effect of \transposition on \quoteDuring
Hi,
Why does the presence of \transposition change the effects of the
following pairs of lines? Or how do I get the results I want when I add
the desired \transposition command?
\version "2.13.61"
notesA = \relative c'' {
\transposition c'
c1 d e f g
}
\addQuote "inA" \notesA
\addQuote "inAd" \transpose c c, \notesA
notesB = \relative c' {
\transposition c'
d1 \quoteDuring #"inAd" { s1*2 }
}
notesC = \relative c'' { c1 d e f g }
\addQuote "inC" \notesC
\addQuote "inCd" \transpose c c, \notesC
notesD = \relative c' {
d1 \quoteDuring #"inCd" { s1*2 }
}
\score{
<<
\new Staff \notesA
\new Staff \notesB
\new Staff \notesC
\new Staff \notesD
>>
}
TIA,
Paul Scott
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MIDI instrument ignored in 2.13.61 - bug?
Hello,
if I set a MIDI instrument like this:
\context Staff = upper <<
\set Staff.midiInstrument = "violin"
\context Voice = "vupper" \uppervoice
>>
the violin plays only the very first note, after that it’s only the
default Grand Piano.
I didn’t find a bug report in the tracker WRT this.
The manual uses...
- #"violin"
- \new Staff
- \with {}
... but none of that makes a difference.
In some strange cases (I couldn’t reproduce it), I get the instrument
of one staff for the next one.
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)
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Re: Making a vibrato symbol
On Tue, May 24, 2011 at 5:58 PM, Albu wrote:
>
> How do I put the trill or vibrato symbol? Without the "tr" I just want the
> waves after the "poco vib" and end them where the chord begins
>
> \version "2.12.1"
> \relative c'
> {
>
> a'8.\mf des32 c_\markup { poco vib } f,4 \acciaccatura g8 e2~
> e1~
> < e d' ~ gis> d'4
>
> }
>
Greetings, Albu -
try :
\prall or \prallprall
see :
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-big-page#List-of-articulations
Pondly,
Ralph
Ralph Palmer
Montague City, MA
USA
palmer.r.vio...@gmail.com
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Re: [ANN] Frescobaldi 2.0 development progress, runs already on Windows
Rodolfo Zitellini wrote: > > 1) I already had a working macports installation with some very basic > libs (www.macports.org), and I already had python 2.7 installed > 2) I installed qt 4.7 w/bindings: sudo port install py27-pyqt4 > This downloaded and compiled qt4 - qt4-mac > > With this setup, the Frescobaly run, but without pdf preview, so I > installed poppler > sudo port install poppler +quartz +qt4 > > and the python interface compiled: > cd python-poppler-qt4-0.16.2 > python2.7 setup.py build > sudo python2.7 setup.py install > > to start Frescobaldi I did: > git clone git://github.com/wbsoft/frescobaldi.git > cd frescobaldi/ > python2.7 frescobaldi > > Ciao! > Rodolfo > Hello, Thanks. I managed to install these and make Frescobaldi run on my iMac. My portable mac (macbook pro) still has issues installing pyqt4 from macports, but Frescobaldi runs on the Ubuntu side oh that machine. I don't know git very well. Is there a command to update frescobaldi ? When trying to clone when an older version is already present, I've got a error message saying there is already a frescobaldi folder. Philippe -- View this message in context: http://old.nabble.com/-ANN--Frescobaldi-2.0-development-progress%2C-runs-already-on-Windows-tp31680117p31696758.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI instrument ignored in 2.13.61 - bug?
Hello, 2011/5/25 Henning Hraban Ramm > the violin plays only the very first note, after that it’s only the default > Grand Piano. > > I didn’t find a bug report in the tracker WRT this. > > it's already reported and fixed in git - see: http://code.google.com/p/lilypond/issues/detail?id=1646 HTH Marek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [ANN] Frescobaldi 2.0 development progress, runs already on Windows
2011/5/25 flup2 > > I don't know git very well. Is there a command to update frescobaldi ? When > trying to clone when an older version is already present, I've got a error > message saying there is already a frescobaldi folder. > > You 'git clone' the repository the first time only, then you should use: git pull ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LSR is not available
- Original Message - From: "ggit" Thank you James ! Lilypond website provides only a *selected set* of snippets from LSR, which is not easy to search. The page you pointed me at does provide a link to the actual LSR website, indeed. But it's not easy to find. So I have a suggestion/request to the webmaster : Could we have a link to LSR on the main doc page ? (http://lilypond.org/manuals.html) - in "Regular use" beneath "Snippets: short tricks and tips." please add the line : "LSR: all the snippets contributed by users." (with a link) - in the tool bar on top of the page, add a link "LSR" between "Snippets" and "FAQ" That would make the so valuable LSR content way more accessible for us users ! Added as http://code.google.com/p/lilypond/issues/detail?id=1664 -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: looking to contract with someone to add meta-data to svg export
On Fri, May 20, 2011 at 12:34:25PM -0600, Michael Geary wrote: > I'm not a C/C++ coder, and mucking about in the Lilypond source > isn't really an option for me, but i am in a position to hire > someone to do that, and/or make a financial contribution to the > project. Is anyone here interested in exploring this with me? I believe that Mike Solomon and Patrick McCarty would be the best two people to approach. I'm a bit surprised that they haven't said anything alerady, actually. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: effect of \transposition on \quoteDuring
Paul Scott ultrasw.com> writes:
> Why does the presence of \transposition change the effects of the
> following pairs of lines? Or how do I get the results I want when I add
> the desired \transposition command?
