Re: Show Ledger Lines for Hidden Notes
Am 27.09.2011 08:17, schrieb Javier Ruiz-Alma:
I wish to show a staff with a few ledger lines above/below an empty staff.
I don't want any notes to show. However LilyPond will not generate
Ledger lines for invisible notes, so transparency overrides or
\hideNotes commands I've tried take out the note heads as well as the
accompanying ledger lines.
Is there a way to force the ledger lines to be typeset while hiding
the underlying note?
Below is the snippet I'm testing this with. Thx! Javier
\version "2.14.2"
\score
{ \new Staff \with {
\remove Bar_engraver
firstClef = ##f
}
{
%% I'm looking for a way to hide the noteheads, but still show the
ledger lines.
%%uncommenting the command below will erase both notes and ledger lines
%\override NoteHead #'stencil = #point-stencil
I think you'll have to make the note heads invisible:
\override NoteHead #'transparent = ##t
then the ledger lines should still appear (untested!)
HTH,
Marc
\override Stem #'transparent = ##t
a''4 c''' c' a
}
\layout {
indent = 0\in
ragged-right = ##t
}
}
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Show Ledger Lines for Hidden Notes
I wish to show a staff with a few ledger lines above/below an empty staff.
I don't want any notes to show. However LilyPond will not generate Ledger
lines for invisible notes, so transparency overrides or \hideNotes commands
I've tried take out the note heads as well as the accompanying ledger lines.
Is there a way to force the ledger lines to be typeset while hiding the
underlying note?
Below is the snippet I'm testing this with. Thx! Javier
\version "2.14.2"
\score
{ \new Staff \with {
\remove Bar_engraver
firstClef = ##f
}
{
%% I'm looking for a way to hide the noteheads, but still show the
ledger lines.
%%uncommenting the command below will erase both notes and ledger
lines
%\override NoteHead #'stencil = #point-stencil
\override Stem #'transparent = ##t
a''4 c''' c' a
}
\layout {
indent = 0\in
ragged-right = ##t
}
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Re: Request for Engraving Suggestions
Greetings!
Having read the posts about this, and assuming you have upgraded to
v14., I can offer the paper-block below, which can be pasted into your
.ly file.
I think the values chosen give a reasonable on-page appearance...
Thanks to Reinhold Kainhofer for allowing us use of his code from his
website - it is an invaluable resource!
Hope this helps
Regards
Bill
+++
\paper {
%#(set-paper-size "a4")
%this commented out because it occurs in RK's section below
%left-margin = 20\mm %it's interesting to see how large this can be set!
%right-margin = 15\mm
%tinkering with thse two values is useful if binding margins are needed.
%NB these are superfluous if 'two-sided' is ON - see below
%top-margin = 10\mm
markup-system-spacing = #'((basic-distance . 10) (minimum-distance . 10)
(padding . 2) (stretchability . 50))
system-system-spacing = #'((basic-distance . 20) (minimum-distance . 20)
(padding . 2) (stretchability . 50))
%tinkering with these values allows any fine tuning - 'ad lib' :)
%\ragged-bottom ##f
%this commented out because it occurs in RK's section below
two-sided=##t
inner-margin = 30\mm
outer-margin = 20\mm
%binding-offset = 40\mm
%these are added here in case you want to have double-sided printout
% The lines below are courtesy R Kainhofer with minor
alterations
pages=3
systems-per-page=3
ragged-bottom=##f
ragged-last-bottom=##f
ragged-last=##f
ragged-right=##f
#(set-paper-size "a4")
top-system-spacing #'basic-distance = #7
top-markup-spacing #'basic-distance = #5
last-bottom-spacing #'basic-distance = #10
% markup-system-spacing #'basic-distance = #15
%this commented out because it is set in the 'complete' form earlier
top-system-spacing #'stretchability = #60
top-markup-spacing #'stretchability = #40
last-bottom-spacing #'stretchability = #60
markup-system-spacing #'stretchability = #60
% system-system-spacing #'stretchability = #40
%this commented out because it is set in the 'complete' form earlier
}
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Re: best practices for divisi string writing
Shevek saultobin.com> writes:
> One thing that I have had trouble figuring out, though,
> is the best way to do divisi string writing in Lilypond.
I find it awkward to split the music among variables, so I learned to use
the \tag system to mark different formatting options for part or score.
This means I don't completely separate content from presentation, but I'm
happier to have some presentation specifications stay close to the content
that required them.
