Re: Fwd: Dividing ties and adjusting ties in an arpeggiated chord
It will be interesting to see if it works
in this example where there is more than one tie at a time.
That potentially answers half my question. I wonder if anyone knows
how to alter the curve of the ties in this situation.
Oh dear, but you are asking for it !
If one is adept with scheme, some or even much of the following can be
automated. Even so, it's quite a trip down the rabbit hole and only you can
decide if it is worth the grief.
You can, of course, write your own code to shape and position ties and place
it in your style file. The example code in the notation reference under
difficult tweaks is the model to follow. This could include any number of
conditions and calculations. However, although the left endpoint and the
inner control points can be determined from the first note of the tie
(X-offset = 0, Y-offset = position on the staff), I know of no way to access
the second note's position directly. Fortunately, the X-offset of the right
endpoint as determined by LilyPond (which varies in relation to the note)
can be retrieved:
\override Score.Tie #'after-line-breaking = #(lambda (grob)
(let* (
(noteL (ly:grob-parent (ly:grob-original grob) X)) %
left notehead
(endX (car (cadddr (ly:tie::calc-control-points
grob % right endpoint
of tie
(dotX (ly:duration-dot-count (ly:event-property
(event-cause noteL)
'duration)))
% number of dots on left notehead
(noteY (ly:grob-property noteL 'Y-offset)) % vertical
position of
notehead
(taiDir (ly:tie::calc-direction grob)) % tie direction
according to
LilyPond
% … … … many, many things would follow to account for
most,
% if not all, possibilities
I know almost nothing of scheme and have gleaned these bits from the very
nice and intelligent people on this forum. You'll need a good bit of scheme,
a deep understanding of the Bezier function (in order to quantize the hump
and avoid staff-line collisions), and a couple hours/days/months to
experiment, if you plan to go this route. A similar routine could be created
incorporating variables along with \once \override… for adjusting
occasional, rather than default, behavior.
% freak not, remember to breathe %
You can also separate the chord into different voices and use:
\override Staff.NoteColumn #'ignore-collision = ##t % and afterwards,
##f
to allow the notes to line up vertically. (You would have to manually offset
seconds.) Then, each voice can have its own command, allowing you to realize
your dream of controlling the ties independently:
\once \override Voice.Tie #'control-points = …
You can, of course, create definitions and shortcuts to simplify the
process. You may need more than four voices:
voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice)
…
voiceNine = #(context-spec-music (make-voice-props-set 8) 'Voice)
You will certainly need some patience, and you will probably only resort to
these measures under compulsion. Print publishers usually do in fact compel
copyists to make these emendations; I applaud your standards and desire for
clarity.
Oh, and one other trick, not as flexible as the snippet Eluze mentioned, but
my battered mind finds this easier (does version 2.14 have the snippet built
in?):
If, in your style file, you set all ties to a low layer; for instance:
\override Score.Tie #'layer = #-2
you can then put something like this in your definitions file:
blnkIt = #(define-music-function (parser location left bottom width height)
(number? number? number? number?)
#{
\new Voice { \voiceNine
\once \override Voice.TextScript #'layer = #-1
\once \override Voice.TextScript
#'outside-staff-priority = ##f
\once \override Voice.TextScript #'X-extent = #'(0 . 0)
\once \override Voice.TextScript #'Y-extent = #'(0 . 0)
\once \override Voice.TextScript #'X-offset = #0
\once \override Voice.TextScript #'Y-offset = #0
s1*0-\markup { \with-color #white \filled-box
#(cons $left (+ $left $width)) #(cons $bottom (+
$bottom $height)) #0 }
}
#}
)
Size and position the box to blank out any portion of the tie (or anything
you might assign to the lower layer). $left = 0 is the point in the music
where you place the command; $bottom = 0 is the center line of the staff. I
use voiceNine so it can be positioned independently of any other text at
that point in the music. If you can't see where the box is, change #white to
#red until you get it in place. To blank out around a downward stem, you
might try:
\blnkIt #-0.25 #-2 #0.6 #4 e'4
and adjust the #-2 and #4 for the vertical
Re: no natural sign when clef changes
Keith OHara k-ohara5...@oco.net writes:
Bernhard Ott bernhard.ott at gmx.net writes:
IMHO there should be a natural sign showing the f' after the
clef-change: am I wrong?
music = \relative c' {
c8 d e fis
c d e f
c8 d e fis
\clef alto c d e f
}
This is a bug, listed at
http://code.google.com/p/lilypond/issues/detail?id=1471
The desired behavior would be to print accidentals if they either
1) differ from the previous accidental if it is still in force under
the chosen accidental style, OR
2) are the first after the clef change to differ from the key signature.