> notesA = \relative c'' {
>\transposition c'
>c1 d e f g
> }
> \addQuote "inA" \notesA
> \addQuote "inAd" \transpose c c, \notesA
The \transpose operation changes *all* the pitches in \notesA, including the c'
that tells LilyPond what the instrument \transposition is.
(\transpose really should not change this pitch, and there is a bug listed
about
this. http://code.google.com/p/lilypond/issues/detail?id=754)
The effect is that \transpose will change the written pitches, but leave the
sounding pitches the same. Quotes with \quoteDuring use the sounding pitches.
I do not know a way to do what you want with \quoteDuring. (I just use
variables to hold short motives instead.) A similar issue must have been
handled to make the function \transposedCueDuring, so that might serve as a
model if any Scheme programmer (as many users seem to be) wants to find a
solution.
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Re: looking to contract with someone to add meta-data to svg export
On Wed, 25 May 2011 18:55:08 +0100, Graham Percival wrote: On Fri, May 20, 2011 at 12:34:25PM -0600, Michael Geary wrote: I'm not a C/C++ coder, and mucking about in the Lilypond source isn't really an option for me, but i am in a position to hire someone to do that, and/or make a financial contribution to the project. Is anyone here interested in exploring this with me? I believe that Mike Solomon and Patrick McCarty would be the best two people to approach. I'm a bit surprised that they haven't said anything alerady, actually. :) Cheers, - Graham Sorry - I should have replied to the list. I contacted Michael off-list because it seemed like a peer-to-peer thing. Long live SVG, ~Mike ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Vertical spacing for fixed y-offset of systems *calculated from top staff line*?
Hi,
I'm looking to vertically lay out systems in a very rigid and regular way.
(This is the method I documented a while back in 4.4.2 'Explicit staff and
system positioning' using the Y-offset and alignment-distances attributes of
line-break-system-details.) The challenge is that this method produces
different visual results than it used to now that the new vertical spacing
code has been added into the system. Examples are the easiest way to show
the difference.
Here's an example of explicit system positioning:
%%% EX 1: EXPLICIT SYSTEM POSITIONING W/ JUMPING STAVES %%%
\version "2.13.61"
\paper {
evenHeaderMarkup = \markup \fill-line { " " }
indent = #0
oddHeaderMarkup = \markup \fill-line { " " }
top-margin = 20\mm
}
\new Staff {
%%% PAGE 1
\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
c'1 \pageBreak
\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
c1
}
%%% END EX 1 %%%
Rendering example 1 shows two pages of music with one system per page. The
thing to notice is that staves jump around on the page and appear at two
different vertical positions on the two pages. Lily's visual output in cases
like this used to be different.
We can approximate the visual appearance produced by older versions of Lily
by nulling out the y-extent of grobs that happen to occur above the top
staff line of the system in question:
%%% EX 2: EXPLICIT SYSTEM POSITIONING *WITHOUT* JUMPING STAVES W/ Y-EXTENT
HACK %%%
\version "2.13.61"
\paper {
evenHeaderMarkup = \markup \fill-line { " " }
indent = #0
oddHeaderMarkup = \markup \fill-line { " " }
top-margin = 20\mm
}
\layout {
\context {
\Score
\override BarNumber #'Y-extent = ##f
\override NoteHead #'Y-extent = ##f
\override Script #'Y-extent = ##f
}
}
\new Staff {
%%% PAGE 1
\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
c'1 \pageBreak
\overrideProperty #"Score.NonMusicalPaperColumn"
#'line-break-system-details #'((Y-offset . 0))
c1
}
%%% END EX 2 %%%
Rendering example 2 shows the visual output that I want. But the problem is
that nulling out the y-extent of grobs is a bad idea (as can be seen by
adding accents, ottava spanners, text spanners and so on to the music in
example 2 and watching how grobs fail to position correctly).
