RE: Tweaking within markup
Thanks. That's considerably simpler.
Nick
-Original Message-
From: M Watts [mailto:zwy648...@gmail.com]
Sent: Sunday, 15 February 2009 12:52
To: Nick Payne
Cc: 'lilypond-user Mailinglist'
Subject: Re: Tweaking within markup
Nick Payne wrote:
Is it possible? I want to put a parenthesized natural above some
notes. If I
do it within a single markup, the natural sign is not aligned with
the
parentheses, and I haven't found any simpler way to get them aligned
except
by having the left parens, the natural, and the right parens each in
their
own markup and tweaking each one individually. Is there a simpler
solution
or not? Eg.
How about this? (I only altered the first one)
\version 2.12.2
\relative c'' {
c'-416-\tweak #'extra-offset #'(-1.0 . 0)^\markup { \smaller{ (
\raise
#'0.5 \smaller \musicglyph #accidentals.natural ) } }
e,-0
a-1-\tweak #'extra-offset #'(-0.5 . -4.3)^\markup { ( }
-\tweak #'extra-offset #'(0.5 . -1.8)^\markup { \teeny \musicglyph
#accidentals.natural }
-\tweak #'extra-offset #'(1.3 . 0.8)^\markup { ) } fis-2
}
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Re: LilyPond crashes Scala
On zo, 2009-02-15 at 01:24 +, rey2009 wrote: Hence Lilypond is the culprit here.. Could it be that some of its libraries do conflict with GTK+? Yes, that could be. I do not know whas Scala is, but apparently it builds on the free software stack, just like LilyPond. Scala should ascertain it uses its own libraries and versions, not just some random ones it happens to find in PATH. As more free software applications on Windows become available and [because Windows has no package managment] each must supply its own [potentially conflicting] copies of [gtk+] libraries. Jan. -- Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond - The music typesetter http://www.xs4all.nl/~jantien | http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: NR 4.3.6 Explicit Breaks
Chip wrote: Lily still breaks lines where it wants to. You are fighting something very powerful and don't know it. All that blank space on those pages! It is reasonable to think that saying \pageBreak means that you are quite happy with whatever blank space is needed to skip the rest of the current page. But the default page breaking algorithm doesn't see it the same way; it abhors that bare expanse, and tries to make your meagre snippets stretch all the way down to the bottom, i.e. it takes charge of the line breaking. What makes this confusing is that it seems to behave very erratically: some pages are stretched a lot, others hardly at all; just changing between A4 and Letter can make a big difference. Three alternatives: A In \paper, add page-spacing-weight = #0 which tells the default algorithm to let the blank space stay blank. But have you noticed how _long_ it takes to do what it does? B Replace the default algorithm with something less ambitious. In \paper, add #(define page-breaking ly:minimal-breaking) This runs more quickly. C The third way is different. Put each \score inside a \bookpart block (making \pageBreak redundant). This runs quickly too, BUT you may notice there are no page numbers (issue 715). In \paper, add the workaround print-first-page-number = ##t Then you can get rid of ragged-right and line-break-permission. Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: NR 4.3.6 Explicit Breaks
Chip-5 wrote: I've been messing around with the various ragged-... settings trying to get the staffs all the same length with the last staff to end at it natural length. did you also try *ragged-last* - to me this seems what you are looking for; you can put it in a layout block inside a \score, so each score can be designed differently! hth Eluze -- View this message in context: http://www.nabble.com/NR-4.3.6-Explicit-Breaks-tp21949123p22023874.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure
Tim Slattery slatter...@bls.gov wrote:
I've tried putting \repeat \volta 1{ in that spot and } at the end of
the piece. I get a thick bar line with a colon, and the corresponding
end repeat sign at the end of the piece. OK, but then there's another
begin-repeat symbol 4 measures after the one I specified and 4
measures before the end of the piece. Where did that come from?
OK, I've switched to a more normal style (although I'd still like to
get the more traditional style). The input for the section is question
is:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e1. c1.} }
I get the repeat at the beginning, just as it should be, and two
endings at the end, as it should be. But the second ending has a
second, empty measure. Why? And there's still an extra begin-repeat
bar after the 4th measure (b2 r8 e8). I cannot see any reason whatever
for that to appear.