At the clef change, LilyPond currently resets the still in force list back
to the key signature. This succeeds in repeating accidentals of case-2 such
as \clef alto c d e fis , but it causes the worse problem of losing
accidentals of case-1 when these bring us back to the key signature.
I suspect the first step to a solution is simply to have LilyPond
leave the still in force list un-touched at a clef changes, so that
the required accidentals of case 1 are printed. What I don't see,
however, is a simple way to get the courtesy accidentals printed for
case 2.
I think the solution would be to replace the presumably existing list of
currently altered accidentals not by an empty list but rather by a
list where every such accidental is replaced with a non-existing dirty
accidental.
--
David Kastrup
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Re: [PATCH] New feature: A-A. Backend
Han-Wen Nienhuys hanw...@gmail.com writes: On Fri, Apr 1, 2011 at 8:51 AM, Valentin Villenave valen...@villenave.net wrote: Greetings, Graham's recent 2.14 announcement, as well as Mike's wonderful work on the Emoticon_engraver (see http://lists.gnu.org/archive/html/lilypond-user/2011-03/msg00860.html ) made me realize there are other features much more urgently needed in LilyPond. This requires to add a new backend altogether, which is pretty hard but since I haven't been of much help recently, I figured I'd give it a try. The joke is on you... Try git show 824deccb0aafd303e9af99c8ec5105108b9f06aa:mf/as5.af .. ^L C 95; WX 1; N clefs-G; B 0 -2000 6000 5000; |\ |/ /| / |_ | /| \ \_|_/ *_| In a long distant past, it was decided that ASCII messaging was the future, and that therefore we had to have ASCII-art backend too. I am glad we halted this experiment soon. It has its uses in communication. gnuplot set terminal dumb Terminal type set to 'dumb' Options are 'feed size 79, 24' gnuplot plot sin(x) 1 ++---***---+---**---+**-++ +* * + * ** + sin(x) ** + 0.8 ++ * * ** ** ++ | * * * * * * | 0.6 *+ * * * * * * ++ |* * * * * * * | 0.4 +** * * * * * ++ |***** ** | 0.2 +* * *** * *++ | * * * * * * * | 0 ++* * * * * * *+ -0.2 ++ * * * * * * *+ | ** ** ** *| -0.4 ++ *** * * **+ | * * * * * * * -0.6 ++ * * * * * * +* |** * * * * | -0.8 ++ *** * * * ++ + * * + ** * + * *+ -1 ++-**+---**+--***---++ -10 -5 0510 gnuplot If it is reasonably cheap to have, things like that are a nice bonus also helping communication in text-only channels. Of course, reasonably cheap is not necessarily easy to achieve. So unless there is a more concrete application/demand, I would not even accept this as a wishlist item since it might keep contributors from working on more important things. If somebody still decides to contribute such support in a reasonably finished way... -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: Dividing ties and adjusting ties in an arpeggiated chord
Holy Moley, madMuze, You're right, I'm feeling rather queasy right now. It's going to take some patience to get to the bottom of this. Your suggestion of separating the notes into separate voices and then combining them might be the way to go (it seems to be the only way to go, if I going to use the difficult tweaks control-points property method). One possibility would be to do this, and then use slurs instead of ties, because I notice that Lilypondtool has a slur tweak tool which you could presumably use to change the slurs to look like ties in the shape wanted. Using the snippet that Eluze pointed me to (\hideCurvesFrom) seems to nicely avoid the accidental if I use the grob Staff.Accidental, however Staff.NoteHead or Staff.NoteColumn doesn't seem to have any effect. When I use Voice.NoteHead, it avoids the notehead, but it stuffs the accidentals up (they now overlap the noteheads). I notice that there is also a snippet called Altering the shape of a default slur with a list of offsets which could probably be adapted to ties and used where there are separate voices. It would be useful to have a variant of this function which allowed you to specify the height, in staff spaces, of the curve of the tie. It would certainly require some study on Bezier curves. That's do-able, but I don't know whether I'll ever get to the level of competence with the Scheme interface to work this one out, but I'm not giving up yet. Your white box idea is yet another avenue for exploration. Thanks for your help! Regards, bruys On Sun, Apr 3, 2011 at 4:49 PM, madMuze camero...