Re: \credenzaOn and forced line break
You can probably define your own command and include \break in its definition:
myCommand = {
% any staff here,
% and \break included:
\break
}
2009/1/15 chip c...@wiegand.org:
How do I get a staff line to break when I am using \credenzaOn? I don't see
any info on this in the manuals or a mailinglist archive search.
--
Chip
--
Dmytro O. Redchuk
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Re: \credenzaOn and forced line break
Chip wrote: How do I get a staff line to break when I am using \credenzaOn? Insert a \bar command where you want to allow a line break i.e.\bar (or \bar |) I don't see any info on this in the manuals http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Line-breaking end of first paragraph Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Check the font availability?
Hello, is it possible to check font availability programmatically? Schematically: \override Score.LyricText #'font-name = (if wanted-available wanted default) Thank you. -- Dmytro O. Redchuk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering on right doesn't avoid dot
Nick
Reading Learning Manual, section 4.5 Collisions of objects will help.
Look in particular at the introduction and section 4.5.2.
Trevor
- Original Message -
From: nick.pa...@internode.on.net
To: lilypond-user@gnu.org
Sent: Thursday, January 15, 2009 7:48 AM
Subject: Fingering on right doesn't avoid dot
With a dotted note, if the fingering indication is set to be on the
right then it collides with the dot. This is probably related to the
bug I reported back in November where an accidental collides with the
fingering if it's on the left.
relative c'' {
set fingeringOrientations = #'(left)
4.
set fingeringOrientations = #'(right)
4.
}
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Re: converting rests with specified vertical position to common rests
David Rogers davidandrewrogers at gmail.com writes:
The short answer is: Yes. Staying with \relative will certainly
not be a problem.
However, I think it will be a lot of work to find each and every
rest and simplify the way it's written. The vertical positioning
is done by adding some extra code to each one of them - simply
removing that extra code from each rest should give what you
want and cause no side-effects.
Ordinary rests are just r1 (for whole rest) r2 (for half rest)
and so on.
David
David,
Thanks for your reply!
There is a problem though when using \relative mode:
\relative c'' {
c g c g | %1
g' b, \rest f g | %2
}
When I change b, \rest to r4 it produces another result because of the use of
\relative!
\relative c'' {
c g c g | %1
g' r4 f g | %2
}
See what I mean?
I hope it can be done via a scheme or something...
Arno Rog
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Re: Portfolio of PDF docs
2009/1/14 Nick Payne nick.pa...@internode.on.net: English only, as I only have 50Mb web space from my ISP. I could do the other language versions if someone can provide web space to host the files. I'd like to host the Spanish version on paconet.org if you send me the file, use rapidshare or whatever. -- Francisco Vila. Badajoz (Spain) http://www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Writing psalms
Hello I am transcribing a music with psamls. What this mean: there is a standard music portion, with a correct time signature, but there is a portion where the singer will say a lot of words for each note, and these specific bars have different lengths than the one in the time signature. While I searched in the documentation for a way to specify bar lengths without defining a specific time signature, but didn't find it. I am sure it was my bad english/music knowledge. Can anybody point me with some example? Thank you in advance, Alberto -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Writing psalms
Dmytro O. Redchuk wrote: 2009/1/15 Alberto Simões al...@alfarrabio.di.uminho.pt: Hello I am transcribing a music with psamls. What this mean: there is a standard music portion, with a correct time signature, but there is a portion where the singer will say a lot of words for each note, and these specific bars have different lengths than the one in the time signature. I use for this smth like[1]: % in melody: \cadenzaOn a8 a\breve a8 \cadenzaOff % and in lyrics: % la la la la li lo lo li la la li % Yay! Thanks :) -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting rests with specified vertical position to common rests
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 On Wednesday 14 January 2009 22:36:37 David Rogers wrote: On 2009-01-14 at 23:50, Arno Rog wrote: In the process of converting an musicXML file (from capella) to lilypond all the rests are converted to rests with a specifed vertical position. Is there a way to convert them to 'ordinary' rests without ruining the score (due to the use of \relative music notation)? I'd like to stick to using \relative notation. The short answer is: Yes. Staying with \relative will certainly not be a problem. However, I think it will be a lot of work to find each and every rest and simplify the way it's written. The vertical positioning is done by adding some extra code to each one of them - simply removing that extra code from each rest should give what you want and cause no side-effects. Actually, this is not true. The positioned rests are written e.g. as g4 e\rest c4 if you simply replce the e\rest by r4, i.e. g4 r c then you'll get a c in the wrong octave (it should rather be c, in this case!). To be honest, I don't know of any easy way to replace the positioned rests by ordinary rests without messing the relative setiing up... Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFJbx4QTqjEwhXvPN0RAh5EAJ9Cij7YrI5evCthTPHqeqFAe9VIxwCgvyoM MBx9q65Ql7KFU9TScpSxddw= =ouBc -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Writing psalms
