Re: Disappearing hyphens (endashes) in lyrics
On Thu, Oct 20, 2011 at 03:26, David Rogers wrote: > This will alert the singer, at the time they need to know, "this is only > half of the word". In your proposal, if another voice (or the accompaniment) > has a lot of notes, the dash could end up "in the middle of nowhere", even > potentially on the next line. It does not indicate 'this is half a word' in his case, but 'this is a parenthesis', so i would lessen the confusion (I think!). 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
Re: A problem with lilypond
The problem is that it´s not me that will use. The main idea is that people that will use range from beginner to advanced level of study in music. So I would like to make as easy as possible for the users.The usability is very important nowadays. I have found something more or less as I was looking for. http://weblily.net Check it out. It has a web lilypond editor that runs immediately generating the score in real time. Does anyone know the developer? I haven´t found an email for contact Francisco Vila, sorry for the problem with the word "audio". In my country audio means everything relative to sound. Could be mp3, wav, MIDI, wma, among others. I have tested in many browsers and in many computers. The problem just appear when I run lilypond at the Internet. At the desktop no problems. I'll be trying to figure it out where is the problem, considering that it has only happened to me Thanks Marcos - Mensagem de idragos...@gmail.com - Data: Wed, 19 Oct 2011 18:36:47 -0400 De: Brett McCoy Assunto: Re: A problem with lilypond Para: Francisco Vila Cc: musicar...@pop.com.br, lilypond-user@gnu.org > On Wed, Oct 19, 2011 at 6:27 PM, Francisco Vila > wrote: >> 2011/10/19 : >>> The situation is that I have to completely fill all the lilypond´s code on >>> the site and then generate the score. It gets difficult to count the bars >>> and the note durations and get right for the first time. >>> I were wondering if there is someway to fill the code and at same time >>> generating the score for me to see what I am writting? >> >> When I am typing music with Frescobaldi, I usually type a measure at a >> time and press CTLR-M immediately, then I continue typing without >> waiting for LilyPond to finish. Think of it as a sort of frequent >> 'manual refresh' of the PDF preview. If my music does not always end >> in a measure edge, something is wrong. The problem would be in the >> line before the current one, or the one before that. > > If you put | at the end of each measure, Lilypond will warn you if you > have the wrong number of beats in the measure. I also get into the > habit of always putting the note duration after every note... it's not > necessary, since Lilypond will always use the previous note's > duration, but it helps eliminate errors and you can easily count the > beats that way and there's no ambiguity when you are scanning your > code. > > -- > 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 > - Final da mensagem de idragos...@gmail.com -___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: between stanza spacing
Cordilow writes: There was once a way to make the stanzas (lyric verses) closer to each other a few versions of LilyPond ago. Now, however, they're kind of far apart again, whether or not they're closer than without what I'm doing (this is in the current version, the development version as well as some of the previous ones). How have things changed? As luck would havwe it, I was just looking in the notation manual and saw a section specifically about which commands you can use to get the old spacing back. I think it's in section 2.1. -- David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
the interaction of \paper spacing variables
Hello, all!
I'm using 2.15.14, and finding certain \paper variables not working as I would
have thought.
Manually forcing line and page breaks, I found a format I like: 1 page of 3
systems, then 4 pages of 4 systems each, for a total of 19 systems over 5
pages. So I inserted a \pageBreak where I wanted it in the music, and then used
\paper {
system-count = 19
page-count = 5
}
This did not accomplish what I wanted — in fact, I ended up with 8 pages [!!].
Why doesn't this work? Is there anything I can do to get what I want, short of
manually forcing the line and page breaks?
Thanks,
Kieren.
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between stanza spacing
There was once a way to make the stanzas (lyric verses) closer to each other
a few versions of LilyPond ago. Now, however, they're kind of far apart
again, whether or not they're closer than without what I'm doing (this is in
the current version, the development version as well as some of the previous
ones).
How have things changed?
This is what I'm currently doing:
sopWords = \lyricmode
{
\override Score . LyricSpace #'minimum-distance = #0.8 %Making it lower
than this doesn't help
}
Then in my layout section, I have this:
\context
{
\Lyrics
\override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
}
--
View this message in context:
http://old.nabble.com/between-stanza-spacing-tp32686674p32686674.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: How to read out the number of beams and the space between them?
Hi Harm,
On Mon, Oct 17, 2011 at 5:15 PM, harm6 wrote:
> I've been thinking about this some more. Specifically, I've noticed that
> > adding the beam widths and the spaces between the beams doesn't seem to
> > add
> > up precisely to the total extent of the beam. The result is that the
> size
> > of the bracket is off -- noticeably so in the first beamed group.
> >
> > I don't know why this is the case. (I hope that somebody with more
> > expertise could answer this.)
