Re: Repeating subtltle with bookparts
2009/4/7 Nick Payne nick.pa...@internode.on.net
Is it intended that a title or subtitle in the main header should be
repeated in each bookpart that doesn't redefine the title or subtitle,
because that's what I see:
Main Subtitle appears in each bookpart. If I change each bookpart to use
subtitle instead of title, then Main Title appears in each part.
Nick
Hi, you can remove titles by setting them to false:
\header {
subtitle = ##f
}
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Creating-titles#Creating-titles
--
Marek Klein
http://gregoriana.sk
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Re: significance of whitespace [WAS: LilyPond, Finale and Sibelius]
Can be typed pretty rapidly too: hold down right shift with your little finger and fall under the index and middle fingers. ..not everyone uses us keyboard ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: significance of whitespace
Can be typed pretty rapidly too: hold down right shift with your little
finger and fall under the index and middle fingers.
..not everyone uses us keyboard
Exactly. It's already a pain to type `{', `}', and `\' with a German
keyboard...
Werner
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Re: How to input keysignature or timesignature in \markup?
Wei-Wei Guo wrote: I still have no idea how to input some music symbols, such as a short piece of pure staff, timesignature, keysignature, and so on. Search the snippet repository for engravers. In particular, try out the (complete) snippet in http://lsr.dsi.unimi.it/LSR/Item?id=280 Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics and aftergrace
Stefan
I would not normally expect to see a separate syllable for one or
both grace notes. The syllable sung on the note following, or in
your case preceding, the grace note would be extended to cover the
grace note(s) too. Is this not what you would expect?
Trevor
- Original Message -
From: Stefan Thomas kontrapunktste...@googlemail.com
To: lilypond-user lilypond-user@gnu.org
Sent: Tuesday, April 07, 2009 7:14 AM
Subject: lyrics and aftergrace
Dear community,
I have a problem with lyrics and aftergrace.
In the following snippet, the lyrics don't align to the music as
expected.
global = { \key d \major \time 6/8 }
melodie = \relative c'' { \global \afterGrace cis2.\trill{ b16
[ cis] } d4 }
text = \lyricmode { Lied im Grund. }
\version 2.12.0
\score {
\new Voice = eins {
\autoBeamOff
\melodie
}
\new Lyrics \lyricsto eins \text
}
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Re: TimeSignature with white border?
Snippet? Trevor - Original Message - From: Kieren MacMillan kieren_macmil...@sympatico.ca To: Mark Polesky markpole...@yahoo.com Cc: lilypond-user Mailinglist lilypond-user@gnu.org Sent: Tuesday, April 07, 2009 4:25 AM Subject: Re: TimeSignature with white border? Mark, This one is a little better. You rock -- thanks! Kieren. ___ 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: custom keysignature help
James
I've no idea what the problem is - the lines in error look correct
to me. But are the last two lines in the log a clue? These point
to lines 53 and 65. I suspect the error is there.
Trevor
- Original Message -
From: James E. Bailey derhindem...@googlemail.com
To: lilypond-user Mailinglist lilypond-user@gnu.org
Sent: Monday, April 06, 2009 10:55 PM
Subject: custom keysignature help
I'm trying to figure out what the character in the custom key
signature is, and it's not working for me. I've tried copying and
pasting from the manual, but it's not working for. I get these
errors:
GNU LilyPond 2.12.2
»Vol 1.ly« wird verarbeitet
Analysieren...
Vol 1.ly:571:51: Fehler: GUILE signalisierte einen Fehler für den
hier beginnenden Ausdruck
\set Staff.keySignature = #
`(((0 . 3) .
,SHARP)
Vol 1.ly:571:52: Fehler: syntax error, unexpected '('
\set Staff.keySignature = #`
(((0 . 3) .
,SHARP)
Vol 1.ly:577:51: Fehler: GUILE signalisierte einen Fehler für den
hier beginnenden Ausdruck
\set Staff.keySignature = #
`(((0 . 3) .
,SHARP)
Vol 1.ly:577:52: Fehler: syntax error, unexpected '('
\set Staff.keySignature = #`
(((0 . 3) .
,SHARP)
Vol 1.ly:568:8: Fehler: Fehler gefunden, musikalischer Ausdruck wird
ignoriert
\new PianoStaff \with { instrumentName = \markup \bold 7 }
Fehler: gescheiterte Dateien: Vol 1.ly
Vol 1.ly:577:53: Unknown # object: #\`
Vol 1.ly:585:65: Unknown # object: #\-
James E. Bailey
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Re: Quarter-tone notation with arrows
Kees van den Doel wrote: I agree it makes total sense to have an accidental_level2 which make additional microtonal alterations to the 12 diatonic pitches and their equally tempered accidental_level1 alterations (b and #), but there is only one level of accidental in Lilypond, as it adheres to the strict Western notation principles of diatonic pitches modified by an accidental. Yup. Which is a bit of a bugger in some respects, as I just discovered from some experiments ... Graham Breed was absolutely right about transposition problems with my cheaty way of getting these microtonal accidentals. I've attached the .ly files for people's amusement. I don't know if it's even _possible_ to make them work, but the errors seem to crop up when the transposition would normally transform a natural into a flat or sharp (or vice versa). If your microtonal accidentals are approximate it makes logical sense to me that B_natural_downarrow and B_flat_uparrow should be assigned slightly different pitches, for they will not sound the same anyways. Just as Bb and A# are not the same pitches in all but one tuning. Well ... different or not, I'm coming to the conclusion that GB's idea of tweaks instead of different accidental names is the way to go, since we ARE talking about an addition that shades a given pitch up or down instead of being a unique accidental in its own