Looking at the source, I've come to the conclusion that
> 'outside-staff-horizontal-padding only applies to objects in the same
> VerticalAxisGroup with equal 'outside-staff-priority (like several
> TextScripts attached to adjacent notes).

Great!  I'm sorry for the wrong answer, and I'm glad you came up with the
right answer!

Can you add your example to the manual (or would you rather that I do it)?

It should probably go in Notation Reference 4.4.2 Vertical spacing between
systems.

Thanks,

Carl 




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Re: 2 muisc + tablature in 2 staves

[Carl D. Sorensen]

On 12/21/08 2:25 PM, "Grateful Frog"  wrote:

> Sorry for that last post! I found version 2.11 precompiled for 64bit and it
> works as advertized!
> 
> This is one great program! I'm overcome with joy!

Welcome to the Pond!
> 
> What needs to be done on the development side?

The list of issues is available at

http://code.google.com/p/lilypond/issues/list

You can also check out the Participating page at

//lilypond.org/web/devel/participating/


And you may find that you have your own things you'd like to code.  For
example, some people complain that the current chord naming code (generating
a chord name from the pitches in a chord) doesn't work properly.  Since you
seem to be familiar with chords and lisp, that might be a great place for
you to get started.

You can find some previous discussion on this topic by searching the
lilypond-user archives for "chord naming".

Anyway, my recommendation is to find something that doesn't work the way
you'd like it to and fix it so it does.

HTH,


Carl




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Re: 2 muisc + tablature in 2 staves

[Carl D. Sorensen]

On 12/21/08 2:06 PM, "Grateful Frog"  wrote:

> 
> I really appreciate all this help, just the pointer to the learning manual was
> a big help. I never would have found it on the Lilypond.org site, strangley...
> 

Did you look at the Getting Help page on the lilypond.org site?  You can
find it from the HELP menu item on the top right of the home page.

Carl



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Re: 2 muisc + tablature in 2 staves

[Carl D. Sorensen]

Dick,


On 12/21/08 12:01 PM, "Richard Schoeller"  wrote:

> There are some examples scattered throughout the documentation.
> However, there is not a single complete description.  In any case, you
> can define alternative chord shapes with this sort of syntax:
> 
> \addChordShape #'csevsmall #"x;3-3;2-2;3-4;1-1;o;"

What you've done here works, but it's not done according to original
developer intent.  

ChordShapes are intended to be shapes that transpose along the fretboard
to any fret.  Because the first string is open in this diagram, you can't
really move it up a fret or two.  So ordinarily, this chord would just be
added directly:

\storePredefinedDiagram  \chordmode {c':7}
 #guitar-tuning
 #"x;3-3;2-2;3-4;1-1;o;"

Also, you should be aware that a syntax change is coming to \addChordShape.
Starting with 2.11.66 it will require a string tuning, as well as a symbol
and a diagram definition.
> 
> You can then apply those to a specific chord with:
> 
> \storePredefinedDiagram \chordmode {c':7}
> #guitar-tuning
> #(chord-shape 'csevsmall)
> 
> Notice, that I associated this with an octave shifted version of the
> chord.  If you want to write notes mode, you could associate a specific
> fingering with a specific combination of notes.  There are a number of
> alternatives that work quite well.
> 

Also, the fret diagram can be automatically determined if the user wants to
enter the exact pitches, but this diagram will not be readily transposable.


Thanks,

Carl



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Re: question about transposing an interval of a 4th

[John Mandereau]

Le dimanche 21 décembre 2008 à 09:47 -0800, Graham Percival a écrit :
> On Sun, Dec 21, 2008 at 11:26:16PM +1100, Cameron Horsburgh wrote:
> > He wants it diatonic, so it's not that easy. \transpose c' g {a b c} 
> > would produce {e fis g} instead of {e f g}.
> 
> Oops, I forgot my first-year theory.  In this case, he'd need to
> write a scheme function.  Actually, it wouldn't be hard at all...
> this is a perfect intro-level scheme tweak.
> 
> I leave it as an exercise for the reader.  Neil, Trevor, Valentin:
> please don't give the answer.  :)

Ha!  I won't give the whole answer either, but as I already analyzed the
problem some time ago, I can't resist telling about it here, only
figuring out data types and Lily Scheme function to be used (see Scheme
functions in the Internals Reference) and the actual Scheme code writing
are left now.

ly/scale-definitions-init.ly provide a few scale definitions; each scale
definition maps a scale degree to a pitch difference (measured in whole
tones) against the diatonic scale.

Then, diatonic transposition from (scale1 pitch1 degree1) to (scale2
pitch2 degree2) (where pitchx carries both the octave and the tonic) is
a matter of composing three functions:

- converting each pitch from LilyPond representation (octave note alter)
to (octave scale-degree alter) representation using the inverse map of
scale1;

- mapping (octave scale-degree alter) to
((octave + virtual-new-degree/7) (virtual-new-degree mod 7) alter)
where virtual-new-degree = scale-degree + degree2 - degree1

- converting (new-octave new-degree alter) back to a Lily pitch using
scale2.

Transposition in modes with more than 7 notes is also possible but it's
quite harder, unless we use more than 7 note names :-P.

Well, diatonic transposition should definitely be a builtin function.
If nobody has written it in a few days, I'll take it over.

Cheers,
John



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Re: question about transposing an interval of a 4th

[Cameron Horsburgh]

On Sun, Dec 21, 2008 at 02:20:32PM -0800, Graham Percival wrote:
> On Mon, Dec 22, 2008 at 07:41:35AM +1100, Cameron Horsburgh wrote:
> > > melody = {a b c d e f g}
> > > { \melody \\ { \transpose c' g \melody }}
> > 
> > 
> > Hmm... I can see that this works. Having read the documentation so
> > slavishly I assumed it would be needed. From the Known Issues in 1.1.2:
> > 
> > "The relative conversion will not affect \transpose, \chordmode or
> > \relative sections in its argument. To use relative mode within
> > transposed music, an additional \relative must be placed inside
> > \transpose."
> > 
> > This isn't absolute (PNI) then?
> 
> What does PNI mean?

