Re: hiding portions of slurs/ties around specific objects
On Thu, Apr 09, 2009 at 10:22:57PM -0700, Mark Polesky wrote: Perhaps it was a coincidence that both Kieren and Maestraccio requested slur-hiding solutions recently: http://lists.gnu.org/archive/html/bug-lilypond/2009-03/msg00106.html http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00153.html I tried to solve both individually, but then realized that a generic solution was best, so here it is. The name is not very poetic though. Thanks, Neil and Patrick, for your coding help and suggestions. You're welcome. Questions and comments are welcome. If anyone wants to add it to the LSR, that's fine by me. Change the function name too, if you want, I couldn't think of anything better. Very awesome! It's definitely LSR worthy. I was just trying to figure out a way to capture the right 'stencil entry, but you were far ahead of me. -Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding portions of slurs/ties around specific objects
Questions and comments are welcome. If anyone wants to add it to the LSR, that's fine by me. Change the function name too, if you want, I couldn't think of anything better. Very awesome! It's definitely LSR worthy. +1 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: move lyrics closer
Eluze There's a paragraph in section 5.5.1 which may (nor may not!) help. It says: All graphical objects have a reference point, a horizontal extent and a vertical extent. The horizontal extent is a pair of numbers giving the displacements from the reference point of the left and right edges, displacements to the left being negative. The vertical extent is a pair of numbers giving the displacement from the reference point to the bottom and top edges, displacements down being negative. Trevor - Original Message - From: -Eluze elu...@gmail.com To: lilypond-user@gnu.org Sent: Friday, April 10, 2009 12:09 AM Subject: Re: move lyrics closer in http://lilypond.org/doc/v2.12/Documentation/user/lilypond-big-page.html#Vertical%20spacing%20inside%20a%20system you can read: Normally staves are stacked vertically. To make staves maintain a distance, their vertical size is padded. This is done with the property minimum-Y-extent. When applied to a Section “VerticalAxisGroup” in Internals Reference, it controls the size of a horizontal line, such as a staff or a line of lyrics. minimum-Y-extent takes a pair of numbers, so if you want to make it smaller than its default #'(-4 . 4) then you could set \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3) This sets the vertical size of the current staff to 3 staff spaces on either side of the center staff line. The value (-3 . 3) is interpreted as an interval, where the center line is the 0, so the first number is generally negative. The numbers need not match; for example, the staff can be made larger at the bottom by setting it to (-6 . 4). when i read this i was rather confused: - *it controls the size of a horizontal line* - i thought the topic was *vertical lines*! - *minimum-Y-extent takes a pair of numbers* - of course, but what does the 1st number stand for and whatfor is the 2nd? - *The value (-3 . 3) is interpreted as an interval, where the center line is the 0, so the first number is generally negative.* - yes, but why!? or is that a general rule?! - *the staff can be made larger at the bottom by setting it to (-6 . 4)* - because usually it is negative: if i choose a smaller number (-6) it gets larger! sorry if this sounds dismal, but after reading this i really did not know how to use the numbers! -- View this message in context: http://www.nabble.com/move-lyrics-closer-tp22964622p22980674.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 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: General settings in ext file
As an example - the preferences file here colors noteheads red. The \layout blocks cascade, so even though the \layout block in the preferences file is outside of the \score blocks, it still works as if it were inside of them. Exactly what I need to know, in your example, Mark. Very useful and interestingTHANK you (and Lilypond) _ Le più cercate della settimana? http://clk.atdmt.com/GBL/go/140630368/direct/01/___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to chop a slur over a rest in a 1. volta repeat
Mark Polesky wrote: Here's another solution. The only issue is that I don't know how to configure it so that you can modify extra-x-padding and extra-y-padding on-the-fly. Anyone? moved to new thread: http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00383.html ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature with white border?
Mark Polesky wrote: 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. moved to new thread: http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00383.html ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LaissezVibrer tie on single note of chord
Nick Payne wrote:
the laissezVibrer tie specified in the bass voice also appears
on the two simultaneous notes in the treble voice.
This is because of the names you gave your voices.
They happen to be the same as those automatically chosen by
the { } \\ { } construct.
So at this point the voice named 1 gets not only
- cis' a''8.from the treble, but also
- a8. from the bass,
and it combines these to a chord with three notes.
The \laissezVibrer requested for that moment in voice 1
is applied to (all) the notes occurring in voice 1.
If you rename the treble voice, this bass note is left uncombined
and you can see it no longer shares a stem with the treble notes.