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: Repeat in the middle of a measure
I guess you have several voices or even several staves involved in your
piece. Note that the \repeat volta command should be inserted
in all voices of music and also have to appear at exactly the same
place in all the voices. If you don't manage to figure out what the
problem is, please send
a complete (but small) example.
/Mats
Quoting Tim Slattery slatter...@bls.gov:
Tim Slattery slatter...@bls.gov wrote:
I've tried putting \repeat \volta 1{ in that spot and } at the end of
the piece. I get a thick bar line with a colon, and the corresponding
end repeat sign at the end of the piece. OK, but then there's another
begin-repeat symbol 4 measures after the one I specified and 4
measures before the end of the piece. Where did that come from?
OK, I've switched to a more normal style (although I'd still like to
get the more traditional style). The input for the section is question
is:
\repeat volta 2 {c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e1. c1.} }
I get the repeat at the beginning, just as it should be, and two
endings at the end, as it should be. But the second ending has a
second, empty measure. Why? And there's still an extra begin-repeat
bar after the 4th measure (b2 r8 e8). I cannot see any reason whatever
for that to appear.
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: feta.ttf?
Hi all, 2008/10/25 Andrew Hawryluk ahawry...@gmail.com: After installing LilyPond you will have OpenType versions of the fonts (probably in a directory like .../lilypond/current/fonts/otf), but they won't work with Finale. This is because the two programs actually use different sets of glyphs and the two fonts store them under different character codes. For example, the Finale fonts have separate glyphs for 'f', 'ff' 'fff', and '', while LilyPond has a single 'f' symbol that is used to create various dynamic markings. I had a look at the Emmentaler OTF font using the Windows Character Map tool and the font seemed to contain only the numbers, a few letters (m, f, s, etc.) and some punctuation marks. I couldn't find any musical glyphs such as sharp and flat signs. I'm writing a piece of text with another software and it would have been nice if I could use matching glyphs in the text, too. Is there a way to access them somehow? -Risto On Fri, Oct 24, 2008 at 3:06 PM, Albert Frantz albert.fra...@gmail.com wrote: Hello, Has anyone by chance made a TTF version of the beautiful Feta font? It would be wonderful to be able to use this font with other programs such as Finale. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: feta.ttf?
2009/2/15 Risto Vääräniemi risva...@gmail.com: I had a look at the Emmentaler OTF font using the Windows Character Map tool and the font seemed to contain only the numbers, a few letters (m, f, s, etc.) and some punctuation marks. I couldn't find any musical glyphs such as sharp and flat signs. I'm writing a piece of text with another software and it would have been nice if I could use matching glyphs in the text, too. Is there a way to access them somehow? Sorry for the noise. They were there after all. The famous InvalidEndUserError occurred again. -Risto On Fri, Oct 24, 2008 at 3:06 PM, Albert Frantz albert.fra...@gmail.com wrote: Hello, Has anyone by chance made a TTF version of the beautiful Feta font? It would be wonderful to be able to use this font with other programs such as Finale. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure
Mats Bengtsson mats.bengts...@ee.kth.se wrote:
I guess you have several voices or even several staves involved in your
piece. Note that the \repeat volta command should be inserted
in all voices of music and also have to appear at exactly the same
place in all the voices. If you don't manage to figure out what the
problem is, please send a complete (but small) example.
There are four voice parts, the \repeat volta 2 is in each one at the
same place. I cannot figure out where the extra begin-repeat comes
from.
Here are the four voice parts, if that's not enough, I'll send more.