On 15.01.2009 (11:11), Alberto Simões wrote: Hello I am transcribing a music with psamls. What this mean: there is a standard music portion, with a correct time signature, but there is a portion where the singer will say a lot of words for each note, and these specific bars have different lengths than the one in the time signature. While I searched in the documentation for a way to specify bar lengths without defining a specific time signature, but didn't find it. I am sure it was my bad english/music knowledge. Can anybody point me with some example? You could have a look at some of the suggestions in section 2.8.5 of the Notation Reference: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Working-with-ancient-music_002d_002dscenarios-and-solutions#Transcribing-Gregorian-chant It may not be exactly what you're after, but it may get you further. Eyolf -- Do what you can to prolong your life, in the hope that someday you'll learn what it's for. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Writing psalms
2009/1/15 Alberto Simões al...@alfarrabio.di.uminho.pt: Hello I am transcribing a music with psamls. What this mean: there is a standard music portion, with a correct time signature, but there is a portion where the singer will say a lot of words for each note, and these specific bars have different lengths than the one in the time signature. I use for this smth like[1]: % in melody: \cadenzaOn a8 a\breve a8 \cadenzaOff % and in lyrics: % la la la la li lo lo li la la li % So every token in quotes (first la and last li are also in quotes, implicitly) will be assigned to a note. I would like to have a note in double bars (and here in maillist was some time before discussed how to draw it with scheme, if i can remember), as simple as this \breve. _ 1. this style conforms with our local rules, let's say. Can anybody point me with some example? Thank you in advance, Alberto -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal -- Dmytro O. Redchuk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: splitting chords entered as c e g
chip c...@wiegand.org writes: I have a piece with three voices where all the notes where entered in this format - c e g d f a etc for the entire piece. Is there a way to have Lily split out the 3 voices into separate parts, or do I have to rewrite the entire .ly file? I have a tool that can do this with the MIDI data. You can then generate new Lily parts from the splitted MIDI. http://search.cpan.org/~jv/MIDI-Tweaks/ -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override minumum and maximum barlength
i am still working on a piece using proprtional notation - i now have it looking the way i want except for the minimum barlength being too short - i would like it so even 16th notes are given plenty of space and all greater values are relative and proportional to that. not sure how to achive this but i think maybe my answer is here: http://lilypond.org/doc/v2.9/Documentation/user/lilypond-internals/SpacingSpanner#SpacingSpanner though i'm not sure how to implement what i find there. this is what i have atm: %%% proportional note spacing \override SpacingSpanner #'uniform-stretching = ##t \set Score.proportionalNotationDuration = #(ly:make-moment 1 24) i'm not sure if this code is making much difference ok so i have tried some more and still i cant see any effect i have now added %%% proportional note spacing \override SpacingSpanner #' springs-and-rods = #ly:spanner::set-spacing-rods \override SpacingSpanner #'uniform-stretching = ##t \override SpacingSpanner #'shortest-duration-space = #14.4 %\set Score.proportionalNotationDuration = #(ly:make-moment 1 24)// having seen this in define-grobs.scm (SpacingSpanner . ( (springs-and-rods . ,ly:spacing-spanner::set-springs) (common-shortest-duration . ,ly:spacing-spanner::calc-common-shortest-duration) (average-spacing-wishes . #t) (shortest-duration-space . 2.0) (spacing-increment . 1.2) (base-shortest-duration . ,(ly:make-moment 3 16)) (meta . ((class . Spanner) (interfaces . (spacing-options-interface spacing-spanner-interface)) however i cant seem to make my code to work :( am i barking up the right tree at least? cheers rob hi, i have this working now - i turned \cadenzaOn - and now barlength is not relevant just spaceing which now seems to be working with \set Score.proportionalNotationDuration = #(ly:make-moment 1 64) \override Score.SpacingSpanner #'strict-note-spacing = ##t figuring our how to set minimum maximum barlengths might be usefull for future reference though? maybe this is not how lilypond deals with spacing though... rob ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting rests with specified vertical position to common rests
On 2009-01-15 at 02:49, Arno Rog wrote:
There is a problem though when using \relative mode:
\relative c'' {
c g c g | %1
g' b, \rest f g | %2
}
When I change b, \rest to r4 it produces another result because of the use of
\relative!