Cheers,
Robin
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Re: guitar tab feature request
Marc Hohl wrote: Carl D. Sorensen schrieb: On 3/23/09 5:02 AM, Marc Hohl m...@hohlart.de wrote: I assume that this will happen when tablature is updated. As far as I know, nobody is yet planning to do the work on tablature. They are only planning to put in the requests. I'd be happy to have a Frog (even a new Frog, like you, Marc, if you're interested or willing) take responsibility for tablature. I'd give any advice that I could, and you'd have access to help from the lilypond-devel list for those things that are beyond me. Hm, I think if everyone waits until someone else is doing the job, we'll have to be patient :-) Can you explain to me what a Frog is (and what he has to do)? I don't know much about scheme and the lilypond internals (yet?), but I am willing to spend some time in bringing this project further on, because the lack of specific tablature features is the main reason for me not using lilypond for every piece of music I write down. Frogs are LilyPond programmers in training. The name comes from creatures who live in the pond and hunt bugs. :-) You can read more about Frogs by searching the lilypond-devel mailing list for Frog: http://search.gmane.org/search.php?group=gmane.comp.gnu.lilypond.develquer y=Frog You can also see some Frog instructions by searching the archives of the fr...@lilynet.net mailing list: http://listengine.tuxfamily.org/lilynet.net/frogs/2009/01/threads.html Specific instructions for contributing to LilyPond are found in the new Contributors' Guide of the documentation: http://lilypond.org/doc/v2.12/Documentation/devel/index HTH, Carl So I am not going to be painted green and got balloon-like cheeks? Great. I will give it a try. Marc Hi guys, Some progress on the tablature side of Lilypond? I'm looking forward to it ;) Have an nice weekend. \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Feat. request: autobehaviour of \unfoldRepeats
Hello, I wonder why I (and, as I can imagine, 99% of users out there) have always to put \unfoldRepeats in a different \score block just for correct MIDI output, thus having to put in a variable all the \score content and use it in both \score blocks. It's not -till now - a problem for me, but I feel it like a complication (and thus, a potential danger) and I can't figure out why this should not be the default MIDI behaviour, so that only if you don't want this you'll have to put some code tweak. Is there some technical problem? Any other reason not to change this behaviour? If so, is there a manner to include this behaviour in a external GenSetting.ly file in order to include it and having a single \score file behave like this? thanks Piero - Piero Faustini, PhD student Dipartimento di Scienze Storiche Sezione musicologia Università di Ferrara Main Software used: - LyX 1.6.1 on WinXP sp3; EndNote JabRef - MikTex - LaTeX class: Koma book - Lilypond 2.12 for example excerpts - BibLaTeX for bibliographies -- View this message in context: http://www.nabble.com/Feat.-request%3A-autobehaviour-of-%5CunfoldRepeats-tp22985125p22985125.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: Feat. request: autobehaviour of \unfoldRepeats
On Fri, Apr 10, 2009 at 01:57:12AM -0700, MonAmiPierrot wrote: I wonder why I (and, as I can imagine, 99% of users out there) have always to put \unfoldRepeats in a different \score block just for correct MIDI output, thus having to put in a variable all the \score content and use it in both \score blocks. I *never* put \unfoldRepeats. If you want real music, listen to musicians. If you want to check your typesetting, repeats just waste your time. Fortunately, there's a simple way for both of us to be happy: the status pro. Cheers, - Garham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
On Fri, Apr 10, 2009 at 05:25:01PM +0800, Graham Percival wrote: Fortunately, there's a simple way for both of us to be happy: the status pro. *facepalms* I cannot believe I just wrote that. In dubio prosecco. Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
On Fri, Apr 10, 2009 at 05:25:01PM +0800, Graham Percival wrote: Fortunately, there's a simple way for both of us to be happy: the status pro. *facepalms* I cannot believe I just wrote that. Cheers, - Graham I'm a writer! Percival ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
Graham Percival-3 wrote: I *never* put \unfoldRepeats. If you want real music, listen to musicians. Uhm... so, why don't we abolish \midi output? I undestand what you said. It's because you mostly use \repeat for just \repeats volta, which I can understand is THE most used \repeat usage (so, I apologize for the 99% of users). For me, I only use \repeat percent and most of all \repeat tremolo. In both cases, audio output is important. At least for tremolos, you'll perfectly agree that there's no point in not playing it by midi (midi only play the note(s) that represent the length of tremolo, not the notes of which trmolo actually consists: it doesn't make sense, for me) I transcribe a lot of 19th century opera orch and piano scores and in some operas there's almost no page without tremolos. I would like to listen how it sounds, even with MIDI. Unless, of course, you come in my studio with a bunch of singers and a not-above-average late 19th century orchestra, direct them (and occasionally play piano) when I need. Just when I need, of course, you'll have plenty of spare time! ;) bye H. P.S. Perhaps, the \unfoldRepeats behaviour should be the default behaviour in case of \repeat percent/tremolo, and not for \repeat volta (or additionally in voltas also in case of different alternative endings). I would like to know your (and all) opinions. - Piero Faustini, PhD student Dipartimento di Scienze Storiche Sezione musicologia Università di Ferrara Main Software used: - LyX 1.6.1 on WinXP sp3; EndNote JabRef - MikTex - LaTeX class: Koma book - Lilypond 2.12 for example excerpts - BibLaTeX for bibliographies -- View this message in context: http://www.nabble.com/Feat.-request%3A-autobehaviour-of-%5CunfoldRepeats-tp22985125p22985879.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
\autochange for more than 1 voice?