> >
> I noticed this too. This was one of the difficulties I had to solve in the
> original function. (I hope I've done it)
>
I'm very curious how you solved this!
> Many thanks to work on my test-function, but your suggestion doesn't work
> with all possible beams.
> Try:
> \relative c' {
> \stemUp
> \override Beam #'stencil = #stencil-plus-bracket
> f32 [f']
> }
>
>
Yes, I realized soon after sending it that it only works when the beam is
level.
> Anyway, I will post my function once work is finished. I can see the end.
>
I'm looking forward to seeing it!
Best,
David
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Re: Disappearing hyphens (endashes) in lyrics
Kieren MacMillan writes: Hi Peter, So, I want to keep the en-dashes in the typeset lyrics, but I do not want them to be matched to any notes, but rather have them occupy the space between the words, and under the space between the notes. Then you should probably use hidden notes, and attach the en-dash as a "lyric" to the hidden note. I agree that this would be how to do what you've asked for. But I'm not so sure that what you've asked for will be easier or better for someone reading the music. I would use the previously-mentioned solution of having the syllable that comes before the dash typed like "la -" . You could even put two or three spaces between the syllable and the dash, if you don't want the dash to be so close. (And there is a good way to change the alignment of your syllable so that the letters, not the empty space, go under the note. See the notation manual, section 2.1.2, under "techniques specific to lyrics"). This syllable re-alignment is clumsy & troublesome, but much less clumsy & troublesome than adding an invisible note. This will alert the singer, at the time they need to know, "this is only half of the word". In your proposal, if another voice (or the accompaniment) has a lot of notes, the dash could end up "in the middle of nowhere", even potentially on the next line. -- David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using flat symbol in text
Hi Nick,
After a bit of tinkering, and using the Character Map application
(Ubuntu10.04)(but I would think it would also work in Windows) to '
Copy' the character 'music flat sign' (which has the same code as you
used - funnily enough! :) ) I think the following provide what I think
is a visually ok result:-
meter = \markup { { Original key: \concat { E\bold\large { \lower #.7
\char ##x266D } }minor } }
opus = \markup { { Original key: \concat { E \lower #.7 {
\italic\bold\huge ♭ } } minor } }
...obviously one could alter several of the parameters to suit...
note the positioning of the concat command!
Hope this helps
Bill
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Re: overriding the order of accidentals in a chord
Hi Kieren
2011/10/20 Kieren MacMillan
> (...)
>
> \version "2.15.14"
> \language "english"
>
> \relative a' { 2\arpeggio }
> (...)
>
> Without the tweak, the space before the note (which, in this case, is the
> downbeat of a measure) is extremely large — as a result, the other parts in
> the score look awful (with a huge blank space before the first note).
>
You're right. Looks better with the tweak.
I don't have a solution to get what you want, but I noticed something
interesting. Using AccidentalCautionary changes the order of accidentals as
wanted. But when using \override AccidentalCautionary #'parenthesized = ##f
the accidental switches to the left. :(
I can't explain this behaviour, but if someone can fix the switch-back, it
could be a workaround.
\version "2.15.14"
\language "english"
\relative a' {
%\override AccidentalCautionary #'parenthesized = ##f
\override Arpeggio #'X-extent = #'(-0.1 . 0.7) 2\arpeggio
}
Cheers,
Harm
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Re: A problem with lilypond
2011/10/19 : > > The situation is that I have to completely fill all the lilypond´s code on > the site and then generate the score. It gets difficult to count the bars > and the note durations and get right for the first time. > I were wondering if there is someway to fill the code and at same time > generating the score for me to see what I am writting? > I don't know of any way to do this. Jon -- Jonathan Kulp http://jonathankulp.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Disappearing hyphens (endashes) in lyrics
Hi Peter, > So, I want to keep the en-dashes in the typeset lyrics, but I do not want > them to be matched to any notes, but rather have them occupy the space > between the words, and under the space between the notes. Then you should probably use hidden notes, and attach the en-dash as a "lyric" to the hidden note. Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A problem with lilypond
On Wed, Oct 19, 2011 at 6:27 PM, Francisco Vila wrote: > 2011/10/19 : >> The situation is that I have to completely fill all the lilypond´s code on >> the site and then generate the score. It gets difficult to count the bars >> and the note durations and get right for the first time. >> I were wondering if there is someway to fill the code and at same time >> generating the score for me to see what I am writting? > > When I am typing music with Frescobaldi, I usually type a measure at a > time and press CTLR-M immediately, then I continue typing without > waiting for LilyPond to finish. Think of it as a sort of frequent > 'manual refresh' of the PDF preview. If my music does not always end > in a measure edge, something is wrong. The problem would be in the > line before the current one, or the one before that. If you put | at the end of each measure, Lilypond will warn you if you have the wrong number of beats in the measure. I also get into the habit of always putting the note duration after every note... it's not necessary, since Lilypond will always use the previous note's duration, but it helps eliminate errors and you can easily count the beats that way and there's no ambiguity when you are scanning your code. -- 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: overriding the order of accidentals in a chord
Hi Thomas,
> I'm not aware of any easy method to do so. But are you sure you want to? In
> the following I did it manually, and I don't like the output:
Yes, that example doesn't look great… but here's a more compelling (to me)
snippet:
\version "2.15.14"
\language "english"
\relative a' { 2\arpeggio }
#(define (offset-accidental note-grob x-value)
(let ((accidental (ly:grob-object note-grob 'accidental-grob)))
(if (not (null? accidental))
(ly:grob-set-property! accidental 'extra-offset (cons x-value 0)
accTw =
#(define-music-function (parser location x-offset music) (number? ly:music?)
