Re: Lyrics placement
Guy Stalnaker wrote Monday, October 29, 2012 2:37 AM Hello everyone -- my first question to this list. Hi, welcome! I have looked over the Learning Guide and the Notation Reference for help in telling Lilypond to put S1 lyrics above the staff. Yet I'm stymied by differences in terminology. The Learning Guide uses /addlyrics in its examples (as does my file) while the Notation Reference uses /new lyrics /lyricsto. When the Notatation Reference shows examples on how to modify lyric placement, it shows two different examples that I cannot map to my use of /addlyrics. I know it's a context thing, but I cannot grok what's supposed to happen. \addlyrics is useful for simple situations but it does not have the flexibility available when the lyrics context is specified explicitly. In particular \addlyrics cannot be used if the vertical placement of the lyrics needs to be changed, as the lyrics context needs to be explicitly exposed to do this. The method to use is outlined in http://www.lilypond.org/doc/v2.17/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-vertically [snip score] This works perfectly with lyrics for sopranoVoiceOne and places them below the staff aligned with the notes. How to I get the lyrics above the staf if I use /addlyrics? I've tried futzing with modifying /addlyrics to /new lyrics, etc. but that creates errors on compiling. \new Lyrics is definitely required (with a capital L) as the examples show. Try this again, and come back to the list with more specifics of the compilation errors, if they persist. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reheaseals with irregular bars
Hi Jacques,
I'm not going to answer all your questions, that is just too much. One
advise: cut things in pieces and look for smaller problems. There is a
LP problem in the bar numbers in this case (which I really should
register as a bug, it increases the measure numbers twice for some
reason). And indeed \partial is NOT usable inside a part, because it
was really only intended for the beginning to set your barchecks on
the right point. But you also don't need it.
For example some of your problems around bar 64 can be done like this,
no errors in my compile (using LP 2.16.0 on OS X):
\version 2.16.0
\relative c {
% some easy debugging settings:
\set Score.barNumberVisibility = #all-bar-numbers-visible
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\clef bass
\key bes \major
\time 6/8
% because LP will omit this at the beginning of a score,
% but would show if this was done in the middle:
\bar |:
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #63
\partial 8 d8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #64
bes'8( a) bes-. d4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c bes4 |
bes4. a8 r d,\f |
bes'( a) bes-. c4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c( bes) a-. |
% here you just OMIT the barcheck!
g r r r4
}
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #71
% because it is HERE!
d'8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #72
f8( es) d-. d( c) b?-. |
c16-.\f c,-. d-. ees-. f-.( g-. a-. b?-. c d es8) |
es(\p b) c-. c( bes?) a-. |
bes bes c d4 d,8\f |
bes'( a) bes-. c4. |
d8( c) d-. es4.\fermata\p |
d8-. d( c) bes-. bes( a) |
% and again:
g4. r4
}
\key g \major
\time 2/4
\break
\repeat volta 2 {
% here is the check:
s4
r8 |
bes8-.\f r d-. r |
g-. r g-. r |
g f? e g |
fis? e d16 r r8 |
}
}
Notes:
- Look carefully which barnumer is displayed where before drawing
conclusions. I did set both the partial bars and the whole bars, you
can leave out some of the lines, see for yourself;
- Note the placement of the barchecks, I omit them after for example
bar 72 before the volta ends, because the bar is not full yet, I place
it after the eight note in the second volta;
- I substituted bes8 (a) for bes8( a). Although the second syntax
also works, I see the ( symbol attached to notes, because the slurs
start on these notes;
- I also substituted ^. for -., I let LP find out where to put the
dot. Only when it goes wrong (which i.m.h.o. is never) I state it
explicitly.
The spacing of the s4 (in the 2/4 section) is ugly, but I just placed
a \break so you see you can determine the line-break yourself. With
more note it will smooth out more. Otherwise throw out the \break line.
Regards,
Wim.
On 28 Oct 2012, at 21:35 , Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für
Klavier, Flöte und Fagott causes me much trouble : \partial is not
usable inside a part, and Thema andante con variazioni contains
tricky rehearsals, like:
TrickyRehearsalsWithIncompleteBars.tiff
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
$mus
#}
)
on the Internet.
This helped me obtain the above result, but doesn't solve all issues.
In the remainder of the piece, I never figured out how to obtain the
transition from variation IV to variation V:
TransitionFromVar4ToVar5.tiff
I always run into messages such as the following (hence my bar
numbers are wrong) :
Beethoven_WoO37_Fagott_ThemaAndanteConVariazioni.ly:493:16:
warning: Barcheck failed got 79 expect 81
because I don't know how to specify the correct size for the
partial bars involved (by the way, bar number 64 is already wrong):
ScoreFragment.tiff
Here is the code I use:
\tempoMark #3.0 #Var. IV
%
-
\repeat volta 2
%
-
{
\partialInline #1 #8
d'8\p |
\myDisplayBarNum\barNumberCheck #65
bes'8 (a) bes^. d4. |
d8 (c) d^. ees4. ~ |
ees8 (d) c ~ c bes4 |
bes4. a8 r8 d,8\f |
bes'8 (a) bes^. c4. |
d8 (c) d^. ees4. ~ |
%
Re: Reheaseals with irregular bars
Hello Wim,
Thanks for this fast and detailed answer, it is much appreciated!