The entire file is 105 lines long.
sopMusic = \relative c'' {
\time 6/8 \partial 8 g8 | g4 c8 c4 g8 | a4 a8 g4 f8 | g4 e8 c4 d8 | e2
r8 f8|
g4 c8 c4 e8 | c4 a8 g4 f8 | e4 g8 d4 g8 | c,2 r8 g'8 | \repeat volta 2
{c4 g8 g4 b8 |
c4 d8 e4 c8 | f4 d8 e4 c8 | b2 r8 e8 | c4 a8 g4 g8 | a4 f8 f4 d8 |
e4 c8 g'4 b,8 |} \alternative { {e2 c2 r8 g'8} {e2. c2.} }
}
altoMusic = \relative c''{
\time 6/8
\partial 8 g8 | e4 f8 g4 e8 | c4 d8 g4 b,8 | c4 a8 f4 g8 | g2 r8 b8 |
c4 d8 e4 e8 | f4 a,8 b4 d8 | c4 e8 a,4 b8 | g2 r8 g8 | \repeat volta 2
{e'4 g8 f4 d8 |
e4 f8 e4 g8 | c4 g8 a4 c8 | b2 r8 g8 | f4 f8 e4 c8 | f4 a,8 b4 g8 |
a4 a8 g4 g8 | } \alternative { { g2 r8 g8 } {g2.} }
}
tenorMusic = \relative c''{
\time 6/8
\partial 8 g8 | c4 c8 c4 g8 | a4 a8 g4 f8 | e4 c8 c4 d8 | e2 r8 g8 |
c 4 c8 c4 g8 | a8 c4 g4 f8 | e4 c8 d4 d8 | c2 r8 g'8 | \repeat volta 2
{ c4 c8 d4 d8 |
e4 d8 c4 c8 | f4 f8 e16([c8.]) e8 | d2 r8 e8 | c4 a8 g4 g8 | a8 c4 g4
f8 |
e16 c16( c4) c4 d8 |} \alternative { {c2 r8 g'8 } {c2.} }
}
bassMusic = \relative c' {
\time 6/8
\partial 8 g8 | c,4 d8 e4 c8 | f4 a8 c4 g8 | c4 g,8 a4 a8 | c2 r8 g'8
|
e4 f8 g4 c,8 | f4 f8 e4 f8 | g4 e8 g,4 f'8 | e2 r8 e8 | e4 e8 g4 g8 |
c4 g8 a4 g8 | a4 b8 c4 a8 | g2 r8 g8 | \repeat volta 2 { a4 f8 c4 c8 |
f4 f8 d4 g,8 |
a4 a8 f4 g8 | } \alternative { { c2 r8 g8} { c2.} }
}
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: Tweaking within markup
To avoid all trial-and-error to figure out the relevant parameters to
\raise, I would propose the following alternative (which also gets rid
of the extra horizontal spacing between the parenthesis and the
accidental):
^\markup { \smaller \concat { \vcenter ( \vcenter \smaller \musicglyph
#accidentals.natural \vcenter ) } }
In fact, you can simplify it even further into the following, which
still gives the same layout:
^\markup { \smaller \concat { \vcenter ( \smaller \natural \vcenter ) } }
/Mats
Quoting M Watts zwy648...@gmail.com:
Nick Payne wrote:
Is it possible? I want to put a parenthesized natural above some notes. If I
do it within a single markup, the natural sign is not aligned with the
parentheses, and I haven't found any simpler way to get them aligned except
by having the left parens, the natural, and the right parens each in their
own markup and tweaking each one individually. Is there a simpler solution
or not? Eg.
