Re: partcombine - whole note : slash on grace note
On 4 April 2012 05:50, MING TSANG tsan...@rogers.com wrote: (2) how can I have slash on the grace notes beam - refer to piano RH - bar #4? Have a look at LSR #721 http://lsr.dsi.unimi.it/LSR/Item?id=721 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: partcombine - whole note : slash on grace note
Xavier,
I try as suggested base on LSR 721. I did not get the desire print. The slash
is not on the grace note.
I replace ef8[ \grace { bf16[ ef16] }bf8]
with ef8[ \acciaccatura{ \slash bf16[ ef16] } bf8]
Please refer to png.
Blessing in+,
From: Xavier Scheuer x.sche...@gmail.com
To: MING TSANG tsan...@rogers.com
Cc: lilypond-user lilypond-user@gnu.org
Sent: Wednesday, April 4, 2012 4:45:52 AM
Subject: Re: partcombine - whole note : slash on grace note
On 4 April 2012 05:50, MING TSANG tsan...@rogers.com wrote:
(2) how can I have slash on the grace notes beam - refer to piano RH - bar
#4?
Have a look at LSR #721
http://lsr.dsi.unimi.it/LSR/Item?id=721
Cheers,
Xavier
--
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attachment: 2012-04-04_090808.png___
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Instrument Name in oddHeaderMarkup position
I would like to place the Instrument Name on the first page only in the
position occupied by the oddHeaderMarkup. LilyPond's convention for the
Instrument Name is to place it below the Title. This may be standard for
professional-level music, but educational orchestra music normally places
the Instrument Name in the upper left corner in large letters. Subsequent
pages usually abbreviate the name, often placing it in much smaller type
along with the page number.
So, I'd like to either use the oddHeaderMarkup command and turn off the
oddHeaderMarkup for following pages, or use a different command (\markup, I
assume) to accomplish the same result. The manual no doubt shows how to do
this, but the clues are not pulled together in one place that I can get to
work. Perhaps yet another example of a newbie wrestling LilyPond's enormous
power and complexity.
\version 2.15.35
\header {
title = Jesu, Joy of Man's Desiring
composer = J. S. Bach
instrument = Violin I %Where LilyPond normally puts it.
}
\paper {
oddHeaderMarkup = \markup { \fontsize #4 Violin I } %The way I'd like it,
but only on page 1.
}
\relative c' { c }
Thanks!
Mark
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Re: partcombine - whole note : slash on grace note
Mark,
I try as suggested. The print seems to suggest no voice two. When I just
extract voice two (the bass) there is no midi sound for the s1~ s1. This is
not what I want.
Blessing in+,
From: Mark Mathias d8val...@gmail.com
To: MING TSANG tsan...@rogers.com
Cc: lilypond-usermailinglist lilypond-user@gnu.org
Sent: Wednesday, April 4, 2012 1:35:23 AM
Subject: Re: partcombine - whole note : slash on grace note
Sorry, meant to include this:
%{TB65-66%} ef4~ ef16 f16) g8 f4. af8 | %new TBk doesn't have the whole note.
\new Voice = Tenor {
\voiceOne {\TTj \TBk g1~ | g1 } }
\new Voice = Bass {
\voiceTwo { \BBj \TBk s1~ | s1 } }
On Wed, Apr 4, 2012 at 1:29 AM, Mark Mathias d8val...@gmail.com wrote:
(1) Try altering your TBk variable to not include the tied whole note, then
add the whole note to one Voice and add a space instead of a whole note to the
other Voice.
(2) Someone else will have to help you with your second question.
May I suggest that you carve your sample down to a Very Tiny Example? It will
make it easier for someone to help you.
Best Wishes,
Mark
On Tue, Apr 3, 2012 at 11:50 PM, MING TSANG tsan...@rogers.com wrote:
Two questions:
(1) how can I have partcombine works on whole note - refer to bar #6 of png
file?
(2) how can I have slash on the grace notes beam - refer to piano RH - bar
#4?