I'll put your suggestions in practise.
As for the current numbering error, I can circumvent it temporarily by forcing
the expected numbers explicitly.
A nice day!
Regards,
PS Is there some site where I could contribute the results of my Lilypondings,
such as the flute and bassoon parts of this Beethoven trio?
Le 29 oct. 2012 à 10:54:14, Wim van Dommelen m...@wimvd.nl a écrit :
Hi Jacques,
I'm not going to answer all your questions, that is just too much. One
advise: cut things in pieces and look for smaller problems. There is a LP
problem in the bar numbers in this case (which I really should register as a
bug, it increases the measure numbers twice for some reason). And indeed
\partial is NOT usable inside a part, because it was really only intended for
the beginning to set your barchecks on the right point. But you also don't
need it.
For example some of your problems around bar 64 can be done like this, no
errors in my compile (using LP 2.16.0 on OS X):
\version 2.16.0
\relative c {
% some easy debugging settings:
\set Score.barNumberVisibility = #all-bar-numbers-visible
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\clef bass
\key bes \major
\time 6/8
% because LP will omit this at the beginning of a score,
% but would show if this was done in the middle:
\bar |:
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #63
\partial 8 d8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #64
bes'8( a) bes-. d4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c bes4 |
bes4. a8 r d,\f |
bes'( a) bes-. c4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c( bes) a-. |
% here you just OMIT the barcheck!
g r r r4
}
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #71
% because it is HERE!
d'8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #72
f8( es) d-. d( c) b?-. |
c16-.\f c,-. d-. ees-. f-.( g-. a-. b?-. c d es8) |
es(\p b) c-. c( bes?) a-. |
bes bes c d4 d,8\f |
bes'( a) bes-. c4. |
d8( c) d-. es4.\fermata\p |
d8-. d( c) bes-. bes( a) |
% and again:
g4. r4
}
\key g \major
\time 2/4
\break
\repeat volta 2 {
% here is the check:
s4
r8 |
bes8-.\f r d-. r |
g-. r g-. r |
g f? e g |
fis? e d16 r r8 |
}
}
Notes:
- Look carefully which barnumer is displayed where before drawing
conclusions. I did set both the partial bars and the whole bars, you can
leave out some of the lines, see for yourself;
- Note the placement of the barchecks, I omit them after for example bar 72
before the volta ends, because the bar is not full yet, I place it after the
eight note in the second volta;
- I substituted bes8 (a) for bes8( a). Although the second syntax also
works, I see the ( symbol attached to notes, because the slurs start on
these notes;
- I also substituted ^. for -., I let LP find out where to put the dot.
Only when it goes wrong (which i.m.h.o. is never) I state it explicitly.
The spacing of the s4 (in the 2/4 section) is ugly, but I just placed a
\break so you see you can determine the line-break yourself. With more note
it will smooth out more. Otherwise throw out the \break line.
Regards,
Wim.
On 28 Oct 2012, at 21:35 , Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für Klavier,
Flöte und Fagott causes me much trouble : \partial is not usable inside a
part, and Thema andante con variazioni contains tricky rehearsals, like:
TrickyRehearsalsWithIncompleteBars.tiff
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
$mus
#}
)
on the Internet.
This helped me obtain the above result, but doesn't solve all issues.
In the remainder of the piece, I never figured out how to obtain the
transition from variation IV to variation V:
TransitionFromVar4ToVar5.tiff
I always run into messages such as the following (hence my bar numbers are
wrong) :
Beethoven_WoO37_Fagott_ThemaAndanteConVariazioni.ly:493:16: warning:
Barcheck failed got 79 expect 81
because I don't know how to specify the correct size for the partial bars
involved (by the way, bar number 64 is already wrong):
ScoreFragment.tiff
Here is the code I use:
\tempoMark #3.0 #Var. IV
%
Re: Reheaseals with irregular bars
On 2012-10-28 21:35, Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für
Klavier, Flöte und Fagott causes me much trouble : \partial is not
usable inside a part, and Thema andante con variazioni contains tricky
rehearsals, like:
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
You don't want (- $nom) here, since that might skip one measure!
In your case you want to set the measure position at the begin of the
second volta to #(ly:make-moment 0 8), if you want the second volta to
have the same bar number as the first.
If you want the second volta to have the barnumber of the first volta +
1, then I would try to set the measure position at the end of the first
volta to #(ly:make-moment 4 8). I haven't tried it out, but I think that
should work.