right. So what I'm wondering now is whether it's possible to define a tweak that adds an up (or down) arrow to the accidental (whatever accidental that may be) and also tweaks the pitch up or down by the desired amount, but which would be transparent as far as transposition is concerned. Then I could just go around writing things like, \ih cis \qeh d and all should be both happy _and_ transposeable. But I don't know if that's possible ... ? Thanks to all of you for all your help so far, -- Joe #(define-public SHARP-Q-FLAT 1001/4000) #(define-public FLAT-Q-SHARP -1001/4000) quartertonearrowPitchNames = #`( (cff . ,(ly:make-pitch -1 0 DOUBLE-FLAT)) (ctqf . ,(ly:make-pitch -1 0 THREE-Q-FLAT)) (cf . ,(ly:make-pitch -1 0 FLAT)) (cfqs . ,(ly:make-pitch -1 0 FLAT-Q-SHARP)) (cqf . ,(ly:make-pitch -1 0 SEMI-FLAT)) (c . ,(ly:make-pitch -1 0 NATURAL)) (cqs . ,(ly:make-pitch -1 0 SEMI-SHARP)) (csqf . ,(ly:make-pitch -1 0 SHARP-Q-FLAT)) (cs . ,(ly:make-pitch -1 0 SHARP)) (ctqs . ,(ly:make-pitch -1 0 THREE-Q-SHARP)) (css . ,(ly:make-pitch -1 0 DOUBLE-SHARP)) (cx . ,(ly:make-pitch -1 0 DOUBLE-SHARP)) (dff . ,(ly:make-pitch -1 1 DOUBLE-FLAT)) (dtqf . ,(ly:make-pitch -1 1 THREE-Q-FLAT)) (df . ,(ly:make-pitch -1 1 FLAT)) (dfqs . ,(ly:make-pitch -1 1 FLAT-Q-SHARP)) (dqf . ,(ly:make-pitch -1 1 SEMI-FLAT)) (d . ,(ly:make-pitch -1 1 NATURAL)) (dqs . ,(ly:make-pitch -1 1 SEMI-SHARP)) (dsqf . ,(ly:make-pitch -1 1 SHARP-Q-FLAT)) (ds . ,(ly:make-pitch -1 1 SHARP)) (dtqs . ,(ly:make-pitch -1 1 THREE-Q-SHARP)) (dss . ,(ly:make-pitch -1 1 DOUBLE-SHARP)) (dx . ,(ly:make-pitch -1 1 DOUBLE-SHARP)) (eff . ,(ly:make-pitch -1 2 DOUBLE-FLAT)) (etqf . ,(ly:make-pitch -1 2 THREE-Q-FLAT)) (ef . ,(ly:make-pitch -1 2 FLAT)) (efqs . ,(ly:make-pitch -1 2 FLAT-Q-SHARP)) (eqf . ,(ly:make-pitch -1 2 SEMI-FLAT)) (e . ,(ly:make-pitch -1 2 NATURAL)) (eqs . ,(ly:make-pitch -1 2 SEMI-SHARP)) (esqf . ,(ly:make-pitch -1 2 SHARP-Q-FLAT)) (es . ,(ly:make-pitch -1 2 SHARP)) (etqs . ,(ly:make-pitch -1 2 THREE-Q-SHARP)) (ess . ,(ly:make-pitch -1 2 DOUBLE-SHARP)) (ex . ,(ly:make-pitch -1 2 DOUBLE-SHARP)) (fff . ,(ly:make-pitch -1 3 DOUBLE-FLAT)) (ftqf . ,(ly:make-pitch -1 3 THREE-Q-FLAT)) (ff . ,(ly:make-pitch -1 3 FLAT)) (ffqs . ,(ly:make-pitch -1 3 FLAT-Q-SHARP)) (fqf . ,(ly:make-pitch -1 3 SEMI-FLAT)) (f . ,(ly:make-pitch -1 3 NATURAL)) (fqs . ,(ly:make-pitch -1 3 SEMI-SHARP)) (fsqf . ,(ly:make-pitch -1 3 SHARP-Q-FLAT)) (fs . ,(ly:make-pitch -1 3 SHARP)) (ftqs . ,(ly:make-pitch -1 3 THREE-Q-SHARP)) (fss . ,(ly:make-pitch -1 3 DOUBLE-SHARP)) (fx . ,(ly:make-pitch -1 3 DOUBLE-SHARP)) (gff . ,(ly:make-pitch -1 4 DOUBLE-FLAT)) (gtqf . ,(ly:make-pitch -1 4 THREE-Q-FLAT)) (gf . ,(ly:make-pitch -1 4 FLAT)) (gfqs . ,(ly:make-pitch -1 4 FLAT-Q-SHARP)) (gqf . ,(ly:make-pitch -1 4 SEMI-FLAT)) (g . ,(ly:make-pitch -1 4 NATURAL)) (gqs . ,(ly:make-pitch -1 4 SEMI-SHARP)) (gsqf . ,(ly:make-pitch -1 4 SHARP-Q-FLAT)) (gs . ,(ly:make-pitch -1 4 SHARP)) (gtqs . ,(ly:make-pitch -1 4 THREE-Q-SHARP)) (gss . ,(ly:make-pitch -1 4 DOUBLE-SHARP)) (gx . ,(ly:make-pitch -1 4 DOUBLE-SHARP)) (aff .
Re: Quarter-tone notation with arrows
Joseph Wakeling wrote: I've attached the .ly files for people's amusement. I don't know if it's even _possible_ to make them work, but the errors seem to crop up when the transposition would normally transform a natural into a flat or sharp (or vice versa). Whoops, I attached the wrong files. This has the right versions. #(define-public SHARP-Q-FLAT 1001/4000) #(define-public FLAT-Q-SHARP -1001/4000) quartertonearrowPitchNames = #`( (cff . ,(ly:make-pitch -1 0 DOUBLE-FLAT)) (ctqf . ,(ly:make-pitch -1 0 THREE-Q-FLAT)) (cf . ,(ly:make-pitch -1 0 FLAT)) (cfqs . ,(ly:make-pitch -1 0 FLAT-Q-SHARP)) (cqf . ,(ly:make-pitch -1 0 SEMI-FLAT)) (c . ,(ly:make-pitch -1 0 NATURAL)) (cqs . ,(ly:make-pitch -1 0 SEMI-SHARP)) (csqf . ,(ly:make-pitch -1 0 SHARP-Q-FLAT)) (cs . ,(ly:make-pitch -1 0 SHARP)) (ctqs . ,(ly:make-pitch -1 0 THREE-Q-SHARP)) (css . ,(ly:make-pitch -1 0 DOUBLE-SHARP)) (cx . ,(ly:make-pitch -1 0 DOUBLE-SHARP)) (dff . ,(ly:make-pitch -1 1 DOUBLE-FLAT)) (dtqf . ,(ly:make-pitch -1 1 THREE-Q-FLAT)) (df . ,(ly:make-pitch -1 1 FLAT)) (dfqs . ,(ly:make-pitch -1 1 FLAT-Q-SHARP)) (dqf . ,(ly:make-pitch -1 1 SEMI-FLAT)) (d . ,(ly:make-pitch -1 1 NATURAL)) (dqs . ,(ly:make-pitch -1 1 SEMI-SHARP)) (dsqf . ,(ly:make-pitch -1 1 SHARP-Q-FLAT)) (ds . ,(ly:make-pitch -1 1 SHARP)) (dtqs . ,(ly:make-pitch -1 1 THREE-Q-SHARP)) (dss . ,(ly:make-pitch -1 1 DOUBLE-SHARP)) (dx . ,(ly:make-pitch -1 1 DOUBLE-SHARP)) (eff . ,(ly:make-pitch -1 2 DOUBLE-FLAT)) (etqf . ,(ly:make-pitch -1 2 THREE-Q-FLAT)) (ef . ,(ly:make-pitch -1 2 FLAT)) (efqs . ,(ly:make-pitch -1 2 FLAT-Q-SHARP)) (eqf . ,(ly:make-pitch -1 2 SEMI-FLAT)) (e . ,(ly:make-pitch -1 2 NATURAL)) (eqs . ,(ly:make-pitch -1 2 SEMI-SHARP)) (esqf . ,(ly:make-pitch -1 2 SHARP-Q-FLAT)) (es . ,(ly:make-pitch -1 2 SHARP)) (etqs . ,(ly:make-pitch -1 2 THREE-Q-SHARP)) (ess . ,(ly:make-pitch -1 2 DOUBLE-SHARP)) (ex . ,(ly:make-pitch -1 2 DOUBLE-SHARP)) (fff . ,(ly:make-pitch -1 3 DOUBLE-FLAT)) (ftqf . ,(ly:make-pitch -1 3 THREE-Q-FLAT)) (ff . ,(ly:make-pitch -1 3 FLAT)) (ffqs . ,(ly:make-pitch -1 3 FLAT-Q-SHARP)) (fqf . ,(ly:make-pitch -1 3 SEMI-FLAT)) (f . ,(ly:make-pitch -1 3 NATURAL)) (fqs . ,(ly:make-pitch -1 3 SEMI-SHARP)) (fsqf . ,(ly:make-pitch -1 3 SHARP-Q-FLAT)) (fs . ,(ly:make-pitch -1 3 SHARP)) (ftqs . ,(ly:make-pitch -1 3 THREE-Q-SHARP)) (fss . ,(ly:make-pitch -1 3 DOUBLE-SHARP)) (fx . ,(ly:make-pitch -1 3 DOUBLE-SHARP)) (gff . ,(ly:make-pitch -1 4 DOUBLE-FLAT)) (gtqf . ,(ly:make-pitch -1 4 THREE-Q-FLAT)) (gf . ,(ly:make-pitch -1 4 FLAT)) (gfqs . ,(ly:make-pitch -1 4 FLAT-Q-SHARP)) (gqf . ,(ly:make-pitch -1 4 SEMI-FLAT)) (g . ,(ly:make-pitch -1 4 NATURAL)) (gqs . ,(ly:make-pitch -1 4 SEMI-SHARP)) (gsqf . ,(ly:make-pitch -1 4 SHARP-Q-FLAT)) (gs . ,(ly:make-pitch -1 4 SHARP)) (gtqs . ,(ly:make-pitch -1 4 THREE-Q-SHARP)) (gss . ,(ly:make-pitch -1 4 DOUBLE-SHARP)) (gx . ,(ly:make-pitch -1 4 DOUBLE-SHARP)) (aff . ,(ly:make-pitch -1 5 DOUBLE-FLAT)) (atqf . ,(ly:make-pitch -1 5 THREE-Q-FLAT)) (af . ,(ly:make-pitch -1 5 FLAT)) (afqs . ,(ly:make-pitch -1 5 FLAT-Q-SHARP)) (aqf . ,(ly:make-pitch -1 5 SEMI-FLAT)) (a . ,(ly:make-pitch -1 5 NATURAL)) (aqs . ,(ly:make-pitch -1 5 SEMI-SHARP)) (asqf . ,(ly:make-pitch -1 5 SHARP-Q-FLAT)) (as . ,(ly:make-pitch -1 5 SHARP)) (atqs . ,(ly:make-pitch -1 5 THREE-Q-SHARP)) (ass . ,(ly:make-pitch -1 5 DOUBLE-SHARP)) (ax . ,(ly:make-pitch -1 5 DOUBLE-SHARP)) (bff . ,(ly:make-pitch -1 6 DOUBLE-FLAT)) (btqf . ,(ly:make-pitch -1 6 THREE-Q-FLAT)) (bf . ,(ly:make-pitch -1 6 FLAT)) (bfqs . ,(ly:make-pitch -1 6 FLAT-Q-SHARP)) (bqf . ,(ly:make-pitch -1 6 SEMI-FLAT)) (b . ,(ly:make-pitch -1 6 NATURAL)) (bqs . ,(ly:make-pitch -1 6 SEMI-SHARP)) (bsqf . ,(ly:make-pitch -1 6 SHARP-Q-FLAT)) (bs . ,(ly:make-pitch -1 6 SHARP)) (btqs . ,(ly:make-pitch -1 6 THREE-Q-SHARP)) (bss . ,(ly:make-pitch -1 6 DOUBLE-SHARP)) (bx . ,(ly:make-pitch -1 6 DOUBLE-SHARP)) ) %% set pitch names. pitchnames = \quartertonearrowPitchNames #(ly:parser-set-note-names parser pitchnames) quartertonearrowGlyphs = #`( (4001/4000 . accidentals.doublesharp) (1 . accidentals.doublesharp) (3001/4000 . accidentals.sharp.arrowup) (3/4 . accidentals.sharp.arrowup) (2001/4000 . accidentals.sharp) (1/2 . accidentals.sharp) (1001/4000 . accidentals.sharp.arrowdown)
Real-world usage of Lilypond
...although we all are in 'the real world' (or at least think we are :-) ) Recently, I was attending a speech by one of the leading people being busy with compiling a new book of church songs for The Netherlands (or at least the Calvinist/Lutheran part of it). When the speech was finished I asked him if it was appropriate to point him to software that does music engraving. He said that it was and took out paper and a pen. When I dropped the name Lilypond he put away paper and pen. And told me that they were already looking into using Lilypond... So, here's a serious example of the usage of Lilypond in the real world. I was wondering if perhaps 'we' were able to help him, by: - Engraving songs for publishing, making them 'as good as possible'; - Extending Lilypond to (more easily?) accomodate engraving of church music. Two examples that I can think of are: Setting rests at the end of a system, and making music centered and not left aligned; - Any other advice/techniques/additions/modifications we can think of. Are there any people out there that would be willing to help make this possible? Perhaps some Lilypond funding could be possible (it is, after all, a commercial undertaking), and at least it can be shown that Lilypond is ready for world usage. Christ van Willegen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beaming of 32nd notes in 3/4 time
Nick
You will need to revert the default auto-beaming rules for 3/4 time
to turn off the beaming every 8th note. You don't say what version
you are using, and there are differences in the default auto-beaming
rules. Look up revert-automatic-beam-setting in the index to the
Notation Reference. The warning just above tells you what to do.
Trevor
- Original Message -
From: nick.pa...@internode.on.net
To: lilypond-user@gnu.org
Sent: Tuesday, April 07, 2009 10:15 AM
Subject: Beaming of 32nd notes in 3/4 time
I'm trying to get automatic beaming of 32nd notes to end every
quarter note rather than every eighth note. I thought the following
should achieve it, but the beaming of 32nd notes still breaks every
eighth note:
relative c'' {
time 3/4
#(override-auto-beam-setting '(end 1 32 * *) 1 4)
#(override-auto-beam-setting '(end 1 32 * *) 2 4)
a16 a a a a a a a a a a a
a32 a a a a a a a a a a a a a a a a a a a a a a a
}
I also tried
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 2 4)
with no effect either. What is the correct command?
Nick
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Re: custom keysignature help
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 6. April 2009 schrieb James E. Bailey: I'm trying to figure out what the character in the custom key signature is, and it's not working for me. I've tried copying and pasting from the manual, but it's not working for. I get these errors: [...] Vol 1.ly:571:51: Fehler: GUILE signalisierte einen Fehler für den hier beginnenden Ausdruck \set Staff.keySignature = # `(((0 . 3) . ,SHARP) Should this really be a ` or rather a ' (i.e. a quote, not an accent)? The thing in parentheses after the # is simply a list to Scheme and thus needs to be quoted with a ', because otherwise Scheme would try to evaluate it as a function call. 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) iD8DBQFJ2ytkTqjEwhXvPN0RAoG2AKCr8qfXu+zWfCJoWzdUiMefFSpgSACfUb3a 7PhglGlJ2dqPOeH8FerMOKg= =QM/N -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Am Dienstag, 7. April 2009 schrieb Christ van Willegen: [...] at least it can be shown that Lilypond is ready for world usage. I doubt that anyone who has seen e.g. Michael Käpplers score of Telemann's Meine Schafe hören meine Stimme, available at http://icking-music-archive.org/ByComposer/Telemann.php and in particular the full score: http://icking-music-archive.org/scores/telemann/twv1_1103/MeineSchafe_Partitur.pdf can deny that Lilypond is able to produce output that is more than ready to compete with commercial scores. 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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics and aftergrace
Yes, this is exactly what I want
2009/4/7 Trevor Daniels t.dani...@treda.co.uk:
Stefan
I would not normally expect to see a separate syllable for one or both grace
notes. The syllable sung on the note following, or in your case preceding,
the grace note would be extended to cover the grace note(s) too. Is this not
what you would expect?
