Re: Message Window
Am 18.03.2012 11:15, schrieb Adrian Oehm: Hi I was wondering if there was a way of setting the message window (the one that display compiling progress etc - sorry if I've not got the right name) to clear itself each time a file is typeset. Given my lack of proficiency, I tend to make lots or errors and so end up with a long list of errors etc when I compile - and if I do it a couple of times I can't find the start of the current message easily. I know I can close the window, but it'd be nice if there was a way of it happening automatically :-) I'm running 2.14 on Mac OS X 10.6. On a Windows command prompt you could typset with the commandline cls lilypond somenotes.ly Using the command line history this gives a clean screen for each run of Lilypond. If you have a kind of command line, you would probably use clear lilypond somenotes.ly to get the same result. Helge ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering avoidance of accidentals depends on Fingering #'script-priority
Nick
On 19 March 2012 05:19, Nick Payne nick.pa...@internode.on.net wrote:
In a chord with two accidentals, if I set the fingering script-priority to
-99, the fingerings still avoid both accidentals, but if I set it to -100,
each fingering indication is positioned without regard to the accidental on
the other note. Is this related to
https://code.google.com/p/lilypond/issues/detail?id=2182, or soemthing else?
\relative c' {
\set fingeringOrientations = #'(left)
fis-4 dis-21
\override Fingering #'script-priority = #-99
fis-4 dis-2
\override Fingering #'script-priority = #-100
fis-4 dis-2
}
I've updated https://code.google.com/p/lilypond/issues/detail?id=2182
with this new example.
--
--
James
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Re: Automatic beaming in melismas
On Tue, Mar 20, 2012 at 11:30 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
My 2¢:
I'd like to easily make choral scores with automatic beaming
inside melismas and none outside.
I 100% support your wish.
While I 100% the idea that Lilypond should do everything for everybody
(within reason), I ***100% oppose*** this feature as default: There is
a very good reason that choral scores have evolved beyond that confusing
and amusical tradition/convention which dominated engraving before the 20th
Century.
I'm not sure if i made myself clear. Here's how i think it should work:
\relative c'' {
r2 d4 g,8 g
c8 c c c b16 \melisma a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melismaEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
should produce the same output as now. The cool thing would be that this:
\relative c'' {
\autoBeamOff
r2 d4 g,8 g
c8 c c c b16 \melisma a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melismaEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
would produce automatic beaming inside the melisma. Of course, it
should be possible to turn this off.
Is this acceptable to you?
cheers,
Janek
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Re: Automatic beaming in melismas
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com:
The cool thing would be that this:
(snip)
would produce automatic beaming inside the melisma. Of course, it
should be possible to turn this off.
Is this acceptable to you?
Maybe I'm missing an important point but AFAIK you can get automatic
beaming inside the melisma and for instance a shorter melisma command
with something like this:
Snippet
\version 2.15.34
mel = {
\melisma
\autoBeamOn
}
melEnd = {
\melismaEnd
\autoBeamOff
}
\relative c'' {
\autoBeamOff
r2 d4 g,8 g
c8 c c c b16 \mel a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
End of snippet
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
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Re: Automatic beaming in melismas
On Wed, Mar 21, 2012 at 9:10 AM, Xavier Scheuer x.sche...@gmail.com wrote:
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com:
The cool thing would be that this:
(snip)
would produce automatic beaming inside the melisma. Of course, it
should be possible to turn this off.
Is this acceptable to you?
Maybe I'm missing an important point but AFAIK you can get automatic
beaming inside the melisma and for instance a shorter melisma command
with something like this:
Snippet
\version 2.15.34
mel = {
\melisma
\autoBeamOn
}
melEnd = {
\melismaEnd
\autoBeamOff
}
\relative c'' {
\autoBeamOff
r2 d4 g,8 g
c8 c c c b16 \mel a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
Xavier, your solution doesn't work. Check first note in the melisma.
And there are also other problems, some of them mentioned by Ben.
There's also a syntactic problem with slurs.
cheers,
Janek
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Re: Two questions about vertical layout and lyrics spacing
On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote: grrr... I _must_ remember to look to whom I send my replies; stupid mutt. I answered only to Joe again. Here goes a second time: Example #2, padding.png, shows a piece which has a large variation in staff height, because there are either two lines of lyrics to a staff or none at all. As lilypond tries to keep an even system-system-distance, the result is now that the first two systems on the first page are so tight together that it is hard to make out which text belongs to which staff. The second page shows a similar, if not as extreme, effect; systems 2 and 3 are rather heave with all their lyrics, but they appear closer together than the less heavy systems 1 and 4 to their respective neighbours. My first thought is now of course to alter system-system-spacing #'padding, but I have not found a way to make this equal between all systems on one page (except if I enabled ragged-bottom). What would you recommend? There are two competing desires here [...]. Could you suggest, therefore, an extra parameter (or a modification to the algorithm) that would give you the trade-off you want? Well, what came to my mind, being a (quite) seasoned user who's done a few dozens scores for my choir, in different styles and arrangements, is a variable to guide lily in its decisions, just like two-sided or ragged-* do. So for example a variable called spacing-priority with a few possible values, such as system-distance (what 2.14 does now), system-padding (what I would need in padding.png), or system-lyrics-padding (for the lyrics.png situation). Internally, I guess, setting this variable would just imply some other default values for the spacing alists, as Keith proposed. The reason behind this approach is that, while lilypond should do as much as possible automagically (which it is generally very good at), it just cannot predict every possible situation. So we're giving it a hint as to the direction in which to go. my 2¢. -- Gruß | Greetings | Qapla' “Hello, my friend! You can say you to me!” – Helmut Kohl pgpbr17IKcE18.pgp Description: PGP signature ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Frescobaldi
Date: Tue, 20 Mar 2012 10:47:10 +0100 From: Wilbert Berendsen wbs...@xs4all.nl To: Peter Gentry peter.gen...@sunscales.co.uk Peter Gentry peter.gen...@sunscales.co.uk schreef: I have recently converted from jedit to Frescobaldi and like what I find. In particulr FB can accept files on a netdrive almost. The problem I find is that the fonts for headers are not found the text ends up as little boxes or parts of boxes. When looking at Netdrive files FB doesn't indicate that it is using a temporary file as it does for files on the computer. Is there a simple fix for this? regards Peter Gentry I don't exactly understand what you're trying to explain: which fonts for which headers are not found? Are the boxes in the PDF that LilyPond generates or in the Frescobaldi screen? Which Frescobaldi version are you using? How are Netdrive files accessed? -- Wilbert Berendsen (http://www.wilbertberendsen.nl) Frescobaldi 2.04 files on a Freecom 500GB Netdrive connected via a Belkin Router to a windows (Vista) network. Wilbert as I said in a PM the problem could not be repeated. I should always try and make sure any issue is repeatable before worrying the community. I stand admonished and thankyou for your response. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond-book - vertical space and font questions
Hello all!