violinI = R1*3
violinII = \new Voice { \relative c' {
c4 d e f
<<
\new Voice {
\tag#'score \voiceOne
a r c d
}
\new Voice {
\tag#'score \voiceTwo
\tag#'part \change Staff = "second"
f, g r b
}
\tag#'part \new Staff = "second" {
\once \override Staff.TimeSignature #'stencil = ##f
} % The contents of the Staff are also controlled by the tag
>>
c g e c
}}
\keepWithTag#'part \new GrandStaff { \violinII }
% GrandStaff draws a brace if the divisi lasts more than one line
\keepWithTag#'score \new StaffGroup <<
\new Staff \violinI
\new Staff \violinII
>>
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Re: Using mergeDifferentlyHeadedOn and override NoteColumn #'ignore-collision = ##t
Nick Payne internode.on.net> writes: > > Using these two commands together causes the merged heads of half notes > to get filled in, so that the half note looks like a quarter note. Is > this an unintended side-effect or expected behaviour? I'd say an expected side-effect. Merely setting 'ignore-collision to true causes the filling in effect. With this setting, Lilypond completely ignores collisions between different voices, so the half note and sixteenth note are drawn on top of one another, effectively filling in the half note's head. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
ossia vertical spacing
hello list, i'm making clean copies of transcriptions i made from recordings of a traditional drum. it's only one instrument, and the notation is in one two-line staff. i haven't tweaked the vertical spacing between systems, and i'm happy with the default results. but now i added an extra (transparent) staff with an alternate notation (following the guidelines given for ossia staves), and i find that this makes the distance to the following system way too big (see attached image). i'd like to see the ossia staff a little closer to the main staff, and the following system much closer than it is now. ideally, i'd like to be able to do this without affecting the distance of the other systems. in other words, that this ossia staff wouldn't create so much space below it. i looked in section 4.4 of NR (Vertical spacing), but somehow it seems i don't understand how to achieve this. in any case, none of the tweaks i tried had any effect (perhaps they are in the wrong place...). best, lj<>___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement sostenuto
on 2011-09-25 at 20:27 David Nalesnik wrote: >Good idea. like wow, i couldn't expect that my original post would trigger all this thread (most of it way over my head, i'm afraid...) thank you all! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Using mergeDifferentlyHeadedOn and override NoteColumn #'ignore-collision = ##t
Using these two commands together causes the merged heads of half notes
to get filled in, so that the half note looks like a quarter note. Is
this an unintended side-effect or expected behaviour?
%===
\version "2.15.12"
\relative c'' {
\mergeDifferentlyHeadedOn
<< { a16 cis e a cis e, a cis } \\
{ a,2 } >>
<< { a16 cis e a cis e, a cis } \\
{ \override NoteColumn #'ignore-collision = ##t a,2 } >>
}
%===
Nick
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Re: Jazz Chord Symbols
Hi,
I do occasional jazz lead sheets in LilyPond, and I've found the
following code sufficient for my needs:
% begin %
raisedSharp = \markup \raise #0.6 \sharp
chExceptionMusic = {
% Major
1-\markup ""
1-\markup \small "6"
1-\markup \small {
\override #`(baseline-skip . 1) {
\general-align #Y #DOWN \column { "6" "9" }
}
}
1-\markup \small "maj7"
1-\markup \small "maj9"
1-\markup \small "maj11"
1-\markup \small "maj13"
1-\markup \small \concat { "(" \raise #0.6 \sharp "5" ")" }
% Minor
1-\markup \small "-"
1-\markup \small "-6"
1-\markup \small "-7"
1-\markup \small "-(maj7)"
1-\markup \small "-(add9)"
1-\markup \small "-9"
1-\markup \small \concat { "-7" \flat "5" }
% Dominant
1-\markup \small "7"
1-\markup \small "9"
1-\markup \small "11"
1-\markup \small "13"
% Dominant alterations
1-\markup \small \concat { "7" \flat "5" }
1-\markup \small \concat { "9" \flat "5" }
1-\markup \small \concat { "11" \flat "5" }
1-\markup \small \concat { "13" \flat "5" }
1-\markup \small \concat { "7" \raisedSharp "5" }
1-\markup \small \concat { "9" \raisedSharp "5" }
1-\markup \small \concat { "11" \raisedSharp "5" }
1-\markup \small \concat { "13" \raisedSharp "5" }
1-\markup \small \concat { "7" \flat "9" }
1-\markup \small \concat { "11" \flat "9" }
1-\markup \small \concat { "13" \flat "9" }
1-\markup \small \concat { "7" \raisedSharp "9" }
1-\markup \small \concat { "11" \raisedSharp "9" }
1-\markup \small \concat { "13" \raisedSharp "9" }
% Suspended
1-\markup \small "sus2"
1-\markup \small "7sus2"
1-\markup \small "add2"
1-\markup \small "sus4"
1-\markup \small "7sus4"
1-\markup \small "add4"
}
chExceptions = #(sequential-music-to-chord-exceptions chExceptionMusic #t)
% end %
It tries to emulate as closely as possible the notation found in the
Hal Leonard Real Books. Feel free to expand and improve as necessary
:)
On Sun, Sep 25, 2011 at 8:32 PM, Louis Guillaume wrote:
> Hi,
>
> This may be a FAQ but I can't find definitive answers by googling.
>
> I'm looking for more control over chord symbols.
>
> For the most part - what I'm looking for is something close to what we see
> in the Real Book. But that's actually in handwriting, so some changes would
> obviously be wanted or needed for a LilyPond-engraved output.
>
> The thing is - With LilyPond we seem to have the Ignatzek and alternate
> chord styles. These are both pretty far off from what I'm used to. Is there
> a way to create a new "set" of symbols for rendering chords?
>
> In particular, I have these requirements:
>
> o 6th, 7th, 9th, etc. chords would have the "7" at the same
> font size as the Chord letter. e.g. "C7" should not have
> the 7 in superscript.