Trevor
- Original Message - From: Stefan Thomas
kontrapunktste...@googlemail.com
To: lilypond-user lilypond-user@gnu.org
Sent: Tuesday, April 07, 2009 7:14 AM
Subject: lyrics and aftergrace
Dear community,
I have a problem with lyrics and aftergrace.
In the following snippet, the lyrics don't align to the music as expected.
global = { \key d \major \time 6/8 }
melodie = \relative c'' { \global \afterGrace cis2.\trill{ b16 [ cis] }
d4 }
text = \lyricmode { Lied im Grund. }
\version 2.12.0
\score {
\new Voice = eins {
\autoBeamOff
\melodie
}
\new Lyrics \lyricsto eins \text
}
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Re: Real-world usage of Lilypond
Op dinsdag 07 april 2009, schreef Christ van Willegen: (...) told me that they were already looking into using Lilypond... So, here's a serious example of the usage of Lilypond in the real world. I was wondering if perhaps 'we' were able to help him, by: - Engraving songs for publishing, making them 'as good as possible'; - Extending Lilypond to (more easily?) accomodate engraving of church music. Two examples that I can think of are: Setting rests at the end of a system, and making music centered and not left aligned; - Any other advice/techniques/additions/modifications we can think of. Also: * left-aligning song lines on the lyrics, not the first note. This is possible using invisible barlines in the lyrics, it doesn't need extra commands in the music. I created already some demos showing this. * Kerning in lyric syllabes that are so close to each other that no hyphens are printed. There is sometimes still some space visible, which is not so nice. best regards, Wilbert Berendsen -- Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Beaming of 32nd notes in 3/4 time
I'm trying to get automatic beaming of 32nd notes to end every
quarter note rather than every eighth note. I thought the following
should achieve it, but the beaming of 32nd notes still breaks every
eighth note:
relative c'' {
time 3/4
#(override-auto-beam-setting '(end 1 32 * *) 1 4)
#(override-auto-beam-setting '(end 1 32 * *) 2 4)
a16 a a a a a a a a a a a
a32 a a a a a a a a a a a a a a a a a a a a a a a
}
I also tried
#(override-auto-beam-setting '(end * * * *) 1 4)
#(override-auto-beam-setting '(end * * * *) 2 4)
with no effect either. What is the correct command?
Nick
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Re: Real-world usage of Lilypond
Op dinsdag 07-04-2009 om 11:56 uur [tijdzone +0200], schreef Christ van Willegen: [cc list] - Extending Lilypond to (more easily?) accomodate engraving of church music. Two examples that I can think of are: Setting rests at the end of a system, and making music centered and not left aligned; - Any other advice/techniques/additions/modifications we can think of. I assume you have seen http://lilypond.org/doc/v2.12/input/wilhelmus.png http://lilypond.org/doc/v2.12/input/wilhelmus.ly which includes some trickery I added as an example for Ruud van Silfhout who compiled a 400-odd page songbook for the esk. 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
filling meaasures with rests automatically
Dear community, there is one feature, that I know from Sibelius and Finale, which would be great to have in Lilypond too. If You have for example just one sixteenth note in a 4/4 bar, than sibelius automatically fills the rest of the bar with rests. I think rosegarden is able to do that too, but as far as I know, it is not possible to do this within lilypond. Could it be possible to write a script for this? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Christ van Willegen 写道: - Any other advice/techniques/additions/modifications we can think of. Does Lilypond has any application on music textbook? Is is possible? I find it difficult to input single/standalone music symbols, such as crotchet or quaver. Best wishes, Wei-Wei ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to input keysignature or timesignature in \markup?
Dear Robin and all, Thanks for your reply. I'm new to Lilypond. It cost me some time to understand the snippet in your link. As I understand, the snippet is manipulating engraver by restricting their appearance. It's a similar method with \remove. If my understanding is right, I have tried the method and the result is kind of disappointing. As I said in other email, this method will left too large white border. I keep on reading Lilypond's manual those days, I still cannot find a way to input a single crotchet or quaver. I'm able be combine a note head and a flag by \concat, but the stem is a problem. It's only one example of many symbols that hard to input. Could someone give any advice? Thanks in advance! Best wishes, Wei-Wei Robin Bannister : Wei-Wei Guo wrote: I still have no idea how to input some music symbols, such as a short piece of pure staff, timesignature, keysignature, and so on. Search the snippet repository for engravers. In particular, try out the (complete) snippet in http://lsr.dsi.unimi.it/LSR/Item?id=280 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to input keysignature or timesignature in \markup?
On Tue, Apr 07, 2009 at 09:37:40PM +0800, Wei-Wei Guo wrote: Dear Robin and all, Thanks for your reply. I'm new to Lilypond. It cost me some time to understand the snippet in your link. As I understand, the snippet is manipulating engraver by restricting their appearance. It's a similar method with \remove. If my understanding is right, I have tried the method and the result is kind of disappointing. As I said in other email, this method will left too large white border. I keep on reading Lilypond's manual those days, I still cannot find a way to input a single crotchet or quaver. I'm able be combine a note head and a flag by \concat, but the stem is a problem. It's only one example of many symbols that hard to input. Could someone give any advice? Thanks in advance! How exactly are you trying to produce your learning notes? Are you using lilypond-book snippets? Are you using lilypond scores with lots of text markup blocks? If you tell us exactly what it is you're trying to do we might be able to help more, or come up with even better ways to do your task! -- Cameron Horsburgh Blog: http://spiritcry.wordpress.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to input keysignature or timesignature in \markup?
The attached tar file is my example, which is in HTML format. The example has two PNG files which are all generated by Lilypond. The first is a single G clef, which is put in the normal text. The second is a piece of music script, which has its own line. My problem is related to the first kind. Best wishes, Wei-Wei Cameron Horsburgh 写道: On Tue, Apr 07, 2009 at 09:37:40PM +0800, Wei-Wei Guo wrote: Dear Robin and all, Thanks for your reply. I'm new to Lilypond. It cost me some time to understand the snippet in your link. As I understand, the snippet is manipulating engraver by restricting their appearance. It's a similar method with \remove. If my understanding is right, I have tried the method and the result is kind of disappointing. As I said in other email, this method will left too large white border. I keep on reading Lilypond's manual those days, I still cannot find a way to input a single crotchet or quaver. I'm able be combine a note head and a flag by \concat, but the stem is a problem. It's only one example of many symbols that hard to input. Could someone give any advice? Thanks in advance! How exactly are you trying to produce your learning notes? Are you using lilypond-book snippets? Are you using lilypond scores with lots of text markup blocks? If you tell us exactly what it is you're trying to do we might be able to help more, or come up with even better ways to do your task! learning_notes_example.tgz Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: filling meaasures with rests automatically
Hi Stefan, there is one feature, that I know from Sibelius and Finale, which would be great to have in Lilypond too. If You have for example just one sixteenth note in a 4/4 bar, than sibelius automatically fills the rest of the bar with rests. I think rosegarden is able to do that too, but as far as I know, it is not possible to do this within lilypond. Could it be possible to write a script for this? This would be pretty simple with a Scheme function. You would definitely have to use bar checks on every measure, though, or else the Scheme function could not tell where you wanted the measure to end. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to input keysignature or timesignature in \markup?