I always run into messages such as the following (hence my bar numbers
are wrong) :
Beethoven_WoO37_Fagott_ThemaAndanteConVariazioni.ly:493:16: warning:
Barcheck failed got 79 expect 81
because I don't know how to specify the correct size for the partial
bars involved (by the way, bar number 64 is already wrong):
I suppose bar 25 is already wrong, right?
Here is the code I use:
[...]
\tempoMark #3.0 #Var. V
% -
\repeat volta 2
% -
{
\partialInline #1 #8
Here you don't want to set the measure position to #(ly:make-moment (-
1) 8) of measure 79, since you are already in measure 79. If you set it
to -1/8, like you do, then this means after the next eighth note measure
79 will start...
You rather want to set the measure position to 3/8 of bar 79, which
means that after the eight rest measure 80 will start...
The only reason why \partial sets the measure position to -1/8 is that
the first full bar is supposed to be measure 1.
In all other cases (i.e. inside some piece), you don't ever want to set
the measure position to a negative value, as that will skip a measure in
the measure count.
Cheers,
Reinhold
--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com
* Financial Actuarial Math., Vienna Univ. of Technology, Austria
* http://www.fam.tuwien.ac.at/, DVR: 0005886
* Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com
___
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Re: Reheaseals with irregular bars
Reinhold Kainhofer reinh...@fam.tuwien.ac.at writes:
On 2012-10-28 21:35, Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für
Klavier, Flöte und Fagott causes me much trouble : \partial is not
usable inside a part, and Thema andante con variazioni contains tricky
rehearsals, like:
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
You don't want (- $nom) here, since that might skip one measure!
In your case you want to set the measure position at the begin of the
second volta to #(ly:make-moment 0 8), if you want the second volta to
have the same bar number as the first.
This is 2.14 stuff, right? With 2.16, you could write
partialInline = #(define-music-function
(parser location frac mus)
(fraction? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- (car fraction)) (cdr
fraction)) ,,,
and use it as
\partialInline 3/4 ...
Or you use a duration argument like \partial itself does. That is
likely more flexible.
That does not address any of the problems you are dealing with, it is
just something convenient on the side.
--
David Kastrup
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Re: Reheaseals with irregular bars
Hi Jacques,
There is the Mutopia project, but I'm unsure about the current status.
I've seen no activity on the mailing list for a long time. And for my
last project, which I registered on Mutopia, I even didn't get a
confirmation at all. So I also never submitted the result :-(
Does anyone here have more info?
Regards,
Wim.
On 29 Oct 2012, at 11:53 , Jacques Menu TvTMail wrote:
Hello Wim,
Thanks for this fast and detailed answer, it is much appreciated!
I'll put your suggestions in practise.
As for the current numbering error, I can circumvent it temporarily
by forcing the expected numbers explicitly.
A nice day!
Regards,
PS Is there some site where I could contribute the results of my
Lilypondings, such as the flute and bassoon parts of this Beethoven
trio?
Le 29 oct. 2012 à 10:54:14, Wim van Dommelen m...@wimvd.nl a écrit :
Hi Jacques,
I'm not going to answer all your questions, that is just too much.
One advise: cut things in pieces and look for smaller problems.
There is a LP problem in the bar numbers in this case (which I
really should register as a bug, it increases the measure numbers
twice for some reason). And indeed \partial is NOT usable inside a
part, because it was really only intended for the beginning to set
your barchecks on the right point. But you also don't need it.
For example some of your problems around bar 64 can be done like
this, no errors in my compile (using LP 2.16.0 on OS X):
\version 2.16.0
\relative c {
% some easy debugging settings:
\set Score.barNumberVisibility = #all-bar-numbers-visible
\override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\clef bass
\key bes \major
\time 6/8
% because LP will omit this at the beginning of a score,
% but would show if this was done in the middle:
\bar |:
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #63
\partial 8 d8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #64
bes'8( a) bes-. d4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c bes4 |
bes4. a8 r d,\f |
bes'( a) bes-. c4. |
d8( c) d-. ees4. ~ |
ees8( d) c ~ c( bes) a-. |
% here you just OMIT the barcheck!
g r r r4
}
\repeat volta 2 {
% bar number of the partial measure:
% \set Score.currentBarNumber = #71
% because it is HERE!
d'8\p |
% bar number of the next full measure:
\set Score.currentBarNumber = #72
f8( es) d-. d( c) b?-. |
c16-.\f c,-. d-. ees-. f-.( g-. a-. b?-. c d es8) |
es(\p b) c-. c( bes?) a-. |
bes bes c d4 d,8\f |
bes'( a) bes-. c4. |
d8( c) d-. es4.\fermata\p |
d8-. d( c) bes-. bes( a) |
% and again:
g4. r4
}
\key g \major
\time 2/4
\break
\repeat volta 2 {
% here is the check:
s4
r8 |
bes8-.\f r d-. r |
g-. r g-. r |
g f? e g |
fis? e d16 r r8 |
}
}
Notes:
- Look carefully which barnumer is displayed where before drawing
conclusions. I did set both the partial bars and the whole bars,
you can leave out some of the lines, see for yourself;
- Note the placement of the barchecks, I omit them after for
example bar 72 before the volta ends, because the bar is not full
yet, I place it after the eight note in the second volta;
- I substituted bes8 (a) for bes8( a). Although the second
syntax also works, I see the ( symbol attached to notes, because
the slurs start on these notes;
- I also substituted ^. for -., I let LP find out where to put
the dot. Only when it goes wrong (which i.m.h.o. is never) I state
it explicitly.