Hello, I tried without success writing piano music in which 2 different voices (e.g. simply left and right hand) change staff automatically. I don't know if \autochange is the right tool. If there's no manner to achieve this, can I manually change staff in a voice? In other words: how can I logically separate left/right hands from upper and lower staff? Hope it's clear, actually it is a very obvious need and perhaps you always achieved it without even thinking. Thanks - Piero Faustini, PhD student Dipartimento di Scienze Storiche Sezione musicologia Università di Ferrara Main Software used: - LyX 1.6.1 on WinXP sp3; EndNote JabRef - MikTex - LaTeX class: Koma book - Lilypond 2.12 for example excerpts - BibLaTeX for bibliographies -- View this message in context: http://www.nabble.com/%5Cautochange-for-more-than-1-voice--tp22986209p22986209.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: Feat. request: autobehaviour of \unfoldRepeats
On Fri, Apr 10, 2009 at 03:08:32AM -0700, MonAmiPierrot wrote: Graham Percival-3 wrote: I *never* put \unfoldRepeats. If you want real music, listen to musicians. Uhm... so, why don't we abolish \midi output? Because you cut out the relevant part of the quote. \midi is useful for checking that you've entered the notes correctly. If you skipped over a note or something, the clashing chords will be *really* noticeable. For me, I only use \repeat percent and most of all \repeat tremolo. In both cases, audio output is important. At least for tremolos, you'll perfectly agree that there's no point in not playing it by midi (midi only play the note(s) that represent the length of tremolo, not the notes of which trmolo actually consists: it doesn't make sense, for me) Ah, I didn't realize that. Yes, it would be nice if midi played the real notes. If that isn't already in the google tracker, it should be added. P.S. Perhaps, the \unfoldRepeats behaviour should be the default behaviour in case of \repeat percent/tremolo, and not for \repeat volta (or additionally in voltas also in case of different alternative endings). I would like to know your (and all) opinions. I could get behind that. Of course, there won't be any action on any of these midi issues until a Frog decides to work on midi output. That could be 2-3 years in the future. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding portions of slurs/ties around specific objects
M Watts wrote: Questions and comments are welcome. If anyone wants to add it to the LSR, that's fine by me. Change the function name too, if you want, I couldn't think of anything better. Very awesome! It's definitely LSR worthy. +1 Wow! Nice, Mark!! Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \autochange for more than 1 voice?
Am 10.04.2009 um 12:44 schrieb MonAmiPierrot: Hello, I tried without success writing piano music in which 2 different voices (e.g. simply left and right hand) change staff automatically. I don't know if \autochange is the right tool. If there's no manner to achieve this, can I manually change staff in a voice? In other words: how can I logically separate left/right hands from upper and lower staff? Hope it's clear, actually it is a very obvious need and perhaps you always achieved it without even thinking. Thanks I've never used the \autoChange, so I can't speak to that point, but manual staff switches with more than one voice are the same. Just remember to change the voice, i.e., \voiceOne in the lower staff would probably need to be \voiceTwo in the upper one, if there's another voice in that staff, and the other voice would need an explicit \voiceOne. And then the \oneVoice afterwards, and it should be fine. James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tip/Trick: Double-Breve or Single-Breve-with-Double-Sidebars
Am 09.04.2009, 23:18 Uhr, schrieb M Watts zwy648...@gmail.com:
I think I've seen music where the breve (2 whole notes) was printed with
two bars on each side.
Indeed, in most hymn books I've seen, the breves have 2 lines each side,
As you can see here (http://en.wikipedia.org/wiki/Double_whole_note), too.
so huzzah for Kieren's code!
I agree with the huzzah, even for Kieren himself!
But for me it is another form of the breve, not of the longa.
Kieren, what was your intention? (I thougt you wanted a
quadruple-whole-note.)
On the other hand, it should be easy to change your last example from
\score { { \dbreve b'\breve*2 } }
to
\score { { \dbreve b'\breve } }
To me, this would make sense.