You didn't really answer the question, namely exactly how you used LilyPond to generate the PNG files (the input file and the commands you used to produce the output). Please note that lilypond-book is one option to produce HTML pages with embedded LilyPond code. /Mats Wei-Wei Guo wrote: The attached tar file is my example, which is in HTML format. The example has two PNG files which are all generated by Lilypond. The first is a single G clef, which is put in the normal text. The second is a piece of music script, which has its own line. My problem is related to the first kind. Best wishes, Wei-Wei Cameron Horsburgh 写道: On Tue, Apr 07, 2009 at 09:37:40PM +0800, Wei-Wei Guo wrote: Dear Robin and all, Thanks for your reply. I'm new to Lilypond. It cost me some time to understand the snippet in your link. As I understand, the snippet is manipulating engraver by restricting their appearance. It's a similar method with \remove. If my understanding is right, I have tried the method and the result is kind of disappointing. As I said in other email, this method will left too large white border. I keep on reading Lilypond's manual those days, I still cannot find a way to input a single crotchet or quaver. I'm able be combine a note head and a flag by \concat, but the stem is a problem. It's only one example of many symbols that hard to input. Could someone give any advice? Thanks in advance! How exactly are you trying to produce your learning notes? Are you using lilypond-book snippets? Are you using lilypond scores with lots of text markup blocks? If you tell us exactly what it is you're trying to do we might be able to help more, or come up with even better ways to do your task! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Allow LilyPond to automatically handle then end of a staff with \partial
A feature I would like is to make it so that barchecks don't fail on the end of a staff started with \partial. Especially in songs, the last measure will usually be cut down by the same amount as the \partial at the beginning. Currently I have to hide the time signature and change time at the end of the staff to make it look right. Other than that Lilypond has worked wonderfully for our booklet we're making. Thanks! -tom ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: filling meaasures with rests automatically
Dear Kieren, I think it could be easy, for someone, who can handle scheme, but for me, I guess, it's too complicated. 2009/4/7 Kieren MacMillan kieren_macmil...@sympatico.ca: Hi Stefan, there is one feature, that I know from Sibelius and Finale, which would be great to have in Lilypond too. If You have for example just one sixteenth note in a 4/4 bar, than sibelius automatically fills the rest of the bar with rests. I think rosegarden is able to do that too, but as far as I know, it is not possible to do this within lilypond. Could it be possible to write a script for this? This would be pretty simple with a Scheme function. You would definitely have to use bar checks on every measure, though, or else the Scheme function could not tell where you wanted the measure to end. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to input keysignature or timesignature in \markup?
Sorry for that.
I generate the PNG files by the following command:
lilypond -dbackend=eps -dno-gs-load-fonts -dinclude-eps-fonts --png target.ly
The command is called from other software package(Sphinx). The 'target.ly' file
is
generated by inserting the content, for example \musicglyph #clefs.G, to the
following template.
\paper{
indent=0\mm
line-width=120\mm
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
}
\markup \abs-fontsize #6 {
% the content of \musicglyph #clefs.G is put here.
}
Then the generated PNG file will be linked in the HTML file automatically.
I studied lilypond-book days ago, Since it will produce its own HTML page, I
think it is hard to implement it in my application.
Hope I made it clear this time.
Wei-Wei
Mats Bengtsson 写道:
You didn't really answer the question, namely exactly how you used
LilyPond to generate the PNG files (the input file and the commands you
used to produce the output).
Please note that lilypond-book is one option to produce HTML pages with
embedded LilyPond code.
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Re: Allow LilyPond to automatically handle then end of a staff with \partial
Why would you insert a bar check at a place where you know that the measure isn't finished? Bar checks are only intended to help you make sure that LilyPond thinks that the measure is finished at the same place as you think it is. If you want an ending bar line, just use \bar |. (or whatever bar type you wish) but not a bar check. /Mats Tom Dickson wrote: A feature I would like is to make it so that barchecks don't fail on the end of a staff started with \partial. Especially in songs, the last measure will usually be cut down by the same amount as the \partial at the beginning. Currently I have to hide the time signature and change time at the end of the staff to make it look right. Other than that Lilypond has worked wonderfully for our booklet we're making. Thanks! -tom ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Allow LilyPond to automatically handle then end of a staff with \partial
I use it to verify I didn't make a mistake in the last measure, especially when I have multiple voices in a single staff. -tom On Tue, Apr 7, 2009 at 8:27 AM, Mats Bengtsson mats.bengts...@ee.kth.sewrote: Why would you insert a bar check at a place where you know that the measure isn't finished? Bar checks are only intended to help you make sure that LilyPond thinks that the measure is finished at the same place as you think it is. If you want an ending bar line, just use \bar |. (or whatever bar type you wish) but not a bar check. /Mats Tom Dickson wrote: A feature I would like is to make it so that barchecks don't fail on the end of a staff started with \partial. Especially in songs, the last measure will usually be cut down by the same amount as the \partial at the beginning. Currently I have to hide the time signature and change time at the end of the staff to make it look right. Other than that Lilypond has worked wonderfully for our booklet we're making. Thanks! -tom ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%7Emabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: custom keysignature help
Am 07.04.2009 um 13:31 schrieb Mats Bengtsson: Reinhold Kainhofer wrote: -BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Montag, 6. April 2009 schrieb James E. Bailey: I'm trying to figure out what the character in the custom key signature is, and it's not working for me. I've tried copying and pasting from the manual, but it's not working for. I get these errors: [...] Vol 1.ly:571:51: Fehler: GUILE signalisierte einen Fehler für den hier beginnenden Ausdruck \set Staff.keySignature = # `(((0 . 3) . ,SHARP) Should this really be a ` or rather a ' (i.e. a quote, not an accent)? The thing in parentheses after the # is simply a list to Scheme and thus needs to be quoted with a ', because otherwise Scheme would try to evaluate it as a function call. No, it's a back quote. See for example http://everything2.com/? node_id=606663 for a short explanation. /Mats Is the character ‘? I was able to get it to work by copying/pasting from a normal web browser (firefox) into the lilypond.app application, but my normal method of copying from links directly into emacs/nano in my terminal didn't work (although usually copying utf-8 characters does work, and regardless, I can enter them there). James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Allow LilyPond to automatically handle then end of a staff with \partial
Tom Dickson wrote:
I use it to verify I didn't make a mistake in the last measure,
especially when I have multiple voices in a single staff.
??? If you know that the last measure is incomplete, it's obvious that
you will get a bar check error if you insert a bar check there. If you
really want to verify that the last measure is exactly 7/8 long (for
example), you could explicitly set the measure length manually for that
measure:
\relative c'{\partial 8 c8 |
c4 d e f |
\set Timing.measureLength = #(ly:make-moment 7 8) d2 c4. | \bar |.
}
/Mats
-tom
On Tue, Apr 7, 2009 at 8:27 AM, Mats Bengtsson
mats.bengts...@ee.kth.se mailto:mats.bengts...@ee.kth.se wrote:
Why would you insert a bar check at a place where you know that
the measure isn't finished?
Bar checks are only intended to help you make sure that LilyPond
thinks that the measure is
finished at the same place as you think it is.
If you want an ending bar line, just use \bar |. (or whatever
bar type you wish) but not a bar check.
/Mats
Tom Dickson wrote:
A feature I would like is to make it so that barchecks don't
fail on the end of a staff started with \partial. Especially
in songs, the last measure will usually be cut down by the
same amount as the \partial at the beginning. Currently I have
to hide the time signature and change time at the end of the
staff to make it look right.
Other than that Lilypond has worked wonderfully for our
booklet we're making. Thanks!
-tom
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=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
mailto:mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%7Emabe
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Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe
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Re: Allow LilyPond to automatically handle then end of a staff with \partial
That's basically what I do, but using \time. With your example I use:
\relative c'{\partial 8 c8 |
c4 d e f |
\override Staff.TimeSignature #'stencil = ##f \time 7/8 d2 c4. \bar |. |
}
Since I'm combining Soprano and Alto voices into one staff, this allows me
to put all the timing information in the Soprano voice and have the Alto
voice inherit it.
