Re: Dividing ties and adjusting ties in an arpeggiated chord
Hello James, No, I never got around to trying the white-box method. It looks pretty fiddly, but I also needed to change the shape of the ties, so I first tried to separate the parts (believing this was necessary) and came to a dead-end (see previous e-mails). I am satisfied that it is possible to get the desired result using Eluze's method (I've just got to update to the unstable version). The use of dash-definition appears to be less fiddly than the white box method. I'd still be interested in experimenting with the white-box method, as it may be useful in other situations, but it sounds, from your experience, like it is hard to get a good result. Using \tieDown [sic], didn't produce a satisfactory result in this situation, in my opinion. I never got around to nutting out madMuze/David's method of determining the X-offset of the right endpoint. I'm not really sure how to use his snippet. If you have an example, that would be appreciated. Regards, Bruys On Mon, Apr 11, 2011 at 8:35 AM, James Lowe james.l...@datacore.com wrote: The problem is that in this example, there is a collision with the tie, second from the top (d'') and the f# (fis''). Ms. Gould's solution is to divide the tie leaving a gap in the tie, so that it doesn't collide. How does one divide a tie with Lilypond? sorry for the delayed response. Did you try simply to make a White box and then put it over the tie but behind the note? I looked at doing that for a piece recently. it worked but I thought it looked awful. So I used \slurDown and that looked better. It was for some single very high flute part, so didn't use chords or other voices. sorry if this was irrelevant. James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beyond bars, book by Elaine Gould
Am 08.04.2011 um 16:37 schrieb Ricardo Gabriel Herdt: 2011/4/8 Jan-Peter Voigt: I ordered a (german) book on this topic, but that is not in stock right now - so this book fills this gap really good. Which one? Hello, I ordered 'Chlapik, Herbert: Die Praxis des Notengraphikers. 1987, Ludwig Doblinger' wich an editor I know recommended (with the advice: you don't have to do it all that way, but it is a good roundup) Well, Elaine Goulds book is from our days and not from the last century, where computers where just beginning to draw musical notes ... Cheers, Jan-Peter ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beyond bars, book by Elaine Gould
2011/4/11 Jan-Peter Voigt jp.vo...@gmx.de: Am 08.04.2011 um 16:37 schrieb Ricardo Gabriel Herdt: 2011/4/8 Jan-Peter Voigt: I ordered a (german) book on this topic, but that is not in stock right now - so this book fills this gap really good. Which one? I ordered 'Chlapik, Herbert: Die Praxis des Notengraphikers. 1987, Ludwig Doblinger' wich an editor I know recommended (with the advice: you don't have to do it all that way, but it is a good roundup) Well, Elaine Goulds book is from our days and not from the last century, where computers where just beginning to draw musical notes ... Cheers, Jan-Peter Thanks, I'll take a look at it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is pagination quadratic?
2011/4/9 Victor Eijkhout vic...@eijkhout.net:
The other day I had the brilliant idea of writing some python code to
generate the lilypond input for exercises. After all, generating the lilypond
code for all triads, all scales, whatnot, is pretty simple.
So now I have this exercise study that generates close to 2000 scales like
\relative c { a b c d e f g a g f e d c b a}. And finding the ideal number
of pages takes an ungodly amount of time. Minutes. Probably over 10.
Which makes me wonder if pagination is quadratic (I really hope it's not
exponential!) and if so, if it should be.
Not for pagination, but rather for total time, I propose you the
experiment to determine this:
If you are in a command promt and have the 'time' command, or you are
using Frescobaldi which shows elapsed time of rendering, could you
tell us the times in seconds for 32, 64, 128, 256, 512 and 1024
scales?. If your system memory is big enough, you'll hopefully be
able to complete the 1024 stage.