(set! (ly:music-property music 'tweaks)
(acons 'before-line-breaking (lambda (grob) (offset-accidental grob
x-offset))
(ly:music-property music 'tweaks)))
music)
%--- Test
\relative a' {
\override Arpeggio #'X-extent = #'(-0.25 . -0.2) 2\arpeggio
}
Without the tweak, the space before the note (which, in this case, is the
downbeat of a measure) is extremely large — as a result, the other parts in the
score look awful (with a huge blank space before the first note).
Thanks!
Kieren.
>
> \version "2.14.2"
>
> #(define (offset-accidental note-grob x-value)
> (let ((accidental (ly:grob-object note-grob 'accidental-grob)))
>(if (not (null? accidental))
> (ly:grob-set-property! accidental 'extra-offset (cons x-value 0)
>
> accTw =
> #(define-music-function (parser location x-offset music) (number? ly:music?)
> (set! (ly:music-property music 'tweaks)
> (acons 'before-line-breaking (lambda (grob) (offset-accidental grob
> x-offset))
> (ly:music-property music 'tweaks)))
>music)
>
> %--- Test
>
> \relative dis {
> \clef bass <\accTw #1.2 dis! \accTw #-1 a'! b>
> }
>
> Cheers,
> Harm
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Re: A problem with lilypond
2011/10/19 : > The situation is that I have to completely fill all the lilypond´s code on > the site and then generate the score. It gets difficult to count the bars > and the note durations and get right for the first time. > I were wondering if there is someway to fill the code and at same time > generating the score for me to see what I am writting? When I am typing music with Frescobaldi, I usually type a measure at a time and press CTLR-M immediately, then I continue typing without waiting for LilyPond to finish. Think of it as a sort of frequent 'manual refresh' of the PDF preview. If my music does not always end in a measure edge, something is wrong. The problem would be in the line before the current one, or the one before that. Sure, that puts the CPU in heavy load, but only for the period I am transcribing intensively. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A problem with lilypond
2011/10/19 : > Another problem is that when the sound is generated sometimes makes a loud > pop at the beginning of the audio. Has anyone had this problem before? What > to do to fix it? As far as I can tell, LilyPond does not generate audio. It can generate MIDI files, that are not audio, and MIDI files do not pop at the beginning unless your MIDI player or audio card have a problem. Try playing other MIDI files not generated by LilyPond, so to compare. -- Francisco Vila. Badajoz (Spain) www.paconet.org , www.csmbadajoz.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overriding the order of accidentals in a chord
Hi Kieren
2011/10/19 Kieren MacMillan
> Hello all!
>
> Is there an easy way to override the order of accidentals appearing next to
> a chord, e.g. have the natural come first in the following snippet?
> (...)
>
I'm not aware of any easy method to do so. But are you sure you want to? In
the following I did it manually, and I don't like the output:
\version "2.14.2"
#(define (offset-accidental note-grob x-value)
(let ((accidental (ly:grob-object note-grob 'accidental-grob)))
(if (not (null? accidental))
(ly:grob-set-property! accidental 'extra-offset (cons x-value 0)
accTw =
#(define-music-function (parser location x-offset music) (number? ly:music?)