@yahoo.com wrote: It will be interesting to see if it works in this example where there is more than one tie at a time. That potentially answers half my question. I wonder if anyone knows how to alter the curve of the ties in this situation. Oh dear, but you are asking for it ! If one is adept with scheme, some or even much of the following can be automated. Even so, it's quite a trip down the rabbit hole and only you can decide if it is worth the grief. You can, of course, write your own code to shape and position ties and place it in your style file. The example code in the notation reference under difficult tweaks is the model to follow. This could include any number of conditions and calculations. However, although the left endpoint and the inner control points can be determined from the first note of the tie (X-offset = 0, Y-offset = position on the staff), I know of no way to access the second note's position directly. Fortunately, the X-offset of the right endpoint as determined by LilyPond (which varies in relation to the note) can be retrieved: \override Score.Tie #'after-line-breaking = #(lambda (grob) (let* ( (noteL (ly:grob-parent (ly:grob-original grob) X)) % left notehead (endX (car (cadddr (ly:tie::calc-control-points grob % right endpoint of tie (dotX (ly:duration-dot-count (ly:event-property (event-cause noteL) 'duration))) % number of dots on left notehead (noteY (ly:grob-property noteL 'Y-offset)) % vertical position of notehead (taiDir (ly:tie::calc-direction grob)) % tie direction according to LilyPond % … … … many, many things would follow to account for most, % if not all, possibilities I know almost nothing of scheme and have gleaned these bits from the very nice and intelligent people on this forum. You'll need a good bit of scheme, a deep understanding of the Bezier function (in order to quantize the hump and avoid staff-line collisions), and a couple hours/days/months to experiment, if you plan to go this route. A similar routine could be created incorporating variables along with \once \override… for adjusting occasional, rather than default, behavior. % freak not, remember to breathe % You can also separate the chord into different voices and use: \override Staff.NoteColumn #'ignore-collision = ##t % and afterwards, ##f to allow the notes to line up vertically. (You would have to manually offset seconds.) Then, each voice can have its own command, allowing you to realize your dream of controlling the ties independently: \once \override Voice.Tie #'control-points = … You can, of course, create definitions and shortcuts to simplify the process. You may need more than four voices: voiceFive = #(context-spec-music (make-voice-props-set 4) 'Voice) … voiceNine = #(context-spec-music (make-voice-props-set 8) 'Voice) You will certainly need some patience, and you will probably only resort to these measures under compulsion. Print publishers usually do in fact compel copyists to make these emendations; I applaud your standards and desire for clarity. Oh, and one other trick, not as flexible as the snippet Eluze
Re: [PATCH] New feature: A-A. Backend
On Sun, Apr 3, 2011 at 3:58 AM, Han-Wen Nienhuys hanw...@gmail.com wrote: In a long distant past, it was decided that ASCII messaging was the future, and that therefore we had to have ASCII-art backend too. I am glad we halted this experiment soon. Un-frigging-believable. Looks even more impressive in 9-char resolution: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=mf/as9.af;hb=824deccb0aafd303e9af99c8ec5105108b9f06aa Wow. Talk about a blast from the past :-) Cheers, Valentin. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
position of the little '8' in bass clef
The bass recorder reads bass clef, but it sounds an octave higher than written, so the clef needs a little '8' over it. In Lilypond this is \clef F^8 But the little '8' is printed way above the clef. Is there a way to lower the '8' to right above the clef? Thanks for any help. -- View this message in context: http://old.nabble.com/position-of-the-little-%278%27-in-bass-clef-tp31303344p31303344.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: Favorite Lilypond-Score Printer?
