thanks to whomever put this in the LSR...
I was just browsing around in the LSR and found this very useful bit that is just fantastic, I hadn't come across it in any docs - LM, NR, or IR (I did a browser Edit/Find for output-suffix on all of those) - #(define output-suffix "you-put-something-here") It's for use in a multi-bookpart .ly file that generates multiple .pdf files. Typically the file names are appended with -1, -2, -3, etc which isn't very helpful. That little bit of code lets you append any bit of text to the file name, so instead of filename-1.pdf you get filename-you-put-something-here-1.pdf Here's where it's located to save someone the time to dig it up - http://lsr.dsi.unimi.it/LSR/Item?id=389 I don't know who added this to the LSR, but Thankyou very much, you just saved me much extra work as I have had to manually edit many, many file names to include the instrument name for that particular part. Regards, Chip ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better MIDI
> "hhpmusic" == hhpmusic writes: >> And I've now fixed the permissions on the download link there. >> Sorry for the bother before. hhpmusic> Thank you very much, but I still can't access the "here" hhpmusic> link. The web can't find the page, even though I hhpmusic> registered. How to get the file? Try shift-reload , you're probably still getting a cached version of the page. Peter C -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better MIDI
> "Hans" == Hans Aberg writes: Hans> On 2 Jun 2009, at 01:29, Peter Chubb wrote: >> I've put up a page on how to get more realistic sounding MIDI >> output from current LilyPond, along with the scripts and scheme >> code used, at http://www.nicta.com.au/people/chubbp/articulate Hans> (Isn't there a timing problem at the second triplet?) There is --- it's to do the gruppetto at the end of the trill, that seems to interfere with the first note of the triplet in the MIDI output. It's not something I can fix with articulate. Hans> If it is possible to do it, it might be great to be able to do Hans> the timing on per note and note-group basis - for interpretation Hans> and also generating feedback on what values to choose. Not sure what you mean here --- can you elaborate? Hans> Also, the typesetting program has a cool feature where notes Hans> written with equal time can be swinged. - Some guys on the Hans> Usenet newsgroup rec.music.theory found this feature great for Hans> experimenting with. actually, LilyPond can't do this yet. I wish it could. >> ...I'd also like to do something about trills and turns with >> alterations, and do a better calculation for trill duration. Hans> One problem with those is that in LilyPond code one does not Hans> write them in the diatonic note system, as the other notes, but Hans> only graphically. Indeed. The same is true for most of the other marks that `articulate' deals with. Unfortunately there are no standard ways of marking that there's a `flat' symbol above the ornament symbol and a `natural' below; there are several ways depending on context. -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better MIDI
On 2 Jun 2009, at 01:29, Peter Chubb wrote: I've put up a page on how to get more realistic sounding MIDI output from current LilyPond, along with the scripts and scheme code used, at http://www.nicta.com.au/people/chubbp/articulate (Isn't there a timing problem at the second triplet?) If it is possible to do it, it might be great to be able to do the timing on per note and note-group basis - for interpretation and also generating feedback on what values to choose. Also, the typesetting program has a cool feature where notes written with equal time can be swinged. - Some guys on the Usenet newsgroup rec.music.theory found this feature great for experimenting with. ...I'd also like to do something about trills and turns with alterations, and do a better calculation for trill duration. One problem with those is that in LilyPond code one does not write them in the diatonic note system, as the other notes, but only graphically. Hans ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: emacs lilypond-mode
Moin Helge, thanks for the tip ... I'm still thinking about that at least now I have some direction where to look for the error cheers thomas "Helge Kruse" schrieb im Newsbeitrag news:4a237fba.4080...@gmx.net... > Moin Thomas, > > Error codes are created by the operating system and reported by the > application. The error code may be dependent on the context. > > The context that you reported looks like a CreateFile > "http://msdn.microsoft.com/en-us/library/aa363858(VS.85).aspx" context. In > this case it means ERROR_FILE_NOT_FOUND > "http://msdn.microsoft.com/en-us/library/ms681382.aspx";, the system cannot > find the file specified. That's in contrast to error code 3 > ERROR_PATH_NOT_FOUND, so only your file name is incorrect. > > Regards, > Helge > > Thomas wrote: >> PS >> somebody out there must know what "error code 2" in the lilypond-context >> means ... I even searched the .el files, but no result >> or is this an emacs error? would be at least interesting, if not helpfull >> to find that out... >> cheers >> thomas ___ >> 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: Lilypond and Jazz chords