Regards,
Henning
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Re: Tip/Trick: Double-Breve or Single-Breve-with-Double-Sidebars
Hi Henning (et al.),
Indeed, in most hymn books I've seen, the breves have 2 lines each
side,
As you can see here (http://en.wikipedia.org/wiki/
Double_whole_note), too.
Ah... I wasn't aware that the two-sideline breve and one-sideline
breve were the same duration.
so huzzah for Kieren's code!
I agree with the huzzah, even for Kieren himself!
=)
But for me it is another form of the breve, not of the longa.
Kieren, what was your intention? (I thougt you wanted a quadruple-
whole-note.)
Yes, I thought the original poster wanted a double-breve (quadruple-
whole-note) -- that's why I used the *2, to double the \breve (double-
whole-note).
On the other hand, it should be easy to change your last example from
\score { { \dbreve b'\breve*2 } }
to
\score { { \dbreve b'\breve } }
To me, this would make sense.
The engraver can have it either (or both!) ways! ;)
Kieren.
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Re: Real-world usage of Lilypond
Graham, list, On Thu, Apr 9, 2009 at 2:04 PM, Graham Percival gra...@percival-music.ca wrote: On Tue, Apr 07, 2009 at 11:56:16AM +0200, Christ van Willegen wrote: Are there any people out there that would be willing to help make this possible? Are you? The best way to get this started is to join the Frogs, our team of bugfixers. After fixing a few bugs, you'll be able to start extending lilypond in the direction(s) you desire. I'd be willing to help, by: - Helping typeset songs for Het Nieuwe Liedboek (http://www.kerklied.net/hetnieuweliedboek) - Helping bugfix Lilypond and/or entending it (if I can!) Question: Can anyone help me setup a Q virtual machine that can build Lilypond from source? I'd rather use a virtual machine, because it's easier to use across multiple computers (I have a Mac (PowerPC) and a PC (running Ubuntu), so having my build system as a separate 'system' would be nice!). It seems that (parts of) Lily is in C++, which I've been using since 1995. So, I can read and (probably) bugfix in it. I guess I'll have to learn other languages on the way as well, including .ly (since it's changed a lot sometimes!) So, you can probably add me to the list of Frogs. Is there a 'central place' for new people to 'gather and discuss'? 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: Feat. request: autobehaviour of \unfoldRepeats
MonAmiPierrot pierofaustini at hotmail.com writes: P.S. Perhaps, the \unfoldRepeats behaviour should be the default behaviour in case of \repeat percent/tremolo, and not for \repeat volta (or additionally in voltas also in case of different alternative endings). I would like to know your (and all) opinions. Last month this was bothering me also. I made a function to only unfold tremolo repeats: http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00166.html It wouldn't be hard to have this also unfold percent repeats. -Jay ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
I don't remember how to do this ...
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two /transposes, is that right? Can someone help
me? Here's how I lay out my code -
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\tbonea
}
% -- Trombone 2--
tboneb= { all the notes of the piece }
tromboneb = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef bass
\tboneb
}
Thanks,
Chip
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Analysis brackets?
Hi, I need to draw several superimposed -- although not nested -- brackets in order to evidence two melodic overlapping structures for teaching purposes. Does anyone knows how to do it? I've tried Analysis brackets but the groupings are presumed nested and so, the group openings and closings are interpreted as in a heap. I'm looking for something like: \openGroup1 c d e f \openGroup2 g a b c \closeGroup1 d e fis g \closeGroup2 Thanks! Claudia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
Jay Anderson wrote: It wouldn't be hard to have this also unfold percent repeats. Of course, tremolos were the most important. I'm with Hu: double tremolo notes are a must. They take the 90% of tremolos I find in my work. But if your \tremolos code works you'll save a huge amount of KB from my .ly files. On unfoldTremolo, I'll give a try, but if you confirm it works, I don't see a reason not to implement it in next Lilypond version. What I suggest is to having it work BY DEFAULT, cause 99,9% of tremolo users would switch it on if they use MIDI output. Piero - Piero Faustini, PhD student Dipartimento di Scienze Storiche Sezione musicologia Università di Ferrara Main Software used: - LyX 1.6.1 on WinXP sp3; EndNote JabRef - MikTex - LaTeX class: Koma book - Lilypond 2.12 for example excerpts - BibLaTeX for bibliographies -- View this message in context: http://www.nabble.com/Feat.-request%3A-autobehaviour-of-%5CunfoldRepeats-tp22985125p22990710.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: I don't remember how to do this ...
Hi.
[...]
realized that the notes are one step too high.
[...]