Now, if you have gnuplot you can do a simple graph with these data; if
not, I'll do it for you. With a logarithmic scale on both axes, look
at the type of curve shown.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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two-sided problem
Hello, I'm trying two sided printing. It's strange: I set inner 40\mm and outer 10. The odd pages are ok, but on even pages, the score is shifted very left, and the instr names are eaten. In my opinion, the even pages must have left margin 10 and right 40 for binding, but the right is too wide and the left is too narrow. When I set inner to 30 and outer 23, the odd pages are not so good. Why? NR says inner/outer margins will override l/r margins. Must I comment out these margins I used to produce single sided version? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two-sided problem
2011/4/11 胡海鹏 - Hu Haipeng hhpmu...@163.com Hello, I'm trying two sided printing. It's strange: I set inner 40\mm and outer 10. The odd pages are ok, but on even pages, the score is shifted very left, and the instr names are eaten. In my opinion, the even pages must have left margin 10 and right 40 for binding, but the right is too wide and the left is too narrow. When I set inner to 30 and outer 23, the odd pages are not so good. Why? NR says inner/outer margins will override l/r margins. Must I comment out these margins I used to produce single sided version? Hi, Did you not forget to use two-sided = ##t ? Also, maybe you need to set binding-offset? Can you post a tiny example or your \paper block? Keep in mind that margin values are measured from the edge of the paper to the edge od the system (instrument names and staff group brackets are ignored). HTH, Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Forced Tie between non-equal notes?
Hello list, for some reasons, mostly educational and theoretic, I want to create a tie between two different notes: enharmonic siblings. Between dis and ees for example. This seems to be not possible with a default Lilypond Tie (which is a very good setting!). Is there a way to force a tie to the next note or at least get the graphics without creating an svg curve through coordinates? Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi arpeggio
The midi output does not produce arpeggio midi sound.
snippet
\version 2.13.59
\include english.ly
TimeKey = { \time 4/4 \key ef \major }
PianoRHand = \relative c' {
bf g'8 ef4 bf g'8 af af'8 ef'4 af, af'8 |%bar 01
bf bf'8 ef4 bf bf'8 c af'8 ef c'4 af, ef'8 |%bar 02
bf g'8 g4 bf g'8 af f'4 f ef'8 af c8~ \break%bar 03
af c2 ef'' af bf ef2\arpeggio |%bar 04
bf, g'8 ef4 bf g'8 af af'8 ef'4 af, af'8 |%bar 05
bf bf'8 ef4 bf bf'8 c af'8 ef c'4 c af'8 |%bar 06
ef g8 g, ef'4 bf g'8 af~ f'4 af ef'8 d, bf'8~ \break%bar 07
d bf'2 bf'' bf'2\arpeggio |%bar 08
}
PianoLHand = \relative c {
{bf2 c2} \\ {ef,1} |%bar 01
{df'2 cf2} \\ {ef,1} |%bar 02
ef bf'2 df af'~4. af ef' af8~ \break %bar 03
af ef' af1 | %bar 04
{bf'2 c2} \\ {ef,1} |%bar 05
{df'2 c2} \\ {ef,1} |%bar 06
c c'2 f bf4. bf, f'8~ \break %bar 07
bf f'1 |%bar 08
}
\score {
\new GrandStaff = GrandStaff_score
\new ChoirStaff
\new PianoStaff
\new Staff = RH { \TimeKey \PianoRHand }
\new Staff = LH { \TimeKey \clef bass \PianoLHand }
\layout { }
\midi {}
}
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Overture to Lilypond converter
Hello all, I have made available the latest version of my Overture 4.x to XML/Lilypond converter (running under Windows only) on SourceForge (http://sourceforge.net/projects/ove2xmly/). A first version I released in 2009 converted Overture files only to MusicXML; but because of lack of needed features, bugs and the general ugliness of editing under Finale I switched to Lilypond, and, up to now, I'm quite satisfied with the results. Alberto ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is pagination quadratic?
On Sat, Apr 9, 2011 at 7:49 PM, Victor Eijkhout vic...@eijkhout.net wrote:
So now I have this exercise study that generates close to 2000 scales like
\relative c { a b c d e f g a g f e d c b a}. And finding the ideal number
of pages takes an ungodly amount of time. Minutes. Probably over 10.