\relative c'' {
c g c g | %1
g' r4 f g | %2
}
See what I mean?
Yes, I do. I didn't think clearly before writing - sorry about that.
David
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Re: override minumum and maximum barlength
Hi Rob,
figuring our how to set minimum maximum barlengths might be usefull
for future reference though?
Forcing a minimum is pretty easy:
\version 2.12.0
\include english.ly
theNotes = \relative
{
\repeat unfold 128 c'4
}
forcedWidths =
{
\override Voice.MultiMeasureRest #'transparent = ##t
\repeat unfold 3 { R1 }
\override Staff.MultiMeasureRest #'minimum-length = #40 \repeat
unfold 6 { R1 }
\override Staff.MultiMeasureRest #'minimum-length = #2
\repeat unfold 10 { R1 }
\override Staff.MultiMeasureRest #'minimum-length = #30
\repeat unfold 10 { R1 }
}
\score
{
\new Staff
{ \theNotes }
\new Voice = widths { \forcedWidths }
}
As for making this easier/automagic, or making the maximum length
equivalent, I leave it to the reader(s). =)
HTH!
Kieren.
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Re: converting rests with specified vertical position to common rests
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Donnerstag, 15. Januar 2009 schrieb Arno Rog: I hope it can be done via a scheme or something... Well, I don't know an easy way to do it after the conversion. However, I just added a command-line switch --no-rest-positions (or short --nrp) to musicxml2ly, which does not convert the exact position of pitched rests and instead converts all rests as r[1248...] That option will be available in the next released version. Cheers, Reinhold - -- - -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.9 (GNU/Linux) iD8DBQFJb1G3TqjEwhXvPN0RAibPAJwMUPxCV0tLESvgK8DY5BfHOyG0FwCgy/X2 Ln5rhlVcYR4vIyccsTZod9o= =jJmq -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: converting rests with specified vertical position to common rests
That option will be available in the next released version. Cheers, Reinhold Hot dog, I can't believe it was that easy. I've wondered about the same problem on various of my search and replace missions :) Thanks Reinhold! Neil -- Neil Thornock, D.M. Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: splitting chords entered as c e g
On Wednesday 14 January 2009, you wrote:
David Raleigh Arnold wrote:
On Wednesday 14 January 2009, chip wrote:
Gnarly is an understatement. Those lines of hieroglyphics actually do
something? That's crazy!
You have a point. I found that it didn't work, possibly because of
changes in sed. You need -r to get extended regular expressions
now. Just run this on your chords. A batch file would be very
similar. Make it a .bat, get rid of the top line, change # to
rem. Hopefully you wouldn't need
type %1 | sed
instead of putting the parameter at the ends.