The spacing of the s4 (in the 2/4 section) is ugly, but I just
placed a \break so you see you can determine the line-break
yourself. With more note it will smooth out more. Otherwise throw
out the \break line.
Regards,
Wim.
On 28 Oct 2012, at 21:35 , Jacques Menu wrote:
Hello folks,
I've been using Lilypond for some time, but Beethoven's Trio X für
Klavier, Flöte und Fagott causes me much trouble : \partial is
not usable inside a part, and Thema andante con variazioni
contains tricky rehearsals, like:
TrickyRehearsalsWithIncompleteBars.tiff
After fighting a lot with the problem, I found:
partialInline = #(define-music-function
(parser location nom den mus)
(integer? integer? ly:music?)
#{
\set Score.measurePosition = #(ly:make-moment (- $nom) $den)
$mus
#}
)
on the Internet.
This helped me obtain the above result, but doesn't solve all
issues.
In the remainder of the piece, I never figured out how to obtain
the transition from variation IV to variation V:
TransitionFromVar4ToVar5.tiff
I always run into messages such as
Re: Reheaseals with irregular bars
On 10/29/2012 01:29 PM, Wim van Dommelen wrote: Hi Jacques, There is the Mutopia project, but I'm unsure about the current status. I've seen no activity on the mailing list for a long time. And for my last project, which I registered on Mutopia, I even didn't get a confirmation at all. So I also never submitted the result :-( Does anyone here have more info? Regards, Wim. On 29 Oct 2012, at 11:53 , Jacques Menu TvTMail wrote: Hello Wim, [snip] PS Is there some site where I could contribute the results of my Lilypondings, such as the flute and bassoon parts of this Beethoven trio? And certainly you can publish on http://www.imslp.org, the Petrucci library. Besides the pdfs for parts/score, their policy is to allow one entry (a zip file) for the 'engraving files', so you can also publish your lilypond source there if you so desire. Rutger ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: dynamics positioning
Try using two Dynamics contexts, one above and one below. DR -Original Message- From: Peter O'Doherty [mailto:m...@peterodoherty.net] Sent: Monday, October 29, 2012 9:14 AM To: lilypond-user Subject: dynamics positioning Hi, Could someone please take a look at the attached file and help with the placement of dynamics + hairpins? (I also attach an example output.) Ideally they would be grouped together above the top stave for the upper notes and below the lower stave for the lower notes. ^ and _ have little effect. Many thanks, Peter -- //= - Peter O'Doherty - http://www.peterodoherty.net - m...@peterodoherty.net - https://joindiaspora.com/people/70716 //= ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: dynamics positioning
Can't really tell from the attachment. As a rule, tiny excerpts of code (which
other users can compile themselves) are more useful for debugging than PDFs.
Check out: http://www.lilypond.org/tiny-examples.html
DR
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:45 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Thanks.
My logic suggests it should be enough to add this line above the cymbals part,
but it doesn't seems to work (see attached file).
\new Dynamics {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp } s64. s64
s64.] } |
}
What am I doing wrong?
Thanks,
Peter
On 10/29/2012 02:19 PM, Daniel Rosen wrote:
Try using two Dynamics contexts, one above and one below.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:14 AM
To: lilypond-user
Subject: dynamics positioning
Hi,
Could someone please take a look at the attached file and help with the
placement of dynamics + hairpins? (I also attach an example output.) Ideally
they would be grouped together above the top stave for the upper notes and
below the lower stave for the lower notes. ^ and _ have little effect.
Many thanks,
Peter
--
//=
- Peter O'Doherty
- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
--
//=
- Peter O'Doherty
- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
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Re: dynamics positioning
Sorry for the oversight. The attached code is as minimal as I can get it.
Thanks,
Peter
On 10/29/2012 02:48 PM, Daniel Rosen wrote:
Can't really tell from the attachment. As a rule, tiny excerpts of code (which
other users can compile themselves) are more useful for debugging than PDFs.
Check out: http://www.lilypond.org/tiny-examples.html
DR
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:45 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Thanks.
My logic suggests it should be enough to add this line above the cymbals part,
but it doesn't seems to work (see attached file).
\new Dynamics {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp } s64. s64
s64.] } |
}
What am I doing wrong?