1) I had some difficulties to write the Alt chords (for me it's based on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the scale has two seconds. (Note that the diminished scale cannot be written for now with the chord notation, if you ever want to write a 8 note chord ;) ). This an issue in chord input mode, and should be reported to bug- lilypond as an enhancement request. For you, the limitation of only one instance of each step in a chord is a limitation. Well for this specific case, I used a 3- and a 4- as a workaround, so it's not a issue for me. 2) There no way to write N.C. : no chord (wouldn't the use of R, r and s make sense in the chord mode?) N.C. is implemented for r in chordNames context starting with 2.13.1. It will be available in the next development version. Support for generating N.C. with R is planned. I don't think that s should generate N.C.; s means don't output anything. That's how I though about it, good! 3) I had to use some tricks for chords that last on several measures for the symbol not to repeat on each measure. \set ChordChanges = ##t is all that it takes. Uh, it would have saved me some time :) 4) I would have liked to use parenthesis around the column for chord extensions like in most jazz charts. I used brackets instead. I hope we'll be able to implement this, but if we don't, remind us again. A parenthesis function that works like brackets would do it! Lilypond of other programs will never be able to interpret notes as chords (even humans can't do that because there are always ambiguities). I think the more sensitive approach for pop and jazz is a chord library with a string as input (maj7) and as output a notation as markup for chord symbol, optionally as a realisation as notes or chord diagram (could even have options to select or override the realisation). That's what we have in essence with our current chordmode. The string has some specific syntax, and it provides realization as notes, chord diagrams, and chord names. But the chord names functionality isn't what we want right now. The problem now is that you have to write the realization to get the chord name. Thinking the other way around is more logical from the composer point of view, in jazz at least. (or let the realization up to the interpreter). So add me to the list of people who prefer chord names over chord tones! I myself need only the chord symbol. Such a simple model is in my opinion simple to use, customizable and extends easily to other musics. For me the chord name is more semantics than just notes. You'll find my current chord exception list below, note that i've used the unicode chars for the flat and sharp before the extensions as it gives a very natural layout in this case. Thank you for this exception list. It provides a nice reference. The major problem with an exception list is that it doesn't handle slash chords; I hope to be able fix that. I'm using exception with slash chords and have no problems. However I don't think there is a way of entering polychords chords. (I don't need that -yet- :) ). Thanks, Carl Jean-Alexis ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
article (in German) about copyright of printed music
This `good' Wikipedia article http://de.wikipedia.org/wiki/Rechtsschutz_von_Schriftzeichen also discusses printed music. Quite interesting to read... This article should probably translated into English :-) Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better MIDI
Dear Peter: > And I've now fixed the permissions on the download link there. Sorry for the > bother before. Thank you very much, but I still can't access the "here" link. The web can't find the page, even though I registered. How to get the file? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
On Jun 2, 2009, at 4:55 AM, Jean-Alexis Montignies wrote:
Hi there, as a jazz player I would like to share my input.
What I need in scores is really chord names.
The chord name denotes the intent of the composer and is much
subject to interpretation.
Some examples:
If you have a dominant chord, you write G7. Most of the time, the
pianist will not play the 5th and depending on the context will
play a 9th or a flattened 9th.
If you write G7b9, it just means that if you play a 9th, you should
play a flattened one (probably the melody have a flattened 9th).
In the real book, most 7b5 chords should really be written 7#11,
but this is another story.
I found a score where a chord was named 'phrygian'.
The problem I ran when i wrote chords in Lilypond:
1) I had some difficulties to write the Alt chords (for me it's
based on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-)
because the scale has two seconds. (Note that the diminished scale
cannot be written for now with the chord notation, if you ever want
to write a 8 note chord ;) ).
2) There no way to write N.C. : no chord (wouldn't the use of R, r
and s make sense in the chord mode?)
The plan per Carl or someone is to add a N.C. function to the
chordmode using r as the input; it will be folded into 2.13 IIRC.