#!/bin/bash
# split-chord
echo part one
sed '{
s/ *\([^ ][^ ]*\) *[^ ][^ ]* *[^ ][^ ]* *\([0-9]*\)/\1\2 /g
}' $1
echo part two
sed '{
s/ *[^ ][^ ]* *\([^ ][^ ]*\) *[^ ][^ ]* *\([0-9]*\)/\1\2 /g
}' $1
echo part three
sed '{
s/ *[^ ][^ ]* *[^ ][^ ]* *\([^ ][^ ]*\) *\([0-9]*\)/\1\2 /g
}' $1
Easy to change to and to above for a newer version.
You can put the results in separate files by adding:
}' $1 yourfile.ly
Usage:
$ ./split-chord file
and copy off the screen, or:
$ ./split-chord file yourparts.ly
Test:
Contents of file:
a b c d e f 4 gb h i8
Result:
part one
a d4 gb8
part two
b e4 h8
part three
c f4 i8
Forgot the ,, and ''' but they're ok. I checked. Its done with
spaces and nonspaces. Regards, daveA
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Re: nanorc
It was probably me. And I gladly accept any regex improvements. I learned regex for the sole purpose of having syntax hilighting for lilypond, so I'm certain someone who knows something about it could do a far better job than I. And again, thanks. sometimes I just don't bother with trying to fix something I don't actually understand. Am 15.01.2009 um 08:18 schrieb Martin Tarenskeen: I can't remember who it was, but in a previous thread someone posted a nanorc configuration file for nano with lilypond syntax highlighting in this list. I got slightly better results when I changed the following lines in the nanorc file: posted version: color green [a-h](as|es|is|isis|eses|s)?(['!,?]?) color green [a-h](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]? My version is now: color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?) color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]? [a-hrs] takes care of r rests and s spaces just like normal notenames. The added space at the end of the expression just before the closing prevents that too many words are colored green that are not notenames. I will also attach my complete nanorc file which, in addition, also includes ABC music syntax support. Maybe this helps, Martin Tarenskeen nanorc___ 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: nanorc
Thank you thank you thank you,
I never had the idea to look deeply in the man page of nano. Nano could now
become my editor.
Is there a possibilty to highlight differently the nested levels of
{
{
{ blabla }
}
}
??
Great list, thank you again!
Francois
Am Donnerstag, 15. Januar 2009 08:18 schrieb Martin Tarenskeen:
I can't remember who it was, but in a previous thread someone posted a
nanorc configuration file for nano with lilypond syntax highlighting in
this list.
I got slightly better results when I changed the following lines in the
nanorc file:
posted version:
color green [a-h](as|es|is|isis|eses|s)?(['!,?]?)
color green [a-h](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]?
My version is now:
color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?)
color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]?
[a-hrs] takes care of r rests and s spaces just like normal notenames.
The added space at the end of the expression just before the closing
prevents that too many words are colored green that are not notenames.
I will also attach my complete nanorc file which, in addition, also
includes ABC music syntax support.
Maybe this helps,
Martin Tarenskeen
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Strange slurs/ties
Hello Anybody has any idea how to simulate the notes in the image with lilypond? I can write something to mimic the produced sound, but it would not be as clean as this notation. Thank you Alberto -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal inline: notes.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange slurs/ties
Hi Alberto, On Thu, Jan 15, 2009 at 1:32 PM, Alberto Simões al...@alfarrabio.di.uminho.pt wrote: Hello Anybody has any idea how to simulate the notes in the image with lilypond? I can write something to mimic the produced sound, but it would not be as clean as this notation. Take a look at the snippet `Using ties with arpeggios' on this page: http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Rhythms#Rhythms HTH, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange slurs/ties
Hello, Thanks for the point. Received also a direct reply suggesting to use \set tieWaitForNote = ##t That did the trick \o/ Thank you Patrick McCarty wrote: Hi Alberto, On Thu, Jan 15, 2009 at 1:32 PM, Alberto Simões al...@alfarrabio.di.uminho.pt wrote: Hello Anybody has any idea how to simulate the notes in the image with lilypond? I can write something to mimic the produced sound, but it would not be as clean as this notation. Take a look at the snippet `Using ties with arpeggios' on this page: http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Rhythms#Rhythms HTH, Patrick -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: splitting chords entered as c e g
David Raleigh Arnold wrote:
On Wednesday 14 January 2009, you wrote:
David Raleigh Arnold wrote:
On Wednesday 14 January 2009, chip wrote:
Gnarly is an understatement. Those lines of hieroglyphics actually do
something? That's crazy!