Pun Not Intended.

> 
> Anyway, I just went on the principle that "score is a single music
> expression".  Frankly, I don't really understand that comment, but
> I use \transpose so rarely that I've never felt the need to
> experiment.
> 
> Please do a few experiments and send a clarified warning... if a
> warning is needed at all.  Who knows, maybe whatever the problem
> is has been fixed?

I will. I use it in 90% of my scores, and it's another level of
complexity I can live without.


> 
> Cheers,
> - Graham
> 
> 
> 

-- 

Cameron Horsburgh

Blog: http://spiritcry.wordpress.com/


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Re: question about transposing an interval of a 4th

[Graham Percival]

On Mon, Dec 22, 2008 at 07:41:35AM +1100, Cameron Horsburgh wrote:
> > melody = {a b c d e f g}
> > { \melody \\ { \transpose c' g \melody }}
> 
> 
> Hmm... I can see that this works. Having read the documentation so
> slavishly I assumed it would be needed. From the Known Issues in 1.1.2:
> 
> "The relative conversion will not affect \transpose, \chordmode or
> \relative sections in its argument. To use relative mode within
> transposed music, an additional \relative must be placed inside
> \transpose."
> 
> This isn't absolute (PNI) then?

What does PNI mean?

Anyway, I just went on the principle that "score is a single music
expression".  Frankly, I don't really understand that comment, but
I use \transpose so rarely that I've never felt the need to
experiment.

Please do a few experiments and send a clarified warning... if a
warning is needed at all.  Who knows, maybe whatever the problem
is has been fixed?

Cheers,
- Graham




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Re: 2 muisc + tablature in 2 staves

[M Watts]

Grateful Frog wrote:

Thanks for that bit!

I'm sorry if I'm asking so many noobie questions, but my question is 
not so much about the chords, but about the notes.


In the example below, you see that I have to type the same notes in 
both staves, i.e. c2 c2 g'4 g4 g4 g4 d1.
I'm trying to find a way of replacing that by a single definition of 
the notes. Any ideas?


You don't have to type the duration all the time -- lily remembers the 
last-entered duration until you change it, so you can just do: c2 c g4 g 
g g d1 etc.


mychords = \chordmode { c1:7sus4 r1 d1 }
cSevenSusFour = ^\markup \fret-diagram-terse #"x;5;5;5;x;x;"
gMajor = ^\markup \fret-diagram-terse #"3;5;5;4;3;3;"
<<
  \new ChordNames { \mychords }
  \new Staff \relative c' {
c2  \cSevenSusFour c2
g'4 g4 g4 g4
d1 \gMajor
  }
  \new TabStaff  \relative c'{
c2 c2
g'4 g4 g4 g4
d1
  }
>>

In all events, THANKS for all the help!
GF
http://lists.gnu.org/mailman/listinfo/lilypond-user
  




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Re: Custom articulations/pitched single-note trills

[gnomino]

> I'm not top posting

Thanks for your help.

I was just wondering, is there any reason that \pitchedTrill only works with
trill spanners? I soon discovered that I needed to typeset pitched mordents in
addition to pitched trills, and since it would be tedious to create a set of
\artSharp, \artNatural, \artFlat, \artSharpSharp, etc. for every articulation, I
came up with the following general function:

\version "2.11.57"
pitched = #(define-music-function (parser location main secondary) (ly:music?
ly:music?) #{
  <<
$main
{
  s64
  \grace {
\once \override Stem #'transparent = ##t
\parenthesize $secondary
  }
}
  >>
#})
\relative { c'^\trill \pitched c^\trill des c^\prall \pitched c^\prall des! }

This simulates the look of \pitchedTrill but with a few minor problems - the
parentheses are too small, the spacing between the second and third note is too
wide (I'm guessing it's b/c of the \grace).

Is there any reason that \pitchedTrill can't fix these problems?



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Re: question about transposing an interval of a 4th

[Francisco Vila]

2008/12/21 chip :
>> ... 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 ?!
>
> Becuase when I do that it changes the key signature. I want the key
> signature to remain the same. I input in Concert C, transpose to the key of
> D for Trumpet. The First Trumpet part transposes to the key of D just fine.
>  I would like to just copy/paste the first part into the second part. The
> second part I want to transpose also for Trumpet, also in the key of D, but
> a fourth lower. I was just hoping to be able to have Lily do that so I don't
> have to rewrite all the notes a fourth lower. If that's how it has to be
> done then so be it.

Issue one: undesired key change. When you translate an expression, if
it includes the \key command then the key changes, on the other hand
if you want the key signature to remain the same, put the \key command
outside the transposed block.

Issue two: a diatonic fourth or a perfect fourth. From the thread I've
still not read what exact type of fourth do you want. So I think it's
better for you to post an example of what you desire, starting with {
c' d' e' f' g' a' b' c'' } as the original material.

-- 
Francisco Vila. Badajoz (Spain)
http://www.paconet.org


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Re: question about transposing an interval of a 4th

[Jonathan Kulp]

chip wrote:

Graham Percival wrote:

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

  
Becuase when I do that it changes the key signature. I want the key 
signature to remain the same. I input in Concert C, transpose to the key 
of D for Trumpet. The First Trumpet part transposes to the key of D just 
fine.  I would like to just copy/paste the first part into the second 
part. The second part I want to transpose also for Trumpet, also in the 
key of D, but a fourth lower. I was just hoping to be able to have Lily 
do that so I don't have to rewrite all the notes a fourth lower. If 
that's how it has to be done then so be it.

--
Chip

On Sat, Dec 20, 2008 at 07:06:01PM -0700, chip wrote:
 


I'm not entirely sure I understand what you want, but I'm taking a stab 
at it.  Here's an example of how to use the same notes in different 
transpositions.