This can currently be done with a workaround provided to me by a very
generous list member:
\version "2.12.2"
% Whiteout hide the chordname
NCString = { -\markup { \whiteout { \hspace #-2 " N.C." }}}
ChrdExcep = #(append (sequential-music-to-chord-exceptions NCString #t)
ignatzekExceptions)
% Example
% {<<
% {
% \chords {
% a2:m7 d2:7.9-
% g2:m7 c2:7
% \set chordNameExceptions = #ChrdExcep c1 %chord as NCString
% \unset chordNameExceptions
% a2:m7 d2:7.9-
% }
% }
% \relative c' { a'2 d2 g,2 c2 c4 c4 c4 c4 a2 }
% >>
% }
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RE: Optional notation
I forgot to tell that this particular score was written in the old C clef :)
Anyway, a bit of fiddling around with the various solutions proposed, I
found that this gives the desired result:
\times 2/3 { \slurDashed a8[( \set stemRightBeamCount = #0 b \teeny c)]}
\normalsize d,4 fis |
Thanks for the precious help.
Robert
-Original Message-
From: Wilbert Berendsen [mailto:lily...@xs4all.nl]
Sent: 02 June 2009 14:57
To: lilypond-user@gnu.org
Cc: Jonathan Kulp; Robert
Subject: Re: Optional notation
Op dinsdag 02 juni 2009, schreef Jonathan Kulp:
> \version "2.12.1"
>
> \relative c'' {
>\override TupletBracket #'bracket-visibility = ##f
>\times 2/3{\slurDashed c8([ d] \set fontSize = #-2
>\set stemRightBeamCount = #0 e[])} \unset fontSize f,4 }
this one has the small beam in the same slope as the other one, and uses a
(more modern) tuplet bracket (instead of the slur), which is dashed to
indicate it's optionality.
\version "2.12.1"
\relative c'' {
\once \override TupletBracket #'bracket-visibility = ##t
\once \override TupletBracket #'style = #'dashed-line
\once \override TupletBracket #'dash-period = #1
\once \override TupletBracket #'dash-fraction = #1/6
\times 2/3 {
c8[
\set stemRightBeamCount = #0
d
\teeny
e]
}
\normalsize
f,4
}
best regards,
Wilbert Berendsen
--
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
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Re: Lilypond and Jazz chords
On 6/2/09 3:55 AM, "Jean-Alexis Montignies" wrote: > Hi there, as a jazz player I would like to share my input. Thanks for sharing, Jean-Alexis. > > What I need in scores is really chord names. > The chord name denotes the intent of the composer and is much subject > to interpretation. > > Some examples: > If you have a dominant chord, you write G7. Most of the time, the > pianist will not play the 5th and depending on the context will play a > 9th or a flattened 9th. > If you write G7b9, it just means that if you play a 9th, you should > play a flattened one (probably the melody have a flattened 9th). > In the real book, most 7b5 chords should really be written 7#11, but > this is another story. > I found a score where a chord was named 'phrygian'. > > The problem I ran when i wrote chords in Lilypond: > > 1) I had some difficulties to write the Alt chords (for me it's based > on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the > scale has two seconds. (Note that the diminished scale cannot be > written for now with the chord notation, if you ever want to write a 8 > note chord ;) ). This an issue in chord input mode, and should be reported to bug-lilypond as an enhancement request. For you, the limitation of only one instance of each step in a chord is a limitation. > 2) There no way to write N.C. : no chord (wouldn't the use of R, r and > s make sense in the chord mode?) N.C. is implemented for r in chordNames context starting with 2.13.1. It will be available in the next development version. Support for generating N.C. with R is planned. I don't think that s should generate N.C.; s means don't output anything. > 3) I had to use some tricks for chords that last on several measures > for the symbol not to repeat on each measure. \set ChordChanges = ##t is all that it takes. > 4) I would have liked to use parenthesis around the column for chord > extensions like in most jazz charts. I used brackets instead. I hope we'll be able to implement this, but if we don't, remind us again. > > Lilypond of other programs will never be able to interpret notes as > chords (even humans can't do that because there are always ambiguities). > > I think the more sensitive approach for pop and jazz is a chord > library with a string as