You have a point. I found that it didn't work, possibly because of
changes in sed. You need -r to get extended regular expressions
now. Just run this on your chords. A batch file would be very
similar. Make it a .bat, get rid of the top line, change # to
rem. Hopefully you wouldn't need
type %1 | sed
instead of putting the parameter at the ends.
#!/bin/bash
# split-chord
echo part one
sed '{
s/ *\([^ ][^ ]*\) *[^ ][^ ]* *[^ ][^ ]* *\([0-9]*\)/\1\2 /g
}' $1
echo part two
sed '{
s/ *[^ ][^ ]* *\([^ ][^ ]*\) *[^ ][^ ]* *\([0-9]*\)/\1\2 /g
}' $1
echo part three
sed '{
s/ *[^ ][^ ]* *[^ ][^ ]* *\([^ ][^ ]*\) *\([0-9]*\)/\1\2 /g
}' $1
Easy to change to and to above for a newer version.
You can put the results in separate files by adding:
}' $1 yourfile.ly
Usage:
$ ./split-chord file
and copy off the screen, or:
$ ./split-chord file yourparts.ly
Test:
Contents of file:
a b c d e f 4 gb h i8
Result:
part one
a d4 gb8
part two
b e4 h8
part three
c f4 i8
Forgot the ,, and ''' but they're ok. I checked. Its done with
spaces and nonspaces. Regards, daveA
Thanks Dave,
Seems the script doesn't like the text in the file - using ^some words
causes problems. Also, some of the articulations are a problem for it.
When I finally got a resulting file the octaves were totally messed up,
I had notes with ledger lines halfway up or down the page. Too much time
editing the resulting file, I may as well just edit the original by hand.
thanks anyway,
Chip
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RE: Writing psalms
I transcribe a lot of chant music and discovered that using the \breve and
putting the lyrics in quotes looks awful with more than a couple of words.
The justification never looked right, and the word spacing was always odd.
Instead I have found that the following works better.
Use \H for hidden notes so the spacing remains consistent across the entire
measure.
Use \NL when a measure must be broken in the middle.
Use \NM for normal measure breaks.
I deleted stuff that isn't important for the example:
\paper {
}
Global = {
}
% Hidden Note
H = { \hideNotes c'4 \unHideNotes }
% New Measure
NM = { \cadenzaOff \bar | \cadenzaOn }
% New Line
NL = { \cadenzaOff \bar : \break \cadenzaOn }
\score { \new ChoirStaff
\new Staff = women
\clef treble
\key f \major
\new Voice = Soprano {\voiceOne \cadenzaOn
#(set-accidental-style 'voice)
g'4 g'4 g'4 g'4 a'2 a'4 \H \H \H \H \H \H \H \H \NL
\H \H \H \H a'4 bes'4 c''2( bes'2) a'2 \NM
a'4 \H \H \H \H \H \H \H \H \H \H a'4 g'2 g'4 g'4 f'2 \NM
g'4 g'4 a'2 a'4 \H \H \H \H \H \H \H a'4 bes'4 c''2( bes'2) a'2
\NM
a'4 \H \H \H \H \H a'4 g'2 f'2 \NM
a'4 g'4 a'4 bes'2 a'4 bes'4 a'2( g'2) f'1 \bar |.
}
\new Voice = Alto {\voiceTwo \cadenzaOn
#(set-accidental-style 'voice)
e'4 e'4 e'4 e'4 f'2 f'4 \H \H \H \H \H \H \H \H \NL
\H \H \H \H f'4 f'4 f'2( f'2) f'2 \NM
f'4 \H \H \H \H \H \H \H \H \H \H f'4 e'2 e'4 e'4 c'2 \NM
e'4 e'4 f'2 f'4 \H \H \H \H \H \H \H f'4 f'4 f'2( f'2) f'2 \NM
f'4 \H \H \H \H \H f'4 e'2 c'2 \NM
f'4 d'4 f'4 f'2 f'4 f'4 f'2( e'2) c'1 \bar |.