-tom
On Tue, Apr 7, 2009 at 8:58 AM, Mats Bengtsson mats.bengts...@ee.kth.sewrote:
Tom Dickson wrote:
I use it to verify I didn't make a mistake in the last measure, especially
when I have multiple voices in a single staff.
??? If you know that the last measure is incomplete, it's obvious that you
will get a bar check error if you insert a bar check there. If you really
want to verify that the last measure is exactly 7/8 long (for example), you
could explicitly set the measure length manually for that measure:
\relative c'{\partial 8 c8 |
c4 d e f |
\set Timing.measureLength = #(ly:make-moment 7 8) d2 c4. | \bar |.
}
/Mats
-tom
On Tue, Apr 7, 2009 at 8:27 AM, Mats Bengtsson
mats.bengts...@ee.kth.semailto:
mats.bengts...@ee.kth.se wrote:
Why would you insert a bar check at a place where you know that
the measure isn't finished?
Bar checks are only intended to help you make sure that LilyPond
thinks that the measure is
finished at the same place as you think it is.
If you want an ending bar line, just use \bar |. (or whatever
bar type you wish) but not a bar check.
/Mats
Tom Dickson wrote:
A feature I would like is to make it so that barchecks don't
fail on the end of a staff started with \partial. Especially
in songs, the last measure will usually be cut down by the
same amount as the \partial at the beginning. Currently I have
to hide the time signature and change time at the end of the
staff to make it look right.
Other than that Lilypond has worked wonderfully for our
booklet we're making. Thanks!
-tom
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--=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 Fax:
(+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
mailto:mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%7Emabe
http://www.s3.kth.se/%7Emabe
=
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Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%7Emabe
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Re: Repeating subtltle with bookparts
Le 7 avr. 09 à 00:57, Nick Payne a écrit : Is it intended that a title or subtitle in the main header should be repeated in each bookpart that doesn't redefine the title or subtitle, because that's what I see [...] Main Subtitle appears in each bookpart. If I change each bookpart to use subtitle instead of title, then Main Title appears in each part. There might be a bug there. In the mean time, your problem is trivially solved by putting the first \header block in its own bookpart (and you get rid off the following \markup \null at the same time). nicolas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Jan, list, On Tue, Apr 7, 2009 at 2:42 PM, Jan Nieuwenhuizen jann...@gnu.org wrote: Op dinsdag 07-04-2009 om 11:56 uur [tijdzone +0200], schreef Christ van Willegen: - Extending Lilypond to (more easily?) accomodate engraving of church music. Two examples that I can think of are: Setting rests at the end of a system, and making music centered and not left aligned; - Any other advice/techniques/additions/modifications we can think of. I assume you have seen http://lilypond.org/doc/v2.12/input/wilhelmus.png http://lilypond.org/doc/v2.12/input/wilhelmus.ly which includes some trickery I added as an example for Ruud van Silfhout who compiled a 400-odd page songbook for the esk. I haven't seen those, yet, (but I will). I recently ran into Ruud, not knowing that I already 'knew' him via the list. I recall hearing that he engraved a lot of music for ESK (Eindhovense Studenten Kerk, or EIndhoven Student Church for those not familiar with the Dutch language). Anyway, There seem to be 'plenty' of ideas. If it would be possible to engrave 'most' church music _without_ trickery, then you'd have something :-) Christ van Willegen -- 09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real World Usage
Hi All, I am a composer who is using Lilypond exclusively. I have used it for a choir and piano piece, flute and piano sonatas, piano pieces, numerous chamber works, and a full three movement trumpet concerto. It already is real world usage. I don't get the topic. Do you mean compete with Finale? If you do, I think you are foolish. Leave Lilypond the way it is, with no gui-ed up shlock. Craig Bakalian 560 Keswick Drive Yardley, PA 19067 215-428-0856 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Allow LilyPond to automatically handle then end of a staff with \partial
Trevor Daniels wrote: I see what you're suggesting now - you'd like the bar check on the final bar automatically to take the initial \partial into account, if there was one, by adding the length of first and last bars together, right? It would be nice feature. Bet Sibelius and Finale don't do that! Let's first fix the related problems that LilyPond has with repeats. It's a much more serious issue. Honestly, if you have used the bar checks in LilyPond to automatically check all but the last measure, then it's very simple to manually check the last measure. /Mats -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: mats.bengts...@ee.kth.se WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Allow LilyPond to automatically handle then end of a staff with \partial
On Tue, Apr 7, 2009 at 1:10 PM, Mats Bengtsson mats.bengts...@ee.kth.sewrote: Trevor Daniels wrote: I see what you're suggesting now - you'd like the bar check on the final bar automatically to take the initial \partial into account, if there was one, by adding the length of first and last bars together, right? It would be nice feature. Bet Sibelius and Finale don't do that! Let's first fix the related problems that LilyPond has with repeats. It's a much more serious issue. Honestly, if you have used the bar checks in LilyPond to automatically check all but the last measure, then it's very simple to manually check the last measure. /Mats Agreed. It was a comment that a former Finale user had passed on to me - but she's converted fully to Lilypond and isn't bothered by it anymore. -tom ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
Snippet? Definitely! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Allow LilyPond to automatically handle then end of a staff with \partial
What an interesting suggestion. What about \partial in the middle of
a piece?
Am 07.04.2009 um 18:33 schrieb Trevor Daniels:
I see what you're suggesting now - you'd like the bar check on the
final bar automatically to take the initial \partial into account,
if there was one, by adding the length of first and last bars
together, right? It would be nice feature. Bet Sibelius and
Finale don't do that!
Trevor
- Original Message - From: Tom Dickson bomb...@bombcar.com
To: Mats Bengtsson mats.bengts...@ee.kth.se
Cc: lilypond-user@gnu.org
Sent: Tuesday, April 07, 2009 5:04 PM
Subject: Re: Allow LilyPond to automatically handle then end of a
staff with \partial
That's basically what I do, but using \time. With your example I use:
\relative c'{\partial 8 c8 |
c4 d e f |
\override Staff.TimeSignature #'stencil = ##f \time 7/8 d2 c4.
\bar |. |
}
Since I'm combining Soprano and Alto voices into one staff, this
allows me
to put all the timing information in the Soprano voice and have
the Alto
voice inherit it.
-tom
On Tue, Apr 7, 2009 at 8:58 AM, Mats Bengtsson
mats.bengts...@ee.kth.sewrote:
Tom Dickson wrote:
I use it to verify I didn't make a mistake in the last measure,
especially
when I have multiple voices in a single staff.
??? If you know that the last measure is incomplete, it's obvious
that you
will get a bar check error if you insert a bar check there. If
you really
want to verify that the last measure is exactly 7/8 long (for
example), you
could explicitly set the measure length manually for that measure:
\relative c'{\partial 8 c8 |
c4 d e f |
\set Timing.measureLength = #(ly:make-moment 7 8) d2 c4. | \bar
|.
}
/Mats
-tom
On Tue, Apr 7, 2009 at 8:27 AM, Mats Bengtsson
mats.bengts...@ee.kth.semailto:
mats.bengts...@ee.kth.se wrote:
Why would you insert a bar check at a place where you know that
the measure isn't finished?
Bar checks are only intended to help you make sure that LilyPond
thinks that the measure is
finished at the same place as you think it is.