input (maj7) and as output a notation as > markup for chord symbol, optionally as a realisation as notes or chord > diagram (could even have options to select or override the realisation). That's what we have in essence with our current chordmode. The string has some specific syntax, and it provides realization as notes, chord diagrams, and chord names. But the chord names functionality isn't what we want right now. > > I myself need only the chord symbol. Such a simple model is in my > opinion simple to use, customizable and extends easily to other > musics. For me the chord name is more semantics than just notes. > > You'll find my current chord exception list below, note that i've used > the unicode chars for the flat and sharp before the extensions as it > gives a very natural layout in this case. Thank you for this exception list. It provides a nice reference. The major problem with an exception list is that it doesn't handle slash chords; I hope to be able fix that. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compiling files with lots of data
Hey, The piece is not from MIDI input, but rather was generated algorithmically in Python (thus the rigidity of the layout that you picked up on). All of the spaces are intentional. In my newest attempted compile of the work (I killed the old one in a fit of self doubt), I removed the beam engraver and the stem engraver in addition to the bar engraver. I also changed all of the 32nd notes to quarter notes (as every note in the piece was a 32nd note, they are all now quarter notes). So, to summarize: Bar_engraver gone Stem_engraver gone Beam_engraver gone proportionalNotationDuration = #(ly:make-moment 1 4) Slightly more than 2*(3**7) quarter notes (without stems) Grob count: 24833 On hour 15 of my new compile... Keep the suggestions coming! ~Mike On 6/2/09 12:17 AM, "-Eluze" wrote: > > is this from midi input? > > if so you should be sure to apply appropriate "--allow-tuplet=" options. > also, "funny" durations like s32*231 could indicate some kind of grace notes > in the original music > > see > http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/Invoking-mid > i2ly > http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/Invoking-mid > i2ly > for more details > furthermore, specific Voice options - eg. \voiceOne - should be added > manually ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Optional notation
Op dinsdag 02 juni 2009, schreef Jonathan Kulp:
> \version "2.12.1"
>
> \relative c'' {
>\override TupletBracket #'bracket-visibility = ##f
>\times 2/3{\slurDashed c8([ d] \set fontSize = #-2
>\set stemRightBeamCount = #0 e[])} \unset fontSize f,4
> }
this one has the small beam in the same slope as the other one, and uses a
(more modern) tuplet bracket (instead of the slur), which is dashed to
indicate it's optionality.
\version "2.12.1"
\relative c'' {
\once \override TupletBracket #'bracket-visibility = ##t
\once \override TupletBracket #'style = #'dashed-line
\once \override TupletBracket #'dash-period = #1
\once \override TupletBracket #'dash-fraction = #1/6
\times 2/3 {
c8[
\set stemRightBeamCount = #0
d
\teeny
e]
}
\normalsize
f,4
}
best regards,
Wilbert Berendsen
--
Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/
___
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Re: Optional notation
Robert wrote:
The beam for between the 2nd and 3rd note is dashed, the 3rd note smaller
and the phrasing slur is dashed too.
This is not good enough but maybe it'll give some ideas. I have the
feeling that some scheme is necessary but I don't know how to do it. My
first thought on how to do it is to have two voices with the same notes
but with different properties. In one voice, the beam will be solid but
only connect the first two notes, and in the other voice, the beam will
be dashed going from the first to third notes of the triplet. The solid
beam will hide the dashed beam between 1st and 2nd notes, but you'll be
able to see the dashed beams between 2nd and 3rd notes. The dashed slur
and smaller notehead are easy. The main problem is I've never seen a
dashed beam in lilypond before. Anyway here's my time-rushed attempt
using only one voice and a partial beam. It might look nearly decent if
you adjust the beam slant on the 3rd note.