How about this? (I only altered the first one)
\version 2.12.2
\relative c'' {
c'-416-\tweak #'extra-offset #'(-1.0 . 0)^\markup { \smaller{ (
\raise #'0.5 \smaller \musicglyph #accidentals.natural ) } }
e,-0
a-1-\tweak #'extra-offset #'(-0.5 . -4.3)^\markup { ( }
-\tweak #'extra-offset #'(0.5 . -1.8)^\markup { \teeny \musicglyph
#accidentals.natural }
-\tweak #'extra-offset #'(1.3 . 0.8)^\markup { ) } fis-2
}
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Re: Persian musical koron and sori
I found a font which has the koron and sori, apparently it's available in Finale. See http://www.pertout.com/PhD2007Introduction.htm links at bottom (downloads) for the fonts. I have no idea how to use this in lilypond though. Kees - Original Message - - Original Message - From: Behnam Rassi beh...@videotron.qc.ca Date: Monday, February 2, 2009 4:48 pm Subject: Re: Persian musical koron and sori To: Kees van den Doel kvand...@shaw.ca Cc: Hans Aberg hab...@math.su.se, Graham Breed gbr...@gmail.com, lilypond lilypond-user@gnu.org Yes of-course send me any relevant picture of Persian music notation. I'm currently in the phase of collecting information as much as possible. I also need to study more about the specifics of font making for LilyPond. I did not have time yet to delve in this issue. But I'm pretty much confident it's a no brainer. What I'm not clear about is that you don't need just a font containing two glyphs for Sori and Koron right? You need a font containing all necessary glyphs for music writing, including Sori and Koron. So I have to add them to an existing font. Did I understand it correctly? I don't think I will be able to design ALL of them. I'll be able to design Sori and Koron (and Tahrir and whatever else I found consistently used) in visual harmony with other existing notations. I will get back to you when I collected the information I need. I did not have time to study the font part yet. I will get back to you when I have a clearer idea about the whole issue. Behnam On 2-Feb-09, at 7:20 PM, Kees van den Doel wrote: If you want to support more Persian notation the most important (and universal) is probably the symbol for tahrir, which is a small o above (if stems up) or below (if stems down) and in the middle of two equal notes. Something like o o - tahrir O O O | | | | | | it indicates a small grace note of undefined pitch. There are some symbols for tar/setar and santur as well, let me know if you want to see any. Kees - Original Message - From: Behnam Rassi beh...@videotron.qc.ca Date: Monday, February 2, 2009 2:46 pm Subject: Re: Persian musical koron and sori To: Kees van den Doel kvand...@shaw.ca Cc: Hans Aberg hab...@math.su.se, Graham Breed gbr...@gmail.com, lilypond lilypond-user@gnu.org I also hopefully will get some pictures from Iran. The thickness of the lines have also something to do with its harmony with other music notes. So this is not much of an issue. But the basic shaping has something that should be looked more carefully. But generally speaking it is pretty clear to me. There is apparently some specific notation marks for some specific instruments as well (Taar for example) I'm waiting for the scans to see what's the situation. Behnam On 2-Feb-09, at 4:50 PM, Kees van den Doel wrote: On 2 Feb 2009, at 20:58, Kees van den Doel wrote: I have several shelves of Persian music books and I have never seen that variation. The sori is always a rotated = with an on it, and the koron akways has the '' body. That is good to know - I think what you say is best, being most distinguishable (like from an inverted b or some other sharp variation). There is a small subtlety: the usual sharp # is usually drawn a bit slanted (endpoints of vertical bars not exactly level, but moving up). I think this may have to do with how the horizontal lines = are drawn (somewhat slanted upwards). These horizontal lines are also usually drawn fat. Can you see in your examples how the sori is drawn in these respects? That is, are vertical line endpoints level, No, the vertical lines are just as in the normal sharp. and is the fatter? Usually not, but they are handwritten. I'll scan in some more examples to compare. Kees ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Persian musical koron and sori
Yes Kees I downloaded the font and saw the glyphs. This is as far as I can go with my current work too. Except that I will add additional Persian music notations (and perhaps somewhat better looking glyphs!). But I can only produce a font in ttf format, another one perhaps in otf format. I can also extract the glyphs in EPS format individually. I wouldn't know how to put them in LilyPond. Behnam On 15-Feb-09, at 6:00 PM, Kees van den Doel wrote: I found a font which has the koron and sori, apparently it's available in Finale. See http://www.pertout.com/PhD2007Introduction.htm links at bottom (downloads) for the fonts. I have no idea how to use this in lilypond though. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure
Tim Slattery Slattery_T at bls.gov writes:
There are four voice parts, the \repeat volta 2 is in each one at the
same place. I cannot figure out where the extra begin-repeat comes
from.
Here are the four voice parts, if that's not enough, I'll send more.
The entire file is 105 lines long.
Do you have a global section in each voice with inconsistent repeats?
There still isn't enough information to tell what the problem is...
You can get what (I think) you originally wanted by
- just putting the repeats where you want them
- overriding the bar lines at the beginning and end of the repeats
(the first one's easy, the second a bit obscure)
- using \partial to reset the count.