>
> o Minor would use `-' instead of `m'.
>
> o Major 7th would look like "Gma7" - no superscript.
>
> o Extra Tensions on a chord would be added as superscipt. e.g.
>
> - "Fma7#11" would have the "#11" in superscript.
> - "C7b5" would have the \flat 5 in superscript.
> - "A-7b5" would have the \flat 5 in superscript.
> - However "B9" and "E-11" should have NO superscript.
>
> o Multiple tensions would be stacked in a column to the right.
>
> - C7#9/b9/b13 would have the 3 tensions stacked, next to
> the 7 in the small superscript-size text.
>
> - A7sus2/sus4 would have those suspensions stacked.
>
> o Inverted chords, e.g. "A/C#" would be written as shown here,
> but the bottom of the "A" would be close to the top of the
> "C". So they aren't exactly in-line. The intent is to try and
> mimic the way these are typically written.
>
> o Polychords e.g. "G over F" would be written with a horizontal
> bar between both letters.
>
>
> And there's probably a lot more... Any help or direction towards this end
> would be great. Thanks,
>
> Louis
>
>
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Re: maxosx support for 10.4 to 10.7, test binaries
On Sep 26, 2011, at 12:31 AM, Graham Percival wrote: There are darwin-ppc and darwin-x86 binaries here: http://lilypond.org/~graham/ There is one report that the x86 version fails to work on 10.5.8, which seems odd since I would have expected more complaints if that was the case. If you have a mac, could you check those binaries? Make sure you download the right version for your architecture. There's some comments here: http://code.google.com/p/lilypond/issues/detail?id=1919 Cheers, - Graham Mac OS 10.4 here (PPC). Lilypond 2.15.13 works fine with both the bundled editor as well as with jEdit / Lilypond tool. James Worlton ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for Engraving Suggestions
On 26/09/2011 22:01, Keith OHara wrote:
Janek Warchoł gmail.com> writes:
For starters, add
ragged-bottom = ##t
to your paper block.
Then, read http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-
vertical-spacing-_005cpaper-variables
(notice that the documentation is about current stable version -
2.14.2. In 2.12 things were done differently).
Need to take the time to update it :)
thanks for reminding me :)
Alberto,
In case you want to continue using version 2.12, section 4.4.2 of the
Notation Reference manual addresses your problem.
Maybe this
\paper {
page-limit-inter-system-space = ##t
page-limit-inter-system-space-factor = 1.3
}
will work well for you. If not, maybe something else in that section.
Thanks, will try.
Alberto
--
Alberto Simoes
CEHUM
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Re: Request for Engraving Suggestions
2011/9/26 Reinhold Kainhofer : > Am Montag, 26. September 2011, 18:11:50 schrieb Alberto Simões: >> Hello >> >> At [1] you can find the images of the engraving process of one >> transcription I did. The Lilypond source file is available at [2] and if >> you prefer the PDF version, it is available at [3]. >> >> In this engraving I do not like the amount of space between the two >> systems. I understand that there is not much that Lilypond can do, but >> the overall aspect is kind of... strange. >> >> I am writing to ask for any suggestion to make this output better. > > For my empty score sheet generator, I had to adjust the vertical spacing quite > a bit, too. The default settings of lilypond simply look ugly. Yes they do. Well, fixing this is on my to-do list. However, fixing it properly will not be easy, because it probably requires rewriting current spacing engine (i know that it sounds ugh). I remember that i've found an example score layout which was impossible to achieve with current system. 2011/9/26 Reinhold Kainhofer : > Am Montag, 26. September 2011, 18:25:29 schrieb Janek Warchoł: >> I'd put it differently: there's not much LilyPond *cannot* do. >> For starters, add >> ragged-bottom = ##t >> to your paper block. >> Then, read >> http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-vertical >> -spacing-_005cpaper-variables (notice that the documentation is about >> current stable version - >> 2.14.2. > > Notice, however, that once you set ragged-bottom=##t, then those vertical > spacing settings won't have any effect any more! They will work. Just remember that stretchablility doesn't make much sense when ragged-bottom is turned on, but the others are ok. cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for Engraving Suggestions
Janek Warchoł gmail.com> writes:
> For starters, add
> ragged-bottom = ##t
> to your paper block.
> Then, read http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-
vertical-spacing-_005cpaper-variables
> (notice that the documentation is about current stable version -
> 2.14.2. In 2.12 things were done differently).
>
Alberto,
In case you want to continue using version 2.12, section 4.4.2 of the
Notation Reference manual addresses your problem.
Maybe this
\paper {
page-limit-inter-system-space = ##t
page-limit-inter-system-space-factor = 1.3
}
will work well for you. If not, maybe something else in that section.
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Re: Apparently bogus warning with 2.15.12
On 26/09/11 21:47, Reinhold Kainhofer wrote:
Hi Nick,
Am Monday, 26. September 2011, 11:27:01 schrieb Nick Payne:
I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to
just engrave the last six bars added, and as I add bars I'm getting
warnings about unterminated ties that come and go as the bars are added.
The reason I say the warning is bogus is because there are no ties
across barlines anywhere in the piece, and when I have a look at the
bar(s) being complained of, there are no ties anywhere near.