If I understood correctly, you just need to use \transpose:
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\transpose d c { \tbonea }
}
% -- Trombone 2--
tboneb= { all the notes of the piece }
tromboneb = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef bass
\transpose d c { \tboneb }
}
But if you also want to keep the same pitch (as without the transposition),
you also need \transposition:
\transposition bes { \transpose d c { \tboneb } }
Best,
Gilles
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Re: I don't remember how to do this ...
On 4/10/09 9:28 AM, Chip c...@wiegand.org wrote:
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two /transposes, is that right? Can someone help
me? Here's how I lay out my code -
It's quite simple. Just keep the transpose command after the key signature.
I'd suggest that you replace \tboneb with
\transpose d c \tboneb
(You don't need the , because you aren't setting parallel music, and I
think it's best not to have it, as it's not needed).
Carl
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\tbonea
}
% -- Trombone 2--
tboneb= { all the notes of the piece }
tromboneb = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef bass
\tboneb
}
Thanks,
Chip
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Re: Feat. request: autobehaviour of \unfoldRepeats
MonAmiPierrot wrote: On unfoldTremolo, I'll give a try, but if you confirm it works, I don't see a reason not to implement it in next Lilypond version. What I suggest is to having it work BY DEFAULT, cause 99,9% of tremolo users would switch it on if they use MIDI output. I don't typeset 19th century operas, but I will just mention that the one or two times I checked a tremolo-containing score with MIDI, I was unpleasantly surprised to hear the music go dead all of a sudden. So I'm with Piero, switch it on by default. It would make score-checking more enjoyable. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: hiding portions of slurs/ties around specific objects
One refinement I'd like to make to the macro is in this block: #(if (or ;; append to this list if you get the warning: ;; Ignoring grob for slur: grob. avoid-slur not set? (equal? $top-grob Fingering) (equal? $top-grob Accidental) ) 'stencil 'avoid-slur) = ##f The reason it's there is because some grobs (like Staff.Clef and Staff.TimeSignature) by default have the 'avoid-slur property set to 'inside, which means the slur will be forced away, potentially defeating the whole purpose of the macro. At the same time, some other grobs (like Fingering and Staff.Accidental) will trigger a warning if you try to set 'avoid-slur to #f. The only problem with testing which grobs trigger the warning is that an instance of each grob needs to be present in the score for the warning to be triggered. So the command \override Fingering #'avoid-slur = ##f will trigger the warning only if there's actually a fingering in the score following the command. Does anyone know an easier way to find which grobs trigger this warning? Then I can incorporate it into the macro and save a little frustration for future users. Thanks. - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I don't remember how to do this ...
Thanks Carl,
That's what I needed. Has this been simplified in the last year or two?
Seems I recall there was a need to use two /transposes in the past.
--
chip
Carl D. Sorensen wrote:
On 4/10/09 9:28 AM, Chip c...@wiegand.org wrote:
I have two trombone parts written in concert key - F Maj - and just
realized that the notes are one step too high. I don't recall how to
transpose a part without changing the key signature. If I recall
correctly it involved two /transposes, is that right? Can someone help
me? Here's how I lay out my code -
It's quite simple. Just keep the transpose command after the key signature.
I'd suggest that you replace \tboneb with
\transpose d c \tboneb
(You don't need the , because you aren't setting parallel music, and I
think it's best not to have it, as it's not needed).
Carl
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\tbonea
}
% -- Trombone 2--
tboneb= { all the notes of the piece }
tromboneb = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef bass
\tboneb
}
Thanks,
Chip
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Re: move lyrics closer
Trevor Daniels wrote: Eluze There's a paragraph in section 5.5.1 which may (nor may not!) help. Trevor thanks, yes it does - in a way… one part of the confusion raised with the not very specific mention of something like generally negative numbers for the 1st number, whereas in fact you *have* to use negative numbers (positive numbers are just broken down to zero); the same happens to the 2nd number in the opposite way. from this point of view it would be good enough just to use a pair of *positive* numbers! furthermore i never considered contexts to be graphical objects themselves! hope i didn't offend somebody! -- View this message in context: http://www.nabble.com/move-lyrics-closer-tp22964622p22991212.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
Lilypondtool mirror
Hello, I tried to download http://lilypondtool.organum.hu/fileadmin/lilypondtool/LiliPondTool.zip but got HTTP response 404: not found. Is there any mirror of this tool? Regards, Helge ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
I wonder why I (and, as I can imagine, 99% of users out there) have always to put \unfoldRepeats in a different \score block just for correct MIDI output, thus having to put in a variable all the \score content and use it in both \score blocks. I would also prefer \unfoldRepeats to be the default. I frequently use the midi as practice material for the musicians. It's also good to have the repeats in the midi for listening checks to make sure you have all the repeats correct, or that they sound as you had imagined. Kees ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
Kees == Kees van den Doel kvand...@shaw.ca writes: Kees I would also prefer \unfoldRepeats to be the default. I Kees frequently use the midi as practice material for the Kees musicians. It's also good to have the repeats in the midi Kees for listening checks to make sure you have all the repeats Kees correct, or that they sound as you had imagined. I don't have a problem with the default changing, as long as there's an easy way to get back the current behavior, preferably from the command line so that hundreds of files don't have to be edited. But for me, the currrent behavior (for \repeat volta) is the correct one. If I'm typesetting music, it saves a *lot* of proofreading time if what the MIDI plays is what's on the paper, and not what the performer is going to play. When I was using ABC for note entry, this is the major feature that convinced me to do the proofreading on the lily output and not on the abcMIDI/abctab2ps output, which does the equivalent of \repeat unfold. -- Laura (mailto:lcon...@laymusic.org http://www.laymusic.org/ ) (617) 661-8097 233 Broadway, Cambridge, MA 02139 forsan et haec olim meminisse iuvabit. Vergil This will make a good story to tell the grandchildren, if we live that long. Conrad Translation. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I don't remember how to do this ...
