Re: Putting fret diagrams in a separate score
Am 12.03.2011 21:39, schrieb Carl Sorensen: [...] [1] Searching the internet, there seems to be the general opinion that mandolins aren't supposed to play chords at all, but it sounds cool ;-) A quick search for mandolin chords on google showed lots of places with chord diagrams for mandolin. I'm sure that we'd welcome the addition of predefined-mandolin-fretboards. I don't play the mandolin, so I'm probably not the guy to do it, but I'd be happy to provide advice. Me neither; I play guitar, but at the school I am teaching, there were three mandolins lying around, and with some creaning and a new set of strings, two of them can be played. Meanwhile, I am writing a new musical with some medieval elements in it, and so I tried to include the mandolin, may it be historically correct or not (I think the audience won't care, anyway). The chords at www.mandolincafe.com/pdf/pat.pdf I was at mandolincafe.com, and IIRC in the forum there was a more or less strong opinion against playing chords with mandolins, but you've just proven it wrong. would be very useful as chord shapes, since they have no open strings and can therefore be moved all around the fretboard to play whatever root is desired. Do you want to move toward that? With the chord shapes you provided, I'll give it a try. Regards, Marc Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overlapping notes and midi output
Michael Welsh Duggan schreef op zo 13-03-2011 om 03:02 [-0400]:
Hinrik ÖrnSigurðsson hinrik@gmail.com writes:
It is a feature in Lilypond's midi output. Discussion about this can be
found at
URL:http://lists.gnu.org/archive/html/lilypond-user/2004-04/msg00233.html.
Can you please have a look at the midi output in HEAD? I think that
this behaviour was an artifact of voices being lumped together on one
track and channel. Hopefully, in this example
e1 \\ { c4 d e f }
there are two voices that go to separate tracks and the
merging does not happen.
Jan.
--
Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl
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Re: Putting fret diagrams in a separate score
Am 12.03.2011 21:39, schrieb Carl Sorensen: On 3/12/11 1:19 AM, Marc Hohlm...@hohlart.de wrote: Am 11.03.2011 18:52, schrieb Carl Sorensen: Why not just use a FretBoards context? Good question; it looked way too complicated for my purposes. I need some chords played on a mandolin, and there are no predefined fretboard diagrams for mandolin[1] in lilypond. [1] Searching the internet, there seems to be the general opinion that mandolins aren't supposed to play chords at all, but it sounds cool ;-) A quick search for mandolin chords on google showed lots of places with chord diagrams for mandolin. I'm sure that we'd welcome the addition of predefined-mandolin-fretboards. I don't play the mandolin, so I'm probably not the guy to do it, but I'd be happy to provide advice. The chords at www.mandolincafe.com/pdf/pat.pdf Even better: http://sheetmusicdigital.com/pdfopen.asp?ID=DL1622 I'll take these two as reference. marc would be very useful as chord shapes, since they have no open strings and can therefore be moved all around the fretboard to play whatever root is desired. Do you want to move toward that? Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Combining different measures
Phil Holmes schrieb: The piece you've shown is mostly 4/4 with a single bar of 6/4 - correct? Are you saying you'd like both 4/4 and 6/4 set as time signatures at the start of the piece? Yes, they should be at the start, but it should be 2/2 and 3/2. ;–) Now I’ve set the bars manually and got no time signature. If semi-automatic setting of bars isn’t possible in this case, I’d add the time signatures at least, if I knew how to do it. Hannes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overlapping notes and midi output
2011/3/13 Hinrik Örn Sigurðsson hinrik@gmail.com:
On Sun, Mar 13, 2011 at 7:15 AM, Janek Warchoł
lemniskata.bernoull...@gmail.com wrote:
Here is a workaround - add this to your \midi { } block:
\context {
\Staff \remove Staff_performer
}
\context {
\Voice \consists Staff_performer
}
This tells LilyPond to create separate channels for each voice in MIDI
output.
That results in some warnings like:
warning: MIDI channel wrapped around
warning: remapping modulo 16
Then I suppose that you have more than 16 voices.
This is the drawback of this method.
But it does work around the problem, thanks.