(set! (ly:music-property music 'tweaks)
(acons 'before-line-breaking (lambda (grob) (offset-accidental grob
x-offset))
(ly:music-property music 'tweaks)))
music)
%--- Test
\relative dis {
\clef bass <\accTw #1.2 dis! \accTw #-1 a'! b>
}
Cheers,
Harm
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Re: A problem with lilypond
Thank you very much Jon, the command line "lilypond --png -dpreview -dno-print-pages file.ly" will help me a lot. Later I will test de lily2image for larger scores. I am facing another problem. I am not sure, but I think that it may be not possible. The situation is that I have to completely fill all the lilypond´s code on the site and then generate the score. It gets difficult to count the bars and the note durations and get right for the first time. I were wondering if there is someway to fill the code and at same time generating the score for me to see what I am writting? Thanks Marcos - Mensagem de jonlancek...@gmail.com - Data: Wed, 19 Oct 2011 13:34:17 -0500 De: Jonathan Kulp Assunto: Re: A problem with lilypond Para: musicar...@pop.com.br Cc: lilypond-user@gnu.org > 2011/10/19 : >> Hello, I am new to the list then I have not followed the discussion on >> lilypond, just do not know if I'm facing the problem that has already been >> discussed, if so I apologize. >> >> The situation is that I'm developing a site with some tests on music theory >> and I am using the language lilypond to generate the score of the tests, >> however, it is always generated an entire page, which is bad for making >> available on the site page, I were wondering if anyone has any solution to >> generate the image size only occupying the space of the score. >> > > This came up a few months ago here: > > http://old.nabble.com/creating-images-for-web-pages-td32223482.html > >> Another problem is that when the sound is generated sometimes makes a loud >> pop at the beginning of the audio. Has anyone had this problem before? What >> to do to fix it? >> > > I've never noticed this before. > > Jon > > -- > Jonathan Kulp > http://jonathankulp.org > - Final da mensagem de jonlancek...@gmail.com -___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vowel with Umlaut
David Rogers writes: > I don't believe there is any good reason for a non-programmer to be > using anything other than Unicode (usually as UTF-8, but whichever way > the particular system wants to handle Unicode) for day-to-day > things. The limitations of ASCII made perfect sense, in 1976. Last I > checked, it isn't 1976. :) If you want to stay with ASCII, that is not a problem: utf-8 is a proper superset of ASCII (a 7-bit encoding). An ASCII file does not need any conversion to be treated correctly in an utf-8 environment. It is the pesky variety of 8-bit encodings and more that may cause trouble. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
overriding the order of accidentals in a chord
Hello all!
Is there an easy way to override the order of accidentals appearing next to a
chord, e.g. have the natural come first in the following snippet?
\version "2.15.14"
\relative dis { \clef bass }
I'd like to avoid manually tweaking the position (e.g., offset) value of each
accidental, if possible.
Thanks!
Kieren.
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Re: Vowel with Umlaut
David Kastrup writes: Nick Payne writes: On 19/10/11 05:09, GRAEME F ST CLAIR wrote: General reply to Messrs Rogers, Peekay and Kastrup! In the end I googled lilypond and found the \char approach myself. Right now, I'm settling for it, because as DK hints, both TextPad and jEdit will save UTF-8 just fine, but the next time you open the file, you see mysterious blobs, not the intended character. That's why I committed "mangling" on my previous project! But I intend to re-visit some German songs I lily'ed a few years ago, and obviously \char won't really hack it - I like the suggestion of Emacs, and will go looking for it. jEdit works fine for me on both Linux and Windows in preserving extended characters across editing sessions. Just open Global Options from the Utilities menu and make sure that under encodings the default character encoding is UTF-8. Most editors should preserve text when you edit in the correct encoding. The advantage of Emacs is that it is rather good at preserving the _byte_ stream of unedited text even when in the wrong encoding (Emacs actually also is rather good at detecting the coding of a file, so you are not all that likely to even start creating mish-mash files even if you don't realise that somebody sent you something differently encoded from what you expect). So if you edit a file as utf-8 and have some latin-1 passages in it originally, the latin-1 passages will still be the same when you open the file as latin-1, or finally discover them and use M-x recode-region RET on them, telling Emacs that the characters were really latin-1 and wrongly interpreted as utf-8. Other editors turn latin-1 passages into increasingly unrecoverable crap each time you load and save under utf-8. The wrongness of the encoding _deteriorates_. If your file is encoded inconsistently in different parts, Emacs can't magically fix this, but it won't make the situation worse. And that is quite comforting. This does cover the difficult cases better than most. However, most of us most of the time should stay away from creating difficult cases for ourselves in the first place. This can be accomplished (for Lilypond and many others) simply by using a UTF-8-capable editor, setting it (on the first day of use) to always create UTF-8, and starting work from there. JEdit has worked fine for me with Lilypond files in the past. So has Vim. So has Emacs. And TextMate. And probably quite a few others work fine as well. No matter what editor you choose, getting the encoding settings right initially (namely, find an option that says "use UTF-8 all the time without asking" and choose it) is a big deal in terms of saving yourself headaches in the future. If you have a large & complex file that's encoded in some other encoding, you're in for a lot of extra work. Emacs may help that. I don't believe there is any good reason for a non-programmer to be using anything other than Unicode (usually as UTF-8, but whichever way the particular system wants to handle Unicode) for day-to-day things. The limitations of ASCII made perfect sense, in 1976. Last I checked, it isn't 1976. :) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A problem with lilypond
2011/10/19 : > Hello, I am new to the list then I have not followed the discussion on > lilypond, just do not know if I'm facing the problem that has already been > discussed, if so I apologize. > > The situation is that I'm developing a site with some tests on music theory > and I am using the language lilypond to generate the score of the tests, > however, it is always generated an entire page, which is bad for making > available on the site page, I were wondering if anyone has any solution to > generate the image size only occupying the space of the score. > This came up a few months ago here: http://old.nabble.com/creating-images-for-web-pages-td32223482.html > Another problem is that when the sound is generated sometimes makes a loud > pop at the beginning of the audio. Has anyone had this problem before? What > to do to fix it? > I've never noticed this before. Jon -- Jonathan Kulp http://jonathankulp.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
A problem with lilypond
Hello, I am new to the list then I have not followed the discussion on lilypond, just do not know if I'm facing the problem that has already been discussed, if so I apologize. The situation is that I'm developing a site with some tests on music theory and I am using the language lilypond to generate the score of the tests, however, it is always generated an entire page, which is bad for making available on the site page, I were wondering if anyone has any solution to generate the image size only occupying the space of the score. Another problem is that when the sound is generated sometimes makes a loud pop at the beginning of the audio. Has anyone had this problem before? What to do to fix it? Thanks Marcos ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three voices plus tie in RH - notation best practice?