If you want an ending bar line, just use \bar |. (or whatever
bar type you wish) but not a bar check.
/Mats
Tom Dickson wrote:
A feature I would like is to make it so that barchecks don't
fail on the end of a staff started with \partial. Especially
in songs, the last measure will usually be cut down by the
same amount as the \partial at the beginning. Currently I
have
to hide the time signature and change time at the end of the
staff to make it look right.
Other than that Lilypond has worked wonderfully for our
booklet we're making. Thanks!
-tom
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--=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 Fax:
(+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
mailto:mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%
7Emabe
http://www.s3.kth.se/%7Emabe
=
---
-
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--
=
Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: mats.bengts...@ee.kth.se
WWW: http://www.s3.kth.se/~mabe http://www.s3.kth.se/%
7Emabe
=
--
--
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James E. Bailey
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Re: Allow LilyPond to automatically handle then end of a staff with \partial
On Tue, Apr 7, 2009 at 1:33 PM, James E. Bailey derhindem...@googlemail.com wrote: What an interesting suggestion. What about \partial in the middle of a piece? I would suggest an \endPartial command or similar that tells LilyPond to check the partial that began it. Perhaps it's too detailed. -tom ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
2009/4/7 Kieren MacMillan kieren_macmil...@sympatico.ca: Snippet? Definitely! Kieren. This will make an excellent snippet if it's amended slightly. :) I hope Mark didn't spend too long working out the stencil overrides, as there's already the public function stencil-whiteout (used for the markup command \whiteout) which will do the job in one fell swoop: \override Staff.Clef #'stencil = #(lambda (grob) (stencil-whiteout (ly:clef::print grob))) \override Staff.TimeSignature #'stencil = #(lambda (grob) (stencil-whiteout (ly:time-signature::print grob))) Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics and aftergrace
2009/4/7 Stefan Thomas kontrapunktste...@googlemail.com:
Yes, this is exactly what I want
I think you'll have to fake the grace notes in this situation. You
probably won't get them to look perfectly grace-like, due to spacing
constraints and the action of the lyrics, though you might be able to
tweak them slightly by override SpacingSpanner.
startGrace = {
\override Stem #'direction = #UP
\override Stem #'font-size = #-3
\override NoteHead #'font-size = #-3
\override Dots #'font-size = #-3
\override Stem #'length-fraction = #0.8
\override Stem #'no-stem-extend = ##t
\override Beam #'thickness = #0.384
\override Beam #'length-fraction = #0.8
\override Accidental #'font-size = #-4
\override Slur #'direction = #DOWN
}
stopGrace = {
\revert Stem #'direction
\revert Stem #'font-size
\revert NoteHead #'font-size
\revert Dots #'font-size
\revert Stem #'length-fraction
\revert Stem #'no-stem-extend
\revert Beam #'thickness
\revert Beam #'length-fraction
\revert Accidental #'font-size
\revert Slur #'direction
}
graceNotes =
#(define-music-function (parser location music) (ly:music?)
#{
\startGrace
$music
\stopGrace
#})
melodie = \relative c'' {
\global cis2.*47/48\trill \graceNotes { b16*1/8 [ cis] } | d4
}
Regards,
Neil
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Re: LilyPond, Finale and Sibelius
#(define-public (default-repetition-function previous-chord new-chord) ... build a music expression...) #(ly:parser-repetition-name parser ) #(ly:parser-repetition-function parser default-repetition-function) Nice idea! Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
Neil, I hope Mark didn't spend too long working out the stencil overrides, as there's already the public function stencil-whiteout (used for the markup command \whiteout) which will do the job in one fell swoop: \override Staff.Clef #'stencil = #(lambda (grob) (stencil-whiteout (ly:clef::print grob))) \override Staff.TimeSignature #'stencil = #(lambda (grob) (stencil-whiteout (ly:time-signature::print grob))) As the kids nowadays say... OMG! =) Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
Neil Puttock wrote: I hope Mark didn't spend too long working out the stencil overrides, as there's already the public function stencil-whiteout (used for the markup command \whiteout) which will do the job in one fell swoop... Neil, don't worry about my time! :} It seems my programming style is reinventing the wheel but sometimes I think that's a good way to learn. By the way, one benefit of my approach is that you can select a padding so you can whiteout extra space around the objects, but I suspect there's a trivial solution to that as well? If so, let us know! Regarding snippet candidacy, I was thinking it would be better to allow the padding to be modified on-the-fly, but it's not a big priority. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Slur below note affects fingering location above note
Is this a bug or not? The fingering indications for C and D don't sit just
above the noteheads as they do for the other notes. If I remove the slur
between those two notes, then the fingering is positioned at the desired
location. Why should a slur positioned below the notes affect the location
of the fingering above the notes?
\version 2.12.2
\relative c'' {
\override Fingering #'staff-padding = #'()
\set fingeringOrientations = #'(up)
e-016[ c,-232( d-4) e-116 g-0]
}
Nick
attachment: slur.pngattachment: noslur.png___
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Re: default midi velocity
On Mon, Apr 06, 2009 at 09:50:17AM +0200, Martin Tarenskeen wrote: Patch attached for those who want to try. I was wondering what the experts think of my suggested patches to change Lilypond's MID output behaviour: Current: default MIDI Note On velocity value of 127 Proposed: default MIDI Note On velocity value of 90 Current: default MIDI Note Off velocity value of 64 Proposed: MIDI Note On message with velocity=0 used as (pseudo-) Note Off message. This is the normal method in the MIDI world. (My patch was attached to my previous posting in this thead.) -- Martin Tarenskeen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur below note affects fingering location above note
2009/4/7 Nick Payne njpa...@internode.on.net: Is this a bug or not? The fingering indications for C and D don't sit just above the noteheads as they do for the other notes. If I remove the slur between those two notes, then the fingering is positioned at the desired location. Why should a slur positioned below the notes affect the location of the fingering above the notes? Just a hunch, but I think this might have something to do with 'avoid-slur being cleared automatically for fingerings inside chords (which is normally a good thing). You can fix it by temporarily setting 'avoid-slur: \override Fingering #'avoid-slur = #'inside Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: default midi velocity
2009/4/7 Martin Tarenskeen m.tarensk...@zonnet.nl:
On Mon, Apr 06, 2009 at 09:50:17AM +0200, Martin Tarenskeen wrote:
Patch attached for those who want to try.
I was wondering what the experts think of my suggested patches to
change Lilypond's MID output behaviour:
Current: default MIDI Note On velocity value of 127
Proposed: default MIDI Note On velocity value of 90
Current: default MIDI Note Off velocity value of 64
Proposed: MIDI Note On message with velocity=0 used as (pseudo-) Note
Off message. This is the normal method in the MIDI world.
I'm no midi expert, but your changes look (and sound) fine to me.
Some suggestions for your patch:
+ // dynamic_byte_ = 0x7f;
You can remove this.
@@ -229,13 +230,14 @@
// 0 should definitely be avoided, notes stick on some sound cards.
// 64 is supposed to be neutral
These comments should also be removed.
+ // proposed patch: use note_on with velocity=0 instead of note_off
Remove `proposed patch:'
string
Midi_note_off::to_string () const
{
- Byte status_byte = (char) (0x80 + channel_);
+ Byte status_byte = (char) (0x90 + channel_); //use note_on velocity=0
I don't think a comment's necessary here if it's mentioned above.
Do you have git installed? It would be preferable to have a patch
created with git format-patch.