%%%

\version "2.11.65"

notes =  { c d e f }

trumpetOne = \transpose c d' { \notes }
trumpetTwo = \transpose c g, { \trumpetOne }

\score {
  \new Staff <<
\key d \major
\context Voice = "upper" { \voiceOne \relative c' { \trumpetOne } }
\context Voice = "lower" { \voiceTwo \relative c { \trumpetTwo } }
  >>
  \layout {}
}

%

HTH,

Jon
--
Jonathan Kulp
http://www.jonathankulp.com


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Re: 2 muisc + tablature in 2 staves

[Grateful Frog]

Sorry for that last post! I found version 2.11 precompiled for 64bit and it
works as advertized!

This is one great program! I'm overcome with joy!

What needs to be done on the development side?
Cheers & thanks for all!
GF

On Sun, Dec 21, 2008 at 10:06 PM, Grateful Frog wrote:

> Thanks Carl!
>
> Alas, that document is for version 2.11 and I am on Ubuntu 64bit and only
> have
> \version "2.10.33" ...
>
> I guess that's why the code you sent me, which looks like exactly what I
> need, failed, like this:
>
> $  lilypond -b eps ex-04.ly
> GNU LilyPond 2.10.33
> Processing `ex-04.ly'
> Parsing...
> ex-04.ly:24:0: error: unknown escaped string: `\storePredefinedDiagram'
>
> \storePredefinedDiagram \chordmode { c1:7sus4 }
>
> Is there a solution in version 2.10 or can I get 2.11 and build it for my
> 64bit Ubuntu platform?
>
> I really appreciate all this help, just the pointer to the learning manual
> was a big help. I never would have found it on the Lilypond.org site,
> strangley...
>
> Thanks for taking such good care of us noobies.
>
> By the way, I've laready started on a lisp front end to make it easier to
> automate the construction of the ly files!
> Ciao,
> GF
>
> On Sun, Dec 21, 2008 at 9:11 PM, Carl D. Sorensen wrote:
>
>>
>>
>>
>> On 12/21/08 12:26 PM, "Grateful Frog"  wrote:
>>
>> > Thanks for that bit!
>> >
>> > I'm sorry if I'm asking so many noobie questions, but my question is not
>> so
>> > much about the chords, but about the notes.
>> >
>> > In the example below, you see that I have to type the same notes in both
>> > staves, i.e. c2 c2 g'4 g4 g4 g4 d1.
>> > I'm trying to find a way of replacing that by a single definition of the
>> > notes. Any ideas?
>>
>> It's easy.  You want to use the FretBoards context for your FretBoards.
>>
>> \storePredefinedDiagram \chordmode { c1:7sus4 }
>> #guitar-tuning
>>  "x;5;5;5;x;x;"
>> \storePredefinedDiagram \chordmode {d}
>>#guitar-tuning
>>"3;5;5;4;3;3;"
>>
>> mynotes = {
>>   c2 c2 g'4 g4 g4 g4 d1
>> }
>>
>> mychords = \chordmode { c1:7sus4 r1 d1 }
>>
>>  <<
>>\new ChordNames { \mychords }
>>   \new FretBoards { \mychords }
>>\new Staff \relative c' { \mynotes }
>>   \new TabStaff  \relative c'{
>>  \mynotes
>>   }
>>  >>
>>
>>
>> If you haven't read the Learning Manual for 2.11, please do so -- it'll
>> help
>> you.
>>
>> If you have, you can learn more about the guitar functions in the Notation
>> Reference, under the section on Fretted Strings.
>>
>> Thanks,
>>
>> Carl
>>
>> >
>> > In all events, THANKS for all the help!
>> > GF
>>
>>
>
>
> --
> 50°48'39.85"N  4°25'20.29"E
>



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Re: 2 muisc + tablature in 2 staves

[Grateful Frog]

Thanks Carl!

Alas, that document is for version 2.11 and I am on Ubuntu 64bit and only
have
\version "2.10.33" ...

I guess that's why the code you sent me, which looks like exactly what I
need, failed, like this:

$  lilypond -b eps ex-04.ly
GNU LilyPond 2.10.33
Processing `ex-04.ly'
Parsing...
ex-04.ly:24:0: error: unknown escaped string: `\storePredefinedDiagram'

\storePredefinedDiagram \chordmode { c1:7sus4 }

Is there a solution in version 2.10 or can I get 2.11 and build it for my
64bit Ubuntu platform?

I really appreciate all this help, just the pointer to the learning manual
was a big help. I never would have found it on the Lilypond.org site,
strangley...

Thanks for taking such good care of us noobies.

By the way, I've laready started on a lisp front end to make it easier to
automate the construction of the ly files!
Ciao,
GF
On Sun, Dec 21, 2008 at 9:11 PM, Carl D. Sorensen wrote:

>
>
>
> On 12/21/08 12:26 PM, "Grateful Frog"  wrote:
>
> > Thanks for that bit!
> >
> > I'm sorry if I'm asking so many noobie questions, but my question is not
> so
> > much about the chords, but about the notes.
> >
> > In the example below, you see that I have to type the same notes in both
> > staves, i.e. c2 c2 g'4 g4 g4 g4 d1.
> > I'm trying to find a way of replacing that by a single definition of the
> > notes. Any ideas?
>
> It's easy.  You want to use the FretBoards context for your FretBoards.
>
> \storePredefinedDiagram \chordmode { c1:7sus4 }
> #guitar-tuning
>  "x;5;5;5;x;x;"
> \storePredefinedDiagram \chordmode {d}
>#guitar-tuning
>"3;5;5;4;3;3;"
>
> mynotes = {
>   c2 c2 g'4 g4 g4 g4 d1
> }
>
> mychords = \chordmode { c1:7sus4 r1 d1 }
>
>  <<
>\new ChordNames { \mychords }
>   \new FretBoards { \mychords }
>\new Staff \relative c' { \mynotes }
>   \new TabStaff  \relative c'{
>  \mynotes
>   }
>  >>
>
>
> If you haven't read the Learning Manual for 2.11, please do so -- it'll
> help
> you.
>
> If you have, you can learn more about the guitar functions in the Notation
> Reference, under the section on Fretted Strings.
>
> Thanks,
>
> Carl
>
> >
> > In all events, THANKS for all the help!
> > GF
>
>