Laser vs. inkjet: Laser printers are more expensive to buy but less expensive to use. Laser printers make cleaner text, and inkjet printers do better graphics. (Lilypond symbols are treated as text.) Laser output is more water-resistant then inkjet. Laser toner cartridges are expensive but last a long time. Most inkjet printers print in color, while basic laser printers are black only. Large format laser printers (for tabloid-size paper) tend to be large and heavy. Some of the great workhorse laser printers of the past may be available used at reasonable prices, but beware shipping cost. Card stock is more prone to jamming than paper, particularly so in an older printer. The HP 5000 series are very good printers that have been around for a long time, so many are available used. Although I'm not certain of this, I believe the rollers are user-changeable. Worn-out rollers cause jams. If they have to be changed by a technician that gets expensive. If you're just printing for your personal use and not producing significant quantity, go inkjet, but if you're selling or generating lots of music, go laser. I hope that helps. -- View this message in context: http://old.nabble.com/Favorite-Lilypond-Score-Printer--tp31257405p31303815.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: position of the little '8' in bass clef
On Apr 2, 2011, at 11:16 AM, Arlin wrote: The bass recorder reads bass clef, but it sounds an octave higher than written, so the clef needs a little '8' over it. In Lilypond this is \clef F^8 But the little '8' is printed way above the clef. Is there a way to lower the '8' to right above the clef? Thanks for any help. Here's how I solved that very problem in a piece for recorders that I'm currently writing: \clef bass^8 \override Staff.OctavateEight #'Y-offset = #1.8 \override Staff.OctavateEight #'X-offset = #0.6 That puts the little 8 closer to the clef, and looking a little more centered to my liking. Hope this helps. James Worlton ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: position of the little '8' in bass clef
- Original Message - From: Arlin arlin...@yahoo.com To: lilypond-user@gnu.org Sent: Saturday, April 02, 2011 5:16 PM Subject: position of the little '8' in bass clef The bass recorder reads bass clef, but it sounds an octave higher than written, so the clef needs a little '8' over it. In Lilypond this is \clef F^8 But the little '8' is printed way above the clef. Is there a way to lower the '8' to right above the clef? Thanks for any help. Looks like a bug to me. See attachment. -- Phil Holmes attachment: BassClef8.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: position of the little '8' in bass clef
Looks like a bug to me. See attachment. Definitely a bug... Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: position of the little '8' in bass clef
On 11-04-03 09:14 AM, Werner LEMBERG wrote: Looks like a bug to me. See attachment. Definitely a bug... Werner In fact, it's logged as issue http://code.google.com/p/lilypond/issues/detail?id=877 cheers, Colin -- The test of our progress is not whether we add more to the abundance of those who have much, it is whether we provide enough for those who have too little. -Franklin D. Roosevelt, 32nd US President (1882-1945) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Last line doesn't wrap
On 4/2/11 7:22 PM, Paul Nocero pa...@nocero.com wrote:
I'm not top posting.
This is my first use of LilyPond and it seems to work well, except for the
problem noted here. I'm creating a simple song with words and guitar chords,
and the final line does not appear to wrap, but runs off the bottom of the
page. I've tried many variations of the input, but I can't seem to get around
the problem.
This kind of question should be asked on -user, not on bug-. I realize
you're new, and I'm not mentioning this to be angry with you, but to teach
you. I've copied to -user for the archives.
I'm sorry I am submitting such a big file, but the problem goes away if I
don't
include all components that are needed (music, words and chords).
Since you can't reproduce it with a tiny file, we can't accept it as a bug
report, even if it were a bug. By asking on user, you'll bet the help you
need.
Here's my input file:
A final line not wrapping virtually always means that a note is carried
across a bar line, so there is no place for lilypond to make a break.
May I suggest that you put barchecks in your code. You'll probably end up
with a barcheck warning when you compile your file. That will tell you
where to fix it.
HTH,
Carl
\version 2.12.0
\paper {ragged-right=##t}
melody = \relative c' {
\clef treble
\key d \major
\time 4/4
s4 fis4 fis8 e4. d1~ d4 d4 fis4 a4 b2~ (b8 a8 b4) a2. a4
b4. b8 b4 b4 a4 fis2 e4 d4. d8 cis4 d4 e4 fis4 fis4 e4
d1~ d4 d4 fis4 a4 b2~ (b8 a8 b4) a2. a4 b4. b8 b4 b4
a4 fis2 d8 d8 e4 d4 fis8 e4. d2. r4
\bar ||
e4 e4 e4 e4
fis8 e8~ e2 a,4 b4 d4 d8 e4. d2. r4 e4 e4 e4 e4
fis4. fis8 fis4. a,8 b8. d8 d4 e4 d4~ d2. r4 fis4 fis4 fis4 fis4
fis8 e4. e4 e4 g4 g8 g4. g4 g4 fis8 fis4. fis4
e4 e4 e4 e8 fis8~ fis4 e4 r4 a,8 a8 b4 d4 d8 e4 d8~ d4
}
text = \lyricmode {
My Je -- sus rose on Eas -- ter mor -- ning, He
came to sing a love song, He came to be my friend. When He re --
turns in all His glo -- -- ry, He's gon -- na find me
sing -- ing and His song will ne -- ver end.
Je -- sus found me
cry -- ing and dried my bit -- ter tears, Held me in His
lov -- ing arms and told me not to fear. Je -- sus died and
set me free, then rose a -- gain, yes I be -- lieve He's
stand -- ing right be -- side me, sure as I am stand -- ing here.