}
\new Lyrics \lyricsto Soprano { \set fontSize = #+2
You were a disc- i- ple of Christ and a mem- ber of the
di- vine col- lege of A- pos- tles.
Hav- ing been weak in faith you doubt- ed the Re- sur- rec- tion
of Christ.
But by feel- ing the wounds you be- lieved in His all- pure pas-
sion:
Pray now to Him, O all- praised Tho- mas
to grant us peace and great mer- cy.
}
\new Staff = men
\clef bass
\key f \major
\new Voice = Tenor {\voiceOne \cadenzaOn
#(set-accidental-style 'voice)
c'4 c'4 c'4 c'4 c'2 c'4 \H \H \H \H \H \H \H \H \NL
\H \H \H \H c'4 d'4 ees'2( d'2) c'2 \NM
c'4 \H \H \H \H \H \H \H \H \H \H c'4 bes2 bes4 bes4 a2 \NM
c'4 c'4 c'2 c'4 \H \H \H \H \H \H \H c'4 d'4 ees'2( d'2) c'2 \NM
c'4 \H \H \H \H \H c'4 bes2 a2 \NM
c'4 bes4 c'4 d'2 c'4 d'4 c'2( bes2) a1 \bar |.
}
\new Voice = Bass {\voiceTwo \cadenzaOn
#(set-accidental-style 'voice)
c4 f4 f4 f4 f2 f4 \H \H \H \H \H \H \H \H \NL
\H \H \H \H f4 bes, bes4 a, a2( bes, bes2) f2 \NM
f4 \H \H \H \H \H \H \H \H \H \H f4 c2 c4 c4 f2 \NM
c4 f4 f2 f4 \H \H \H \H \H \H \H f4 bes, bes4 a, a2( bes,
bes2) f2 \NM
f4 \H \H \H \H \H f4 c2 f2 \NM
f4 g4 f4 bes2 f4 bes4 c2( c2) f1 \bar |.
}
\layout { \context { \Staff
\remove Time_signature_engraver
}
}
\header {
piece = Troparion for Apostle Thomas (Oct 6/Oct 19)
opus = Tone 2 - Lvov/Bachmetev
}
}
Paul
Madison, AL
-Original Message-
From: Dmytro O. Redchuk
Sent: Thursday, January 15, 2009 5:21 AM
Subject: Re: Writing psalms
I use for this smth like[1]:
% in melody:
\cadenzaOn
a8 a\breve a8
\cadenzaOff
% and in lyrics:
%
la la la la li lo lo li la la li
%
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Re: nanorc
I tried, asked around, and basically got the impression that I'd need
a text parser in order to figure that stuff out, so I didn't bother
with it.
Am 15.01.2009 um 20:49 schrieb Francois Planiol:
Thank you thank you thank you,
I never had the idea to look deeply in the man page of nano. Nano
could now
become my editor.
Is there a possibilty to highlight differently the nested levels of
{
{
{ blabla }
}
}
??
Great list, thank you again!
Francois
Am Donnerstag, 15. Januar 2009 08:18 schrieb Martin Tarenskeen:
I can't remember who it was, but in a previous thread someone
posted a
nanorc configuration file for nano with lilypond syntax
highlighting in
this list.
I got slightly better results when I changed the following lines
in the
nanorc file:
posted version:
color green [a-h](as|es|is|isis|eses|s)?(['!,?]?)
color green [a-h](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]?
My version is now:
color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?)
color green [a-hrs](as|es|is|isis|eses|s)?(['!,?]?)+[0-9]+[\.]?
[a-hrs] takes care of r rests and s spaces just like normal
notenames.
The added space at the end of the expression just before the
closing
prevents that too many words are colored green that are not
notenames.
I will also attach my complete nanorc file which, in addition, also
includes ABC music syntax support.
Maybe this helps,
Martin Tarenskeen
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