I try to combine latex text and lilypond scores. Lot of documentation read, but
there remain two issues, I can't solve.
1) Is there any way to control vertical space between systems while using
lilypond-book? In lilypond file I have ragged-bottom = ##f and some
stretchability, basic and minimum distance settings, but they make no effect at
all, systems are placed too close. When I compile the same file with lilypond,
all looks fine. Even pageBreaks from .ly file are not respected and I can't
control them from TeX side either as I just include file with \lilypondfile.
2) I have problem with Calibri font in lyrics. Many of my custom and very rare
fonts (and some common) show OK, but Word-embeded Calibri shows just question
marks instead of letters (both latin and cyrillic, so that is not Unicode
problem).
I've tried to use \lilypondfile[fontload]{myfile.ly}, but it gives an error:
Writing snippets...lilypond-book.py: warning: ignoring unknown ly option:
fontload
I use Windows, MikTex and compilation commands:
lilypond-book --output=out --pdf --latex-program=xelatex myfile.lytex
cd out
xelatex myfile.tex
example code with all my problems (MUST be saved as UTF-8!):
\documentclass[a4paper,12pt]{book}
\usepackage{fontspec}
\defaultfontfeatures{Mapping=tex-text, Scale=MatchLowercase}
\usepackage{polyglossia}
\setdefaultlanguage{russian}
\newfontfamily{\cyrillicfont}{Calibri}
\setmainfont{Calibri}
\setromanfont{Calibri}
\begin{document}
\section *{A small section that should be stretched vertically русский текст}
\begin{lilypond}
\version 2.14.2
\paper {
ragged-bottom = ##f
ragged-last-bottom = ##f
}
melody = \relative c'
{
c2 c c c \break
c2 c c c \break
c2 c c c \break
c2 c c c \break
c2 c c c \break
c2 c c c \break
}
text = \lyricmode
{
\override LyricText #'font-name = #Calibri
a b c d e f g а б в г д е ё
}
\score{
\new Staff = slavonic
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\end{lilypond}
\pagebreak
\section *{Another one, where I want page break}
\begin[fragment]{lilypond}
\relative c' {
c2 c c c \break
c2 c c c \break
c2 c c c \pageBreak
c2 c c c \break
c2 c c c \break
c2 c c c \break
}
\end{lilypond}
\end{document}
Thank you,
Svetlana
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Re: lilypond-book - vertical space and font questions
Svetlana
2012/3/21 Svetlana eurid...@yandex.ru:
Hello all!
I try to combine latex text and lilypond scores. Lot of documentation read,
but there remain two issues, I can't solve.
1) Is there any way to control vertical space between systems while using
lilypond-book?
Maybe I have missed something but I cannot see any of the other
spacing in your \paper {} block
http://lilypond.org/doc/v2.15/Documentation/notation/flexible-vertical-spacing-within-systems
I am not saying they will/will not work but we have a known issues and
warnings in teh current dev version of the Application Usage
http://lilypond.org/doc/v2.15/Documentation/usage/invoking-lilypond_002dbook
--snip--
Known issues and warnings
The \pageBreak command will not work within a \begin{lilypond} …
\end{lilypond} environment.
Many \paper block variables will also not work within a
\begin{lilypond} … \end{lilypond} environment. Use \newcommand with
\betweenLilyPondSystem in the preamble;
\newcommand{\betweenLilyPondSystem}[1]{\vspace{36mm}\linebreak}
--snip--
James
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Re: Possible regression in lilypond-book: including a file in a parent directory
2012/3/20 Julien Rioux julien.ri...@gmail.com Jakub Pavlík jkb.pavlik at gmail.com writes: I've found a serious difference in behaviour between lilypond-book 2.12.3 and 2.15.34: Thanks, I've added it here: http://code.google.com/p/lilypond/issues/detail?id=2423 Regards, Julien I must apologize for an error in the description - the well working version of LilyPond wasn't 2.12.3 (the example want compile in 2.12.3 - it will crash with a different error message), but 2.14.2. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming in melismas
Hi Janek,
\relative c'' {
r2 d4 g,8 g
c8 c c c b16 \melisma a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melismaEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
should produce the same output as now. The cool thing would be that this:
\relative c'' {
\autoBeamOff
r2 d4 g,8 g
c8 c c c b16 \melisma a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4 \melismaEnd r r2
}
\addlyrics { For un -- to us a child is born, __ }
would produce automatic beaming inside the melisma. Of course, it
should be possible to turn this off.
Is this acceptable to you?
Here's my opinion:
1. The default auto-beaming should produce scores which represent the current
best practice in the engraving industry, which is to ignore lyrics (inside and
outside melismas) and beam as if it were instrumental music.
2. \autoBeamOff should mean exactly that — no automatic beaming (inside or
outside a melisma) — or the command could be confusing.
3. In order to achieve old (e.g., 19th Century Novello) conventions, there
should be an *additional* or *different* switch that needs to be turned on by
the user, e.g. \vocalBeaming.