On Wed, 2011-10-19 at 16:27 +0800, James Harkins wrote:
> Hi, a "notational correctness" question rather than a lilypond technical
> question, hope that's okay.
>
> A student brought in some work today, some of which calls for three voices in
> the right hand of a PianoStaff. Minus expressive marks, the lilypond example
> below gets the point across, but I wonder if there's a better way? The
> collision at the beginning of bar 2, between the a4~ a2 tie and the c# in
> voice 1, seems inevitable but it isn't pretty. (\tieDown looks even worse.)
>
> So, those of you with a notation reference or two in your library, how would
> you handle this?
>
> Thanks!
> James
>
> PS Sorry for the non-tiny example. In this case, the voicing is complex
> enough that I wanted to be explicit about all the new voices.
>
>
> \version "2.14.2"
> \include "english.ly"
>
> \score {
> \new PianoStaff <<
> \new Staff {
> \key d \major
> \numericTimeSignature
> <<
> \new Voice \relative c'' {
> \voiceOne
> r2 r8 cs?4.~ cs2
> }
> \new Voice \relative c'' {
> \voiceTwo
> a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e fs } a16
> fs e fs
> \repeat tremolo 4 { e fs }
> }
> \new Voice \relative c'' {
> \voiceThree
> a2. a4~ a2
> }
> >>
> r2
> }
> \new Staff {
> \key d \major \clef bass
> \numericTimeSignature
> <<
> \new Voice \relative c' {
> \voiceOne
> g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b } g16 b c
> b
> \repeat tremolo 4 { c b }
> }
> \new Voice \relative c' {
> \voiceTwo
> g2.\sustainOn g4~\sustainOn g2
> }
> >>
> r2\sustainOff
> }
> >>
> }
What you have is correct enough. There is no such thing as an authority
on music notation, especially when it comes to more than two voices on
one stave. Guitar music publishers had it worked out pretty well two
centuries ago, but there are interesting rules that have been forgotten.
If you think you have trouble, you should be thankful that you don't
have to deal with rests in the inside part. I've seen conflicting
practices, wholesale, in the music of F. Sor. It may not seem so, but
you've been given a break here.
Since you have chosen to combine five rests into two in the 2nd measure
(nothing wrong with that here) why not appear to combine the two top
voices at the bar? Because of the ties, because both notes have the same
time value and therefore can share a stem, and because it's piano music,
that could have no effect on how the piece would be played.
Or shift the alto note to the left. It is clear that both top notes are
on the beat because of the ties no matter that they are not aligned.
Regards, daveA
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Re: Three voices plus tie in RH - notation best practice?
oh sorry, I just responded the same way. Normally I would say: make the tie look better, because I always *first* try to get everything the way the composer wrote it. After reading a handwritten piece a few times, I often see good reason for an unconventional notation. In this case I would just make tie look good, because I see most trouble in typesetting this and not in reading it, if you solved the tie-issue. Cheers, Jan-Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three voices plus tie in RH - notation best practice?
Hello James,
this is a question, that really can take hours, nights or whatever ...
Elaine Gould says, Ties shall almost touch the note head and they shall
not fall onto a stave-line (pp. 60)
Here are two techniques I usally use to solve such problems. First it is
a scheme-destillation to shape ties (and slurs) with 8 numbers (4 times
x y offset), wich moves the control points.
The other one is an override of the staff-position. The first technique
I only use for more difficult pieces: I shortend the a-tie, pushed it
downwards and flattened it a little bit.
Most times an override of the staff-position does it: I placed the
cis-tie so that it doesn't lies on the stave-line and nearer to the
note-heads.