Appreciate the help.
snippet
\version 2.14.2
\include english.ly
#(define (rest-score r)
(let ((score 0)
(yoff (ly:grob-property-data r 'Y-offset))
(sp (ly:grob-property-data r 'staff-position)))
(if (number? yoff)
(set! score (+ score 2))
(if (eq? yoff 'calculation-in-progress)
(set! score (- score 3
(and (number? sp)
(= 0 2 sp)
(set! score (+ score 2))
(set! score (- score (abs (- 1 sp)
score))
#(define (merge-rests-on-positioning grob)
(let* ((can-merge #f)
(elts (ly:grob-object grob 'elements))
(num-elts (and (ly:grob-array? elts)
(ly:grob-array-length elts)))
(two-voice? (= num-elts 2)))
(if two-voice?
(let* ((v1-grob (ly:grob-array-ref elts 0))
(v2-grob (ly:grob-array-ref elts 1))
(v1-rest (ly:grob-object v1-grob 'rest))
(v2-rest (ly:grob-object v2-grob 'rest)))
(and
(ly:grob? v1-rest)
(ly:grob? v2-rest)
(let* ((v1-duration-log (ly:grob-property v1-rest 'duration-log))
(v2-duration-log (ly:grob-property v2-rest 'duration-log))
(v1-dot (ly:grob-object v1-rest 'dot))
(v2-dot (ly:grob-object v2-rest 'dot))
(v1-dot-count (and (ly:grob? v1-dot)
(ly:grob-property v1-dot 'dot-count -1)))
(v2-dot-count (and (ly:grob? v2-dot)
(ly:grob-property v2-dot 'dot-count -1
(set! can-merge
(and
(number? v1-duration-log)
(number? v2-duration-log)
(= v1-duration-log v2-duration-log)
(eq? v1-dot-count v2-dot-count)))
(if can-merge
;; keep the rest that looks best:
(let* ((keep-v1? (= (rest-score v1-rest)
(rest-score v2-rest)))
(rest-to-keep (if keep-v1? v1-rest v2-rest))
(dot-to-kill (if keep-v1? v2-dot v1-dot)))
;; uncomment if you're curious of which rest was chosen:
;;(ly:grob-set-property! v1-rest 'color green)
;;(ly:grob-set-property! v2-rest 'color blue)
(ly:grob-suicide! (if keep-v1? v2-rest v1-rest))
(if (ly:grob? dot-to-kill)
(ly:grob-suicide! dot-to-kill))
(ly:grob-set-property! rest-to-keep 'direction 0)
(ly:rest::y-offset-callback rest-to-keep)))
(if can-merge
#t
(ly:rest-collision::calc-positioning-done grob
global = {\key c\major \time 4/4 \tempo 4 = 63}
TTj = \relative c {
%{TT61-62%} ef2 r8. bf16 ef8 ef8 | ef4( c4 d8) d16 d16 b8 b8 |
%{TT63 %} c2~ c2 |
}
BBj = \relative c {
%{BB61-62%} bf2 r8. g16 g8 g8 | af2( g8) g16 g16 g8 g8 |
%{BB63 %} c2( c2) |
}
%--
TBk = \relative c {
%{TB64 %} r2 r4 ef8 d16 ef(~ |
%{TB65-66%} ef4~ ef16 f16) g8 f4. af8 | g1~ | g1
}
PianoRH = \relative c' { \global
%{rh61 %} ef g bf4~ q8 g bf ef g16 af ef' af16 bf ef bf'8. ef16
ef g bf ef8 d g bf d8
%{rh62 %} c ef af c4 c,16 g16 af16 c16 f, a c d4 d' f d'8 d g d'8
%{rh63 %} { g c ef4~ q4 af ef'2 }\\{ ef4~ ef8 ef16 r8 af,8 c~ g'8
c f8 }
%{rh64 %} { r8 bf''16 af16 ef16 df16 bf16 af16 ef8[ \grace{ bf16[ ef16]
} bf8] ef, af ef'4 }\\{ f bf ef2. s4 }
%{rh65 %} g bf ef2\stemUp af c f2
%{rh66 %} g bf ef g2 c ef f af2 r1
}
%--
PianoLH = \relative c { \global \clef bass
%{lh61 %} { r16 bf16 ef16 f16 s2 r16 ef16 bf'8 }\\{ ef,,4 g'8 ef bf'
ef16 f f'16 g bf ef g4 g,4 }
%{lh62 %} { s4 af, af'4 g g'4 s4 }\\{ af' ef' c'4\arpeggio s2 g
d' b'4\arpeggio }
%{lh63 %} { r16 g16 c16 d16 ef16 g16 c8 f, c'2 }\\{c,2 r4 c'4 }
%{lh64 %} df, af'2. cf gf'4_-
%{lh65 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 }
%{lh66 %} { bf'2 bf2 }\\{ bf,4 bf4 bf4 bf4 } r1
}
% SA_TB seperate + piano staff
% {
\score {
\new GrandStaff = GrandStaff_score
\new ChoirStaff
\new Staff \with { \override RestCollision #'positioning-done =