Can you try to create a minimal example that shows the problem. Your error
messages simply don't give us any code to try to reproduce (and then track
down) the problem.
I haven't been able to create a small example that gets the bogus
warning in the log, but while trying to do so I managed to reproduce
what looks like a related/similar problem. When I build the example
below using showLastLength, Lilypond puts a tie between the first two
notes of bar 6, though there is no tie there in the source, and if I
comment out showLastLength to build the entire score, the tie there
disappears.
%=
\version "2.15.12"
\language "english"
showLastLength = R1.*4
\relative c'' {
\time 3/2
fs2 r4 r8 fs b4. d8 |
2 r4 r8 b e4. g8 |
as,2 r4 r8 cs e,4 ~ e16 d e fs |
d4. cs16 b d'2 |
r4 r16 d c b c4. a8 |
b2 |
s2 r4 r16 b a g a4. fs8 |
g4. fs16 e 2 |
r4 r16 fs e d cs( d) cs( d) e d e cs |
}
%=
Nick
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Re: Request for Engraving Suggestions
Reinhold Kainhofer kainhofer.com> writes: > The default settings of lilypond simply look ugly. I know! The developers who know choral music must have been out to lunch! > To see my values, go to ... Oh no! My eyes! They have melted! Just kidding. Your more stretchable last-bottom space should probably be the default. I made it only a little stretchable, worrying that people would complain if ragged-bottom = ##f did not give a perfectly even bottom. Nobody complained. I thought somebody complained if the top staff position varied between pages, but I cannot find it now. The reason that most of the stretchability on a page is between systems is to make obvious how many systems there are on a frenched large-ensemble score, where there might be only one system on the first page, but two or three on later pages when some instruments drop out temporarily. There is room for improvement in the defaults. Sadly, I have completely forgotten how vertical spacing works, so I can't change the defaults any more. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for Engraving Suggestions
Am Montag, 26. September 2011, 18:25:29 schrieb Janek Warchoł: > I'd put it differently: there's not much LilyPond *cannot* do. > For starters, add > ragged-bottom = ##t > to your paper block. > Then, read > http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-vertical > -spacing-_005cpaper-variables (notice that the documentation is about > current stable version - > 2.14.2. Notice, however, that once you set ragged-bottom=##t, then those vertical spacing settings won't have any effect any more! Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial & Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org signature.asc Description: This is a digitally signed message part. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for Engraving Suggestions
Am Montag, 26. September 2011, 18:11:50 schrieb Alberto Simões:
> Hello
>
> At [1] you can find the images of the engraving process of one
> transcription I did. The Lilypond source file is available at [2] and if
> you prefer the PDF version, it is available at [3].
>
> In this engraving I do not like the amount of space between the two
> systems. I understand that there is not much that Lilypond can do, but
> the overall aspect is kind of... strange.
>
> I am writing to ask for any suggestion to make this output better.
For my empty score sheet generator, I had to adjust the vertical spacing quite
a bit, too. The default settings of lilypond simply look ugly.
To see my values, go to
http://www.edition-kainhofer.com/de/empty-scoresheets.html
and choose e.g. "Choir, 4 staves (SATB)", with 2 systems/page and no space for
the header reserved.
You can then download the lilypond file, which contains the vertical spacing
variables that I'm using with lilypond 2.14.
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
* Financial & Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* LilyPond, Music typesetting, http://www.lilypond.org
<>\version "2.14.2"
#(set-global-staff-size 20)
#(set-default-paper-size "a4")
#(ly:set-option 'point-and-click #f)
\header {
title=""
subtitle=""
composer=""
instrument=""
arranger=""
tagline = ##f
}
\paper {
oddHeaderMarkup = ##f
evenHeaderMarkup = ##f
oddFooterMarkup = \markup \abs-fontsize #8 \with-color #(x11-color 'gray65) \fill-line {
\with-url #"http://www.edition-kainhofer.com/"; {"Edition Kainhofer"}
\with-url #"http://www.lilypond.org/"; {"LilyPond - Music notation for everyone"}
}
pages=3
systems-per-page=2
ragged-bottom=##f
ragged-last-bottom=##f
ragged-last=##f
ragged-right=##f
#(set-paper-size "a4")
top-system-spacing #'basic-distance = #7
top-markup-spacing #'basic-distance = #5
last-bottom-spacing #'basic-distance = #10
markup-system-spacing #'basic-distance = #15
top-system-spacing #'stretchability = #60
top-markup-spacing #'stretchability = #40
last-bottom-spacing #'stretchability = #60
markup-system-spacing #'stretchability = #60
system-system-spacing #'stretchability = #40
}
\layout {
\context { \StaffGroup
\override SystemStartBracket #'collapse-height = #1
}
\context { \PianoStaff
\override SystemStartBrace #'collapse-height = #1
}
}
emptymusic = {
\repeat unfold 6 { s1\break }
}
\new Score \with {
\override TimeSignature #'transparent = ##t
defaultBarType = #""
\remove Bar_number_engraver
}
<<
\new ChoirStaff <<
\new Staff \new Voice { \clef "treble" \emptymusic }
\new Staff \new Voice { \clef "treble" \emptymusic }
\new Staff \new Voice { \clef "treble_8" \emptymusic }
\new Staff \new Voice { \clef "bass" \emptymusic }
>>
>>
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Re: Request for Engraving Suggestions