Thanks,
Peter
On 10/29/2012 02:19 PM, Daniel Rosen wrote:
Try using two Dynamics contexts, one above and one below.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:14 AM
To: lilypond-user
Subject: dynamics positioning
Hi,
Could someone please take a look at the attached file and help with the
placement of dynamics + hairpins? (I also attach an example output.) Ideally
they would be grouped together above the top stave for the upper notes and
below the lower stave for the lower notes. ^ and _ have little effect.
Many thanks,
Peter
--
//=
- Peter O'Doherty
- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
--
//=
- Peter O'Doherty
- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
\version 2.16.0
\language english
\header {
tagline = ##f
}
#(set-default-paper-size a4 'portrait)
\paper{
top-margin = 2.0\cm
}
\new Dynamics {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp } s64. s64 s64.] } |
}
cymbals = {
\clef percussion
\stemUp
\time 3/8
\change Staff = conga \times 2/3 { d'8[\mf \change Staff = cymbals a32 e'32 \change Staff = temple d'8.\pp \change Staff = cymbals \times 8/13 { r64 c'16^\mp^\ a16 \change Staff = temple b16 } \change Staff = cymbals e'64. \change Staff = temple g64^\f \change Staff = cymbals c'64.] }|
}
temple = {
\clef percussion
s8 s8 s8 |
}
toms = {
\clef percussion
s8 s8 s8 |
}
conga = {
\clef percussion
s8 s8 s8 |
}
snare = {
\clef percussion
\stemDown
r8 \change Staff = temple g8[\pp \change Staff = conga d'32\mf\ b32 \change Staff = snare c'16]\mp |
}
{
\new StaffGroup
\new Staff = cymbals \cymbals
\new Staff = temple \temple
\new Staff = toms \toms
\new Staff = conga \conga
\new Staff = snare \snare
}
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RE: dynamics positioning
Well, first of all, in the future, you can just paste code right into the body
of your email, like I'm about to do--no need for an attachment. :-) And second,
I would dispute that you couldn't get it smaller--like the page I referenced
says, very few tiny examples are longer than about 10 lines of code. That being
said...
You need to include the Dynamics context within your score block, like so:
dynamics = {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp } s64. s64
s64.] } |
}
% All other variables go here, unchanged %
{
\new StaffGroup
\new Dynamics \dynamics
\new Staff = cymbals \cymbals
\new Staff = temple \temple
\new Staff = toms \toms
\new Staff = conga \conga
\new Staff = snare \snare
}
Unfortunately, while this corrects the horizontal alignment of the grobs within
the Dynamics context, they now collide with the beams, so the vertical spacing
needs to be adjusted. I'm not sure how to do that without having to adjust
'Y-offset for each individual DynamicText, so I'm gonna have to punt this to
someone else on the list.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:53 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Sorry for the oversight. The attached code is as minimal as I can get it.
Thanks,
Peter
On 10/29/2012 02:48 PM, Daniel Rosen wrote:
Can't really tell from the attachment. As a rule, tiny excerpts of
code (which other users can compile themselves) are more useful for
debugging than PDFs. Check out:
http://www.lilypond.org/tiny-examples.html
DR
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:45 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Thanks.
My logic suggests it should be enough to add this line above the cymbals
part, but it doesn't seems to work (see attached file).
\new Dynamics {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp }
s64. s64 s64.] } | }
What am I doing wrong?
Thanks,
Peter
On 10/29/2012 02:19 PM, Daniel Rosen wrote:
Try using two Dynamics contexts, one above and one below.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:14 AM
To: lilypond-user
Subject: dynamics positioning
Hi,
Could someone please take a look at the attached file and help with the
placement of dynamics + hairpins? (I also attach an example output.) Ideally
they would be grouped together above the top stave for the upper notes and
below the lower stave for the lower notes. ^ and _ have little effect.
Many thanks,
Peter
--
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- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
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RE: dynamics positioning
Daniel Rosen wrote
Unfortunately, while this corrects the horizontal alignment of the grobs
within the Dynamics context, they now collide with the beams, so the
vertical spacing needs to be adjusted. I'm not sure how to do that without
having to adjust 'Y-offset for each individual DynamicText, so I'm gonna
have to punt this to someone else on the list.
I think this will help:
\new Dynamics \with {
\override VerticalAxisGroup #'staff-affinity = ##f
} \dynamics
and I think you will need a 2nd dynamic context to achieve the dynamics at
the bottom of your staffGroup!
Eluze
--
View this message in context:
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Sent from the User mailing list archive at Nabble.com.
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RE: Modified laissez vibrer ties
Never mind--I found the solution: http://lsr.dsi.unimi.it/LSR/Item?id=794
I only just discovered the LSR, so I completely forgot to check there before
bothering everyone here. Oops. :-P
DR
-Original Message-
From: Trevor Daniels [mailto:t.dani...@treda.co.uk]
Sent: Sunday, October 28, 2012 12:46 PM
To: lilypond-user@gnu.org; David Kastrup; Daniel Rosen
Subject: Re: Modified laissez vibrer ties
David Kastrup wrote Sunday, October 28, 2012 10:07 AM
Daniel Rosen drose...@gmail.com writes:
I did consider that; the problem is those ties go _over_ the barline
instead of stopping just short, so they'd still need to be adjusted
manually.