Re: Instrument Name in oddHeaderMarkup position
Am 4. April 2012 15:20 schrieb Mark Mathias d8val...@gmail.com:
I would like to place the Instrument Name on the first page only in the
position occupied by the oddHeaderMarkup. LilyPond's convention for the
Instrument Name is to place it below the Title. This may be standard for
professional-level music, but educational orchestra music normally places
the Instrument Name in the upper left corner in large letters. Subsequent
pages usually abbreviate the name, often placing it in much smaller type
along with the page number.
So, I'd like to either use the oddHeaderMarkup command and turn off the
oddHeaderMarkup for following pages, or use a different command (\markup, I
assume) to accomplish the same result. The manual no doubt shows how to do
this, but the clues are not pulled together in one place that I can get to
work. Perhaps yet another example of a newbie wrestling LilyPond's enormous
power and complexity.
Hi Mark,
perhaps you may want to try:
\version 2.15.35
\header {
title = Jesu, Joy of Man's Desiring
composer = J. S. Bach
myInstrument = Violin I
}
\paper {
oddHeaderMarkup = \markup
\fill-line {
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
}
bookTitleMarkup = \markup {
\column {
\box { \pad-markup #1 \fromproperty
#'header:myInstrument }
\bookTitleMarkup
}
}
}
\relative c' { \repeat unfold 50 { c'1 \break } }
Please note:
I newly introduced myInstrument into the header to avoid a complete
new-definition of bookTitleMarkup.
But now you can't use the old `instrument'-variable any more. If you
do so, a second `instrument'-markup will be printed.
HTH,
Harm
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Re: Pitch with null duration?
Someone on IRC suggested a separate voice with hidden notes, just for
the slurs. I ended up going with this approach because it yielded the
best visual result:
\new Voice = intro_slurs {
\hideNotes
\override NoteColumn #'ignore-collision = ##t
\relative c' {
\key f \major
f g1 ~ | f g4
}
}
Then, the other voices just started out with a { s1 | } ...
On 4/2/12 11:02 PM, Dossy Shiobara wrote:
I know how to make a pitch transparent (e.g., \override Rest
#'transparent = ##t) but is there a way to specify a pitch with a null
duration (e.g., like g0 or somesuch)?
The behavior I'm looking for is to start out a measure with a slur to
the first note, as this is a continuation of a previous measure from a
note that is slurred to the note that I'm interested in, that I am *not*
including in my LilyPond document.
The behavior of this null duration pitch would be very similar to the
transparent pitch above, except:
1) It has no horizontal spacing.
2) It has no duration, thus doesn't generate annoying barcheck warnings,
or otherwise screw up matching notes to lyrics, etc.
If I haven't adequately explained myself, please ask questions and I
will try to provide a better explanation and examples. If this is in
the documentation, I couldn't find it; I'm sorry.
Thanks,
Dossy
--
Dossy Shiobara | He realized the fastest way to change
do...@panoptic.com | is to laugh at your own folly -- then you
http://panoptic.com/ | can let go and quickly move on. (p. 70)
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Re: Pitch with null duration?