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Re: question about transposing an interval of a 4th

[Cameron Horsburgh]

On Sun, Dec 21, 2008 at 09:47:53AM -0800, Graham Percival wrote:
> On Sun, Dec 21, 2008 at 11:26:16PM +1100, Cameron Horsburgh wrote:
> > On Sat, Dec 20, 2008 at 11:49:10PM -0800, Graham Percival wrote:
> > > ... 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 ?!
> > 
> > He wants it diatonic, so it's not that easy. \transpose c' g {a b c} 
> > would produce {e fis g} instead of {e f g}.
> 
> > Even then, the extra \relative makes things get very messy:
> 
> Then omit it.
> 
> melody = {a b c d e f g}
> 
> { \melody \\ { \transpose c' g \melody }}
> 


Hmm... I can see that this works. Having read the documentation so
slavishly I assumed it would be needed. From the Known Issues in 1.1.2:

"The relative conversion will not affect \transpose, \chordmode or
\relative sections in its argument. To use relative mode within
transposed music, an additional \relative must be placed inside
\transpose."

This isn't absolute (PNI) then?

-- 

Cameron Horsburgh

Blog: http://spiritcry.wordpress.com/


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Re: question about transposing an interval of a 4th

[James E. Bailey]

Am 21.12.2008 um 19:07 schrieb chip:

I input in Concert C, transpose to the key of D for Trumpet.

\transpose c d {}
The First Trumpet part transposes to the key of D just fine.  I  
would like to just copy/paste the first part into the second part.

What's the second part?
The second part I want to transpose also for Trumpet, also in the  
key of D, but a fourth lower.
In the key of d, but a fourth lower. Do you mean the key of a? Or do  
you want the part in D major, but a fourth lower than the first part?





I'm a little confused as to what you want. If it's the the latter,  
then yeah, it's probably doable in scheme, but I don't know scheme  
and can't help you there, and I would just say type it a fourth lower.


melody = {c d e f g a b}
trumpet 1 = {d e f♯ g a b c♯}
trumpet 2 = {a b c♯ d e f♯ g♯} ??
trumpet 2 = {a b c♯ d e f♯ g} ??

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Re: 2 muisc + tablature in 2 staves

[Carl D. Sorensen]

On 12/21/08 12:26 PM, "Grateful Frog"  wrote:

> Thanks for that bit!
> 
> I'm sorry if I'm asking so many noobie questions, but my question is not so
> much about the chords, but about the notes.
> 
> In the example below, you see that I have to type the same notes in both
> staves, i.e. c2 c2 g'4 g4 g4 g4 d1.
> I'm trying to find a way of replacing that by a single definition of the
> notes. Any ideas?

It's easy.  You want to use the FretBoards context for your FretBoards.

\storePredefinedDiagram \chordmode { c1:7sus4 }
 #guitar-tuning
 "x;5;5;5;x;x;"
\storePredefinedDiagram \chordmode {d}
#guitar-tuning
   "3;5;5;4;3;3;"

mynotes = {
  c2 c2 g'4 g4 g4 g4 d1
}
 
mychords = \chordmode { c1:7sus4 r1 d1 }

 <<
   \new ChordNames { \mychords }
   \new FretBoards { \mychords }
   \new Staff \relative c' { \mynotes }
   \new TabStaff  \relative c'{
  \mynotes
   }
 >>


If you haven't read the Learning Manual for 2.11, please do so -- it'll help
you.

If you have, you can learn more about the guitar functions in the Notation
Reference, under the section on Fretted Strings.

Thanks,

Carl

> 
> In all events, THANKS for all the help!
> GF



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Re: 2 muisc + tablature in 2 staves

[Carl D. Sorensen]

On 12/21/08 9:43 AM, "Grateful Frog"  wrote:

> Dear LilyPond'ers,
> 
> I'm quite new to this tool and am trying to create sheet muisc for blues
> guitar. I've been trying to use tuxguitar as the input tool and that works
> pretty well except for one issue: It cannot seem to print the chord names over
> the music (upper)  staff.
> 
> My music should look like this
>  
> chord name
> fret diagram
> music staff
> tab staff.
> 
> I'm sure that this can be done with Lilypond, but I just can't see how. Any
> help would be great!
> thanks,
> GF.

\score {
 <<
\new ChordNames {
  % chords go here
}
\new FretBoards {
  % chords go here (same as for ChordNames)
}
\new Staff {
  % melody goes here
}
\new Lyrics {
}
\new TabStaff {
}
 >>
}


This should work.

Thanks,

Carl
Carl



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Re: Vertical alignment of Chords - Feature / Bug??? Subtle Solution

[Neil Puttock]

Hi Carl,

2008/12/19 Carl D. Sorensen :

> You should be able to fix this by setting the ChordName grob's
> outside-staff-horizontal-padding property.  You can read about this property
> in the Notation reference.  You will want to make the value larger.  The
> effect of this property is to make the space taken up by the ChordName so
> large that it can't fit into spaces in the lyrics line above.

I've tested this, but can't get it to work.

Looking at the source, I've come to the conclusion that
'outside-staff-horizontal-padding only applies to objects in the same
VerticalAxisGroup with equal 'outside-staff-priority (like several
TextScripts attached to adjacent notes).

I think 'skyline-horizontal-padding is what's needed.  For example,
here's a snippet with two closely meshed systems, where a chord and
note are getting intimate:

#(ly:set-option 'debug-skylines #t)
\paper {
  indent = 0
  between-system-space = 0
  line-width = 5\cm
}

<<
  \chords {
%\override VerticalAxisGroup #'skyline-horizontal-padding = #0.6
c2 c s1
c2 c
  }
  \relative c'' {
c2
c,,2
R1 \break
c''2
c2
  }
>>

Increasing 'skyline-horizontal-padding in the \chords block forces the
systems apart, since it widens the skyline around the ChordName until
it's encroaching on the note's skyline.