}
harmonies = \chordmode {
a1:7 d2 g2 d1 g1 d1 g1 d1 e1:7 a1:7 d2 g2 d1 g1 d1 g1 d2 b2:m e2:m a2
d1
a1 a1 g1 d1 a1 a1 g1 d1 b1:m a1 g1 d1 a1 a1 g1 d1
}
\score {
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = one \melody
\new Lyrics \lyricsto one \text
}
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Re: position of the little '8' in bass clef
- Original Message - From: Werner LEMBERG w...@gnu.org To: m...@philholmes.net Cc: arlin...@yahoo.com; lilypond-user@gnu.org; bug-lilyp...@gnu.org Sent: Sunday, April 03, 2011 4:14 PM Subject: Re: position of the little '8' in bass clef Looks like a bug to me. See attachment. Definitely a bug... Werner In fact, http://code.google.com/p/lilypond/issues/detail?id=877 -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Can't embed font for chord changes
I am unable to compile the following file:
\version 2.12.3
melody = \relative c' { s4 fis4 fis8 e4. }
harmonies = \chordmode { a1:7 }
\score {
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = one \melody
}
The log file says:
Processing
`/Users/pat/Documents/LilyPond/Examples_and_Tests/cant_embed_font.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `cant_embed_font.ps'...
warning: do not know how to embed
BitstreamVeraSans-Roman=/Library/Fonts/Vera.tff
Converting to `./cant_embed_font.pdf'...
`gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89
-dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite
-sOutputFile=./cant_embed_font.pdf -c .setpdfwrite -f cant_embed_font.ps'
failed (256)
error: failed files:
/Users/pat/Documents/LilyPond/Examples_and_Tests/cant_embed_font.ly
Processing time: 0 seconds
Thanks,
Pat Karl
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Re: Last line doesn't wrap
-- Fr. Gordon Gilbert Penetanguishene, ON ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Last line doesn't wrap
You may find the error is in bar 24. I changed the d8 to a d16 as follows: a,8 b8. d16 d4 e4 d4~ And everything wraps correctly -- although I'm not familiar with the tune, it at least *looks* correct. I've had this same problem over and over -- not checking bars and getting one little note-value wrong. Hope this helps. Blessings, Gordon+ -- Fr. Gordon Gilbert Penetanguishene, ON ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Last line doesn't wrap
Hi again,
I did a bit of tweaking for you. Hope you don't mind, but it produces
a nicer-looking piece of sheet music. As I said in my last email, I'm
not familiar with the piece, so only you can judge the correctness of
my suggestions, but I did the following:
added a quarter-rest instead of a skip at the beginning
changed {ragged-right=##f} instead of ##t
made the last note a whole-note to complete the bar.
You might want to put some header lines in with title, etc.
All this makes things scan correctly. Here is the revised code:
\version 2.13.29
\paper {ragged-right=##f}
melody = \relative c' {
\clef treble
\key d \major
\time 4/4
r4 fis4 fis8 e4. d1~ d4 d4 fis4 a4 b2~ (b8 a8 b4) a2. a4
b4. b8 b4 b4 a4 fis2 e4 d4. d8 cis4 d4 e4 fis4 fis4 e4
d1~ d4 d4 fis4 a4 b2~ (b8 a8 b4) a2. a4 b4. b8 b4 b4
a4 fis2 d8 d8 e4 d4 fis8 e4. d2. r4
\bar ||
e4 e4 e4 e4
fis8 e8~ e2 a,4 b4 d4 d8 e4. d2. r4 e4 e4 e4 e4
fis4. fis8 fis4. a,8 b8. d16 d4 e4 d4~ d2. r4 fis4 fis4 fis4 fis4
fis8 e4. e4 e4 g4 g8 g4. g4 g4 fis8 fis4. fis4
e4 e4 e4 e8 fis8~ fis4 e4 r4 a,8 a8 b4 d4 d8 e4 d8~ d1
}
text = \lyricmode {
My Je -- sus rose on Eas -- ter mor -- ning, He
came to sing a love song, He came to be my friend. When He re --
turns in all His glo -- -- ry, He's gon -- na find me
sing -- ing and His song will ne -- ver end.
Je -- sus found me
cry -- ing and dried my bit -- ter tears, Held me in His
lov -- ing arms and told me not to fear. Je -- sus died and
set me free, then rose a -- gain, yes I be -- lieve He's
stand -- ing right be -- side me, sure as I am stand -- ing here.
}
harmonies = \chordmode {
a1:7 d2 g2 d1 g1 d1 g1 d1 e1:7 a1:7 d2 g2 d1 g1 d1 g1 d2 b2:m e2:m a2
d1
a1 a1 g1 d1 a1 a1 g1 d1 b1:m a1 g1 d1 a1 a1 g1 d1
}
\score {
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Voice = one \melody
\new Lyrics \lyricsto one \text
}
Let me know if this solves your problems (or creates more)
Blessings,
Gordon+
On 03/04/2011, Father Gordon Gilbert fatherg...@gmail.com wrote:
You may find the error is in bar 24. I changed the d8 to a d16 as follows:
a,8 b8. d16 d4 e4 d4~
And everything wraps correctly -- although I'm not familiar with the
tune, it at least *looks* correct. I've had this same problem over
and over -- not checking bars and getting one little note-value wrong.