In message c604d912.882c%c_soren...@byu.edu, Carl D. Sorensen
c_soren...@byu.edu writes
On 4/10/09 10:54 AM, Chip c...@wiegand.org wrote:
Thanks Carl,
You're welcome.
That's what I needed. Has this been simplified in the last year or two? Seems
I recall there was a need to use two /transposes in the past.
I don't think so. I think that what you are remembering is the use of
\transpose and \transposition, which I don't really understand because I've
never used it.
Or it was me. If I'm going from treble clef to treble clef I use two
transpositions.
One wrapped round the notes as entered to transpose them from Bb to
concert, and the second wrapped round that to convert them back to Bb
for printing.
Piece in treble clef Bb -
tbonea = transpose c bf, { all the notes of the piece }
That will then need a transpose bf, c { \tbonea } if I want to output
music in treble clef.
Cheers,
Wol
--
Anthony W. Youngman - anth...@thewolery.demon.co.uk
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Re: Analysis brackets?
Claudia wrote:
Hi, I need to draw several superimposed -- although not nested --
brackets in order to evidence two
melodic overlapping structures for teaching purposes. Does
anyone knows how to do it?
I've tried Analysis brackets but the groupings are presumed nested
and so, the group openings and
closings are interpreted as in a heap.
I'm looking for something like:
\openGroup1 c d e f \openGroup2 g a b c \closeGroup1 d e fis g
\closeGroup2
As the Horizontal_bracket_engraver lives at voice level, overlapping
brackets need to live in different voices.
\version 2.12.2
upper = \relative c'' {
c\startGroup d e s4
g a b c\stopGroup
d e fis s4
}
lower = \relative c'' {
s2. f4\startGroup
s1
s2. g'4\stopGroup
}
\score {
\new Staff {
\voiceOne \upper
\voiceThree \lower
}
}
\layout {
\context {
\Voice
\consists Horizontal_bracket_engraver
}
}
Btw, you can put any bracket above the staff with \once \override
HorizontalBracket #'direction = #UP
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Lilypond crash
I was attempting to shorten the entry required for indicating
strokefingering:
\version 2.12.2
i = #(define-music-function (parser location) () #{
\rightHandFinger #2
#})
\relative c' { a-1-\i }
This causes Lilypond to crash (2.12.2, Windows). The entry in the
application event log shows:
Faulting application name: lilypond.exe, version: 2.12.2.1, time stamp:
0x497bdfce
Faulting module name: libguile-17.dll, version: 0.0.0.0, time stamp:
0x497bdfcd
Exception code: 0xc005
Fault offset: 0x0002d4a7
Faulting process id: 0x15a0
Faulting application start time: 0x01c9ba2888d32f3b
Faulting application path: C:\Program Files\LilyPond\usr\bin\lilypond.exe
Faulting module path: C:\Program Files\LilyPond\usr\bin\libguile-17.dll
Nick
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Re: I don't remember how to do this ...