That's to be expected: page-breaking is *the* most time-consuming
process in LilyPond. Using
http://lilypond.org/doc/v2.13/Documentation/notation/minimal-page-breaking
should be fine and harmless in this specific case.
(On an unrelated note, I recently found that refreshing large PDF
documents takes forever when point-and-click is enabled.)
Cheers,
Valentin.
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Re: Lyrics - vertical alignments
Yes, Xavier that helps a lot. That does the trick. Thanks a lot!!!
On Sun, Apr 10, 2011 at 8:22 AM, Xavier Scheuer x.sche...@gmail.com wrote:
On 10 April 2011 06:40, Michael Dykes thedoctor81...@gmail.com wrote:
I have read this - well most of this section before, but when I try it I
still get the same results. Perhaps someone could help me out a little,
please?
Normally
\new Lyrics \with {
\override VerticalAxisGroup #'staff-affinity = #CENTER
}
should do the trick.
But the result does not appear centered in this case. I suspect it is
due to the fact that you have a voice with stems up in the lower staff
(Tenor) and no voice with stems down in the upper staff (Alto).
So in this case I would simply increase the minimum distance between
the Lyrics and the related Staff (upper staff).
\new Lyrics \with {
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing
#'minimum-distance = #6
}
HTH.
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
--
In Christ,
Michael D
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mup2ly.py
I download lilypond v2.6.5 and try to use mup2ly.py to convert a .mup file to .ly questions: 1. mup2ly.py sample2.mup did not produce a .ly file. 2. is any one know how this mup2ly works? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Multiple Stanzas
I have an attached file (as always, I know) - and I where the lyrics say
Who art ri-sen from the dead - just under those words ONLY I wish to
place 2 other sets of lyrics, namely:
Who art won-drous in Thy saints
and
Through the prayers of the Theo-to-kos
I have been looking at the section on stanzas, but so far have not found
this particular challenge. Any help, or someone to point me to the right
place would be appreciated. Thanks.
--
In Christ,
Michael D
\version 2.13.58
\include english.ly
\include gregorian.ly
% XS: necessary, see below
\paper{
page-count = #1
print-all-headers = ##t
}
% #(set-global-staff-size 22)
global = {
\key f \major
\revert Score.SpacingSpanner #'packed-spacing
\override Staff.NoteHead #'style = #'altdefault
\override Staff.TimeSignature #'stencil = ##f
\override Staff.BarLine #'stencil = ##f
}
move = { \bar \break }
sopranoOne = \relative c'' {
\global
% Music follows here.
g4 g2 g8(f) g(a) bf4 bf \divisioMinima
bf4 a8(bf) c4(bf a) g8 a bf4(a g1) \divisioMaior
g4 bf a bf \divisioMinima
bf4^\markup {\bold *}
bf c2 c4 bf a g2(f) \divisioMinima
bf2 bf8(a) g4 bf2 a4 g1 \divisioMaior
g4 a bf bf bf \divisioMinima
bf4 bf c c c \divisioMinima
c8(bf a bf) c4 bf2(a4 bf8 a g4) a g\breve \finalis
}
sopranoTwo = \relative c'' {
\global
% Music follows here.
bf4 bf c2 c4 bf a g2(f) \divisioMinima
}
sopranoThree = \relative c'' {
\global
% Music follows here.
bf4 bf c2 c4 c bf a g2 f \divisioMinima
}
tenorOne = \relative c' {
\global
% Music follows here.
g4 g2 g8(f) g(a) bf4 bf \divisioMinima
bf4 a8(bf) c4(bf a) g8 a bf4(a g1) \divisioMaior
bf4 d c d \divisioMinima
d4 d ef2 ef4 d c c2(a) \divisioMinima
d2 d8(c) bf4 d2 c4 bf1 \divisioMaior
bf4 c d d d \divisioMinima
d4 d ef ef ef \divisioMinima
ef8(d c d) ef4 d2(c4 d8 c d4) c4 bf\breve \finalis
}
tenorTwo = \relative c'' {
\global
% Music follows here.