It sounds to me like your solution would satisfy #1, but break #2.
Wouldn't #3 be acceptable to both of us, and less confusing all around (e.g.,
to new users)?
Cheers,
Kieren.
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Re: Stem direction/merging in mixed identical/different rhythm
I tried partcombine as in the SATB with piano reduction example in
http://lilypond.org/doc/v2.14/Documentation/learning/vocal-ensembles
But I'd like to have two symbols (one stem up and other down) when the same
note is singed by S/A or T/B. Partcombine turns into a single note.
tks
Felipe
On Tue, Mar 13, 2012 at 2:49 PM, Francisco Vila paconet@gmail.comwrote:
2012/3/13 Felipe Pereira felmas...@gmail.com:
Hello,
I'd like to write this song with Lilypond:
http://www.taize.fr/spip.php?page=chantsong=203lang=en
(in fact I'm writing with portuguese lyrics)
Just so you don't need to click the site, here's the problem. Many of
these
songs have identical rhythm, except for some parts. When the rhythm is
the
same, I want to have same stem direction (may be neutral), because all
originals are like this and seems to be easier to read than with four
separated voices with opposite stems. When the rhythm is not the same, I
want to fallback to 1-2-3-4 voices being S=stemUp, A=down, T=up, B=down.
% \partcombine usually helps
primera = \relative f { e'4 e e e }
segunda = \relative f { c'4 c8 d c4 e }
{
\partcombine \primera \segunda
}
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
--
Felipe
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Re: lilypond-book - vertical space and font questions
Svetlana eurid...@yandex.ru writes: Hello all! I try to combine latex text and lilypond scores. Lot of documentation read, but there remain two issues, I can't solve. 1) Is there any way to control vertical space between systems while using lilypond-book? In lilypond file I have ragged-bottom = ##f and some stretchability, basic and minimum distance settings, but they make no effect at all, systems are placed too close. When I compile the same file with lilypond, all looks fine. Even pageBreaks from .ly file are not respected and I can't control them from TeX side either as I just include file with \lilypondfile. Not enough documentation reading, I guess. Check out URL:http://lilypond.org/doc/v2.15/Documentation/usage/latex for description and applications of the \betweenLilyPondSystem macro. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI channels
Martin Tarenskeen m.tarensk...@zonnet.nl writes:
On Tue, 20 Mar 2012, Frank Steinmetzger wrote:
On Tue, Mar 20, 2012 at 09:11:20PM +0100, Martin Tarenskeen wrote:
Hi,
[...]
For this purpose I need to write a pianotune that uses MIDI channel 3 for
the Left Hand part, and MIDI channel 4 for the Right Hand part. A bit
strange, I agree, but this is what the PianoBooster docs tell me to do.
Can Lilypond be tweaked to produce this? It needs to produce a readable
PDF as well as such a MIDI file.
Well since Lilypond enumerates the MIDI channels as they are needed,
you could
simply produce a MIDI score that has one empty staff, thus pushing the other
staves one channel down. (The first channel is used by lilypond itself).
That's one of the things I tried, but doesn't work.
I have discovered Lilypond only creates a new MIDI channel if a Staff
contains music.
For example I created a file miditest.ly:
\version 2.13.34
\score {
\new Staff {}
\new Staff {}
\new Staff { c' }
\new Staff { c' }
\midi {}
}
Put music there, then. Just s should suffice.
--
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Matching lyrics to a one measure divisi
I'm type setting an aria where there are optional low notes for a single measure. My normal approach when setting instrumental music does not work here, because the lyrics do not follow the notes properly. Here's my snippet. http://www.lilybin.com/hjtorv/1 The text la catena should match to the notes in measures 1 and 2. Che non cerca should follow starting on measure 3. I think I understand what the problem is, but I don't know how to fix it. There are three different voices, and the lyrics are following only one of them. There is one voice that contains the notes in measures 1, 3 and 4, and then two more voices for the notes in measure 2. I've had the same problem before when having to tie and slur between divisi and non-divisi sections of a score. Hopefully there is a sane method of getting this to work that I'm not aware of. - Hayden Muhl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
notation for the Celtic bow movement called a cut
Hello, I'd like to request a feature for Lilypond, if it hasn't been requested already. There is a musical expression in Irish, Scottish, and Cape Breton fiddling, called a cut. It is a quick flick of the fiddler's bow wrist, to cause the bow to change direction three times. It would be immensely helpful to add it to the typeset, much the way the turn ~ greatly abbreviates something complex. It would be a bow marker, similar to the \downbow and \upbow. It typically changes direction three times, but rarely 4 or 5. I am trying to capture the bowing and ornaments of masters of Celtic music. I want to be able to pass it on, to people who might be located remotely, or not have access to a teacher. Your freedom to express, and ability to instruct, with sheet music, is truly impressive. Thanks! All my best, Tom Tobin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Separating pitch and rhythm
Dear List,
is there an effective way to separate the pitches and the rhythms in a voice?
I'm thinking about something like defining a variable consisting only of
rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and then apply this to different sequences of pitches:
Seq1 = {
\clef treble
c d e f
g a g f e d
c e g c ...
}
Seq2 = {
\clef bass
c b a g
f e f g a b
c g e c ...
}
(etc.)
The purpose is: I'm engraving a long, homophonic section in an orchestral
piece, where cca. 30 instruments play the same rhythms, but with different
pitches.