Regards,
Neil
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Re: 2 muisc + tablature in 2 staves

[Grateful Frog]

Thanks for that bit!

I'm sorry if I'm asking so many noobie questions, but my question is not so
much about the chords, but about the notes.

In the example below, you see that I have to type the same notes in both
staves, i.e. c2 c2 g'4 g4 g4 g4 d1.
I'm trying to find a way of replacing that by a single definition of the
notes. Any ideas?

mychords = \chordmode { c1:7sus4 r1 d1 }
cSevenSusFour = ^\markup \fret-diagram-terse #"x;5;5;5;x;x;"
gMajor = ^\markup \fret-diagram-terse #"3;5;5;4;3;3;"
<<
  \new ChordNames { \mychords }
  \new Staff \relative c' {
c2  \cSevenSusFour c2
g'4 g4 g4 g4
d1 \gMajor
  }
  \new TabStaff  \relative c'{
c2 c2
g'4 g4 g4 g4
d1
  }
>>

In all events, THANKS for all the help!
GF

On Sun, Dec 21, 2008 at 8:01 PM, Richard Schoeller wrote:

> There are some examples scattered throughout the documentation.  However,
> there is not a single complete description.  In any case, you can define
> alternative chord shapes with this sort of syntax:
>
> \addChordShape #'csevsmall #"x;3-3;2-2;3-4;1-1;o;"
>
> You can then apply those to a specific chord with:
>
> \storePredefinedDiagram \chordmode {c':7}
>   #guitar-tuning
>   #(chord-shape 'csevsmall)
>
> Notice, that I associated this with an octave shifted version of the chord.
>  If you want to write notes mode, you could associate a specific fingering
> with a specific combination of notes.  There are a number of alternatives
> that work quite well.
>
> Dick
>
> Grateful Frog wrote:
>
>> Hi!
>>
>> Thanks for those tips! I'm making great progress now, after having fought
>> with both lilypond and tuxgutar for days!
>>
>> Now I can see the chord names, the musics and the tab!
>>
>> I didn't use the FretBoards because I couldn't see how to choose the chord
>> variant?
>>
>> My next question, is how to reduce the duplication? My code exaple is
>> below. Is there a way of reducing the duplication of the notes in both
>> staves, i.e. in the example "c1" ?
>>  mychords = \chordmode { c1:7sus4 }
>>  <<
>>\new ChordNames { \mychords }
>>\new Staff \relative c' {
>>  c1  ^\markup \fret-diagram-terse #"x;5;5;5;x;x;"
>>}
>>\new TabStaff  \relative c'{
>>  \set TabStaff.minimumFret = #6
>>  c1
>>}
>>  >>
>>
>> Thanks for all your help!
>> ps. Je suis français, je me suis inscris dans le group fr! ;-)
>>
>> On Sun, Dec 21, 2008 at 6:23 PM, Richard Schoeller 
>> > schoel...@comcast.net>> wrote:
>>
>>You might prefer to use FretBoards context in between the
>>ChordNames and the Staff.  That way you will have the fret
>>diagrams taken directly from your chord choices rather than having
>>to enter the same information twice.
>>
>>mychords = \chordmode { your chords }
>>
>><<
>>  \new ChordNames { \mychords }
>>  \new FretBoards { \mychords }
>>  \new Staff \relative c' { your music (with fret diagrams as \markups
>> }
>>  \new TabStaff { your tabs }
>>>>
>>
>>
>>Valentin Villenave wrote:
>>
>>>2008/12/21 Grateful Frog  >> gratefulf...@gmail.com>:
>>>
>>>
>>>
I'm quite new to this tool and am trying to create sheet muisc for
 blues
guitar. I've been trying to use tuxguitar as the input tool and that
 works
pretty well except for one issue: It cannot seem to print the chord
 names
over the music (upper)  staff.


>>>Greetings,
>>>
>>>you just have to use the appropriate contexts; in your case, that
>>>would look like
>>>
>>><<
>>>  \new ChordNames \chordmode { your chords }
>>>  \new Staff \relative c' { your music (with fret diagrams as \markups
>>> }
>>>  \new TabStaff { your tabs }
>>>  Obviously, you will have to read the documentation since chords
>>>and notes are entered using a specific syntax:
>>>
>>> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Chord-notation
>>>If you speak French, you might also be interested in subscribing
>>>to our French-speaking mailing list:
>>>http://lists.gnu.org/mailman/listinfo/lilypond-user-fr
>>>
>>>
>>>Cheers,
>>>Valentin
>>>
>>>
>>>___
>>>lilypond-user mailing list
>>>lilypond-user@gnu.org 
>>>http://lists.gnu.org/mailman/listinfo/lilypond-user
>>>
>>
>>
>>
>>
>> --
>> 50°48'39.85"N  4°25'20.29"E
>>
>
>


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Re: Custom articulations/pitched single-note trills

[Neil Puttock]

Hello,

2008/12/21 gnomino :

> 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.

The easy way is to override the stencil for Script objects:

\version "2.11.65"
trillFlatMarkup = \markup { \vcenter { \musicglyph #"scripts.trill"
\smaller \flat} }
trillFlat = {
  \once \override Script #'stencil =
#(lambda (grob)
(grob-interpret-markup grob trillFlatMarkup))
}

\relative c' { \trillFlat c\trill c\trill \trillFlat c\trill c\trill }

A better way is to make an articulation, then use 'tweak to change its
properties, which means you don't have to use an override before the
articulation:

\version "2.11.65"
trillFlatMarkup = \markup { \vcenter { \musicglyph #"scripts.trill"
\smaller \flat } }
trillFlat =
#(let* ((music (make-articulation "trill"))
(trill-flat (lambda (grob)
  (grob-interpret-markup
grob
trillFlatMarkup

  (ly:music-set-property! music 'tweaks
(acons 'stencil trill-flat
  (ly:music-property music 'tweaks)))
  music)

\relative c' { c\trillFlat c\trill c\trillFlat c\trill }

Regards,
Neil


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Re: 2 muisc + tablature in 2 staves

[Richard Schoeller]

There are some examples scattered throughout the documentation.  
However, there is not a single complete description.  In any case, you 
can define alternative chord shapes with this sort of syntax:


\addChordShape #'csevsmall #"x;3-3;2-2;3-4;1-1;o;"

You can then apply those to a specific chord with:

\storePredefinedDiagram \chordmode {c':7}
   #guitar-tuning
   #(chord-shape 'csevsmall)

Notice, that I associated this with an octave shifted version of the 
chord.  If you want to write notes mode, you could associate a specific 
fingering with a specific combination of notes.  There are a number of 
alternatives that work quite well.