2011/9/26 Alberto Simões : > Hello > > At [1] you can find the images of the engraving process of one transcription > I did. The Lilypond source file is available at [2] and if you prefer the > PDF version, it is available at [3]. > > In this engraving I do not like the amount of space between the two systems. > I understand that there is not much that Lilypond can do, but the overall > aspect is kind of... strange. I'd put it differently: there's not much LilyPond *cannot* do. For starters, add ragged-bottom = ##t to your paper block. Then, read http://www.lilypond.org/doc/v2.14/Documentation/notation/flexible-vertical-spacing-_005cpaper-variables (notice that the documentation is about current stable version - 2.14.2. In 2.12 things were done differently). If you have more questions, ask! Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Request for Engraving Suggestions
Hello At [1] you can find the images of the engraving process of one transcription I did. The Lilypond source file is available at [2] and if you prefer the PDF version, it is available at [3]. In this engraving I do not like the amount of space between the two systems. I understand that there is not much that Lilypond can do, but the overall aspect is kind of... strange. I am writing to ask for any suggestion to make this output better. Thank you ambs [1] http://musica-liturgica.net/viewfull.pl/153 [2] http://musica-liturgica.net/ly.pl/153.ly [3] http://musica-liturgica.net/pdf.pl/153.pdf -- Alberto Simoes CEHUM ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Berklee Certification
2011/9/26 Kieren MacMillan : > Hi Brett, > > 1. Congratulations! +1 > 2. Thanks for reporting back to us on your Lilyvangelism! +1 :) cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Berklee Certification
On Mon, Sep 26, 2011 at 10:25 AM, Kieren MacMillan wrote: > 1. Congratulations! > 2. Thanks for reporting back to us on your Lilyvangelism! > 3. I'm very interested in talking with you [offline] about your experience at > Berklee. Thanks and certainly, feel free to email me with any questions! -- Brett W. McCoy -- http://www.electricminstrel.com "In the rhythm of music a secret is hidden; If I were to divulge it, it would overturn the world." -- Jelaleddin Rumi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Berklee Certification
Hi Brett, 1. Congratulations! 2. Thanks for reporting back to us on your Lilyvangelism! 3. I'm very interested in talking with you [offline] about your experience at Berklee. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata over 2 rests?
On Mon, Sep 26, 2011 at 13:37, David Kastrup wrote: > Christ van Willegen writes: >> If there were a break between the two rests, that would not look good. > > Why would there be a break? Because, uhm, I would put one there, because it wouldn't automatically be broken between two notes? Sory, brain-fart, I was thinking of a word processor 'breaking a line' between 'words'. Must have had something to do with sleep-node, /me nods off... Christ van Willegen -- 09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Berklee Certification
Hi Lilypond people -- I just finished up a 2 year Master Certification program through Berklee Music, the program being "Orchestration for Film & TV". I used Lilypond for all 8 of the courses I took, having made the switch a couple of years ago away from Finale and Geniesoft Overture (I used Linux, in fact, for everything in these courses, with the exception of some sample libraries hosted on Windows). Lilypond was especially useful for the classes on rhythm section Arranging since the default drum kit notation used in Lilypond is identical to the Berklee standard (many other students struggled with Finale and Sibelius to conform to the Berklee percussion notation standards). Several instructors commented on how beautiful and professional my scores were, too, although none of them had ever heard of Lilypond. There's no question in my mind that Lilypond stacks up very well against those other notation applications. -- Brett W. McCoy -- http://www.electricminstrel.com "In the rhythm of music a secret is hidden; If I were to divulge it, it would overturn the world." -- Jelaleddin Rumi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practices for divisi string writing
On Sep 25, 2011, at 10:50 AM, Shevek wrote:
>
> I'm a composer that has been using Finale for around 10 years, but recently
> switched to Lilypond almost exclusively. The reasons for my switch are
> numerous, including that I run Linux, Lilypond's beautiful engraving, and
> the natural way Lilypond supports a variety of extended notations. I've been
> incredibly impressed by the ease of my transition from Finale (it probably
> helps that I am comfortable reading code), and I don't plan to go back any
> time soon.
>
> I've been able to figure out how to do most things I'd want to do
> "idiomatically" in Lilypond, thanks to the wonderful documentation. One
> thing that I have had trouble figuring out, though, is the best way to do
> divisi string writing in Lilypond. \partcombine with custom texts seems like
> a good option for simple divisi passages that alternate with unison, but
> when one part has rests, the rests disappear, when really they should
> display. There are a variety of techniques described in the documentation
> for ossia staves that could very easily be adapted for divisi staves, but
> I'm unclear as to which would be the best. Ideally, I'd like to separate
> content (the music expressions) from the presentation (whether the parts are
> displayed on one or multiple staves) as much as possible, so that I can
> reuse the content to generate parts. Parts and score, naturally, may need to
> present the divisi passages differently, with some notated in score on the
> same staff, but in separate staves in the part.
>
> I'd really appreciate any suggestions for how to do this.