Thanks for any ideas,
Ádám
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Re: notation for the Celtic bow movement called a cut
On 21 Mar 2012, at 01:41, Tom Tobin wrote: I'd like to request a feature for Lilypond, if it hasn't been requested already. There is a musical expression in Irish, Scottish, and Cape Breton fiddling, called a cut. It is a quick flick of the fiddler's bow wrist, to cause the bow to change direction three times. A quick net-search on Irish fiddling gives several meaning for the word cut. The book by Miles Krassen, O'Neill's music of Ireland New Revisited has a section Ornamentation in Irish music, which does not use the term, but just describes the ornaments in traditional terms. For example, a bowed triplet is written with traditional bowing signs, and it can often be interchangeable with a roll. The bowed triplet can also be performed with the third note different from the two first. Hans ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separating pitch and rhythm
2012/3/21 Siska Ádám sa...@sadam.hu: Dear List, is there an effective way to separate the pitches and the rhythms in a voice? I'm thinking about something like defining a variable consisting only of rhythms: (snip) The purpose is: I'm engraving a long, homophonic section in an orchestral piece, where cca. 30 instruments play the same rhythms, but with different pitches. Hi, LSR #390 and #654 might help here. http://lsr.dsi.unimi.it/LSR/Item?id=390 http://lsr.dsi.unimi.it/LSR/Item?id=654 Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separating pitch and rhythm AND structure
On 12-03-21 11:05 AM, Siska Ádám wrote:
is there an effective way to separate the pitches and the rhythms in a voice?
I'm thinking about something like defining a variable consisting only of
rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and then apply this to different sequences of pitches:
Sounds like it would be a cool feature if it existed. Not sure how
universally useful it would be but it made me think of a similar
feature that I would like. Similar to above but for structure;
Structure = {
\key c \major
\tempo 4 = 110
\time 4/4
\partial 4
% intro
4 |
1 1 |
\repeat volta 2 {
1 1 1 1 1 1 1 1 1 1 1 1
}
1\fermata \bar |.
}
And then everything else would be forced into that structure. Perhaps
it can be combined. Specify the rhythm as you suggest and add a flag
(strict?) to specific parts to apply the rhythm as you suggest. That
way you don't have to have all or nothing. Some parts can follow the
strict rhythm and other parts can deviate as long as it fits.
Not sure if key and tempo belong in structure.
--
D'Arcy J.M. Cain da...@druid.net | Democracy is three wolves
http://www.druid.net/darcy/| and a sheep voting on
+1 416 425 1212 (DoD#0082)(eNTP) | what's for dinner.
IM: da...@vex.net
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Re: Separating pitch and rhythm
Dear Xavier, On 2012.03.21., at 16:44, Xavier Scheuer wrote: 2012/3/21 Siska Ádám sa...@sadam.hu: Dear List, is there an effective way to separate the pitches and the rhythms in a voice? I'm thinking about something like defining a variable consisting only of rhythms: (snip) The purpose is: I'm engraving a long, homophonic section in an orchestral piece, where cca. 30 instruments play the same rhythms, but with different pitches. Hi, LSR #390 and #654 might help here. http://lsr.dsi.unimi.it/LSR/Item?id=390 http://lsr.dsi.unimi.it/LSR/Item?id=654 Cheers, Xavier thank you a lot for this! Best, Ádám ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Matching lyrics to a one measure divisi
The simplest way to do this is to use 2 explicit voices all the way through, and use spacer rests in the second voice where it has no notes. Use \oneVoice \voiceOne and \voiceTwo to change between using the explicit voices and the parts where the second voice is silent. If this can't be used for some reason, I think you can temporarily create a single new voice, but would need to check how this is done. Phil Holmes - Original Message - From: Hayden Muhl To: lilypond-user@gnu.org Sent: Wednesday, March 21, 2012 6:57 AM Subject: Matching lyrics to a one measure divisi I'm type setting an aria where there are optional low notes for a single measure. My normal approach when setting instrumental music does not work here, because the lyrics do not follow the notes properly. Here's my snippet. http://www.lilybin.com/hjtorv/1 The text la catena should match to the notes in measures 1 and 2. Che non cerca should follow starting on measure 3. I think I understand what the problem is, but I don't know how to fix it. There are three different voices, and the lyrics are following only one of them. There is one voice that contains the notes in measures 1, 3 and 4, and then two more voices for the notes in measure 2. I've had the same problem before when having to tie and slur between divisi and non-divisi sections of a score. Hopefully there is a sane method of getting this to work that I'm not aware of. - Hayden Muhl -- ___ 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: Automatic beaming in melismas
Kieren MacMillan wrote Wednesday, March 21, 2012 12:50 PM Here's my opinion: 1. The default auto-beaming should produce scores which represent the current best practice in the engraving industry, which is to ignore lyrics (inside and outside melismas) and beam as if it were instrumental music. 2. \autoBeamOff should mean exactly that — no automatic beaming (inside or outside a melisma) — or the command could be confusing. 3. In order to achieve old (e.g., 19th Century Novello) conventions, there should be an *additional* or *different* switch that needs to be turned on by the user, e.g. \vocalBeaming. It sounds to me like your solution would satisfy #1, but break #2. Wouldn't #3 be acceptable to both of us, and less confusing all around (e.g., to new users)? I'm with Kieren on this - default should remain the current best practice for vocal scores, with an optional switch or switches for anything different. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic beaming in melismas
2012/3/21 Kieren MacMillan kieren_macmil...@sympatico.ca:
1. The default auto-beaming should produce scores which represent the current
best practice in the engraving industry, which is to ignore lyrics (inside
and outside melismas) and beam as if it were instrumental music.
And using slurs for melismas (which are interpreted as melismas by
lilypond) as in
\relative c'' {
r2 d4 g,8 g
c8 c c c b16(
a b c b c a b
g16 fis g a g b a b c b c d c d b c
a4)
r r2
}
\addlyrics { For un -- to us a child is born, __ }
This way there is no need of the \melisma command in common modern practice.