You're welcome :)
cheers,
Janek
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Re: left-aligning grobs to other grobs
Hello, -Original Message- From: David Nalesnik dnale...@umail.iu.edu Date: Sun, 13 Mar 2011 12:08:01 -0500 To: han...@xs4all.nl Cc: LilyPond User lilypond-user@gnu.org Subject: Re: left-aligning grobs to other grobs Any feedback -- suggestions for improvement, ideas for a use -- would be much appreciated! One thing I always find a bit frustrating with aligning being able to align 'easily' with barlines without having to resort to \mark commands. There are 'problems' having to '\mark's on the same bar line - and while we do have a snippet to do this (two actually) one is easy but impractical in many instances and the other is just very complicated - you have to add another voice which when you are dealing with a lot of fiddly markups/accents/chords etc is cumbersome. So being able to do something like tie a grob (I.e. A coda or a segno sign are my most common requirements) no the note before/after but being able to 'at least' left or right align it with a bar line so it 'appears' as if it is at the bar line would be very useful for me. A lot of my music I have a rehearsal mark smack on the same bar as I need a coda or segno sign. To be able to just say ' ok tie this mark to the last note of the bar but align it with the bar line that comes after it would be great. I am not sure if that was something that you think could be done without complicated 'break align'/multiple voice statements. This would also save me a ton of time when marking up a lot of string music that requires me to use a lot of -\tweak X to move my markups 'away' from the top of a note. Again for example if I am setting a top C with an accent AND I need to put 'arco' as well as a bow mark by the time the 'arco' is plopped on top it's like some huge musical knickerbocker glory! I always have to then shift the text to the left or right manually for it to drop down or fit nicely. But being able to align it to something might be simpler as often I have room either on the note before or the bar. Those are the kind of problems I wonder that could be solved? James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Combining different measures
On 14/03/11 05:13, Hannes Kuhnert wrote: Phil Holmes schrieb: The piece you've shown is mostly 4/4 with a single bar of 6/4 - correct? Are you saying you'd like both 4/4 and 6/4 set as time signatures at the start of the piece? Yes, they should be at the start, but it should be 2/2 and 3/2. ;–) To get both 2/2 and 3/2 to appear in the time signature: #(define ((compound-time one two numa numb) grob) (grob-interpret-markup grob (markup #:override '(baseline-skip . 0) #:number (#:line ((#:column (one numa)) (#:column (two numb))) and then in the score: \override Staff.TimeSignature #'stencil = #(compound-time 2 3 2 2) Nick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compile for Mac
Am 2011-03-13 um 00:51 schrieb Bernardo Barros: 2011/3/12 Henning Hraban Ramm hra...@fiee.net: MacPorts is a project independent from Apple, but uses the compiler etc installed with Xcode. What you can download and install from macports.org is just a base system to be able to use the port command. port is very similar to apt-get. And yes, you need a good internet connection. MacPorts is source based, so it will take longer to compile, maybe less internet downloading? Since xcode4 is now paid, MacPort should consider providing the devel base as binaries also? Why do you think XCode4 would be paid? I found no information about a price. Can’t you download it from http://developer.apple.com/xcode/ ? (Apparently you can only download it if you run Snow Leopard, and you need an developer account, but the basic one is free.) You can also use XCode3. http://developer.apple.com/devcenter/download.action?path=/Developer_Tools/xcode_3.2.6_and_ios_sdk_4.3__final/xcode_3.2.6_and_ios_sdk_4.3__final.dmg Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compile for Mac
hello -Original Message- From: Henning Hraban Ramm hra...@fiee.net Date: Sun, 13 Mar 2011 22:28:52 +0100 To: LilyPond User lilypond-user@gnu.org Subject: Re: Compile for Mac Am 2011-03-13 um 00:51 schrieb Bernardo Barros: 2011/3/12 Henning Hraban Ramm hra...@fiee.net: MacPorts is a project independent from Apple, but uses the compiler etc installed with Xcode. What you can download and install from macports.org is just a base system to be able to use the port command. port is very similar to apt-get. And yes, you need a good internet connection. MacPorts is source based, so it will take longer to compile, maybe less internet downloading? Since xcode4 is now paid, MacPort should consider providing the devel base as binaries also? Why do you think XCode4 would be paid? I found no information about a price. http://developer.apple.com/support/xcode/ $4.99. James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compile for Mac