Jon
\version "2.12.1"
\relative c'' {
\override TupletBracket #'bracket-visibility = ##f
\times 2/3{\slurDashed c8([ d] \set fontSize = #-2
\set stemRightBeamCount = #0 e[])} \unset fontSize f,4
}
--
Jonathan Kulp
http://www.jonathankulp.com
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RE: Optional notation
The beam for between the 2nd and 3rd note is dashed, the 3rd note smaller and the phrasing slur is dashed too. -Original Message- From: lilypond-user-bounces+robert.64=dbmail@gnu.org [mailto:lilypond-user-bounces+robert.64=dbmail@gnu.org] On Behalf Of Jonathan Kulp Sent: 02 June 2009 13:36 To: Robert Querner Cc: lilypond-user@gnu.org Subject: Re: Optional notation Robert Querner wrote: > In the Menuet in chapter 7 of AM Bach's notebook from 1725 there is an > optional triolet > > > I don't seem to be able to work out how to get this into the score. > > Any suggestions? > It's a bit hard to see in that image but it looks as if the first half of the beam is solid and the second half has breaks in it. Is that what you're trying to achieve? Jon -- Jonathan Kulp http://www.jonathankulp.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: Optional notation
Robert Querner wrote: In the Menuet in chapter 7 of AM Bach's notebook from 1725 there is an optional triolet I don't seem to be able to work out how to get this into the score. Any suggestions? It's a bit hard to see in that image but it looks as if the first half of the beam is solid and the second half has breaks in it. Is that what you're trying to achieve? Jon -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Optional notation
In the Menuet in chapter 7 of AM Bach's notebook from 1725 there is an optional triolet I don't seem to be able to work out how to get this into the score. Any suggestions? <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SeparationItem bug?
2009/6/2 Vivian Barty-Taylor : > I can't get the SeparationItem spacing tweak to work in 2.12.2 (on OSX). See > code and attached PNG. Does anyone have any suggestions as to an alternative > workaround? it is now called Score.NonMusicalPaperColumn -- Francisco Vila. Badajoz (Spain) www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
SeparationItem bug?
I can't get the SeparationItem spacing tweak to work in 2.12.2 (on
OSX). See code and attached PNG. Does anyone have any suggestions as
to an alternative workaround?
Thanks,
Vivian.
> Begin Lilypond snippet
\include "header.ly"
\score {
<<
\new Staff { \override Score.SeparationItem #'padding = #20 c4 d }
>>
}
<< End Lilypond snippet
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Re: Better MIDI
> "Peter" == Peter Chubb writes: Peter> Hi, Peter> I've put up a page on how to get more realistic sounding MIDI Peter> output from current LilyPond, along with the scripts and scheme Peter> code used, at http://www.nicta.com.au/people/chubbp/articulate And I've now fixed the permissions on the download link there. Sorry for the bother before. -- Dr Peter Chubb peter DOT chubb AT nicta.com.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia Kernel Engineering Group (KEG): Where Systems Brew. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
Hi there, as a jazz player I would like to share my input.
What I need in scores is really chord names.
The chord name denotes the intent of the composer and is much subject
to interpretation.
Some examples:
If you have a dominant chord, you write G7. Most of the time, the
pianist will not play the 5th and depending on the context will play a
9th or a flattened 9th.
If you write G7b9, it just means that if you play a 9th, you should
play a flattened one (probably the melody have a flattened 9th).
In the real book, most 7b5 chords should really be written 7#11, but
this is another story.
I found a score where a chord was named 'phrygian'.
The problem I ran when i wrote chords in Lilypond:
1) I had some difficulties to write the Alt chords (for me it's based
on the superlocrian scale 1 2- 2+ 3 4+ 6- (or 5+) 7-) because the
scale has two seconds. (Note that the diminished scale cannot be
written for now with the chord notation, if you ever want to write a 8
note chord ;) ).
2) There no way to write N.C. : no chord (wouldn't the use of R, r and
s make sense in the chord mode?)
3) I had to use some tricks for chords that last on several measures
for the symbol not to repeat on each measure.
4) I would have liked to use parenthesis around the column for chord
extensions like in most jazz charts. I used brackets instead.
Lilypond of other programs will never be able to interpret notes as
chords (even humans can't do that because there are always ambiguities).
I think the more sensitive approach for pop and jazz is a chord
library with a string as input (maj7) and as output a notation as
markup for chord symbol, optionally as a realisation as notes or chord
diagram (could even have options to select or override the realisation).
I myself need only the chord symbol. Such a simple model is in my
opinion simple to use, customizable and extends easily to other
musics. For me the chord name is more semantics than just notes.
You'll find my current chord exception list below, note that i've used
the unicode chars for the flat and sharp before the extensions as it
gives a very natural layout in this case.
Greetings!