The end of your soprano part might look like this:
e4 g8 d4 g8 |
c,2
\bar :
\repeat volta 2 {
r8 g'8 |
c4 g8 g4 b8 |
c4 d8 e4 c8 |
f4 d8 e4 c8 |
b2 r8 e8 |
c4 a8 g4 g8 |
a4 f8 f4 d8 |
e4 c8 g'4 b,8 |
} \alternative {
{
\partial 8*4 e2 c2
\once \override Staff.BarLine #'glyph-name = |
}
{ \partial 8*6 e2. c2. }
}
Hope this helps--
Michael
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Re: Persian musical koron and sori
Behnam Rassi wrote: Yes Kees I downloaded the font and saw the glyphs. This is as far as I can go with my current work too. Except that I will add additional Persian music notations (and perhaps somewhat better looking glyphs!). But I can only produce a font in ttf format, another one perhaps in otf format. I can also extract the glyphs in EPS format individually. I wouldn't know how to put them in LilyPond. You need to say what interval (as a fraction of a 200 cent whole tone) you want each symbol to correspond to. Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Persian musical koron and sori
On 15-Feb-09, at 6:45 PM, Graham Breed wrote: Behnam Rassi wrote: Yes Kees I downloaded the font and saw the glyphs. This is as far as I can go with my current work too. Except that I will add additional Persian music notations (and perhaps somewhat better looking glyphs!). But I can only produce a font in ttf format, another one perhaps in otf format. I can also extract the glyphs in EPS format individually. I wouldn't know how to put them in LilyPond. You need to say what interval (as a fraction of a 200 cent whole tone) you want each symbol to correspond to. I guess this has been already sorted out for koron and sori before I was exposed to this. If not, I can do some research to provide the information. The other notations I mentioned are more like overhead marks about 'how' the note should sound and not 'what'. I'm not finished with my work yet. I may be able to explain more when I'm done. It's still a couple of weeks to go I guess. Behnam ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Repeat in the middle of a measure
Michael Lauer mrlau...@yahoo.com wrote:
Do you have a global section in each voice with inconsistent repeats?
There still isn't enough information to tell what the problem is...
There's a global section that's included with each part. It has only
the key and the sacredNoteHeads directive:
global = {
\key c \major
\sacredHarpHeads
}
You can get what (I think) you originally wanted by
- just putting the repeats where you want them
- overriding the bar lines at the beginning and end of the repeats
(the first one's easy, the second a bit obscure)
- using \partial to reset the count.
The end of your soprano part might look like this:
I'll check this out. Thank you.
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: Repeat in the middle of a measure - Alexander.ly (1/1)
begin 644 Alexander.ly
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M#0H-E9EG-E5'=O(#...@7QYFEC;6]D90T*PT*7'-E=!S=%NF$@/2`B
M,BX@(@T*7'-E=!F;VYT4VEZ92`](,M,XW-0T*4VAA:V4@;V9F('1H92!D
MF]W(TM('-Y(1R96%MR!O9B!N:6=H=p...@86yd(')Iv...@=\...@=%S971E
M('1H92!D87=N(2!!(`T*=AO=2`M+2!S86YD(-H87)Mr!m...@9w)E970@
M;W5R(5Y97,@8...@+2t@9F]R92!T:4@;EG:'0@:7,@9v]n...@5v4@;EF