Dick

Grateful Frog wrote:

Hi!

Thanks for those tips! I'm making great progress now, after having 
fought with both lilypond and tuxgutar for days!


Now I can see the chord names, the musics and the tab!

I didn't use the FretBoards because I couldn't see how to choose the 
chord variant?


My next question, is how to reduce the duplication? My code exaple is 
below. Is there a way of reducing the duplication of the notes in both 
staves, i.e. in the example "c1" ?
 
mychords = \chordmode { c1:7sus4 }

  <<
\new ChordNames { \mychords }
\new Staff \relative c' {
  c1  ^\markup \fret-diagram-terse #"x;5;5;5;x;x;"
}
\new TabStaff  \relative c'{
  \set TabStaff.minimumFret = #6
  c1
}
  >>

Thanks for all your help!
ps. Je suis français, je me suis inscris dans le group fr! ;-)

On Sun, Dec 21, 2008 at 6:23 PM, Richard Schoeller 
mailto:schoel...@comcast.net>> wrote:


You might prefer to use FretBoards context in between the
ChordNames and the Staff.  That way you will have the fret
diagrams taken directly from your chord choices rather than having
to enter the same information twice.

mychords = \chordmode { your chords }

<<
  \new ChordNames { \mychords }
  \new FretBoards { \mychords }
  \new Staff \relative c' { your music (with fret diagrams as \markups }
  \new TabStaff { your tabs }
>>




Valentin Villenave wrote:

2008/12/21 Grateful Frog  
:

  

I'm quite new to this tool and am trying to create sheet muisc for blues
guitar. I've been trying to use tuxguitar as the input tool and that works
pretty well except for one issue: It cannot seem to print the chord names
over the music (upper)  staff.


Greetings,

you just have to use the appropriate contexts; in your case, that
would look like

<<
  \new ChordNames \chordmode { your chords }
  \new Staff \relative c' { your music (with fret diagrams as \markups }
  \new TabStaff { your tabs }
  
Obviously, you will have to read the documentation since chords

and notes are entered using a specific syntax:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Chord-notation
If you speak French, you might also be interested in subscribing
to our French-speaking mailing list:
http://lists.gnu.org/mailman/listinfo/lilypond-user-fr


Cheers,
Valentin


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Re: question about transposing an interval of a 4th

[Graham Percival]

On Sun, Dec 21, 2008 at 11:11:20AM -0700, chip wrote:
> Graham Percival wrote:
>> Oops, I forgot my first-year theory.  In this case, he'd need to
>> write a scheme function.  Actually, it wouldn't be hard at all...
>> this is a perfect intro-level scheme tweak.
>>   
> Great, that helps a lot. I haven't got a clue what scheme is.

In that case, may I courteously extend an invitation that you read
the bloody Learning Manual?

Cheers,
- Graham


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Re: question about transposing an interval of a 4th

[chip]

Graham Percival wrote:

On Sun, Dec 21, 2008 at 11:26:16PM +1100, Cameron Horsburgh wrote:
  

On Sat, Dec 20, 2008 at 11:49:10PM -0800, Graham Percival wrote:


... 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 ?!
  
He wants it diatonic, so it's not that easy. \transpose c' g {a b c} 
would produce {e fis g} instead of {e f g}.



Oops, I forgot my first-year theory.  In this case, he'd need to
write a scheme function.  Actually, it wouldn't be hard at all...
this is a perfect intro-level scheme tweak.

I leave it as an exercise for the reader.  Neil, Trevor, Valentin:
please don't give the answer.  :)

  
Great, that helps a lot. I haven't got a clue what scheme is. I'm a 
musician, not a programmer. I don't even have years of music theory 
behind me - I play my instruments and do it well. Programming is for the 
brainiacs, of which I am not, and I am quite happy with that.

--
Chip


Even then, the extra \relative makes things get very messy:



Then omit it.

melody = {a b c d e f g}

{ \melody \\ { \transpose c' g \melody }}

Cheers,
- Graham


  




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Re: 2 muisc + tablature in 2 staves

[Grateful Frog]

Hi!

Thanks for those tips! I'm making great progress now, after having fought
with both lilypond and tuxgutar for days!

Now I can see the chord names, the musics and the tab!

I didn't use the FretBoards because I couldn't see how to choose the chord
variant?

My next question, is how to reduce the duplication? My code exaple is below.
Is there a way of reducing the duplication of the notes in both staves, i.e.
in the example "c1" ?

mychords = \chordmode { c1:7sus4 }
  <<
\new ChordNames { \mychords }
\new Staff \relative c' {
  c1  ^\markup \fret-diagram-terse #"x;5;5;5;x;x;"
}
\new TabStaff  \relative c'{
  \set TabStaff.minimumFret = #6
  c1
}
  >>

Thanks for all your help!
ps. Je suis français, je me suis inscris dans le group fr! ;-)

On Sun, Dec 21, 2008 at 6:23 PM, Richard Schoeller wrote:

>  You might prefer to use FretBoards context in between the ChordNames and
> the Staff.  That way you will have the fret diagrams taken directly from
> your chord choices rather than having to enter the same information twice.
>
> mychords = \chordmode { your chords }
>
> <<
>   \new ChordNames { \mychords }
>   \new FretBoards { \mychords }
>   \new Staff \relative c' { your music (with fret diagrams as \markups }
>   \new TabStaff { your tabs }
> >>
>
>
> Valentin Villenave wrote:
>
> 2008/12/21 Grateful Frog  :
>
>
>
>  I'm quite new to this tool and am trying to create sheet muisc for blues
> guitar. I've been trying to use tuxguitar as the input tool and that works
> pretty well except for one issue: It cannot seem to print the chord names
> over the music (upper)  staff.
>
>
>  Greetings,
>
> you just have to use the appropriate contexts; in your case, that
> would look like
>
> <<
>   \new ChordNames \chordmode { your chords }
>   \new Staff \relative c' { your music (with fret diagrams as \markups }
>   \new TabStaff { your tabs }
>
>
>
> Obviously, you will have to read the documentation since chords and
> notes are entered using a specific 
> syntax:http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Chord-notation
>
> If you speak French, you might also be interested in subscribing to
> our French-speaking mailing 
> list:http://lists.gnu.org/mailman/listinfo/lilypond-user-fr
>
>
> Cheers,
> Valentin
>
>
> ___
> lilypond-user mailing 
> listlilypond-u...@gnu.orghttp://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>


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Re: question about transposing an interval of a 4th

[chip]

Graham Percival wrote:

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

  
Becuase when I do that it changes the key signature. I want the key 
signature to remain the same. I input in Concert C, transpose to the key 
of D for Trumpet. The First Trumpet part transposes to the key of D just 
fine.  I would like to just copy/paste the first part into the second 
part. The second part I want to transpose also for Trumpet, also in the 
key of D, but a fourth lower. I was just hoping to be able to have Lily 
do that so I don't have to rewrite all the notes a fourth lower. If 
that's how it has to be done then so be it.

--
Chip

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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Re: question about transposing an interval of a 4th

[Graham Percival]

On Sun, Dec 21, 2008 at 11:26:16PM +1100, Cameron Horsburgh wrote:
> On Sat, Dec 20, 2008 at 11:49:10PM -0800, Graham Percival wrote:
> > ... 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 ?!
> 
> He wants it diatonic, so it's not that easy. \transpose c' g {a b c} 
> would produce {e fis g} instead of {e f g}.

Oops, I forgot my first-year theory.  In this case, he'd need to
write a scheme function.  Actually, it wouldn't be hard at all...
this is a perfect intro-level scheme tweak.

I leave it as an exercise for the reader.  Neil, Trevor, Valentin:
please don't give the answer.  :)

> Even then, the extra \relative makes things get very messy:

Then omit it.

melody = {a b c d e f g}

{ \melody \\ { \transpose c' g \melody }}

Cheers,
- Graham


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Re: elegant compound time signatures

[Neil Puttock]

Hi Bageh,

2008/12/21 alexandre_ficagna :
>
> Hi,
>
> Does somebody knows if compound times works with time signatures on top
>  ?
> I tried several tweaks, but they doesn't seem to work in this type of time
> signatures (for example, they remain 5/4, instead of 2/4 + 3/4, and so on).
>
> Any sugestion?

You need to use the correct context when overriding the TimeSignature
object's properties, since its engraver has been removed from the
Staff context.

Here's the relevant code from Graham's snippet:

% graphical display
\once \override Staff.TimeSignature #'Y-offset = #3
\once \override Staff.TimeSignature #'stencil = #ly:text-interface::print
\once \override Staff.TimeSignature #'text = #(markup

Since the LSR snippet creates a new context called TimeSig, which
\consists the Time_signature_engraver you'll have to amend these
lines:

\once \override TimeSig.TimeSignature #'Y-offset = #3
\once \override TimeSig.TimeSignature #'stencil = #ly:text-interface::print
\once \override TimeSig.TimeSignature #'text = #(markup

Regards,
Neil


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Re: 2 muisc + tablature in 2 staves

[Richard Schoeller]

You might prefer to use FretBoards context in between the ChordNames and 
the Staff.  That way you will have the fret diagrams taken directly from 
your chord choices rather than having to enter the same information twice.


mychords = \chordmode { your chords }

<<
 \new ChordNames { \mychords }
 \new FretBoards { \mychords }
 \new Staff \relative c' { your music (with fret diagrams as \markups }
 \new TabStaff { your tabs }





Valentin Villenave wrote:

2008/12/21 Grateful Frog :

  

I'm quite new to this tool and am trying to create sheet muisc for blues
guitar. I've been trying to use tuxguitar as the input tool and that works
pretty well except for one issue: It cannot seem to print the chord names
over the music (upper)  staff.



Greetings,

you just have to use the appropriate contexts; in your case, that
would look like

<<
  \new ChordNames \chordmode { your chords }
  \new Staff \relative c' { your music (with fret diagrams as \markups }
  \new TabStaff { your tabs }
  


Obviously, you will have to read the documentation since chords and
notes are entered using a specific syntax:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Chord-notation

If you speak French, you might also be interested in subscribing to
our French-speaking mailing list:
http://lists.gnu.org/mailman/listinfo/lilypond-user-fr

Cheers,
Valentin


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Re: flatten ties ~ proportional notation.

[Neil Puttock]

2008/12/21 Rob Canning :
> Brett Duncan wrote:
>>
>> Rob Canning wrote:
>>>
>>> i was trying to do it with sed with a line like this:
>>>
>>> sed  's/~/\\glissando/' header-inserted > ties-fixed;
>>>
>>> but ran into trouble with all the ^ sybols and so on -
>>
>> I tried this myself and it seems to work fine once add the 'g' flag:
>> 's/~/\\glissando/g'
>>
>> However, horizontal glissandi may coincide with staff lines, so this isn't
>> the best solution in any case.
>>
> i think once they are fattened up they are ok

Yes, I think this is the best solution, since the overridden ties
don't reach the centre of the noteheads, even with 'note-head-gap = 0.

Note however that in replacing ties with glissandi, any broken tie
will be converted to an unbroken glissando, which will change the
system spacing.