- Original Message -
From: Dossy Shiobara do...@panoptic.com
To: lilypond-user@gnu.org
Sent: Wednesday, April 04, 2012 3:27 PM
Subject: Re: Pitch with null duration?
Someone on IRC suggested a separate voice with hidden notes, just for
the slurs. I ended up going with this approach because it yielded the
best visual result:
\new Voice = intro_slurs {
\hideNotes
\override NoteColumn #'ignore-collision = ##t
\relative c' {
\key f \major
f g1 ~ | f g4
}
}
I'd suggest not permanently overriding collision detection - in any complex
score this is likely to lead to collisions. \once \override where
appropriate is safer.
--
Phil Holmes
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Re: Pitch with null duration?
Oh, interesting -- coming from a traditional TeX background, LilyPond really confuses me. Is \override inside a \new Voice not confined to the scope of that Voice? On 4/4/12 10:53 AM, Phil Holmes wrote: I'd suggest not permanently overriding collision detection - in any complex score this is likely to lead to collisions. \once \override where appropriate is safer. -- Dossy Shiobara | He realized the fastest way to change do...@panoptic.com | is to laugh at your own folly -- then you http://panoptic.com/ | can let go and quickly move on. (p. 70) * WordPress * jQuery * MySQL * Security * Business Continuity * ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pitch with null duration?
Good point. I've moved the #'ignore-collisions to before the chord that matters and applied \once to it. Thanks for the tip. -- Dossy Shiobara | He realized the fastest way to change do...@panoptic.com | is to laugh at your own folly -- then you http://panoptic.com/ | can let go and quickly move on. (p. 70) * WordPress * jQuery * MySQL * Security * Business Continuity * ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Instrument Name in oddHeaderMarkup position
Thank you! This works beautifully, and now that I've seen it and re-read
the Custom layout for title blocks section (
http://lilypond.org/doc/v2.15/Documentation/notation/custom-headers-footers-and-titles),
it's clearer than it was. There is still a lot to learn for someone new to
programming!
Best Wishes,
Mark
On Wed, Apr 4, 2012 at 9:57 AM, Thomas Morley thomasmorle...@googlemail.com
wrote:
Am 4. April 2012 15:20 schrieb Mark Mathias d8val...@gmail.com:
I would like to place the Instrument Name on the first page only in the
position occupied by the oddHeaderMarkup. LilyPond's convention for the
Instrument Name is to place it below the Title. This may be standard for
professional-level music, but educational orchestra music normally places
the Instrument Name in the upper left corner in large letters. Subsequent
pages usually abbreviate the name, often placing it in much smaller type
along with the page number.
So, I'd like to either use the oddHeaderMarkup command and turn off the
oddHeaderMarkup for following pages, or use a different command
(\markup, I
assume) to accomplish the same result. The manual no doubt shows how to
do
this, but the clues are not pulled together in one place that I can get
to
work. Perhaps yet another example of a newbie wrestling LilyPond's
enormous
power and complexity.
Hi Mark,
perhaps you may want to try:
\version 2.15.35
\header {
title = Jesu, Joy of Man's Desiring
composer = J. S. Bach
myInstrument = Violin I
}
\paper {
oddHeaderMarkup = \markup
\fill-line {
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\on-the-fly #print-page-number-check-first \fromproperty
#'page:page-number-string
\on-the-fly #not-first-page \fromproperty #'header:myInstrument
}
bookTitleMarkup = \markup {
\column {
\box { \pad-markup #1 \fromproperty
#'header:myInstrument }
\bookTitleMarkup
}
}
}
\relative c' { \repeat unfold 50 { c'1 \break } }
Please note:
I newly introduced myInstrument into the header to avoid a complete
new-definition of bookTitleMarkup.
But now you can't use the old `instrument'-variable any more. If you
do so, a second `instrument'-markup will be printed.
HTH,
Harm
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Re: Pitch with null duration?