Also, manual beams do melismas automatically (it is not a solution for
long melismas)
\relative c'{
\autoBeamOff
e8 e f16[ g f e] f4 r
}
\addlyrics
{ A me -- lis -- ma. }
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: Separating pitch and rhythm
On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám sa...@sadam.hu wrote: is there an effective way to separate the pitches and the rhythms in a voice? I'm thinking about something like defining a variable consisting only of rhythms: The purpose is: I'm engraving a long, homophonic section in an orchestral piece, where cca. 30 instruments play the same rhythms, but with different pitches. Use Frescobaldi's copy/paste durations function. (unless you want to have this carved into your source files). cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book - vertical space and font questions
2012/3/21 David Kastrup d...@gnu.org: Svetlana eurid...@yandex.ru writes: Hello all! I try to combine latex text and lilypond scores. Lot of documentation read, but there remain two issues, I can't solve. 1) Is there any way to control vertical space between systems while using lilypond-book? In lilypond file I have ragged-bottom = ##f and some stretchability, basic and minimum distance settings, but they make no effect at all, systems are placed too close. When I compile the same file with lilypond, all looks fine. Even pageBreaks from .ly file are not respected and I can't control them from TeX side either as I just include file with \lilypondfile. Not enough documentation reading, I guess. Check out URL:http://lilypond.org/doc/v2.15/Documentation/usage/latex for description and applications of the \betweenLilyPondSystem macro. Yes and the key concept here is that systems become images. Two systems = two images. Skylines do not work here, that's why for multi-system music is better to insert a single image for the whole score. LilyPond-Book is perfect for single-line fragments. -- 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: Separating pitch and rhythm AND structure
On Wed, Mar 21, 2012 at 4:47 PM, D'Arcy Cain da...@druid.net wrote: On 12-03-21 11:05 AM, Siska Ádám wrote: I'm thinking about something like defining a variable consisting only of rhythms: and then apply this to different sequences of pitches: Sounds like it would be a cool feature if it existed. As i wrote, Frescobaldi has this function. Not sure how universally useful it would be but it made me think of a similar feature that I would like. Similar to above but for structure; Funny that you ask about it, because i'll be discussing this feature in the next LilyPond Report (it will be announced shortly) - i invite you to participate in the discussion when it's published. cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book - vertical space and font questions
Francisco Vila paconet@gmail.com writes: 2012/3/21 David Kastrup d...@gnu.org: Svetlana eurid...@yandex.ru writes: Hello all! I try to combine latex text and lilypond scores. Lot of documentation read, but there remain two issues, I can't solve. 1) Is there any way to control vertical space between systems while using lilypond-book? In lilypond file I have ragged-bottom = ##f and some stretchability, basic and minimum distance settings, but they make no effect at all, systems are placed too close. When I compile the same file with lilypond, all looks fine. Even pageBreaks from .ly file are not respected and I can't control them from TeX side either as I just include file with \lilypondfile. Not enough documentation reading, I guess. Check out URL:http://lilypond.org/doc/v2.15/Documentation/usage/latex for description and applications of the \betweenLilyPondSystem macro. Yes and the key concept here is that systems become images. Two systems = two images. Skylines do not work here, that's why for multi-system music is better to insert a single image for the whole score. LilyPond-Book is perfect for single-line fragments. It should just inform lilypond-book of things like spacing between systems and forced breaks, and lilypond-book could in turn tell LaTeX what is wanted. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Matching lyrics to a one measure divisi
On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl haydenm...@gmail.com wrote: I'm type setting an aria where there are optional low notes for a single measure. My normal approach when setting instrumental music does not work here, because the lyrics do not follow the notes properly. Here's my snippet. http://www.lilybin.com/hjtorv/1 The text la catena should match to the notes in measures 1 and 2. Che non cerca should follow starting on measure 3. I think I understand what the problem is, but I don't know how to fix it. There are three different voices, and the lyrics are following only one of them. There is one voice that contains the notes in measures 1, 3 and 4, and then two more voices for the notes in measure 2. I've had the same problem before when having to tie and slur between divisi and non-divisi sections of a score. Hopefully there is a sane method of getting this to work that I'm not aware of. Do not use \\ shortcut, because it has limitations like this, Instead, use explicit voices. The manuals give you instructions on this, but if you have trouble, ask (sorry, i'm in a rush now). hope this helps, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separating pitch and rhythm
Hi, On 2012.03.21., at 19:18, Janek Warchoł wrote: On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám sa...@sadam.hu wrote: is there an effective way to separate the pitches and the rhythms in a voice? I'm thinking about something like defining a variable consisting only of rhythms: The purpose is: I'm engraving a long, homophonic section in an orchestral piece, where cca. 30 instruments play the same rhythms, but with different pitches. Use Frescobaldi's copy/paste durations function. (unless you want to have this carved into your source files). cheers, Janek The last time when I checked, there was no available Mac installer for Frescobaldi, so it's not an option for me. :-( Best, Ádám ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: Matching lyrics to a one measure divisi
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com
On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl haydenm...@gmail.com wrote:
I'm type setting an aria where there are optional low notes for a single
measure. My normal approach when setting instrumental music does not work
here, because the lyrics do not follow the notes properly.
Here's my snippet.
http://www.lilybin.com/hjtorv/1
The text la catena should match to the notes in measures 1 and 2. Che
non
cerca should follow starting on measure 3.
I think I understand what the problem is, but I don't know how to fix it.
There are three different voices, and the lyrics are following only one
of
them. There is one voice that contains the notes in measures 1, 3 and 4,
and
then two more voices for the notes in measure 2.
I've had the same problem before when having to tie and slur between
divisi
and non-divisi sections of a score. Hopefully there is a sane method of
getting this to work that I'm not aware of.
Do not use \\ shortcut, because it has limitations like this,
Instead, use explicit voices. The manuals give you instructions on
this, but if you have trouble, ask (sorry, i'm in a rush now).
hope this helps,
Janek
I figured that something like this
http://www.lilybin.com/hjtorv/2
would solve the problem, but I wanted to avoid that. Because these are part
of the same part I wanted to keep the notes in measure two near each other
in the source. I generally like to write one measure per line in my source
file, which is why the \\ notation is so handy. If I use two voices where
one voice has many measures of {s}, then the notes that share a single
measure are going to be very far away from each other in the source file.