On Mar 13, 2011, at 4:28 PM, Henning Hraban Ramm wrote: Am 2011-03-13 um 00:51 schrieb Bernardo Barros: 2011/3/12 Henning Hraban Ramm hra...@fiee.net: MacPorts is a project independent from Apple, but uses the compiler etc installed with Xcode. What you can download and install from macports.org is just a base system to be able to use the port command. port is very similar to apt-get. And yes, you need a good internet connection. MacPorts is source based, so it will take longer to compile, maybe less internet downloading? Since xcode4 is now paid, MacPort should consider providing the devel base as binaries also? Why do you think XCode4 would be paid? I found no information about a price. Can’t you download it from http://developer.apple.com/xcode/ ? (Apparently you can only download it if you run Snow Leopard, and you need an developer account, but the basic one is free.) The new XCode is $4.99 unless you are an official registered Apple Developer (which costs something like $99 a year and probably gets you seeds of OS updates to check your applications against). Non-developers have to get XCode form the App Store (which pretty much has put the writing on the wall for almost all traditional shareware and most freeware development for OS X; there is also a problem with the App Store's terms of sale and the GPL). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compile for Mac
On 13 Mar 2011, at 23:06, Tim McNamara wrote: ...there is also a problem with the App Store's terms of sale and the GPL). They have switched to LLVM and Clang, which have different copyright terms. http://en.wikipedia.org/wiki/LLVM http://en.wikipedia.org/wiki/Clang Hans ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changePitch and ties
changePitch at http://gillesth.free.fr/Lilypond/changePitch/changePitch.ly
defineTransform in LSR 346
However, each has its deficiencies, and I now need to code some music which
neither of these utils can handle. The rhythmic pattern to be repeated
involves ties. 346 handles these but changePitch doesn't.
Sorry to answer so late.
With changePitch and ties, you can use the function \samePitch.
It is ( shortly ) discribed in section 6) of the doc of \changePitch :
http://gillesth.free.fr/Lilypond/changePitch/change-pitch-doc.pdf
%%%
\include changePitch.ly
pattern = { \samePitch {c2 ~ c8} c4. }
\changePitch \pattern
{ c'e'^\markup{Ok now} d'f' e'g' f'a' }
%%
Gilles
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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music
On Sun, Mar 6, 2011 at 8:17 AM, Mike Blackstock blackstock.m...@gmail.com wrote: This is F*G great! Especially the Bach BWV 1006 - I could have sworn it really was a kid playing. http://percival-music.ca/audio/bwv-1006_1.wav.mp3 To my ears, the rhythm sounded eerily exact - don't kids slow down their tempo when it gets difficult? -- Han-Wen Nienhuys - han...@xs4all.nl - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
what about simplifying music notation?
-- O -- (O is the body of a note here) -- O -- the interval between both pitches depends on the location. Why? Why should e-g be different from g - h ? Wouldn't it be easier to assign notes (c,d,e,..) natural numbers? then define could be: ---O- nr 16 ---O- nr 12 ---O- nr 8 ---O- nr 4 ---O- nr 0 to be always 4 semitones? Then many tasks such as transposing music to a different key would become a simple math operation: simply add a number. Many musicians who play occasionally only would benefit a lot. Has anyone else thought about this before? Marc Weber ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RemoveEmptyStaffContext should keep at least one staff alive?
Hi, 2.13.54 Does it ever make sense for RemoveEmptyStaffContext to remove all staves? Should not at least one be kept alive showing the rests? Is there a way to force this behavior? I haven't gotten the following to work yet to see whether it will do what I want: http://lsr.dsi.unimi.it/LSR/Item?id=312 TIA, Paul Scott Librarian Southern Arizona Symphony Orchestra ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: what about simplifying music notation?
* Marc Weber marco-owe...@gmx.de [2011-03-14 04:01]: -- O -- (O is the body of a note here) -- O -- the interval between both pitches depends on the location. Why? Why should e-g be different from g - h ? Wouldn't it be easier to assign notes (c,d,e,..) natural numbers? then define could be: ---O- nr 16 ---O- nr 12 ---O- nr 8 ---O- nr 4 ---O- nr 0 to be always 4 semitones? Then many tasks such as transposing music to a different key would become a simple math operation: simply add a number. Many musicians who play occasionally only would benefit a lot. Has anyone else thought about this before? Sure, various people have come up with several interesting and useful (at least potentially useful) systems. I think in the end the trick is not so much coming up with a good system as getting people to adopt it. The installed base (to mis-use a term) of traditional notation is very large, and people who already know any system at all are reluctant to learn another unless it will bring them large and immediate benefits. In other words, your system is good but everybody will ignore you anyway. Sad, and not ideal, but I think it's true. -- David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