Jean-Alexis Montignies
% write out all custom exceptions here:
customChordExceptions =
{
% from ionian
- \markup { "maj7" }
- \markup { "maj9" }
% from mixolydian
- "7"
- "9"
- "13"
- "7sus4"
% from locrian
- "ø"
%- "m7b5"
% from locrian ♮9
- \markup { ø \hspace #1 \super \bracket "♮9" }
% from dorian
- "m7"
- "m9"
- "m11"
% from myxolydian b13 (MM5)
- \markup { 7 \hspace #1 \super \bracket "♭13"}
% from myxolydian #11
- \markup { 7 \hspace #1 \super \bracket "♯11"}
% from lydian
- \markup { "maj9" \hspace #1 \super \bracket"♯11" }
% from diminished scale (1/2 - T)
- "○7"
% from T-1/2T symetrical scale
- \markup { 13 \hspace #1 \super \bracket "♭9"}
% from HM5 (mixolydian b9 b13)
- \markup { "7sus4" \hspace #1 \super \bracket
"♭9" }
- \markup
{ 7
\hspace #1 \bracket {
\fontsize #-3 { \override #'(direction . 1) \dir-column {
\line { "♭9" }
\line { "♭13" }
} }
}
}
% from superlocrian (MM7)
- \markup { 7 \hspace #1 \super \bracket "♯9"}
- \markup
{ 7
\hspace #1 \bracket {
\fontsize #-3 { \override #'(direction . 1) \dir-column {
\line { "♭9" }
\line { "♯11" }
} }
}
}
- \markup
{ 7
\hspace #1 \bracket {
\fontsize #-3 { \override #'(direction . 1) \dir-column {
\line { "♭9" }
\line { "♯9" }
} }
}
}
- \markup
{ 7
\hspace #1 \bracket {
\fontsize #-3 { \override #'(direction . 1) \dir-column {
\line { "♯9" }
\line { "♭13" }
} }
}
}
- "7alt"
% from lydian augmented
- \markup { "maj7" \hspace #1 \super \bracket"♯5"}
}
% add custom exceptions to existing exceptions:
newChordExceptionList = #(append
(sequential-music-to-chord-exceptions customChordExceptions #t)
ignatzekExceptions)
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Re: Multiple scores(movements) on one page
2009/6/2 Akira :
> I'm afraid you can't understand this mail because of my poor English.
> Please look at the picture at:
> http://lh5.ggpht.com/_Rub71FvXx30/SiTo4l9iACI/ABI/7lYeF1QLflY/s800/ImageMovements.JPG
>
> I'm writing a suite that consists of 3 movements (Holst's First Suite) .
>
> I want to print the first movement on the first page , the second
> movement and the third movement on the second page ,and the rest of
> third movement on the third page.
>
> So I wrote like this:
>
> --
> \bookpart {
> \header {
> title = \markup {"First Suite in E" \super \flat "for Military Band"}
> composer = \markup {"Gustav Holst"}
> subtitle = "I. Chaconne."
> }
>
> \score {
> <<
> \new Staff \FirstMov
>>>
> }
> }
>
>
> \bookpart {
> \header {
> subtitle = "II. Intermezzo."
> }
>
> \score {
> <<
> \new Staff \SecondMov
>>>
> }
> }
>
> \bookpart {
This bookpart produces your unwanted page break (That's what bookparts
are intended for)
Just put the scores for II. and III. into the same bookpart.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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Multiple scores(movements) on one page
I'm afraid you can't understand this mail because of my poor English.
Please look at the picture at:
http://lh5.ggpht.com/_Rub71FvXx30/SiTo4l9iACI/ABI/7lYeF1QLflY/s800/ImageMovements.JPG
I'm writing a suite that consists of 3 movements (Holst's First Suite) .
I want to print the first movement on the first page , the second
movement and the third movement on the second page ,and the rest of
third movement on the third page.
So I wrote like this:
--
\bookpart {
\header {
title = \markup {"First Suite in E" \super \flat "for Military Band"}
composer = \markup {"Gustav Holst"}
subtitle = "I. Chaconne."
}
\score {
<<
\new Staff \FirstMov
>>
}
}
\bookpart {
\header {
subtitle = "II. Intermezzo."
}
\score {
<<
\new Staff \SecondMov
>>
}
}
\bookpart {
\header {
subtitle = "III. March."
}
\score {
<<
\new Staff \ThirdMov
>>
}
}
--
But on Lilypond's output there were the first movement on the first
page,the second movement on second page,the third movement on the
third and forth page.
What should I write?
Please tell me.
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