Hope this helps.
Blessings,
Gordon+
--
Fr. Gordon Gilbert
Penetanguishene, ON
--
Fr. Gordon Gilbert
Penetanguishene, ON
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Re: Can't embed font for chord changes
On 3 April 2011 18:59, Patrick Karl pck...@mac.com wrote: I am unable to compile the following file: […] Do you use Mac OS X? There is a reported problem with Mac OSX 10.6.7 and the last security update, concerning fonts. See http://www.tidbits.com/article/12078 http://lists.gnu.org/archive/html/lilypond-user/2011-03/msg00836.html Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Add text to rehearsal mark
Hi,
I decided to split the problem in pieces, starting with the allignment.
I have two options. The first option (IIa in the script) is how I would
do this as I would do this writing a score, setting an override to
adjust the allignment. This works fine but I don't know how I could
calculate the override value in this way. Is It possible?
Option IIb is something that I got from a snippet about centering
Dynamics. It works almost, but doesn't behave as I would expect when the
mark is alligned on the clef. Can that be solved?
Greetings, Ed
Op 01-04-11 13:57, Ed Gordijn schreef:
Hi,
I'am working on a music function that creates a rehearsal mark with
extra text added. It would be nice if the end result would be
something that would work as: \mark \default text.
These are my first steps into the world of scheme, so I suppose that
some of my questions are rather basic.
The code below more or less works and shows what I am trying to
achieve but is not perfect at all! So, I need some help to solve the
drawbacks.
Here are the issues that need attention:
1 - I would like to use the current format for the rehearsal mark. Is
it possible to call/use the current Score.markFormatter and store the
mark in a markup-variable?
2 - Now I redefine the Score.markFormater with /once /set but
/once generates warnings. What is wrong?
3 - Is it possible to avoid the /set Score.markFormatter and use the
/mark /markup /center-at-mark directly?
I could use [1] to retrieve the current mark and should increment
the counter: Score.rehearsalMark = Score.rehearsalMark + 1
4 - Allignment is ok but the extend is not correct, see the allignment
of the first rehearsal mark that moves up because of the second mark.
Any advise?
Greetings, Ed
%%% Example
\version 2.13.39
#(define-markup-command (center-at-mark layout props mark text)
(markup? string?)
x-align on the center of the rehaersal mark
(let* (
(txt (markup #:normal-text #:bold #:normalsize #:concat
( text)))
(txt-stencil (interpret-markup layout props txt))
(txt-x-ext(ly:stencil-extent txt-stencil X))
(txt-width(- (cdr txt-x-ext)(car txt-x-ext)))
)
(interpret-markup layout props
(markup #:hspace 0 #:translate (cons txt-width 0)
#:concat (mark txt)))
))
BoxMarkText = #(define-music-function (parser location AddText) (string?)
Create a Rehearsal mark and add the string AddText
#{
% Redefine the Rehearsal mark
% \once does work but generates multiple warning.
\once \set Score.markFormatter = #(lambda (mark context)
(markup #:center-at-mark
(format-mark-box-numbers mark context)$AddText))
\mark \default
#})
\score {
\relative c'' {
\clef G
\key c \major
\time 4/4
% Rehearsal mark
\set Score.rehearsalMark = #10
\set Score.markFormatter = #format-mark-box-numbers
\mark \default
c1 \bar ||
% Add text to the next rehearsal mark
\BoxMarkText #Theme from 007
e( f)
% Revert to default mark
\mark \default
g( e) \break
}
}
\layout{
indent = 0
ragged-right = ##t
}
%%% end of example
\version 2.13.54
#(ly:set-option 'debug-skylines)
BoxMarkTextIIa = #(define-music-function (parser location MarkText AddText
x-align) (string? string? number?)
#{
\once \override Score.RehearsalMark #'self-alignment-X = #$x-align
\mark \markup { \bold { \box $MarkText \normalsize $AddText }}
#})
#(define-markup-command (center-at-markIIb layout props mark text) (string?
string?)
x-align on the center of the rehaersal mark
(let* (
(txt (markup #:normal-text #:bold #:normalsize #:concat ( text)))
(txt-stencil (interpret-markup layout props txt))
(txt-x-ext(ly:stencil-extent txt-stencil X))
(txt-width(- (cdr txt-x-ext)(car txt-x-ext)))
(mrk (markup #:normal-text #:box #:bold mark))
(mrk-stencil (interpret-markup layout props mrk))
(mrk-x-ext (ly:stencil-extent mrk-stencil X))
(mrk-width (- (cdr mrk-x-ext)(car mrk-x-ext)))
(x-align (- (/ mrk-width (+ txt-width mrk-width)) 1 ))
)
(interpret-markup layout props
(markup #:halign x-align #:concat (mrk txt)))
))
BoxMarkTextIIb = #(define-music-function (parser location MarkText AddText)
(string? string?)