It would appear that what's going on here is that Lily's assessment of what
counts as the topmost edge of a system has changed over time: previously,
the Y-offset attribute of line-break-system-details applied to the top staff
line of the topmost staff in a system; now, the Y-offset attribute of
line-break-system-details applies to the outermost envelope (skyline?) of
the system. This makes sense. But I would really like to be able to
reproduce the utterly regular vertical spacing of my previous scores using
current versions of Lily.
Is there any way to achieve the vertical layout of systems that I'm looking
for with modern versions of Lily?
Trevor.
--
Trevor Bača
trevorb...@gmail.com
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Alternate, as in separate, chords
Is it possible to put a different set of chords above the main line of chords like this (I hope this formats correctly): (Db7) G7C And what about the parenthesis around the chord name. Is that possible? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: effect of \transposition on \quoteDuring
On 05/25/2011 01:12 PM, Keith OHara wrote:
Paul Scott ultrasw.com> writes:
Why does the presence of \transposition change the effects of the
following pairs of lines? Or how do I get the results I want when I add
the desired \transposition command?
notesA = \relative c'' {
\transposition c'
c1 d e f g
}
\addQuote "inA" \notesA
\addQuote "inAd" \transpose c c, \notesA
The \transpose operation changes *all* the pitches in \notesA, including the c'
that tells LilyPond what the instrument \transposition is.
(\transpose really should not change this pitch, and there is a bug listed about
this. http://code.google.com/p/lilypond/issues/detail?id=754)
Ok. So when and if the bug is fixed the ability to write a theme in one
instrument and quote it for any other instruments which play it at the
same time in whatever will be available!?
The effect is that \transpose will change the written pitches, but leave the
sounding pitches the same. Quotes with \quoteDuring use the sounding pitches.
I do not know a way to do what you want with \quoteDuring.
Again from what you say shouldn't fixing the bug solve the problem?
(I just use
variables to hold short motives instead.)
Yes, that's what I've done for years until I recently got comfortable
with \quoteDuring and whenever the theme occurs again at some other time
or in some other key.
A similar issue must have been
handled to make the function \transposedCueDuring, so that might serve as a
model if any Scheme programmer (as many users seem to be) wants to find a
solution.
Maybe I will have time to do this this summer. This seems to me to be a
required cousin of \quoteDuring.
Thanks,
Paul
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Re: Strange transposing effect
On 05/25/2011 04:57 PM, D'Arcy J.M. Cain wrote:
Check out the following code. Two odd things happen. First, if I
transpose "\transpose a bf" without the commas it transposes two
octaves higher than expected. Does this have something to do with the
"relative a,," of the surrounding block? It certainly seems
counterintuitive.
More problematical, since I haven't figured out a workaround, is the
output. In the key of A the D is above the A as I would expect since
it is closer to go up than down. When it switches to Bb the Eb drops
below the Bb even though that is a fifth down. The higher Eb is still
only a fourth away from the Bb. What gives?
LeftVerse must be \relative to be transposed with \tranpose
HTH,
Paul Scott
\version "2.10.10"
\include "english.ly"
#(set-global-staff-size 35)
\paper {
#(set-default-paper-size "letter")
before-title-space = 0
}
\header {
title = "Transpose test"
}
Common = {
\time 4/4
\key a \major
}
LeftVerse = {
should be:
LeftVerse = \relative c {
a4. a8 a2
a4. a8 a2
d4. d8 d2
a4. a8 a2
}
LeftLine = \relative a,, {
\Common
\clef "bass_8"
\LeftVerse
\key bf \major
\transpose a bf,, {
\LeftVerse
}
}
themusic = {
<<
\tempo 4 = 160
\new Staff {
\set Staff.midiInstrument = "acoustic bass"
\LeftLine
}
>>
}
\score {
\themusic
\layout { }
}
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--
Paul Scott
Librarian
Southern Arizona Symphony Orchestra
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Re: Strange transposing effect
On 05/25/2011 05:27 PM, Paul Scott wrote:
On 05/25/2011 04:57 PM, D'Arcy J.M. Cain wrote:
Check out the following code. Two odd things happen. First, if I
transpose "\transpose a bf" without the commas it transposes two
octaves higher than expected. Does this have something to do with the
"relative a,," of the surrounding block? It certainly seems
counterintuitive.