For the record, here's the corrected override for TieColumn, in case
anybody finds it useful:

\override TieColumn #'tie-configuration =
 #(lambda (grob)
 (let* ((notehead (ly:grob-parent (ly:grob-original grob) X))
(y-off (* 2 (ly:grob-property notehead 'Y-offset
   (list (cons y-off 0

> thanks brett - yes i just figured out last night the ommission in my sed
> command (duh!) - so the solution that seems to work best for me is this:
>
> sed  's/~/\\glissando/g' header-inserted > ties-fixed;

Instead of processing the .ly file externally, you could keep the ties
as they are and use a music function to convert them automatically to
glissandi:

tieToGliss =
#(define-music-function (parser location music)
  (ly:music?)
  (music-map
(lambda (music)
  (if (eq? (ly:music-property music 'name) 'TieEvent)
(make-music 'GlissandoEvent)
music))
music))

> the new way the #gap is delt with now in 2.11 had me stumped for a couple of
> hours but eventually i figured it out
>
> \override Glissando #'(bound-details left padding) = #0.0
>  \override Glissando #'(bound-details right padding) = #0.0
>  \override Glissando #'minimum-length = #15
>  \override Glissando #'thickness = #4

Don't forget to set 'springs-and-rods too, otherwise 'minimum-length
will have no effect.

Regards,
Neil


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Re: 2 muisc + tablature in 2 staves

[Valentin Villenave]

2008/12/21 Grateful Frog :

> I'm quite new to this tool and am trying to create sheet muisc for blues
> guitar. I've been trying to use tuxguitar as the input tool and that works
> pretty well except for one issue: It cannot seem to print the chord names
> over the music (upper)  staff.

Greetings,

you just have to use the appropriate contexts; in your case, that
would look like

<<
  \new ChordNames \chordmode { your chords }
  \new Staff \relative c' { your music (with fret diagrams as \markups }
  \new TabStaff { your tabs }
>>

Obviously, you will have to read the documentation since chords and
notes are entered using a specific syntax:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Chord-notation

If you speak French, you might also be interested in subscribing to
our French-speaking mailing list:
http://lists.gnu.org/mailman/listinfo/lilypond-user-fr

Cheers,
Valentin


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2 muisc + tablature in 2 staves

[Grateful Frog]

Dear LilyPond'ers,

I'm quite new to this tool and am trying to create sheet muisc for blues
guitar. I've been trying to use tuxguitar as the input tool and that works
pretty well except for one issue: It cannot seem to print the chord names
over the music (upper)  staff.

My music should look like this

chord name
fret diagram
music staff
tab staff.

I'm sure that this can be done with Lilypond, but I just can't see how. Any
help would be great!
thanks,
GF.

-- 
50°48'39.85"N  4°25'20.29"E
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Re: elegant compound time signatures

[alexandre_ficagna]

Hi,

Does somebody knows if compound times works with time signatures on top
 ?
I tried several tweaks, but they doesn't seem to work in this type of time
signatures (for example, they remain 5/4, instead of 2/4 + 3/4, and so on).

Any sugestion?

Regards
Bageh


Hans Aberg wrote:
> 
> On 20 Oct 2008, at 15:01, Graham Percival wrote:
> 
>>> ... I find hard to understand what the second 
>>> bracelet group does:
>>> {
>>>  \set subdivideBeams = ##t
>>>  \set beatLength = #(ly:make-moment 1 8)
>>>  s4
>>>  \unset subdivideBeams
>>>  \unset beatLength
>>>  s8. s4
>>> }
>>
>> This gives you the single beam between the 2nd and 3rd 16th notes
>> in each bar.
> 
> That part I understood - but not exactly how. It appears after the  
> melody line code, so it msu alter some context.
> 
>Hans
> 
> 
> 
> 
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> 
> 


-
Alexandre Ficagna
www.myspace.com/alexandreficagna
-- 
View this message in context: 
http://www.nabble.com/elegant-compound-time-signatures-tp20053025p21045760.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.



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Re: question about transposing an interval of a 4th

[Cameron Horsburgh]

On Sat, Dec 20, 2008 at 11:49:10PM -0800, Graham Percival wrote:
> 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

He wants it diatonic, so it's not that easy. \transpose c' g {a b c} 
would produce {e fis g} instead of {e f g}. Even then, the extra 
\relative makes things get very messy:

melody = {a b c d e f g}

\relative c''{

<<\melody \\ {\transpose c' g {\relative c''{\melody}}}>>

}


-- 

Cameron Horsburgh

Blog: http://spiritcry.wordpress.com/


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Re: flatten ties ~ proportional notation.

[Rob Canning]

Brett Duncan wrote:

Rob Canning wrote:

i was trying to do it with sed with a line like this:

sed  's/~/\\glissando/' header-inserted > ties-fixed;

but ran into trouble with all the ^ sybols and so on -


I tried this myself and it seems to work fine once add the 'g' flag: 
's/~/\\glissando/g'


However, horizontal glissandi may coincide with staff lines, so this 
isn't the best solution in any case.



i think once they are fattened up they are ok

Brett


thanks brett - yes i just figured out last night the ommission in my sed 
command (duh!) - so the solution that seems to work best for me is this:


sed  's/~/\\glissando/g' header-inserted > ties-fixed;

the new way the #gap is delt with now in 2.11 had me stumped for a 
couple of hours but eventually i figured it out


\override Glissando #'(bound-details left padding) = #0.0
 \override Glissando #'(bound-details right padding) = #0.0
 \override Glissando #'minimum-length = #15
 \override Glissando #'thickness = #4



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Re: flatten ties ~ proportional notation.

[Brett Duncan]

Rob Canning wrote:

i was trying to do it with sed with a line like this:

sed  's/~/\\glissando/' header-inserted > ties-fixed;

but ran into trouble with all the ^ sybols and so on -


I tried this myself and it seems to work fine once add the 'g' flag: 
's/~/\\glissando/g'


However, horizontal glissandi may coincide with staff lines, so this 
isn't the best solution in any case.


Brett


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