d,4 d ef2 ef4 d c c2(a) \divisioMinima
}
tenorThree = \relative c'' {
\global
% Music follows here.
d,4 d d ef2 ef4 ef d c2(a) \divisioMinima
}
bassOne = \relative c {
\global
% Music follows here.
g'4 g2 g8(f) g(a) bf4 bf \divisioMinima
bf4 a8(bf) c4(bf a) g8 a bf4(a g1) \divisioMaior
g4 g g g\divisioMinima
g4 g f2 f4 f f c2(d) \divisioMinima
g2 g4 g d2 f4 g1 \divisioMaior
g4 g g g g \divisioMinima
g4 g f f f \divisioMinima
f2 f4 g2 d1 g g,\breve \finalis
}
bassTwo = \relative c'' {
\global
% Music follows here.
g,4 g f2 f4 f f c2(f) \divisioMinima
}
bassThree = \relative c'' {
\global
% Music follows here.
g,4 g f2 f4 f f f c2 f \divisioMinima
}
verseOne = \lyricmode {
\override LyricSpace #'minimum-distance = #1.0
\override LyricText #'font-size = #+1
% Lyrics follow here.
O come, let us wor -- ship,
and fall __ down __ be -- fore Christ; __
O Son of God,
Who art ri -- sen from the dead, __
Save us __ who sing to Thee:
Al -- le -- lu -- i -- a,
Al -- le -- lu -- i -- a,
Al __ le -- lu __ i -- a!
}
verseTwo = \lyricmode {
\override LyricSpace #'minimum-distance = #1.0
\override LyricText #'font-size = #+1
% Lyrics follow here.
Who art won -- drous in Thy saints,
}
verseThree = \lyricmode {
\override LyricSpace #'minimum-distance = #1.0
\override LyricText #'font-size = #+1
% Lyrics follow here.
through the prayers of the The -- o -- to -- kos,
}
\score {
\new ChoirStaff
\new Staff \with {
midiInstrument = voice oohs
instrumentName = \markup \center-column { S }
shortInstrumentName = \markup \center-column { S }
}
\new Voice = soprano { \voiceOne \sopranoOne }
\new Lyrics \with {
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing
#'minimum-distance = #6
} \lyricsto soprano \verseOne
\new Staff \with {
midiInstrument = voice oohs
instrumentName = \markup \center-column { T B }
shortInstrumentName = \markup \center-column { T B }
}
\clef bass
\new Voice = tenor { \voiceOne \tenorOne }
\new Voice = bass { \voiceTwo \bassOne }
\header {
title = Eisodikon~Come, let us Worship
poet = Znamenny Chant~Tone 2
composer = Arranged by Michael Dykes
footer = obs_zn[3].ly
ponomarname = Only-Begotten Son
ponomartype = OwnWork
ponomarsubtype = Arrangement
ponomarsource = Unknown
ponomarauthor = Michael Dykes
maintainer = Michael Dykes
maintaineremail = thedoctor81...@gmail.com
lastupdated = 2011/04/10
ponomarlang = en
ponomarcomments =
copyright = This score is part of the Ponomar OpenMusic Project
tagline = \markup {
\override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7)
\box \center-column {
\line { \with-url #http://www.ponomar.net; \line { www. \hspace #-1.0 ponomar \hspace #-1.0 .net \hspace #0.5 } • Orthodox Liturgical music that is \italic free to download, use, modify and distribute. }
\line
Re: status of release (was: status of mutopia project)
bruys . notenoir at gmail.com writes: I wondered if \partcombine is supposed to work with more than two parts. The documentation refers to combining several parts, but only shows examples with two parts. \partcombine does not try to combine more than two parts. P.S. As an aside, the Scheme function context-spec-music is referred Many of the less-used Scheme functions are not documented in the manual. The Scheme source files come with the binary distribution, so users who can read Lisp-like code can usually understand them that way. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