On Fri, Apr 10, 2009 at 08:28:47AM -0700, Chip wrote: I have two trombone parts written in concert key - F Maj - and just realized that the notes are one step too high. I don't recall how to transpose a part without changing the key signature. If I recall correctly it involved two /transposes, is that right? Can someone help me? Here's how I lay out my code - I'm probably missing something obvious, but can't you just change the key to G major and use a single transpose? If you've written it a step too high it would be in G, so just tranpose it from there. The only problem I can see is if you've used notes from F major instead of G (i.e. you've flattened your B's but not sharpened your F's). If that's the case I don't think the tranpose function will help. -- Cameron Horsburgh Blog: http://spiritcry.wordpress.com/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feat. request: autobehaviour of \unfoldRepeats
2009/4/10 Graham Percival gra...@percival-music.ca: On Fri, Apr 10, 2009 at 03:08:32AM -0700, MonAmiPierrot wrote: For me, I only use \repeat percent and most of all \repeat tremolo. In both cases, audio output is important. At least for tremolos, you'll perfectly agree that there's no point in not playing it by midi (midi only play the note(s) that represent the length of tremolo, not the notes of which trmolo actually consists: it doesn't make sense, for me) Ah, I didn't realize that. Yes, it would be nice if midi played the real notes. If that isn't already in the google tracker, it should be added. It is now: http://code.google.com/p/lilypond/issues/detail?id=769 Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LaissezVibrer tie on single note of chord
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Is this more what you are looking for?
It is not all that easy to use:
- you have to work out the position, e.g. -9, by yourself
- and it won't move when you transpose.
See IR 3.2.84.
%
singleLV =
#(define-music-function (parser location pos dir) (integer? integer?)
#{
\override LaissezVibrerTieColumn #'tie-configuration =
#(make-list 8 (cons $pos $dir) )
$(make-music 'EventChord 'elements
(list (make-music 'LaissezVibrerEvent)))
#})
%
treble = \relative c {
e' bes'4 \singleLV #-9 #DOWN a,, cis' a'8. g''32( f) g8. e16
}
bass = \relative c {
g g'4
\once \override Stem #'flag-style = #'no-flag e'8.
r16 r8. a cis16
}
Cheers,
Robin
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Re: (de)cresendi syntax
On Sonntag, 22. Februar 2009 09:25:57 Frédéric Bron wrote:
I am in charge of the question of (de)crescendo syntax issue in 2.12.2.
Okay, sorry if I'm working on the same issue as you now, but I simply got too
frustrated with hundreds of pages of old scores suddenly changing
cresc/hairpin behavior (they were created with 2.10 and now I've started
revising them with 2.12...) and the huge work I have now with cross-checking
every cresc/dim/hairpin.
So, I took a look at the issue today and created a patch, which will now allow
all dynamic spanner starters to be implemented as postfix-operators.
The short (15 quite trivial lines!) patch is up for review at:
http://codereview.appspot.com/39047
Basically, my question for now is whether this the right approach. Call it a
proof-of-concept patch.
If so, we'll need to think about possible upgrade paths for the syntax changes
that are introduced by making all dynamic spanners postfix operators...
The patch also does not include the actual definitions of things like \dim,
\cresc, etc.
Current syntax is not satisfactory because:
- syntax is different between \, \, \! and \cresc, \dim, \enddim,
\endcresc (undocumented):
. \, \, \! apply to the previous note,
. \cresc, \dim, \enddim, \endcresc apply to the next note
With my patch, everything applies to the previous note, all spanners are ended
with \!, no \endXXX are needed any more.
- some people just want cresc. to be printed without dashed line (spanner)
That's a global setting of the DynamicTextSpanner, which (IMO) should be
changed to no dashed line by default.
- \, \, \! are used to start/stop (de)crescendo spanner (hairpin or
text),
- crescTextXXX, dimTextXXX, crescHairpin, dimHairpin decide if \,
\, \! produce text or hairpin (applies for ever until changed to something
else),
Yes, this behavior stays the same with my patch.
- \cresc., \cresc. poco a poco, \dim produce a text spanner
with corresponding text, the spanner is ended with \!, the text applies
only once, i.e. next (de)crescendo produces hairpin if this is the
current setting
This would require a parser change to be able to use \. However, with my
patch it's easy to write a function, e.g. mycresc, which can be used as:
a4\mycresc cresc. molto a4 a4\fff
An example is given in the attached file.
- \cresc, \dim, \decr, \decresc produce a text without spanner, applies
only once to the previous note, no need to finish with \! or \endcresc,
this could be implemented with a \markup command
No, using a markup would break e.g. MIDI, which needs information about the
end. With my patch, those can simply create dynamic text spanners with or
without dashed line, but must be finished with \!
- remove unnecessary \cr, \endcr, \decr, \enddecr
- remove unnecessary \enddim, \endcresc
Yes, unnecessary with my patch
I know that it is not possible to implement this only with scheme and
lily code but I am sure it is possible in C++.
Yes, some simple lines of C++ were required.
Attached is a sample file to show how the definition of spanners could work
with my patch. I've also implemented two functions to give the text of the
spanner directly in the postfix call.