Congrats on making the switch! There are several composers on this list
(including me) that have followed a similar path and I don't think any of us
have ever switched back.
If I understand your question correctly, you are looking for :
(1) The best way to write a divisi that preserves the parts in their original
form (i.e. doesn't drop rests); and
(2) A way to do it that separates content from structure.
Here are two options:
\version "2.15.12"
preferatoryMatter = \relative c' { c d e f }
foo = \relative f' { a r c d }
bar = \relative f' { f g r b }
\new Staff { \preferatoryMatter << \foo \\ \bar >> }
\score {
\new Staff = "mystaff" {
\preferatoryMatter
<< \new Staff \with { alignAboveContext = "mystaff" } { \foo } \bar >>
}
}
Cheers,
MS
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best practices for divisi string writing
I'm a composer that has been using Finale for around 10 years, but recently switched to Lilypond almost exclusively. The reasons for my switch are numerous, including that I run Linux, Lilypond's beautiful engraving, and the natural way Lilypond supports a variety of extended notations. I've been incredibly impressed by the ease of my transition from Finale (it probably helps that I am comfortable reading code), and I don't plan to go back any time soon. I've been able to figure out how to do most things I'd want to do "idiomatically" in Lilypond, thanks to the wonderful documentation. One thing that I have had trouble figuring out, though, is the best way to do divisi string writing in Lilypond. \partcombine with custom texts seems like a good option for simple divisi passages that alternate with unison, but when one part has rests, the rests disappear, when really they should display. There are a variety of techniques described in the documentation for ossia staves that could very easily be adapted for divisi staves, but I'm unclear as to which would be the best. Ideally, I'd like to separate content (the music expressions) from the presentation (whether the parts are displayed on one or multiple staves) as much as possible, so that I can reuse the content to generate parts. Parts and score, naturally, may need to present the divisi passages differently, with some notated in score on the same staff, but in separate staves in the part. I'd really appreciate any suggestions for how to do this. -- View this message in context: http://old.nabble.com/best-practices-for-divisi-string-writing-tp32503916p32503916.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: maxosx support for 10.4 to 10.7, test binaries
On Sep 26, 2011, at 12:31 AM, Graham Percival wrote: > There are darwin-ppc and darwin-x86 binaries here: > http://lilypond.org/~graham/ > > There is one report that the x86 version fails to work on 10.5.8, > which seems odd since I would have expected more complaints if > that was the case. If you have a mac, could you check those > binaries? Make sure you download the right version for your > architecture. > > There's some comments here: > http://code.google.com/p/lilypond/issues/detail?id=1919 > > Cheers, > - Graham Below are the details from the crash report generated when the x86 version (a fresh download) is run. I also tried the suggestion from the bug report link but it did not work for me. Model: iMac4,1, BootROM IM41.0055.B08, 2 processors, Intel Core Duo, 2 GHz, 2 GB Graphics: kHW_ATIr520Item, ATY,RadeonX1600, spdisplays_pcie_device, 128 MB Memory Module: global_name AirPort: spairport_wireless_card_type_airport_extreme (0x14E4, 0x89), Broadcom BCM43xx 1.0 (5.10.91.22) Bluetooth: Version 2.1.9f10, 2 service, 0 devices, 1 incoming serial ports Network Service: Built-in Ethernet, Ethernet, en0 Serial ATA Device: Maxtor 6L250M0, 233.76 GB Parallel ATA Device: MATSHITADVD-R UJ-846 USB Device: Built-in iSight, (null) mA USB Device: FreeAgent, (null) mA USB Device: Hub in Apple Extended USB Keyboard, (null) mA USB Device: Apple Optical USB Mouse, (null) mA USB Device: Apple Extended USB Keyboard, (null) mA USB Device: Bluetooth USB Host Controller, (null) mA USB Device: IR Receiver, (null) mA FireWire Device: LaCie 1394 Disk drive LUN 0, LaCie Group SA, 400mbit_speed Process: LilyPond [270] Path:/Users/ssanders/Desktop/LilyPond.app/Contents/MacOS/LilyPond Identifier: org.lilypond.lilypond Version: ??? (???) Code Type: X86 (Native) Parent Process: launchd [92] Interval Since Last Report: 35315 sec Crashes Since Last Report: 2 Per-App Interval Since Last Report: 0 sec Per-App Crashes Since Last Report: 2 Date/Time: 2011-09-26 06:18:38.510 -0500 OS Version: Mac OS X 10.5.8 (9L30) Report Version: 6 Anonymous UUID: DD0B279C-6937-406C-9BD0-5411DEFF183B Exception Type: EXC_BREAKPOINT (SIGTRAP) Exception Codes: 0x0002, 0x Crashed Thread: 0 Dyld Error Message: unknown required load command 0x8022 I tried older versions, since I usually do not use the x86 machine for LilyPond and the latest version was a 2.13.x copy. Version 2.15.8 opened successfully. I could not open any version from 2.15.9 up. All presented with the same error message (Dyld Error). Stan___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Apparently bogus warning with 2.15.12
Hi Nick, Am Monday, 26. September 2011, 11:27:01 schrieb Nick Payne: > I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to > just engrave the last six bars added, and as I add bars I'm getting > warnings about unterminated ties that come and go as the bars are added. > The reason I say the warning is bogus is because there are no ties > across barlines anywhere in the piece, and when I have a look at the > bar(s) being complained of, there are no ties anywhere near. Can you try to create a minimal example that shows the problem. Your error messages simply don't give us any code to try to reproduce (and then track down) the problem. Thanks, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/ * Financial & Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * LilyPond, Music typesetting, http://www.lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata over 2 rests?