I tried using normal ties to invisible notes after the barline and
tweaking to-barline in order to have them stop short. I have not been
able to make to-barline have any effect, though.
Not very elegant, but this might be a possibility:
\relative c'' {
\override Slur #'to-barline = ##t
a1*3/4( \once \hideNotes a4) a1
}
or, if you prefer,
\relative c'' {
a1*3/4 -\tweak #'to-barline ##t ( \once \hideNotes a4) a1 }
Unlike hairpins, 'to-barline for Slurs seems to extend the slur to the _next_
bar line rather than stopping it short at the previous one.
And the hidden note seems to require a non-zero duration too.
Trevor
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Re: Lilypond on the cloud
Hi Francois. Its been moved to http://www.omet.ca; use that address if you want to use the Facebook login. It has an editor with syntax highlighting and line numbering (CodeMirror, using the default Latext stylesheet), it also has convert-ly, and this week I'm adding midi2ly and musicxml2ly for online conversion. Cheers, Mike On Sat, Oct 27, 2012 at 3:31 PM, Francois Planiol alicuota...@gmail.comwrote: Hello, I would like to know what is actually up with cloud-lily, with an integrated editor on the web-page. Purpose is for use with Android. Thanks in advance Francois PS seems that http://cloud.blackstockweb.ca/ has no editor. ___ 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: What is the oldest convert-ly available?
Thanks guys. It's for an online lilypond site so users can convert older mutopia files. So it's no a real pressing issue for me, just a 'nice to have' feature if people wanted to could go back and upgrade old mutopia stuff. Cheers, Mike On Fri, Oct 26, 2012 at 8:07 PM, Thomas Morley thomasmorle...@googlemail.com wrote: 2012/10/27 Thomas Morley thomasmorle...@googlemail.com: 2012/10/27 Mike Blackstock blackstock.m...@gmail.com: There are a few things on Mutopia I would like to upgrade, one of which is version 1.7 I visited http://download.linuxaudio.org/lilypond/binaries/ and the earliest version there is 2.8.8, from 2006. I'm guessing that it will convert versions back to somewhere around version 2.0. Is that about right? Anything before 2.0 is more-or-less non-convertible? Thanks for any confirmations/additional info. -Mike Hi Mike, you could try to install an old version to be found here: http://download.linuxaudio.org/lilypond/source/ I recently tried to compile 2.6.x trying to do some research, but I failed. Perhaps you have more luck. Regards, Harm Forgot to mention that you could use the to-version-option of any convert-ly convert-ly -e -t2.14.2 will convert to 2.14.2 In general, I found converting-rules in convertrules.py since version 0.1.9 But every now and then there will be some stuff convert-ly is not able to handle. So I would use the _newest_ convert-ly and update very carefully from one version to the next with the to-version-option fixing manually all issues convert-ly is not smart enough to do. But I never tried to update such an old file, I wish Good Luck. -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
exact dimenions of pdf/png
Dear all,
I have to provide a bitmapped image to a publisher:
1200dpi, width: 11cm. It only contains one system.
This implies a width of (11.0/2.54)*1200.0 = 5196 pixels.
I followed the directions from the 'usage' manual, and I put this on top
of my source file.
\paper{
indent=0\mm
line-width=110\mm
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
ragged-right = ##f
ragged-last = ##f
}
However. The resulting pdf has a width of 11.19 cm, and the png a width
of 5283 pixels, which is too large.
I tried to add:
left-margin=0\mm
right-margin=0\mm
paper-width=110\mm
check-consistency=##t
Then I get a width of 11.15 cm.
How can I set the with of resulting pdf at exactly 11.0 cm?
Thanks!
Peter
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Re: exact dimenions of pdf/png
Peter Van Kranenburg peter.van.kranenb...@meertens.knaw.nl writes:
Dear all,
I have to provide a bitmapped image to a publisher:
1200dpi, width: 11cm. It only contains one system.
This implies a width of (11.0/2.54)*1200.0 = 5196 pixels.
I followed the directions from the 'usage' manual, and I put this on
top of my source file.
\paper{
indent=0\mm
line-width=110\mm
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
ragged-right = ##f
ragged-last = ##f
}
However. The resulting pdf has a width of 11.19 cm, and the png a
width of 5283 pixels, which is too large.
I tried to add:
left-margin=0\mm
right-margin=0\mm
paper-width=110\mm
check-consistency=##t
Then I get a width of 11.15 cm.
How can I set the with of resulting pdf at exactly 11.0 cm?
Try setting the paper-width variable.
--
David Kastrup
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Re: exact dimenions of pdf/png
David Kastrup d...@gnu.org writes:
Peter Van Kranenburg peter.van.kranenb...@meertens.knaw.nl writes:
Dear all,
I have to provide a bitmapped image to a publisher:
1200dpi, width: 11cm. It only contains one system.