M=!O=7(@:5AG1S(EN#0IJ;w...@+2t@9G5L('-O;FL(9OB!N:6=H=!I
MR!F:6...@+2t@)VQY(1O;F4[(%N9!A;P@;W5R(9E87)S+!O=7(@;6$@
M+2T@;g...@=5AG,L(UA0T*=F%N(TM(ES:!I;B!T:4@W5N+B!792!S
M=6XN#0I]#0H-EQH96%D97(-GL-B`@('1I=QE(#T@(D%L97AA;F1EB(-
MB`@('!O970@/2`B36ER:6%M($$N($MI;UEBP@,3DY-R(-B`@(-O;7!O
MV5R(#T@(DUIFEA;2!!+B!+:6QM97(L(#$Y.3B#0I]#0IV-OF4@PT*
M7YE=R!#:]IE-T869F(#P\#0I;F5W(%-T869F(#T@V]PR`\/`T*7YE
M=R!6;VEC92`]#0HBV]PF%N;W,B('L@/#...@7=L;V)A;!V]P375S:6,@
M/c...@?0t*7YE=R!,7)I8W,@7QYFECW1O('-O')A;F]S(%Q697)S94]N
M90T*/CX-@T*7YE=R!3=%F9B`](%L=',@/#P-EQC;5F('1R96)L90T*
M7YE=R!6;VEC92`]#0HB86QT;W,B('L@(#P\7=L;V)A;!86QT;TUUVEC
M(#X^('T-EQN97@3'ER:6-S(%QL7)I8W-T;R!A;'1OR!5F5RV54=V\-
MCX^#0H-EQN97@4W1A9F8@/2!T96YS(#P\#0I8VQE9B`B=')E8FQE(@T*
M7YE=R!6;VEC92`]#0HB=5N;W)S(B![(#P\(%QG;]b...@7'1E;F]R375S
M:6,@/c...@?0t*7YE=R!,7)I8W,@7QYFECW1O('1E;F]RR!5F5RV5/
M;F4-CX^#0H-EQN97@4W1A9F8@/2!B87,@/#P-EQC;5F()AW,-EQN
M97@5F]I8V4@/0T*(F)AW,B('L@(#P\7=L;V)A;!8F%STUUVEC(#X^
M('T-EQN97@3'ER:6-S(%QL7)I8W-T;R!B87-S(%Q697)S951W;PT*/CX-
MCX^#0I;%Y;W5T('L-EQC;VYT97AT('L-b...@82!l:71T;4@VUA;QE
MB!S;R!L7)I8W,-b...@8v%n()E(-L;W-EB!T;R!T:4@W1A9F8-EQ3
M=%...@t*7]V97)R:61E(%9EG1I8V%L07AIT=R;W5P(,G;6EN:6UU;2U9
?+65X=5N=`](,G*TQ(X@,2D-GT-GT-GT-G5P
`
end
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Re: Repeat in the middle of a measure - Alexander.ly (0/1)
Michael Lauer mrlau...@yahoo.com wrote:
You can get what (I think) you originally wanted by
- just putting the repeats where you want them
- overriding the bar lines at the beginning and end of the repeats
The \bar : gets me the repeat symbol I wanted. But the extra repeat
is still there, and I'm getting more errors from this syntax
alexander2.ly:25:20: warning: not a grob name, `Barline'
{ \partial 8*4 g2
\once \override Staff.Barline #'glyph-name = |}
I'm attaching the original file.
--
Tim Slattery
slatter...@bls.gov
http://members.cox.net/slatteryt
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Re: Persian musical koron and sori
Hi Folks,
I made an init file persian.ly with support for Persian accidentals and scale
signatures.
The only thing missing is correct glyphs for koron and sori. I include it below.
Kees
- Original Message -
From: Behnam Rassi beh...@videotron.qc.ca
Date: Sunday, February 15, 2009 4:02 pm
Subject: Re: Persian musical koron and sori
To: Graham Breed gbr...@gmail.com
Cc: Kees van den Doel kvand...@shaw.ca, Hans Aberg hab...@math.su.se,
lilypond lilypond-user@gnu.org
On 15-Feb-09, at 6:45 PM, Graham Breed wrote:
Behnam Rassi wrote:
Yes Kees I downloaded the font and saw the glyphs.
This is as far as I can go with my current work too. Except
that I
will add additional Persian music notations (and perhaps
somewhat
better looking glyphs!). But I can only produce a font in
ttf
format, another one perhaps in otf format. I can also extract
the
glyphs in EPS format individually. I wouldn't know how to put
them
in LilyPond.
You need to say what interval (as a fraction of a 200 cent
whole
tone) you want each symbol to correspond to.
I guess this has been already sorted out for koron and sori
before I
was exposed to this. If not, I can do some research to provide
the
information. The other notations I mentioned are more like
overhead
marks about 'how' the note should sound and not 'what'.