Is there some sort of compromise I can use? Is there a way to make the
lyrics work properly, but keep the source for measure two in close
proximity to itself?
The linked snippet has an obvious stemming issue, but let's not worry about
that for now.
- Hayden
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Re: lilypond-book - vertical space and font questions
2012/3/21 David Kastrup d...@gnu.org:
It should just inform lilypond-book of things like spacing between
systems and forced breaks, and lilypond-book could in turn tell LaTeX
what is wanted.
Yes but
{ c,,1 c' c' c' c' c' c' c' c' c'
c' c' c' c' c' c' c' c' c' c'
}
\layout { system-count = 2 }
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: Matching lyrics to a one measure divisi
On Wed, Mar 21, 2012 at 7:46 PM, Hayden Muhl haydenm...@gmail.com wrote:
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com
On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl haydenm...@gmail.com wrote:
and non-divisi sections of a score. Hopefully there is a sane method of
getting this to work that I'm not aware of.
Do not use \\ shortcut, because it has limitations like this,
Instead, use explicit voices. The manuals give you instructions on
this, but if you have trouble, ask (sorry, i'm in a rush now).
If I use two voices where
one voice has many measures of {s}, then the notes that share a single
measure are going to be very far away from each other in the source file.
Is there some sort of compromise I can use? Is there a way to make the
lyrics work properly, but keep the source for measure two in close proximity
to itself?
Using explicit voices, which i suggested, doesn't mean that they need
to last for the whole piece.
Here's what you should do:
grimoaldo = \relative c' {
\set Staff.instrumentName = #Grimoaldo
\key a \major
\autoBeamOff
d8[ e8] fis8
{ \voiceOne gis8 a8.[ gis16] }
\new Voice { \voiceTwo gis,8 a4 }
\oneVoice
fis'16[ e d cis] b[ a]
e8.[ gis16 a8]
}
Is this what you want?
hope this helps,
Janek
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Re: Separating pitch and rhythm AND structure
- Original Message -
From: D'Arcy Cain da...@druid.net
To: lilypond-user@gnu.org
Sent: Wed, 21 Mar 2012 15:47:14 - (GMT)
Subject: Re: Separating pitch and rhythm AND structure
On 12-03-21 11:05 AM, Siska Ádám wrote:
is there an effective way to separate the pitches and the rhythms in a voice?
I'm thinking about something like defining a variable consisting only of
rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and then apply this to different sequences of pitches:
Sounds like it would be a cool feature if it existed. Not sure how
universally useful it would be but it made me think of a similar
feature that I would like. Similar to above but for structure;
Structure = {
\key c \major
\tempo 4 = 110
\time 4/4
\partial 4
% intro
4 |
1 1 |
\repeat volta 2 {
1 1 1 1 1 1 1 1 1 1 1 1
}
1\fermata \bar |.
}
And then everything else would be forced into that structure. Perhaps
it can be combined. Specify the rhythm as you suggest and add a flag
(strict?) to specific parts to apply the rhythm as you suggest. That
way you don't have to have all or nothing. Some parts can follow the
strict rhythm and other parts can deviate as long as it fits.
Not sure if key and tempo belong in structure.
Well the second one is possible now. You can do linebreaks, repeats and, I
believe articulations as well by simply putting them in a separate definition
block like this:
structure = {
s1*4 \break
\repeat volta 2 { s1*2}
\alternative {
{ s1 }
}
s1
\bar |.
}
...and then combining them later with the musical layer with something like:
\score{
\context Staff
\music
\structure
}
-David
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Re: Separating pitch and rhythm
On Wed, Mar 21, 2012 at 7:44 PM, Siska Ádám sa...@sadam.hu wrote: Hi, On 2012.03.21., at 19:18, Janek Warchoł wrote: On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám sa...@sadam.hu wrote: is there an effective way to separate the pitches and the rhythms in a voice? I'm thinking about something like defining a variable consisting only of rhythms: The purpose is: I'm engraving a long, homophonic section in an orchestral piece, where cca. 30 instruments play the same rhythms, but with different pitches. Use Frescobaldi's copy/paste durations function. (unless you want to have this carved into your source files). The last time when I checked, there was no available Mac installer for Frescobaldi, so it's not an option for me. :-( Ah. Well, if i were you, i'd install Linux as a virtual machine and use Frescobaldi there (unless your machine is very slow). You can use our instructions for installing Lilydev: http://lilypond.org/doc/v2.15/Documentation/contributor-big-page#lilydev hth, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Separating pitch and rhythm AND structure
On Wed, Mar 21, 2012 at 8:15 PM, bobr...@centrum.is bobr...@centrum.is wrote: Well [..] You can do linebreaks, repeats and I believe articulations as well, by simply putting them in a separate voice and then combining them later with the musical voice That's true, but this solution has it's drawbacks. Stay tuned for next LilyPond Report! Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book - vertical space and font questions
Hi, David!
21.03.2012, 14:17, David Kastrup d...@gnu.org:
Not enough documentation reading, I guess. Check out
URL:http://lilypond.org/doc/v2.15/Documentation/usage/latex for
description and applications of the \betweenLilyPondSystem macro.
--
David Kastrup
Well, it's always not enough ))). Thank you and James for showing the right
places. My expierence with lilypond is half a year and with latex - 3 days. Now
I've tried \def\betweenLilyPondSystem#1{\vspace{10mm}\linebreak}, but this
gives a huge gap between section title and the first system. I'm not skilled
enough to find the reason... Also it wouldn't behave well if I have one score
with different system count on each page. So, if any good working examples
exist on this matter, I'd be glad to see them.
It's a pity that even if I move out of the paper{} block and use manual spaces
like
\overrideProperty #Score.NonMusicalPaperColumn
#'line-break-system-details #'((Y-offset . 40)
(alignment-distances . (40)))
inside my score, this also doesn't work in lilypond-book.