Any comments / objections / suggestions?
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
\version 2.13.1
#(ly:set-option 'point-and-click #f)
% Some sample text dynamic spanners, to be used as postfix operators
crxxx = #(make-music 'CrescendoEvent 'span-direction START 'crescendoSpanner 'text 'crescendoText cresc.)
crpoco = #(make-music 'CrescendoEvent 'span-direction START 'crescendoSpanner 'text 'crescendoText cresc. poco a poco)
dimxxx = #(make-music 'DecrescendoEvent 'span-direction START 'decrescendoSpanner 'text 'decrescendoText dim.)
\relative c' { c4\crxxx d4 e4 f4 |
g4 a4\! b4\crpoco c4 |
c4 d4 e4 f4 |
g4 a4\! b4\ c4 |
g4\dimxxx a4\ b4\crxxx c4\!
}
% Two functions for (de)crescendo spanners where you can explicitly give the
% spanner text.
mycresc = #(define-music-function (parser location mymarkup) (string?)
(make-music 'CrescendoEvent 'span-direction START 'crescendoSpanner 'text 'crescendoText mymarkup)
)
mydecresc = #(define-music-function (parser location mymarkup) (string?)
(make-music 'DecrescendoEvent 'span-direction START 'decrescendoSpanner 'text 'decrescendoText mymarkup)
)
\relative c' { c4\mycresc blah.. c4 c4 c4 |
c4\mydecresc ...halb c4 c4 c4 |
c4 c4\! c4 c4 }
dynamic_spanners_postfix.pdf
Description: Adobe PDF document
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RE: LaissezVibrer tie on single note of chord
Thanks. What I did in the end was to create a third voice with \hideNotes
turned on and attach the laissezVibrer tie to a note in that voice. I also used
the hidden voice for some ties and slurs across the visible voices.
Nick
-Original Message-
From: Robin Bannister [mailto:r...@dataway.ch]
Sent: Saturday, 11 April 2009 09:22
To: nick.pa...@internode.on.net; lilypond-user
Subject: Re: LaissezVibrer tie on single note of chord
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Is this more what you are looking for?
It is not all that easy to use:
- you have to work out the position, e.g. -9, by yourself
- and it won't move when you transpose.
See IR 3.2.84.
%
singleLV =
#(define-music-function (parser location pos dir) (integer? integer?)
#{
\override LaissezVibrerTieColumn #'tie-configuration =
#(make-list 8 (cons $pos $dir) )
$(make-music 'EventChord 'elements
(list (make-music 'LaissezVibrerEvent)))
#})
%
treble = \relative c {
e' bes'4 \singleLV #-9 #DOWN a,, cis' a'8. g''32( f) g8. e16
}
bass = \relative c {
g g'4
\once \override Stem #'flag-style = #'no-flag e'8.
r16 r8. a cis16
}
Cheers,
Robin
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please help
could u plz send me ur email address (send to: dooksucks4e...@gmail.com) i gotta question. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (de)cresendi syntax
On 4/10/09 5:54 PM, Reinhold Kainhofer reinh...@kainhofer.com wrote: On Sonntag, 22. Februar 2009 09:25:57 Frédéric Bron wrote: I am in charge of the question of (de)crescendo syntax issue in 2.12.2. Okay, sorry if I'm working on the same issue as you now, but I simply got too frustrated with hundreds of pages of old scores suddenly changing cresc/hairpin behavior (they were created with 2.10 and now I've started revising them with 2.12...) and the huge work I have now with cross-checking every cresc/dim/hairpin. So, I took a look at the issue today and created a patch, which will now allow all dynamic spanner starters to be implemented as postfix-operators. Attached is a sample file to show how the definition of spanners could work with my patch. I've also implemented two functions to give the text of the spanner directly in the postfix call. Any comments / objections / suggestions? Looks good to me. Got at the essential issues in a very straightforward way. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: (de)cresendi syntax
On Sat, Apr 11, 2009 at 01:54:22AM +0200, Reinhold Kainhofer wrote: I know that it is not possible to implement this only with scheme and lily code but I am sure it is possible in C++. Yes, some simple lines of C++ were required. Attached is a sample file to show how the definition of spanners could work with my patch. I've also implemented two functions to give the text of the spanner directly in the postfix call. Beautiful... simply beautiful. As you mentioned, we need to be very careful with the upgrade path here. And we should spend at least two weeks discussing the new syntax (\textCresc my personal text vs. \crText vs. hard-coded \crPocoAPoco vs. whatever). I can't speak to the actual C++ patch, but I'm *very* happy with the flexibility those scheme functions give us. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