I'm not finished with my work yet. I may be able to explain more
when
I'm done. It's still a couple of weeks to go I guess.
Behnam
--BEGIN--persian.ly
\version 2.12.0
%{
Author: Kees van den Doel kvand...@shaw.ca
This file defines Persian microtonal alterations, the approximate
quartertone flat (koron) and the approximate quartertone sharp
(sori). They can be obtained by appending 'k' (koron) and 'o' (sori) to
the English note symbol. The standard symbols for this were introduced
by Vaziri. For now I've represented them by accidentals.mirroredflat and
accidentals.sharp.slashslash.stem.
Key signatures are defined for all the Persian modes, there are 5 scales
with microtones and the normal major scale. All the gushe's from all
dastgahs can be notated with these 6.
The note immediately following a koron is sometimes (when the interval
defined by the note before the koron and after the koron is a minor
third, and the note below the finalis in esfahan according to some (but
not all) Persian musicians)) lowered by about 20 cents. This is not
notated, but considered part of the scale tuning. To accomodate this for
getting better sounding MIDI I've introduced the vlat (append 'v' to
the note) to indicate this. Actually this note should also get a strong
vibrato, and the vibrato and low tuning are perceptually integrated
(serialism!).
In the tuning I've followed Traditional Persian Art Music, by Dariush
Tala'i. The tunings are also very close to those suggested in The
Dastgah Concept in Persian Music, by Hormoz Farhat. See also Le
repertoire-modele de la musique iranienne, by Jean During which
contains measurements of the intervals in actual practice.
There are no other tuning issues in Persian music. Because the music is
monophonic the difference between just intonation (for example) and
equal temperament is not academic, because are no chords where out of
tune intervals are noticeable.
Note name suffixes:
ff for double-flat
f for flat
k for koron (about quarter-flat, -3/10 of whole tone,
60 cent)
o for sori (about quarter-sharp, 2/10 of whole tone,
40 cent)
s for sharp
x for double-sharp
v for 20 cent flat tuned note (vlat, not notated)
%}
% Define tunings:
#(define-public KORON -3/10)
#(define-public SORI 1/5)
#(define-public VLAT -1/10)
pitchnamesEnglish = #`(
(cflatflat . ,(ly:make-pitch -1 0 DOUBLE-FLAT))
(cflat . ,(ly:make-pitch -1 0 FLAT))
(c . ,(ly:make-pitch -1 0 NATURAL))
(csharp . ,(ly:make-pitch -1 0 SHARP))
(csharpsharp . ,(ly:make-pitch -1 0 DOUBLE-SHARP))
(dflatflat . ,(ly:make-pitch -1 1 DOUBLE-FLAT))
(dflat . ,(ly:make-pitch -1 1 FLAT))
(d . ,(ly:make-pitch -1 1 NATURAL))
(dsharp . ,(ly:make-pitch -1 1 SHARP))
(dsharpsharp . ,(ly:make-pitch -1 1 DOUBLE-SHARP))
(eflatflat . ,(ly:make-pitch -1 2 DOUBLE-FLAT))
(eflat . ,(ly:make-pitch -1 2 FLAT))
(e . ,(ly:make-pitch -1 2 NATURAL))
(esharp . ,(ly:make-pitch -1 2 SHARP))
(esharpsharp . ,(ly:make-pitch -1 2 DOUBLE-SHARP))
(fflatflat . ,(ly:make-pitch -1 3 DOUBLE-FLAT))
(fflat . ,(ly:make-pitch -1 3 FLAT))
(f . ,(ly:make-pitch -1 3 NATURAL))
(fsharp . ,(ly:make-pitch -1 3 SHARP))
(fsharpsharp . ,(ly:make-pitch -1 3 DOUBLE-SHARP))
(gflatflat .