This implies a width of (11.0/2.54)*1200.0 = 5196 pixels.
I followed the directions from the 'usage' manual, and I put this on
top of my source file.
\paper{
indent=0\mm
line-width=110\mm
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
ragged-right = ##f
ragged-last = ##f
}
However. The resulting pdf has a width of 11.19 cm, and the png a
width of 5283 pixels, which is too large.
I tried to add:
left-margin=0\mm
right-margin=0\mm
paper-width=110\mm
check-consistency=##t
Then I get a width of 11.15 cm.
How can I set the with of resulting pdf at exactly 11.0 cm?
Try setting the paper-width variable.
Sorry, I should better read to the end before replying. However,
writing
\paper { paper-width=110\mm }
\score { { c4 c4 c4 c4 } }
and using
lilypond -dresolution=1200 --png
I get an image with 5197 pixels width, which is to a pixel exactly what
was demanded. So perhaps you need to check what throws a spanner in
your works, starting from a simple paper definition.
--
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Re: dynamics positioning
On 29 oct. 2012, at 15:13, Daniel Rosen drose...@gmail.com wrote:
Well, first of all, in the future, you can just paste code right into the
body of your email, like I'm about to do--no need for an attachment. :-) And
second, I would dispute that you couldn't get it smaller--like the page I
referenced says, very few tiny examples are longer than about 10 lines of
code. That being said...
You need to include the Dynamics context within your score block, like so:
dynamics = {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp } s64.
s64 s64.] } |
}
% All other variables go here, unchanged %
{
\new StaffGroup
\new Dynamics \dynamics
\new Staff = cymbals \cymbals
\new Staff = temple \temple
\new Staff = toms \toms
\new Staff = conga \conga
\new Staff = snare \snare
}
Unfortunately, while this corrects the horizontal alignment of the grobs
within the Dynamics context, they now collide with the beams, so the vertical
spacing needs to be adjusted. I'm not sure how to do that without having to
adjust 'Y-offset for each individual DynamicText, so I'm gonna have to punt
this to someone else on the list.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:53 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Sorry for the oversight. The attached code is as minimal as I can get it.
Thanks,
Peter
On 10/29/2012 02:48 PM, Daniel Rosen wrote:
Can't really tell from the attachment. As a rule, tiny excerpts of
code (which other users can compile themselves) are more useful for
debugging than PDFs. Check out:
http://www.lilypond.org/tiny-examples.html
DR
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:45 AM
To: Daniel Rosen
Cc: lilypond-user
Subject: Re: dynamics positioning
Thanks.
My logic suggests it should be enough to add this line above the cymbals
part, but it doesn't seems to work (see attached file).
\new Dynamics {
\time 3/8
\times 2/3 { s8\mf s32 s32 s8.\pp \times 8/13 { s64 s16 s16 s16\pp }
s64. s64 s64.] } | }
What am I doing wrong?
Thanks,
Peter
On 10/29/2012 02:19 PM, Daniel Rosen wrote:
Try using two Dynamics contexts, one above and one below.
DR
-Original Message-
From: Peter O'Doherty [mailto:m...@peterodoherty.net]
Sent: Monday, October 29, 2012 9:14 AM
To: lilypond-user
Subject: dynamics positioning
Hi,
Could someone please take a look at the attached file and help with the
placement of dynamics + hairpins? (I also attach an example output.) Ideally
they would be grouped together above the top stave for the upper notes and
below the lower stave for the lower notes. ^ and _ have little effect.
Many thanks,
Peter
--
//=
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- http://www.peterodoherty.net
- m...@peterodoherty.net
- https://joindiaspora.com/people/70716
//=
--
//=
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- http://www.peterodoherty.net
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I had to take a break from LilyPond development for a couple months but I hope
to be back on board in a month or so. This was the exact problem that I was
working on. The long and short of it is that LilyPond does not know how to
handle cross-staff objects in vertical spacing. As a result, there are
collisions. There is no good way to get around this save manually overriding
things like Y-offset or, if necessary, extra-Y-offset.
Cheers,
MS
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Re: Lyrics placement
Thanks Trevor -- I had to completely rework how the score was described
and, and you said, jettison /addlyrics. The template will be different
now, but the lyrics are indeed above the staff where I want them to be.
The issue was with using in a nested way to get SopranoOne and
SopranoTwo music on the same stave with lyrics for one above and lyrics
for the other below:
\context Staff = soprano
\context Voice = sopranoVoiceOne {
\sopranoVoiceOne
} % Voice
\lyricsto sopranoVoiceOne
\new Lyrics \with { alignAboveContext = soprano } \lyricmode {
\verseSopranoVoiceOne
} % Lyrics
%SopOne
\context Voice = sopranoVoiceTwo {
\sopranoVoiceTwo
} % Voice
\lyricsto sopranoVoiceTwo \new Lyrics \lyricmode {
\verseSopranoVoiceTwo
} % Lyrics 1
% SopTwo
That bit works.