Christ van Willegen writes:
> On Mon, Sep 26, 2011 at 11:15, David Kastrup wrote:
>>> I've tried { r16 r8 }\fermata, but that gets flagged as an error.
>>>
>>> Is there a way to typeset that, and would the above example be a nice
>>> addition for improvement?
>>
>> Try something like r16*1/2 s16*1/2 \fermata r8
>
> That way, the \fermata 'floats' between the 2 rests. Nice visual solution!
>
> If there were a break between the two rests, that would not look good.
Why would there be a break?
--
David Kastrup
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Re: Beaming (was Re: Adding an 8 bellow the treble clef)
On 9/25/11 3:46 PM, "Janek Warchoł" wrote: > W dniu 25 września 2011 23:33 użytkownik Carl Sorensen > napisał: >> >> On 9/25/11 2:48 PM, "Janek Warchoł" wrote: >>> Our beaming really needs some improvements. >> >> Please post the problems you are aware of, > > Sure, i'm working on the report for some time now (it's a thorough > report, just like my ties report - which is work-in-progress too). > Would you like to see it now or when it's finished? When it's finished is fine. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Jazz Chord Symbols
Hello, On Mon, Sep 26, 2011 at 4:32 AM, Louis Guillaume wrote: > Hi, > > This may be a FAQ but I can't find definitive answers by googling. > > I'm looking for more control over chord symbols. > > For the most part - what I'm looking for is something close to what we see > in the Real Book. But that's actually in handwriting, so some changes would > obviously be wanted or needed for a LilyPond-engraved output. I won't pretend to know what you need :) BUt see http://lsr.dsi.unimi.it/LSR/Item?id=750 http://lsr.dsi.unimi.it/LSR/Item?id=102 http://lsr.dsi.unimi.it/LSR/Item?id=459 http://lsr.dsi.unimi.it/LSR/Item?id=517 etc. Have look here http://lsr.dsi.unimi.it/LSR/Search?q=chords This is a general search on the Snippet Repository but you may find what you need here. -- -- James ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Apparently bogus warning with 2.15.12
On 26/09/11 19:38, m...@apollinemike.com wrote: On Sep 26, 2011, at 11:27 AM, Nick Payne wrote: I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to just engrave the last six bars added, and as I add bars I'm getting warnings about unterminated ties that come and go as the bars are added. The reason I say the warning is bogus is because there are no ties across barlines anywhere in the piece, and when I have a look at the bar(s) being complained of, there are no ties anywhere near. I spent about half an hour trying to get a small test case to reproduce the problem, but was not successful. I don't recall getting this warning with previous versions of Lilypond except when there really was a tie across the bar where the engraving started. Console log sample below. Processing `C:/Users/Nick/Documents/lilypond/bwv853a.ly' Parsing... Interpreting music... C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:13: warning: unterminated tie \arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:11: warning: unterminated tie \arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:9: warning: unterminated tie < g e cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) Preprocessing graphical objects... Are you using the Completion_heads_engraver? No, I'm not using the Completion_heads_engraver. Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata over 2 rests?
On Mon, Sep 26, 2011 at 11:15, David Kastrup wrote:
>> I've tried { r16 r8 }\fermata, but that gets flagged as an error.
>>
>> Is there a way to typeset that, and would the above example be a nice
>> addition for improvement?
>
> Try something like r16*1/2 s16*1/2 \fermata r8
That way, the \fermata 'floats' between the 2 rests. Nice visual solution!
If there were a break between the two rests, that would not look good.
So, perhaps the construct I 'tried' might be added to a wish list
somewhere?
Christ van Willegen
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Re: Apparently bogus warning with 2.15.12
On Sep 26, 2011, at 11:27 AM, Nick Payne wrote: > I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to just > engrave the last six bars added, and as I add bars I'm getting warnings > about unterminated ties that come and go as the bars are added. The reason I > say the warning is bogus is because there are no ties across barlines > anywhere in the piece, and when I have a look at the bar(s) being complained > of, there are no ties anywhere near. I spent about half an hour trying to get > a small test case to reproduce the problem, but was not successful. I don't > recall getting this warning with previous versions of Lilypond except when > there really was a tie across the bar where the engraving started. Console > log sample below. > > Processing `C:/Users/Nick/Documents/lilypond/bwv853a.ly' > Parsing... > Interpreting music... > C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:13: warning: unterminated tie > cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) > cs\arpeggio( d) > > C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:11: warning: unterminated tie >e cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) > cs\arpeggio( d) > > C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:9: warning: unterminated tie > < > g e cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) > cs\arpeggio( d) > > Preprocessing graphical objects... Are you using the Completion_heads_engraver? Cheers, MS ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Apparently bogus warning with 2.15.12
I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to just engrave the last six bars added, and as I add bars I'm getting warnings about unterminated ties that come and go as the bars are added. The reason I say the warning is bogus is because there are no ties across barlines anywhere in the piece, and when I have a look at the bar(s) being complained of, there are no ties anywhere near. I spent about half an hour trying to get a small test case to reproduce the problem, but was not successful. I don't recall getting this warning with previous versions of Lilypond except when there really was a tie across the bar where the engraving started. Console log sample below. Processing `C:/Users/Nick/Documents/lilypond/bwv853a.ly' Parsing... Interpreting music... C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:13: warning: unterminated tie cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:11: warning: unterminated tie e cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) C:/Users/Nick/Documents/lilypond/bwv853a.ly:94:9: warning: unterminated tie < g e cs>\arpeggio r4 r16 fs e d \offset "Slur" #'(0 . 0.3) cs\arpeggio( d) Preprocessing graphical objects... Nick Payne ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata over 2 rests?