#{
% Alternative using \halign within the markup
% \halign only has effect if X-offset is set to #0
\once \override Score.RehearsalMark #'X-offset = #0
\mark \markup { \center-at-markIIb #$MarkText #$AddText }
#})
\score {
\relative c'' {
\clef G
\key c \major
\time 4/4
% Option IIa, an override before the markup works as expected
% I could calulate the value for x-align with a markup script but how do I
get the resul
% in the override?
Re: lilypond-book too many open files
On Sat, Apr 02, 2011 at 08:08:11AM -0500, Victor Eijkhout wrote: In which version does this happen, 2.12 or 2.13? Using 2.12.3. Then increasing your file descriptor limits (as a workaround) is the weapon of choice. The fd leaks are probably fixed in 2.13. (I can re-check this by building 2.13 including the documentation on my OpenBSD box, but IIRC it worked without problems some weeks ago, with an fd limit of only 128 open files). Ciao, Kili ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Last line doesn't wrap
Paul,
A good scan through the manuals would be the best place to start in
order to figure out how to place a second verse in there.
My quick thought (I've never actually done this before) would be to
have the second verse in its own section as follows:
texttwo = \lyricmode {
Here are some more words for the se -- cond verse
}
And then add the following line to the \score section below the similar line:
\new Lyrics \lyricsto one \texttwo
If you do that now, the words will appear right at the beginning of
the song, but there is a way (look it up -- I haven't figured that out
yet) to make these words delay till measure 18.
You might also want to add \markup^ {D.S.} at the end, and a \segno
at bar 18. And I'm thinking that you sing the beginning as a refrain
at the end, right?
I wouldn't mind a copy of your finished code.
Good luck! :-)
Blessings,
Gordon+
--
Fr. Gordon Gilbert
Penetanguishene, ON
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Trill notation with fingering
Any ideas as to how best to approximate the trill plus fingering notiation as
shown in this image?
The closest I can get is:
a2.\trill^markup{\finger 3 2}
However, this doesn't show the cap over the digits, plus lilypond seems to
always try to display the tr symbol at the very top, no matter what order the
modifiers are listed after the note.
Thx, Javierattachment: original_fingered_trill.gif___
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Re: Trill notation with fingering
On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
Any ideas as to how best to approximate the trill plus fingering notiation as
shown in this image?
The closest I can get is:
a2.\trill^markup{\finger 3 2}
However, this doesn't show the cap over the digits, plus lilypond seems to
always try to display the tr symbol at the very top, no matter what order
the modifiers are listed after the note.
Thx, Javier
This is not exactly what you want, but it's close!
Make sure to have a font w/ the lyric tie (like DejaVu) in your font search
path.
#(define-markup-command (up-tied-lyric layout props str)
(string?)
(if (string-contains str ~)
(let*
((parts (string-split str #\~))
(tie-str (ly:wide-char-utf-8 #x2040))
(joined (list-join parts tie-str))
(join-stencil (interpret-markup layout props tie-str))
)
(interpret-markup layout
(prepend-alist-chain
'word-space
(/ (interval-length (ly:stencil-extent join-stencil
X)) -3.5)
props)
(make-line-markup joined)))
;(map (lambda (s) (interpret-markup layout props s))
parts))
(interpret-markup layout props str)))
{ \once \override Staff . Script #'outside-staff-priority = #0
a'2.\trill^\markup{ \up-tied-lyric #3~2 }}
Cheers,
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Re: Trill notation with fingering
On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
Any ideas as to how best to approximate the trill plus fingering notiation as
shown in this image?
The closest I can get is:
a2.\trill^markup{\finger 3 2}
However, this doesn't show the cap over the digits, plus lilypond seems to
always try to display the tr symbol at the very top, no matter what order
the modifiers are listed after the note.
Thx, Javier
original_fingered_trill.gif___
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Just realized that this is better...
#(define-markup-command (up-tied-lyric layout props a b)
(markup? markup?)