Regards,
Neil
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Re: shift lyrics closer to staff
Marek Klein wrote:
I tried it using the commented line, but it didn't work
You can make the cantus more approachable.
Adjust the -2 to taste.
\include gregorian.ly
\score {
\new VaticanaVoice = cantus {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 4)
\[ c'\melisma c' \flexa a \]
...
Cheers,
Robin
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Re: TimeSignature with white border?
2009/4/7 Mark Polesky markpole...@yahoo.com: Neil, don't worry about my time! :} It seems my programming style is reinventing the wheel but sometimes I think that's a good way to learn. Indeed, I've done a lot of that myself. :) By the way, one benefit of my approach is that you can select a padding so you can whiteout extra space around the objects, but I suspect there's a trivial solution to that as well? If so, let us know! That's a definite advantage; stencil-whiteout doesn't give you that option, but it could easily be copied into a file and tweaked slightly. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Slur below note affects fingering location above note
Thanks, that fixes the problem. Nick -Original Message- From: lilypond-user-bounces+nick.payne=internode.on@gnu.org [mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] On Behalf Of Neil Puttock Sent: Wednesday, 8 April 2009 08:49 To: Nick Payne Cc: lilypond-user@gnu.org Subject: Re: Slur below note affects fingering location above note 2009/4/7 Nick Payne njpa...@internode.on.net: Is this a bug or not? The fingering indications for C and D don't sit just above the noteheads as they do for the other notes. If I remove the slur between those two notes, then the fingering is positioned at the desired location. Why should a slur positioned below the notes affect the location of the fingering above the notes? Just a hunch, but I think this might have something to do with 'avoid-slur being cleared automatically for fingerings inside chords (which is normally a good thing). You can fix it by temporarily setting 'avoid-slur: \override Fingering #'avoid-slur = #'inside Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.0.238 / Virus Database: 270.11.46/2046 - Release Date: 04/07/09 17:53:00 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Wei-Wei Guo wrote: Christ van Willegen 写道: - Any other advice/techniques/additions/modifications we can think of. Does Lilypond has any application on music textbook? Is is possible? I find it difficult to input single/standalone music symbols, such as crotchet or quaver. Have you seen ooolilypond? http://ooolilypond.sourceforge.net/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real World Usage
craigbakalian wrote: Hi All, I am a composer who is using Lilypond exclusively. I have used it for a choir and piano piece, flute and piano sonatas, piano pieces, numerous chamber works, and a full three movement trumpet concerto. It already is real world usage. It's great that composers like you are comfortable with Lily! It's also true that there are composers who will not use Lily because of her complexity and geekiness. I have met more than one. It's also true that some aspects of LilyPond have gotten much simpler over the several years that I have used it. I don't get the topic. Do you mean compete with Finale? If you do, I think you are foolish. Leave Lilypond the way it is, with no gui-ed up shlock. We are close to having the best both worlds. Just as we have Unix/LInux which doesn't absolutely need X Windows we have Lily and we have tools like JEdit and LilyPondTool and others and conversion tools which allow people who are not comfortable with Lily as she is. I totally agree that Lily should not have any GUI features and I don't think that many who maintain and improve her would want that either. OTOH if tools like JEdit, etc. could develop into a full GUI for those who need that a lot more people would be served and it would certainly compete with Finale. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
M Watts 写道: Wei-Wei Guo wrote: Christ van Willegen 写道: - Any other advice/techniques/additions/modifications we can think of. Does Lilypond has any application on music textbook? Is is possible? I find it difficult to input single/standalone music symbols, such as crotchet or quaver. Have you seen ooolilypond? http://ooolilypond.sourceforge.net/ Writing in OOo doesn't mean writing textbook. The textbook I refer is that basic elements of a music script will be explained, such as explaining what a quaver is in text line. Wei-Wei ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
On Tue, Apr 7, 2009 at 8:26 PM, Wei-Wei Guo wwgu...@gmail.com wrote: M Watts 写道: Wei-Wei Guo wrote: Christ van Willegen 写道: - Any other advice/techniques/additions/modifications we can think of. Does Lilypond has any application on music textbook? Is is possible? I find it difficult to input single/standalone music symbols, such as crotchet or quaver. Have you seen ooolilypond? http://ooolilypond.sourceforge.net/ Writing in OOo doesn't mean writing textbook. The textbook I refer is that basic elements of a music script will be explained, such as explaining what a quaver is in text line. Do you mean including musical symbols in the body text? You may be interested in http://www.mu.qub.ac.uk/tomita/bachfont/ Andrew ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Hi Wei-Wei Guo,
explaining what a quaver is in text line.
\markup { A quaver looks like \fontsize #-2 \general-align #Y
#DOWN \note #8 #1 }
Hope this helps!
Kieren.
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Re: shift lyrics closer to staff
Many thanks!
--
Marek Klein
http://gregoriana.sk
2009/4/8 Robin Bannister r...@dataway.ch
Marek Klein wrote:
I tried it using the commented line, but it didn't work
You can make the cantus more approachable. Adjust the -2 to taste.
\include gregorian.ly
\score {
\new VaticanaVoice = cantus {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 4)
\[ c'\melisma c' \flexa a \]
...
Cheers,
Robin
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Re: lyrics and aftergrace
Dear Neil,
thanks! I'm now able to do what I wanted!
2009/4/7 Neil Puttock n.putt...@gmail.com:
2009/4/7 Stefan Thomas kontrapunktste...@googlemail.com:
Yes, this is exactly what I want
I think you'll have to fake the grace notes in this situation. You
probably won't get them to look perfectly grace-like, due to spacing
constraints and the action of the lyrics, though you might be able to
tweak them slightly by override SpacingSpanner.
startGrace = {
\override Stem #'direction = #UP
\override Stem #'font-size = #-3
\override NoteHead #'font-size = #-3
\override Dots #'font-size = #-3
\override Stem #'length-fraction = #0.8
\override Stem #'no-stem-extend = ##t
\override Beam #'thickness = #0.384
\override Beam #'length-fraction = #0.8
\override Accidental #'font-size = #-4
\override Slur #'direction = #DOWN
}
stopGrace = {
\revert Stem #'direction
\revert Stem #'font-size
\revert NoteHead #'font-size
\revert Dots #'font-size
\revert Stem #'length-fraction
\revert Stem #'no-stem-extend
\revert Beam #'thickness
\revert Beam #'length-fraction
\revert Accidental #'font-size
\revert Slur #'direction
}
graceNotes =
#(define-music-function (parser location music) (ly:music?)
#{
\startGrace
$music
\stopGrace
#})
melodie = \relative c'' {
\global cis2.*47/48\trill \graceNotes { b16*1/8 [ cis] } | d4
}
Regards,
Neil
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Re: Left/right noteheads in chord containing second
Nick,
Here's a rather awkward solution. How often would
you need this? And just out of curiosity, why?
I guess I would use something like this if I were
making a circle the correct notation exercise in
a textbook or something. Anyway, the solution I
have here would be a pain if you needed to do it
repeatedly. If there's a pattern to your stem-side-
switching noteheads, it might be easier to automate
with a macro. So let us know if there's a general
functionality. Would you want to switch all seconds
(easier to implement) or be able to select which
seconds to switch (harder to implement)?
Hope this helps.
- Mark
\version 2.13.0
{
d' e' gis'
\once \override Stem #'length = #7.8
\once \override Stem #'Y-offset = #-0.4
\tweak #'X-offset #1.19 d' \tweak #'X-offset #-1.25 e' gis'
}
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