Christ van Willegen writes:
> Hello,
>
> I'm currently looking into typesetting an old piece, which has a
> \fermata over a combination of r16 r8.
>
> I've tried { r16 r8 }\fermata, but that gets flagged as an error.
>
> Is there a way to typeset that, and would the above example be a nice
> addition for improvement?
Try something like r16*1/2 s16*1/2 \fermata r8
--
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Fermata over 2 rests?
Hello,
I'm currently looking into typesetting an old piece, which has a
\fermata over a combination of r16 r8.
I've tried { r16 r8 }\fermata, but that gets flagged as an error.
Is there a way to typeset that, and would the above example be a nice
addition for improvement?
Christ van Willegen
--
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Re: Jazz Chord Symbols
I second that - for Jazz use, the cord symbols are sometimes, well, not optimal. Given that chord symbols are not/hardly used in classics, it would be a good idea to adjust them more to the requirements of pop music in general. However, those requirements are far from being homogenous. Already "the Real Book" which you refer to, does not actually exist. There's a multitude of them, different editions, different authors, different printings etc, all of which are different. For instance, there is absolutely no standard how to write a major 7 chord - some prefere the "triangle expression" (which is the lilypond standard setting), others want a 7 after the triangle, and others use either "maj7" or "ma7", some in superscript, some not same goes with the other chords - just think of the different modes around to write a "m7b5" chord. So I think, to take the "pop-chords.ly" which Tim mentioned (thanks for pointing it out!), and custom-tailoring that to your specific preferences is the way to go. I will do the same, and it will certainly be different settings than yours (which I never perceived to be a problem among jazz musicians - whether septimes, nones, or the upper structure are in super or subscript, I've never had a problem reading those different styles. Still, I have my preferences in writing my own sheets ...) May I add a jazz-related question to the lilypond community: Right now, there's no way to write a chord like, e.g. "C7b9#9" in chord symbols in lilypond, is that correct? Best, Robert On Sunday, September 25, 2011 11:32 PM, "Louis Guillaume" wrote: > Hi, > > This may be a FAQ but I can't find definitive answers by googling. > > I'm looking for more control over chord symbols. > > For the most part - what I'm looking for is something close to what we > see in the Real Book. But that's actually in handwriting, so some > changes would obviously be wanted or needed for a LilyPond-engraved > output. > > The thing is - With LilyPond we seem to have the Ignatzek and alternate > chord styles. These are both pretty far off from what I'm used to. Is > there a way to create a new "set" of symbols for rendering chords? > > In particular, I have these requirements: > >o 6th, 7th, 9th, etc. chords would have the "7" at the same > font size as the Chord letter. e.g. "C7" should not have > the 7 in superscript. > >o Minor would use `-' instead of `m'. > >o Major 7th would look like "Gma7" - no superscript. > >o Extra Tensions on a chord would be added as superscipt. e.g. > >- "Fma7#11" would have the "#11" in superscript. >- "C7b5" would have the \flat 5 in superscript. >- "A-7b5" would have the \flat 5 in superscript. >- However "B9" and "E-11" should have NO superscript. > >o Multiple tensions would be stacked in a column to the right. > >- C7#9/b9/b13 would have the 3 tensions stacked, next to > the 7 in the small superscript-size text. > >- A7sus2/sus4 would have those suspensions stacked. > >o Inverted chords, e.g. "A/C#" would be written as shown here, > but the bottom of the "A" would be close to the top of the > "C". So they aren't exactly in-line. The intent is to try and > mimic the way these are typically written. > >o Polychords e.g. "G over F" would be written with a horizontal > bar between both letters. > > > And there's probably a lot more... Any help or direction towards this > end would be great. Thanks, > > Louis > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement sostenuto
On Fri 23 Sep 2011, 09:07 David Nalesnik wrote:
> I was experimenting with this approach, but 'padding doesn't seem to respond
> when set to a procedure. In the following snippet, the first override
> works, the second doesn't. Am I missing something?
>
> \version "2.14.2"
>
> {
> \once \override Script #'Y-offset = #(lambda (grob) -3)
> c''1_-
> \once \override Script #'padding = #(lambda (grob) 3)
> c''1_-
> }
Yes, really .(
Who knows wether it's intentional or it's a "bug".
--
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Bug Squad -- Jeff Garbers
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