More problematical, since I haven't figured out a workaround, is the
output. In the key of A the D is above the A as I would expect since
it is closer to go up than down. When it switches to Bb the Eb drops
below the Bb even though that is a fifth down. The higher Eb is still
only a fourth away from the Bb. What gives?
LeftVerse must be \relative to be transposed with \tranpose
See Transpose in section 1.1.2 of the Notation Reference
Paul
HTH,
Paul Scott
\version "2.10.10"
\include "english.ly"
#(set-global-staff-size 35)
\paper {
#(set-default-paper-size "letter")
before-title-space = 0
}
\header {
title = "Transpose test"
}
Common = {
\time 4/4
\key a \major
}
LeftVerse = {
should be:
LeftVerse = \relative c {
a4. a8 a2
a4. a8 a2
d4. d8 d2
a4. a8 a2
}
LeftLine = \relative a,, {
\Common
\clef "bass_8"
\LeftVerse
\key bf \major
\transpose a bf,, {
\LeftVerse
}
}
themusic = {
<<
\tempo 4 = 160
\new Staff {
\set Staff.midiInstrument = "acoustic bass"
\LeftLine
}
>>
}
\score {
\themusic
\layout { }
}
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Southern Arizona Symphony Orchestra
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Re: Making a vibrato symbol
On 5/24/11 5:58 PM, Albu wrote:
How do I put the trill or vibrato symbol? Without the "tr" I just want the
waves after the "poco vib" and end them where the chord begins
\version "2.12.1"
\relative c'
{
a'8.\mf des32 c_\markup { poco vib } f,4 \acciaccatura g8 e2~
e1~
< e d' ~ gis> d'4
}
You can use a text spanner:
\version "2.12.1"
\relative c'
{
a'8.\mf des32
\override TextSpanner #'(bound-details left text) =
\markup { \vcenter \normal-text "poco vib." }
\override TextSpanner #'style = #'trill
\override TextSpanner #'direction = #DOWN
c\startTextSpan f,4 \acciaccatura g8 e2~
e1~
< e d' ~ gis>\stopTextSpan d'4
}
Best,
Edward
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How to use diferente paper layouts in a \book
Hy all,
I'm trying do create a score with the individual parts after the
global one, but the global part in landscape and the individual parts
in portrait style.
I'm using \book and \bookpart commands, doing this for the global part;
\book {
\paper {
#(set-paper-size a4 'portrait)
}
...
and for the parts:
\bookpart {
\paper {
#(set-paper-size a4 'portrait)
}
What should I do?
Cheers,
Alexandre
--
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Re: Vertical spacing for fixed y-offset of systems *calculated from top staff line*?
On 5/25/11 4:27 PM, "Trevor Bača" wrote: > Hi, > > I'm looking to vertically lay out systems in a very rigid and regular way. > (This is the method I documented a while back in 4.4.2 'Explicit staff and > system positioning' using the Y-offset and alignment-distances attributes of > line-break-system-details.) The challenge is that this method produces > different visual results than it used to now that the new vertical spacing > code has been added into the system. Examples are the easiest way to show the > difference. > > > It would appear that what's going on here is that Lily's assessment of what > counts as the topmost edge of a system has changed over time: previously, the > Y-offset attribute of line-break-system-details applied to the top staff line > of the topmost staff in a system; now, the Y-offset attribute of > line-break-system-details applies to the outermost envelope (skyline?) of the > system. This makes sense. But I would really like to be able to reproduce the > utterly regular vertical spacing of my previous scores using current versions > of Lily. > > Is there any way to achieve the vertical layout of systems that I'm looking > for with modern versions of Lily? I couldn't get your examples to compile, so I couldn't test them. I think you want to set top-system-spacing and system-system-spacing with a 'stretchability of 0, which will place the system at a fixed location, regardless of the notes present. HTH, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternate, as in separate, chords
Am 2011-05-26 um 00:30 schrieb Stan Mulder:
Is it possible to put a different set of chords above the main line
of chords
like this (I hope this formats correctly):
(Db7)
G7C
And what about the parenthesis around the chord name. Is that
possible?
Here are the brackets (I can't help with the stacking, though):
#(define (addBrackets grob)
"Place brackets round a text object."
(let* (
; Get current text
(currentText (ly:grob-property grob 'text))
(bracketedText (markup "(" currentText ")")))
; Store the bracketed text back
(ly:grob-set-property! grob 'text bracketedText)
)
; and print it
(ly:text-interface::print grob))
opC = \once \override ChordNames.ChordName #'stencil = #addBrackets
(Thanks to the helpful contributor who wrote that code for me!)
So you can say \opC des:7
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)
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