For this shape-thing I sometimes use a shortcut that only takes one
number to move the two middle-control-points horizontal.
HTH.
Cheers,
Jan-Peter
--snip--
\version "2.14.2"
\include "english.ly"
%%% take care ... some scheme is on the way ...
#(define ((alter-tie offsets) grob)
;; get default control-points
(let ((coords (ly:tie::calc-control-points grob))
(n 0))
;; add offsets to default coordinates
(define loop (lambda (n)
(set-car! (list-ref coords n)
(+ (list-ref offsets (* 2 n))
(car (list-ref coords n
(set-cdr! (list-ref coords n)
(+ (list-ref offsets (1+ (* 2 n)))
(cdr (list-ref coords n
(if (< n 3)
(loop (1+ n)
;; return altered coordinates
(loop n)
coords))
%%% shape slurs, phrasing slurs and ties
shapeSlur = #(define-music-function (parser location offsets) (list?)
#{
\once \override Slur #'control-points = #(alter-curve $offsets)
#})
shapePhSlur = #(define-music-function (parser location offsets) (list?)
#{
\once \override PhrasingSlur #'control-points = #(alter-curve $offsets)
#})
shapeTie = #(define-music-function (parser location offsets) (list?)
#{
\once \override Tie #'control-points = #(alter-tie $offsets)
#})
%%% OK, back to normal
\score {
\new PianoStaff <<
\new Staff {
\key d \major
\numericTimeSignature
<<
\new Voice \relative c'' {
\voiceOne
%%% try staff-position
r2 r8 \once \override Tie #'staff-position = #1.8 cs?4.~ cs2
}
\new Voice \relative c'' {
\voiceTwo
a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e
fs } a16 fs e fs
\repeat tremolo 4 { e fs }
}
\new Voice \relative c'' {
\voiceThree
%%% try to shape the tie a little bit
a2. \shapeTie #'(0 -0.5 0 -0.7 -1 -0.7 -1.5 -0.5) a4^~ a2
}
>>
r2
}
\new Staff {
\key d \major \clef bass
\numericTimeSignature
<<
\new Voice \relative c' {
\voiceOne
g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b }
g16 b c b
\repeat tremolo 4 { c b }
}
\new Voice \relative c' {
\voiceTwo
g2.\sustainOn g4~\sustainOn g2
}
>>
r2\sustainOff
}
>>
}
--snip--
Am 19.10.2011 10:27, schrieb James Harkins:
Hi, a "notational correctness" question rather than a lilypond technical
question, hope that's okay.
A student brought in some work today, some of which calls for three voices in
the right hand of a PianoStaff. Minus expressive marks, the lilypond example
below gets the point across, but I wonder if there's a better way? The
collision at the beginning of bar 2, between the a4~ a2 tie and the c# in voice
1, seems inevitable but it isn't pretty. (\tieDown looks even worse.)
So, those of you with a notation reference or two in your library, how would
you handle this?
Thanks!
James
PS Sorry for the non-tiny example. In this case, the voicing is complex enough
that I wanted to be explicit about all the new voices.
\version "2.14.2"
\include "english.ly"
\score {
\new PianoStaff<<
\new Staff {
\key d \major
\numericTimeSignature
<<
\new Voice \relative c'' {
\voiceOne
r2 r8 cs?4.~ cs2
}
\new Voice \relative c'' {
\voiceTwo
a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e fs } a16
fs e fs
\repeat tremolo 4 { e fs }
}
\new Voice \relative c'' {
\voiceThree
a2. a4~ a2
}
>>
r2
}
\new Staff {
\key d \major \clef bass
\numericTimeSignature
<<
\new Voice \relative c' {
\voiceOne
g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b } g16 b c
b
\repeat tremolo 4 { c b }
}
\new Voice \relative c' {
\voiceTwo
g2.\sustainOn g4~\sustainOn
Re: Three voices plus tie in RH - notation best practice?