Slurs and repeats
I can't figure out how to end a slur across a repeat into an alternate ending and the documentation doesn't seem to cover this. I get an error message about being unable to end the slur. Of course this could always be the \endUserError bug! The workaround I have adopted is to use \repeatTie which at least gives me a mark on the page that works well enough; there seems to be no \repeatSlur equivalent. The page renders despite the error being reported. Is there a correct way to do this that I haven't been able to figure out? I didn't have luck searching the archives of the mailing list for a solution, unfortunately. Thanks! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Persian musical koron and sori
I made an init file persian.ly with support for Persian accidentals and scale signatures. The only thing missing is correct glyphs for koron and sori. I include it below. Can someone please provide high-resolution scans of the Persian stuff in action? What I've seen so far are some low-resolution images which are rather useless to understand how it should really look like. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking within markup
Mats Bengtsson wrote:
To avoid all trial-and-error to figure out the relevant parameters to
\raise, I would propose the following alternative (which also gets rid
of the extra horizontal spacing between the parenthesis and the
accidental):
^\markup { \smaller \concat { \vcenter ( \vcenter \smaller \musicglyph
#accidentals.natural \vcenter ) } }
In fact, you can simplify it even further into the following, which
still gives the same layout:
^\markup { \smaller \concat { \vcenter ( \smaller \natural \vcenter ) } }
/Mats
Ah, enlightenment. This will be very useful in other situations too; thanx.
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Enhancing barre function
I have a barre function for guitar scores that I would like to enhance by
adding a vertical line indicating how far the barre should extend across the
fretboard. As a test I took the existing barre function and added some
hard-coded Postscript that draws a line of fixed vertical height. I can add
an additional parameter giving the distance in staff units above or below
the centre of the stave where I want this line to terminate, but what I
don't know how to do is to calculate the vertical distance from this point
to where the barre text and horizontal line are going to be drawn, and use
this value in the Postscript code. Can someone point me to where in the LP
installation tree (on Windows) I will find some examples of music functions
that retrieve information in this way. I'm a reasonably competent programmer
in several other languages (going all the way back to Fortran and assembler
in the 1970s) but I've never used Scheme.
Here's the present function with the hard-coded Postscript:
%
\version 2.12.2
% more attractive barring indication than the inbuilt one
% Example:
%
% \barre CI #0 #'(-1 . -1) #10 #1
% g,-2\startTextSpan c-3 bf'-4- ef,-1 af-1- c,-3
% g c bf'- ef, af- c,\stopTextSpan
%
barre = #(define-music-function (parser location text vertAdj shorten
adjBreak adjEnd) (string? number? pair? number? number?) #{
% set vertAdj to 999 if spanner is colliding with another element
% this will position the spanner outside all other elements
% can be normally be set to zero
\once \override TextSpanner #'outside-staff-priority = #$vertAdj
\once \override TextSpanner #'bound-details #'left #'text = \markup
{ \combine $text
\postscript #0.1 setlinewidth 0.5 -0.3 moveto 0 -4 rlineto
stroke 0.5 -4.3 moveto 0.5 0 rlineto stroke }
\once \override TextSpanner #'style = #'line
\once \override TextSpanner #'font-shape = #'upright
%draw a bracket edge on RHS
\once \override TextSpanner #'bound-details #'right #'text = \markup
{ \draw-line #'(0 . -1) }
% set alignment of line with reference to left text
\once \override TextSpanner #'bound-details #'left
#'stencil-align-dir-y = #CENTER
% change X pos of LH and RH end as set by shorten parameter:
normally -ve
\once \override TextSpanner #'bound-details #'left #'padding = #(car
$shorten)
\once \override TextSpanner #'bound-details #'right #'padding =
#(cdr $shorten)
% allow adjustment of line end when it wraps to following stave
\once \override TextSpanner #'bound-details #'right-broken #'padding
= #$adjEnd
% adjust LH end of line when it wraps to following stave so that it
doesn't
% extend to the left of the notes on the stave
\once \override TextSpanner #'bound-details #'left-broken #'X =
#$adjBreak
% optional override to remove text and bracket edge at line breaks
% \once \override TextSpanner #'bound-details #'left-broken #'text =
##f
\once \override TextSpanner #'bound-details #'right-broken #'text =
##f
#})
% test
\relative c' {
\barre CVII #0 #'(-2.2 . -1) #10 #1
b d' gis b4\startTextSpan b d' gis b b d' gis b b d' gis
b\stopTextSpan
}
%==
Nick
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