(let*
((tie-str (ly:wide-char-utf-8 #x2040))
(joined (list-join `(,a ,b) tie-str))
(join-stencil (interpret-markup layout props tie-str))
)
(interpret-markup layout
(prepend-alist-chain
'word-space
(/ (interval-length (ly:stencil-extent join-stencil
X)) -3.5)
props)
(make-line-markup joined
{ \once \override Staff . Script #'outside-staff-priority = #0
a'2.\trill^\markup{ \up-tied-lyric \finger 3 \finger 2 }}
Cheers,
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Re: Trill notation with fingering
On 04/04/11 09:31, Javier Ruiz-Alma wrote:
Any ideas as to how best to approximate the trill plus fingering
notiation as shown in this image?
The closest I can get is:
a2.\trill^markup{\finger 3 2}
However, this doesn't show the cap over the digits, plus lilypond
seems to always try to display the tr symbol at the very top, no
matter what order the modifiers are listed after the note.
To get the trill below the fingering, use something like this
once \override Script #'script-priority = #-100
cs a e4^\trill-\tweak #'extra-offset #'(-0.6 . 0)^\markup { \finger
2121 }
Can't help with the cap over the fingering as I don't use that.
Nick
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compiling small PDFs
I need to make small pdfs or images (on paper around A6 size, or a 4cm square) with a single measure directly in the middle. I just need these these little images so that i can put them in one panel of a GUI i'm building for a program. Does anyone have a solution to this? Thank you, -Sebastian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trill notation with fingering
On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
Any ideas as to how best to approximate the trill plus fingering notiation as
shown in this image?
The closest I can get is:
a2.\trill^markup{\finger 3 2}
However, this doesn't show the cap over the digits, plus lilypond seems to
always try to display the tr symbol at the very top, no matter what order
the
modifiers are listed after the note.
Thx,
Javieroriginal_fingered_trill.gif___
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Just realized that this is better...
#(define-markup-command (up-tied-lyric layout props a b)
(markup? markup?)
(let*
((tie-str (ly:wide-char-utf-8 #x2040))
(joined (list-join `(,a ,b) tie-str))
(join-stencil (interpret-markup layout props tie-str))
)
(interpret-markup layout
(prepend-alist-chain
'word-space
(/ (interval-length (ly:stencil-extent join-stencil
X)) -3.5)
props)
(make-line-markup joined
{ \once \override Staff . Script #'outside-staff-priority = #0
a'2.\trill^\markup{ \up-tied-lyric \finger 3 \finger 2 }}
Cheers,
Mike
Wow, Thank You Mike!
Attached is my first try with your code. I improvised the following to reduce
the space between digits, with bad results:
\markup{ \up-tied-lyric \finger 43 }
I don't know anything about custom commands (yet), so I suspect it fails is
because your command is expecting two arguments. Let me know if there's
anything I can tweak to improve the distance between the digits or horizontal
positioning of the cap/tie.
Rgds, Javierattachment: mike_custcomm1_fingered_trill.gif___
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irregular semi French score, how to accomplish?
Hello, I had my mother look at my full score of the overture, and then compared with some other published scores. She found that my French score leaves many blank spaces at the bottom of some pages, while other scores always use blank staves to fill in. For example, the following Webern piece: http://imslp.org/wiki/6_Pieces_for_Large_Orchestra,_Op.6_(Webern,_Anton) At a page, the two systems don't need strings, but the first one adds the whole string section with all resting, while the second one doesn't contain it. Also in some scores, the added staves have only blank staves plus label and key, no rests. How to do this in Lilypond? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: no natural sign when clef changes
David Kastrup dak at gnu.org writes: I think the solution would be to replace the presumably existing list of currently altered accidentals not by an empty list but rather by a list where every such accidental is replaced with a non-existing dirty accidental. That sounds right. I'll add a note to the bug tracker report, pointing to this suggestion. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
again, full score layout problem
Again for the full score pagination. A professor first tried to read a4 version, and he must use a magnifying glass. I then compiled the a3 version (the link below, containing all score/parts/code/midi files. He said that it's actually not the problem of paper size, since many large scores are printed in just a4 but look very clear. I'm puzzled, since Lilypond always produce the most beautiful and clear music. Please check my full score, and tell me what' wrong with the appearance. http://www.darajan2.com/douban/Haipeng/Celebration%20Overture.zip Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: compiling small PDFs
Hello,
I had to do something like that, to create kind of a card game.
Here is the \paper block I used for that :
%%
\paper {
paper-width = 85\mm % largeur de la page
paper-height = 54\mm % hauteur de la page (taille du papier)
top-margin = 10\mm % distance entre le haut de la page et le premier
titre
ragged-right = ##f
line-width = 7\cm
left-margin = 0.5\cm
}
%%
I guess there are better and nicer solutions, but this one worked.
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