At Wed, 19 Oct 2011 11:02:41 +0200, Francisco Vila wrote: > I changed this to > > a2. a4~ \shiftOff a2 > > and the collision is avoided although you obtain a chord and a warning > instead of nice voice independence. and > a satisfying solution could be > > \once \override Tie #'details = #'((note-head-gap . 1.1)) > \once \override Tie #'extra-offset = #'( -.5 . -.8 ) > a4~ > \once \override NoteColumn #'force-hshift = #.2 a2 > > but of course this seems very experimental? Thanks, but the question was not, "How do I make the tie look better?" The question was, "What is the best way to notate this content?" Or, "If you're a professional engraver given this to typeset as a job, how would you change it to make the intent clearer?" If the answer is, "nothing, just make the tie look better," then I'm fine with that... but I want to be sure this is the question that's being answered. Thanks, James -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net "Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal." -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using flat symbol in text
On 19 oct. 2011, at 01:03, Xavier Scheuer wrote: > On 18 October 2011 10:06, Nick Payne wrote: >> I occasionally want to use the flat symbol in a header, usually to indicate >> the original key when a piece has been transposed from the original key. >> Neither way I have found of doing this is satisfactory, as shown below. The >> first leads to an oversized flat symbol that is too close to the preceding >> character, and the second to a flat symbol that does not have the same >> weight as the surrounding characters. > > Hi Nick, > > You might be interested by this topic (quite recent but fallen into > oblivion?) initiated by Janek on lilypond-devel: > "do we want special versions of the accidentals for use with text?" > http://lists.gnu.org/archive/html/lilypond-devel/2011-09/msg00353.html > http://lists.gnu.org/archive/html/lilypond-devel/2011-09/msg01089.html > > Cheers, > Xavier Hey, I'm using sharp and flat symbols for extensions in chord symbols! I second that, the accidental symbol are not satisfactory for use with text. Currently I'm using the unicode flat and sharp symbols (266D, 266E, 266F). This makes sense as those symbols are part of fonts for text. That looks really good, but I'm not sure they're available on windows. That may create incompatible pdfs. (You can try http://dl.dropbox.com/u/10483737/ForJan.pdf , the first chord should be a Maj7(#11) ) Greetings, Jean-Alexis PS: Self compiled versions of Lilypond fail on a font problem if I use this chars. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond / inkscape
For me the downside is that svg does not import \postscript markups... and inkscape, as you said, does not import correctly lilypond ps and eps files... (I use \postscript to create some curved glissandos and specific woodwind diagrams - with trills in specific keys, for example). [see attachment] cheers josé Em 19/10/11 07:39, Gerard McConnell escreveu: I often see topics introduced here in which solutions are sought for font-related or position-related problems. Almost all of these problems are easily solved by creating an SVG file with Lilypond and then editing that file with Inkscape.What is the downside of working this way? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- http://zepadovani.info <><>___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond / inkscape
Gerard McConnell writes: > I often see topics introduced here in which solutions are sought for > font-related or position-related problems. Almost all of these > problems are easily solved by creating an SVG file with Lilypond and > then editing that file with Inkscape. What is the downside of > working this way? Lilypond is a batch system making a lot of automatic typesetting decisions. One of its strong points is that it is very friendly for doing revisions and arriving at output that it is as good as if the revision would have been part of the original score to start with. You can also reproduce the score at various stages with various variants of Lilypond, if you checked the score into a version control system. Every version is completely reproducible and all its input is there. If you post-edit the output manually, the straight connection between input and output is gone. This loss of transparency and determinism is bad for a lot of workflows. Basically, this situation is not all that different to the respective advantages of the workflows of typical LaTeX documents as compared to common WYSIWYG word processors. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond / inkscape
On Oct 19, 2011, at 11:39 AM, Gerard McConnell wrote: > I often see topics introduced here in which solutions are sought for > font-related or position-related problems. Almost all of these problems are > easily solved by creating an SVG file with Lilypond and then editing that > file with Inkscape.What is the downside of working this way? If you're sure that your score will never change and that you'll never want to share the .ly files it with anyone, then there is no downside. However, if you want the score to be flexible in case you need to change it and if you want others to be able to edit it, I'd steer clear of the Inkscape solution. I've tried it several times as an expedient and, like many expedients, one regrets them later on. Cheers, MS ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond / inkscape
I often see topics introduced here in which solutions are sought for font-related or position-related problems. Almost all of these problems are easily solved by creating an SVG file with Lilypond and then editing that file with Inkscape.What is the downside of working this way? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Three voices plus tie in RH - notation best practice?
-Eluze wrote: > > > paconet.org wrote: >> >> >> I changed this to >> >> a2. a4~ \shiftOff a2 >> >> > you can use \override NoteColumn #'force-hshift = #.001 to avoid the > warning - but i still don't like the output: the a seems tied to the c#. > a satisfying solution could be \once \override Tie #'details = #'((note-head-gap . 1.1)) \once \override Tie #'extra-offset = #'( -.5 . -.8 ) a4~ \once \override NoteColumn #'force-hshift = #.2 a2 but of course this seems very experimental… Eluze -- View this message in context: http://old.nabble.com/Three-voices-plus-tie-in-RH---notation-best-practice--tp32680655p32681056.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: Three voices plus tie in RH - notation best practice?
paconet.org wrote: > > > I changed this to > > a2. a4~ \shiftOff a2 > > you can use \override NoteColumn #'force-hshift = #.001 to avoid the warning - but i still don't like the output: the a seems tied to the c#. Eluze -- View this message in context: http://old.nabble.com/Three-voices-plus-tie-in-RH---notation-best-practice--tp32680655p32680940.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: Three voices plus tie in RH - notation best practice?