- Original Message - From: Dossy Shiobara do...@panoptic.com To: Phil Holmes m...@philholmes.net Cc: lilypond-user@gnu.org Sent: Wednesday, April 04, 2012 4:22 PM Subject: Re: Pitch with null duration? Oh, interesting -- coming from a traditional TeX background, LilyPond really confuses me. Is \override inside a \new Voice not confined to the scope of that Voice? Please don't top-post. I'm sure you can find this out from the internals documentation, but it seems to me that, since it's trying to resolve collisions between stems in different voices, it can't be voice-local. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pitch with null duration?
Dossy Shiobara do...@panoptic.com writes: On 4/4/12 10:53 AM, Phil Holmes wrote: I'd suggest not permanently overriding collision detection - in any complex score this is likely to lead to collisions. \once \override where appropriate is safer. Oh, interesting -- coming from a traditional TeX background, LilyPond really confuses me. Is \override inside a \new Voice not confined to the scope of that Voice? In this case, yes: \override Notecolumn is equivalent to \override Bottom.Notecolumn, and Voice is a bottom context (not accepting other contexts inside). -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
underties in stanzas
Hi fellow ponders, I finally searched for the sign for visibly combining syllables (see http://lilypond.org/doc/v2.14/Documentation/notation/common-notation-for-vocal-music#multiple-syllables-to-one-note), and ~ works great in lyrics in that the undertie gets kerned below the syllables it combines. I'd like to achieve the same in further verses, printed below (i.e. in \markup). The raw unicode symbol U+203F (‿) is too wide, I didn't find a similar but narrower glyph. Can I use the mechanism from lyrics within \markup? Or do you know a better solution? Greetlings, Hraban ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Beamed rests
Hello all. I am a new Lilypond user and I'm in trouble trying to reproduce a beam over a 16th rest, between two 16th notes, as in the followin picture: [image: Immagine in linea 1] The only acceptable solution I've found so far is to apply *\set stemLeftBeamCount = #1 *to the rest, but the result is this: [image: Immagine in linea 2] Here's the simple code: *a'16[ \set stemLeftBeamCount = #1 r a]* It's close but it's not perfect: the rest is halfaway outside the staff and the second 16th beam is too long. Anybody has any suggestion on how to improve this output? Thanks in advance Fulvio image.pngimage.png___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beamed rests
On Wed, Apr 4, 2012 at 11:38 AM, Fulvio Turra fulvio.tu...@gmail.comwrote: Hello all. I am a new Lilypond user and I'm in trouble trying to reproduce a beam over a 16th rest, between two 16th notes, as in the followin picture: [image: Immagine in linea 1] Hmm. This notation looks wrong to me; i'd expect either a double beam under the rest or an 8th rest. The only acceptable solution I've found so far is to apply *\set stemLeftBeamCount = #1 *to the rest, but the result is this: [image: Immagine in linea 2] Here's the simple code: *a'16[ \set stemLeftBeamCount = #1 r a]* It's close but it's not perfect: the rest is halfaway outside the staff and the second 16th beam is too long. Anybody has any suggestion on how to improve this output? for rest position, see pitched rests in manuals. For the beamlet, use \set stemRightBeamCount = #1 in addition to LeftBeamCount. Hope this helps, Janek image.pngimage.png___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beamed rests
How's this:
\version "2.14.2"
\score {
\new Staff {
\clef "bass"
\relative c
{ \voiceThree s16 s32 fis16\rest s } \\
{ \voiceFour a16[
\once \override Rest #'transparent = ##t r8
a16] }
}
}
--
Dossy Shiobara | "He realized the fastest way to change
do...@panoptic.com | is to laugh at your own folly -- then you
http://panoptic.com/ | can let go and quickly move on." (p. 70)
* WordPress * jQuery * MySQL * Security * Business Continuity *
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Re: Beamed rests
On 05/04/12 12:14, Dossy Shiobara wrote:
\version 2.14.2
\score {
\new Staff {
\clef bass
\relative c
{ \voiceThree s16 s32 fis16\rest s } \\
{ \voiceFour a16[
\once \override Rest #'transparent = ##t r8
a16] }
}
}
This is simpler:
\version 2.15.32
\relative c' {
\clef bass
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1 8)
a16[ r a]
}
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