For now, I've found a workaround - I can use \includepdf in TeX at least for
pages where I don't need any text except title. Thus, all the lilypond
flexbility in making good vertical spaces (both manual and automatic) will be
accessible. For other pages, where text and scores are combined, I'll use
lilypond-book and try to understand TeX macroses better to achieve the perfect
result that I wanted.
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Re: lilypond-book - vertical space and font questions
Hi, James!
Maybe I have missed something but I cannot see any of the other
spacing in your \paper {} block
I use them in my real scores, things like
{ system-system-spacing =
#'((basic-distance . 26)
(minimum-distance . 13)
(padding . 1)
(stretchability . 5))
http://lilypond.org/doc/v2.15/Documentation/notation/flexible-vertical-spacing-within-systems
I am not saying they will/will not work but we have a known issues and
warnings in teh current dev version of the Application Usage
http://lilypond.org/doc/v2.15/Documentation/usage/invoking-lilypond_002dbook
Good thing! This is 2.15 docs, while I've read 2.14, where that Known issues
part is not present. I'll take care of reading the most recent docs next time.
The bad thing is that fontload option disappeared in 2.15 from here
http://lilypond.org/doc/v2.15/Documentation/usage/music-fragment-options, also
in 2.14 it's not present (dunno in which version i've found it), but Calibri
font doesn't work in my lyrics (i use 2.14 if it matters).
Thank you,
Svetlana.
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Re: Separating pitch and rhythm
Possibly this mail got lost, so I rewrite it (code is somewhat different).
Siska Ádám sa...@sadam.hu writes:
Dear List,
is there an effective way to separate the pitches and the rhythms in a
voice? I'm thinking about something like defining a variable
consisting only of rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and then apply this to different sequences of pitches:
Seq1 = {
\clef treble
c d e f
g a g f e d
c e g c ...
}
Seq2 = {
\clef bass
c b a g
f e f g a b
c g e c ...
}
#(define-public (for-some-music stop? music)
Walk through @var{music}, process all elements calling @var{stop?}
and only recurse if this returns @code{#f}.
(let loop ((music music))
(if (not (stop? music))
(let ((elt (ly:music-property music 'element)))
(if (ly:music? elt)
(loop elt))
(for-each loop (ly:music-property music 'elements))
(for-each loop (ly:music-property music 'articulations))
#(define (extract-all-durations music)
(map! (lambda (m) (ly:music-property m 'duration))
(extract-music music
(lambda (m) (ly:duration?
(ly:music-property m 'duration))
applyRhythm =
#(define-music-function (parser location p r)
(ly:music? ly:music?)
(let ((l (extract-all-durations r)))
(for-some-music
(lambda (m)
(or (null? l)
(and (ly:duration? (ly:music-property m 'duration))
(begin
(set! (ly:music-property m 'duration) (car l))
(set! l (cdr l))
#t
p))
p)
Rhythm = {
s4 s4 s4. s8
s8 s8 s4 s4 s8 s8
s2 s4 s8 s8
}
SeqI = {
\clef treble
c d e f
g a g f e d
c e g c
}
SeqII = {
\clef bass
c b a g
f e f g a b
c g e c
}
\new PianoStaff
\new Staff \applyRhythm \SeqI \Rhythm
\new Staff \applyRhythm \SeqII \Rhythm
I have written the for-some-music function previously but not
committed it since I could not immediately think of an application. But
it fits the bill here reasonably nicely.
--
David Kastrup
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Re: Two questions about vertical layout and lyrics spacing
On Wed, Mar 21, 2012 at 9:46 AM, Frank Steinmetzger war...@gmx.de wrote: On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote: There are two competing desires here [...]. Could you suggest, therefore, an extra parameter (or a modification to the [vertical spacing] algorithm) that would give you the trade-off you want? Well, what came to my mind, being a (quite) seasoned user who's done a few dozens scores for my choir, in different styles and arrangements, is a variable to guide lily in its decisions, just like two-sided or ragged-* do. So for example a variable called spacing-priority with a few possible values, such as system-distance (what 2.14 does now), system-padding (what I would need in padding.png), or system-lyrics-padding (for the lyrics.png situation). Internally, I guess, setting this variable would just imply some other default values for the spacing alists, as Keith proposed. The reason behind this approach is that, while lilypond should do as much as possible automagically (which it is generally very good at), it just cannot predict every possible situation. So we're giving it a hint as to the direction in which to go. I am convinced that this is a wrong approach, because it complicates things (trying to create more options and exceptions to the current rules). Instead, i think we should create different spacing rules that better reflect human judgement of good spacing. I suggest that the vertical spacing alrogithm should calculate the area between the objects (staves, systems, lyrics etc). See here how it would work: http://www.freeimagehosting.net/tsr21 Please also look at these two scores of Tota pulchra es Maria: www.anonstorage.net/PStorage/871.tota-pulchra-default.pdf www.anonstorage.net/PStorage/993.tota-pulchra-reduced-padding.pdf In the first one (created with all default spacing settings), there are places where a single dynamic object pushes the staves far apart (marked with light blue). See pages 2 and 4 - there is too much space between the staves, especially compared with space between systems. It is important to keep systems visually separate - the last page is completely illegible in this regard. When i reduce padding between a lyric line and the staff below it, the spacing between systems is definitely improved. However, some lyrics are now too close to the staves below them (because of the reduced padding) - see the other pdf file, light blue markings again. This problem isn't very big, but it's noticeable (especially when a lyric line gets closer to the unrelated staff than to the related staff). I think that's impossible to achieve the desired effect (very small padding between lyrics and a single sticking-out dynamic, but overall not too small distance between lyrics and unrealted staff) with current spacing system. The area system, however, will be able to produce desired result, because it takes into account the amount of actual overall whitespace between objects, instead of focusing on the points where objects (staff and lyrics) are closest to themselves. How do you like it? cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions about vertical layout and lyrics spacing
I suggest that the vertical spacing alrogithm should calculate the area between the objects (staves, systems, lyrics etc). See here how it would work: http://www.freeimagehosting.net/tsr21 Looks right: The area between horizontal skylines should influence the spacing. However, I think we need a parameter to adjust the amount of influence. Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Matching lyrics to a one measure divisi
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com
On Wed, Mar 21, 2012 at 7:46 PM, Hayden Muhl haydenm...@gmail.com wrote:
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com
On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl haydenm...@gmail.com
wrote:
and non-divisi sections of a score. Hopefully there is a sane method
of
getting this to work that I'm not aware of.