2011/10/19 James Harkins :
> Hi, a "notational correctness" question rather than a lilypond technical
> question, hope that's okay.
>
> A student brought in some work today, some of which calls for three voices in
> the right hand of a PianoStaff. Minus expressive marks, the lilypond example
> below gets the point across, but I wonder if there's a better way? The
> collision at the beginning of bar 2, between the a4~ a2 tie and the c# in
> voice 1, seems inevitable but it isn't pretty. (\tieDown looks even worse.)
> So, those of you with a notation reference or two in your library, how would
> you handle this?
> \new Voice \relative c'' {
> \voiceThree
> a2. a4~ a2
I changed this to
a2. a4~ \shiftOff a2
and the collision is avoided although you obtain a chord and a warning
instead of nice voice independence.
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Three voices plus tie in RH - notation best practice?
Hi, a "notational correctness" question rather than a lilypond technical
question, hope that's okay.
A student brought in some work today, some of which calls for three voices in
the right hand of a PianoStaff. Minus expressive marks, the lilypond example
below gets the point across, but I wonder if there's a better way? The
collision at the beginning of bar 2, between the a4~ a2 tie and the c# in voice
1, seems inevitable but it isn't pretty. (\tieDown looks even worse.)
So, those of you with a notation reference or two in your library, how would
you handle this?
Thanks!
James
PS Sorry for the non-tiny example. In this case, the voicing is complex enough
that I wanted to be explicit about all the new voices.
\version "2.14.2"
\include "english.ly"
\score {
\new PianoStaff <<
\new Staff {
\key d \major
\numericTimeSignature
<<
\new Voice \relative c'' {
\voiceOne
r2 r8 cs?4.~ cs2
}
\new Voice \relative c'' {
\voiceTwo
a16 fs e fs \repeat tremolo 2 { e fs } \repeat tremolo 2 { e fs } a16
fs e fs
\repeat tremolo 4 { e fs }
}
\new Voice \relative c'' {
\voiceThree
a2. a4~ a2
}
>>
r2
}
\new Staff {
\key d \major \clef bass
\numericTimeSignature
<<
\new Voice \relative c' {
\voiceOne
g16 b c b \repeat tremolo 2 { c b } \repeat tremolo 2 { c b } g16 b c
b
\repeat tremolo 4 { c b }
}
\new Voice \relative c' {
\voiceTwo
g2.\sustainOn g4~\sustainOn g2
}
>>
r2\sustainOff
}
>>
}
--
James Harkins /// dewdrop world
jamshar...@dewdrop-world.net
http://www.dewdrop-world.net
"Come said the Muse,
Sing me a song no poet has yet chanted,
Sing me the universal." -- Whitman
blog: http://www.dewdrop-world.net/words
audio clips: http://www.dewdrop-world.net/audio
more audio: http://soundcloud.com/dewdrop_world/tracks
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Re: Vowel with Umlaut
David Rogers writes: > David Kastrup writes: > >> "GRAEME F ST CLAIR" writes: >> >>> Well, I plowtered (Scottish word) around with jEdit, but didn't get >>> much where, so I recovered a Windows Emacs from backup, that I'd >>> never got round to trying, installed it and got exactly nowhere >>> with that either - like vi, "It's a Unix thang, I wouldn't >>> understand"... >> >> "Recovering a Windows Emacs from backup" is probably not the best >> idea since it is under furious development (surprisingly so for a 30 >> year old piece of software) and a lot of focus is on making it less >> of "a Unix thang". >> >> If you want to give it a fair try, you should install a reasonably >> current version. It won't be easier to understand, but you'll be >> able to do a lot even without understanding. Are you married? > > :) > > I'm using Emacs now, and have been for only a few months. The first > few days I was more or less lost, but just as David Kastrup says, I've > been able to do what I need without really understanding very much. I > tried Emacs a few years ago and got nowhere, and the newer versions > are (in my opinion) MUCH better for a person who's new to it. When I started with Emacs, the first time you typed Backspace, nothing happened. Repeat that, and help screens replaced your work area. Type Escape, and other strange things happened. It was about a tie between Emacs and vi. vi had about two different modes, one of them beeping at you, one of them destroying your text. If your termcap and term were set up right, you could see which was which by looking at the cursor. But those were times where you could hand a soldering iron to about any programmer and he would knew which end not to chew on. Emacs has improved the user experience considerably. Nobody uses vi proper anymore, but its successors are usually called the same (except in their birth certificate) and offer a few more modes for destroying text and beeping. Established users of either of those editors have tried the other kind last when use of either was reason for divorce and institutionalization, so they will paint a somewhat dire picture. As a result, both maintain their reputation since if even the oldtimers using $x (God beware!) decry $y, no sane person would ever... Ah, the editor wars. Those were times when you knew what to do when hearing a key click. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