Do not use \\ shortcut, because it has limitations like this,
Instead, use explicit voices. The manuals give you instructions on
this, but if you have trouble, ask (sorry, i'm in a rush now).
If I use two voices where
one voice has many measures of {s}, then the notes that share a single
measure are going to be very far away from each other in the source file.
Is there some sort of compromise I can use? Is there a way to make the
lyrics work properly, but keep the source for measure two in close
proximity
to itself?
Using explicit voices, which i suggested, doesn't mean that they need
to last for the whole piece.
Here's what you should do:
grimoaldo = \relative c' {
\set Staff.instrumentName = #Grimoaldo
\key a \major
\autoBeamOff
d8[ e8] fis8
{ \voiceOne gis8 a8.[ gis16] }
\new Voice { \voiceTwo gis,8 a4 }
\oneVoice
fis'16[ e d cis] b[ a]
e8.[ gis16 a8]
}
Is this what you want?
hope this helps,
Janek
That is exactly what I was looking for. Thank you so much.
- Hayden
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Re: MIDI channels
On Wed, 21 Mar 2012, David Kastrup wrote:
For this purpose I need to write a pianotune that uses MIDI channel 3 for
the Left Hand part, and MIDI channel 4 for the Right Hand part. A bit
strange, I agree, but this is what the PianoBooster docs tell me to do.
Well since Lilypond enumerates the MIDI channels as they are needed,
you could simply produce a MIDI score that has one empty staff, thus
pushing the other staves one channel down. (The first channel is used
by lilypond itself).
P.S: Not true? The first TRACK is used by LilyPond, not the first CHANNEL.
The first MIDI channel goes to the first staff containing music. Read on:
That's one of the things I tried, but doesn't work.
I have discovered Lilypond only creates a new MIDI channel if a Staff
contains music.
Put music there, then. Just s should suffice.
That's what I thought.
I have tried {}, {s}, {r}, {R}, but they all don't do the trick. Channel 1
is still assigned to the first staff that has notes in it.
Only if I create two staffs with at least one single note, MIDI channel 3
goes to the next staff. You can try and check yourself.
I can understand why Lilypond behaves like this. Lilypond only supports 16
MIDI channels. Some people have already posted problems in this forum with
this limitation when writing big orchestral scores. Just search in the
mail archives. It would not be very efficient to assign MIDI channels to
staffs that won't play any music anyway.
Don't change this behaviour just for my little private project!
I have found another solution (using abcm2ps and abc2midi) that does what
I want to do. But I still think this is an interesting case and would be
interested in a workaround for LilyPond.
--
MT
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Re: Matching lyrics to a one measure divisi
On Wed, Mar 21, 2012 at 9:53 PM, Hayden Muhl haydenm...@gmail.com wrote:
2012/3/21 Janek Warchoł janek.lilyp...@gmail.com
Here's what you should do:
grimoaldo = \relative c' {
\set Staff.instrumentName = #Grimoaldo
\key a \major
\autoBeamOff
d8[ e8] fis8
{ \voiceOne gis8 a8.[ gis16] }
\new Voice { \voiceTwo gis,8 a4 }
\oneVoice
fis'16[ e d cis] b[ a]
e8.[ gis16 a8]
}
Is this what you want?
That is exactly what I was looking for. Thank you so much.
Glad it worked for you.
In return for my help, may i ask you for your opinion on how the
documentation should be improved to make the answer easy to find for
the next person that has the same problem? I.e. in which section of
which manual (maybe a different section title is needed?) this should
be and how the explanation should look like. I'd be very grateful if
you'd prepare a suggestion and submit it to our bug reporting mailing
list.
thanks,
Janek
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Re: Matching lyrics to a one measure divisi
Janek Warchoł wrote Wednesday, March 21, 2012 9:53 PM Glad it worked for you. In return for my help, may i ask you for your opinion on how the documentation should be improved to make the answer easy to find for the next person that has the same problem? I.e. in which section of which manual (maybe a different section title is needed?) this should be and how the explanation should look like. I'd be very grateful if you'd prepare a suggestion and submit it to our bug reporting mailing list. In particular, did you read Explicitly instantiating voices in the Learning Manual, where exactly this construct is introduced? See http://www.lilypond.org/doc/v2.14/Documentation/learning/explicitly-instantiating-voices Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Matching lyrics to a one measure divisi
On Wed, Mar 21, 2012 at 4:31 PM, Trevor Daniels t.dani...@treda.co.ukwrote: Janek Warchoł wrote Wednesday, March 21, 2012 9:53 PM Glad it worked for you. In return for my help, may i ask you for your opinion on how the documentation should be improved to make the answer easy to find for the next person that has the same problem? I.e. in which section of which manual (maybe a different section title is needed?) this should be and how the explanation should look like. I'd be very grateful if you'd prepare a suggestion and submit it to our bug reporting mailing list. In particular, did you read Explicitly instantiating voices in the Learning Manual, where exactly this construct is introduced? See http://www.lilypond.org/doc/**v2.14/Documentation/learning/** explicitly-instantiating-**voiceshttp://www.lilypond.org/doc/v2.14/Documentation/learning/explicitly-instantiating-voices Trevor No, I missed that part of the manual. Now that you point it out, I do remember reading it a long time ago, but I forgot about that part. I clearly should have RTFM more closely before reaching out to the mailing list. Sorry if I wasted your time. - Hayden ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