Guy
On 10/29/2012 03:27 AM, Trevor Daniels wrote:
Guy Stalnaker wrote Monday, October 29, 2012 2:37 AM
Hello everyone -- my first question to this list.
Hi, welcome!
I have looked over the Learning Guide and the Notation Reference for
help in telling Lilypond to put S1 lyrics above the staff. Yet I'm
stymied by differences in terminology. The Learning Guide uses
/addlyrics in its examples (as does my file) while the Notation
Reference uses /new lyrics /lyricsto. When the Notatation Reference
shows examples on how to modify lyric placement, it shows two different
examples that I cannot map to my use of /addlyrics. I know it's a
context thing, but I cannot grok what's supposed to happen.
\addlyrics is useful for simple situations but it does not have the
flexibility available when the lyrics context is specified explicitly.
In particular \addlyrics cannot be used if the vertical placement
of the lyrics needs to be changed, as the lyrics context needs
to be explicitly exposed to do this.
The method to use is outlined in
http://www.lilypond.org/doc/v2.17/Documentation/notation/techniques-specific-to-lyrics#placing-lyrics-vertically
[snip score]
This works perfectly with lyrics for sopranoVoiceOne and places them
below the staff aligned with the notes. How to I get the lyrics above
the staf if I use /addlyrics? I've tried futzing with modifying
/addlyrics to /new lyrics, etc. but that creates errors on compiling.
\new Lyrics is definitely required (with a capital L) as the examples show.
Try this again, and come back to the list with more specifics of the
compilation errors, if they persist.
Trevor
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--
There is only love, and then oblivion. Love is all we have
to set against hatred. (paraphrased) Ian McEwan
Guy Stalnaker
jimmyg...@gmail.com
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Re: Staff spacing for Z beam
Am 26.10.2012 12:31, schrieb Phil Holmes: http://lsr.dsi.unimi.it/LSR/Item?id=375 Beam damping doesn't work for cross-staff beams. But I could successfully control the beam positions manually (http://lsr.dsi.unimi.it/LSR/Item?id=97). Regards Helge ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
DevNull produces strange output
Hi,
accidently I noticed that DevNull produces some weird output, if its
argument contains an override to TabStaff, VaticanaStaff or
RhythmicStaff (this list may be not complete)
\version 2.17.4
mus = {
\override TabStaff.TabNoteHead #'color = #red
% same with:
% \override VaticanaStaff.NoteHead #'color = #red
% \override RhythmicStaff.NoteHead #'color = #red
% but not with, p.e.:
% \override Staff.NoteHead #'color = #red
c1
}
\score {
\new Devnull \mus
%\new Staff \mus
%\new TabStaff \mus
%\new VaticanaStaff \mus
%\new RhythmicStaff \mus
}
Is this a bug (in this case I'll create a bugreport) or expected behaviour?
-Harm
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Re: DevNull produces strange output
2012/10/29 David Kastrup d...@gnu.org:
Thomas Morley thomasmorle...@googlemail.com writes:
Hi,
accidently I noticed that DevNull produces some weird output, if its
argument contains an override to TabStaff, VaticanaStaff or
RhythmicStaff (this list may be not complete)
\version 2.17.4
mus = {
\override TabStaff.TabNoteHead #'color = #red
% same with:
% \override VaticanaStaff.NoteHead #'color = #red
% \override RhythmicStaff.NoteHead #'color = #red
% but not with, p.e.:
% \override Staff.NoteHead #'color = #red
c1
}
\score {
\new Devnull \mus
%\new Staff \mus
%\new TabStaff \mus
%\new VaticanaStaff \mus
%\new RhythmicStaff \mus
}
Is this a bug (in this case I'll create a bugreport) or expected behaviour?
It is pretty much expected behavior. The output is the same as
\score { \new TabStaff {} \skip 1 }
which spends, in the grand total of things, a time of a whole note and
creates a TabStaff. The definition of Devnull is
\context {
\name Devnull
\type Engraver_group
%% don't want to route anything out of here:
\alias Staff
\alias Voice
\description Silently discards all musical information given to this
context.
}
and it is accepted by \Score. So it will capture overrides to Staff and
Voice (and Devnull), but anything else will create a context of the
appropriate type in the containing \Score context and direct the
override there.
To change this, Devnull would either need to contain more aliases, or it
would need to \accept the respective contexts itself or have a
\defaultchild accepting them. But in the latter cases, those contexts
would be fully operative, defeating the idea of Devnull.
Thanks for clarification!
Should Devnull try to be an alias for every context type? Good
question.
Don't know. As said, I stumbled over it by accident and so far haven't
thought deeper about it.
-Harm
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Re: enlarge vertical distance in time signature
2012/10/29 Stefan Thomas kontrapunktste...@gmail.com:
[...]
The problem is:
I would like to have a score with drumstaff and a normal staff. And only
in the normal Staff shall be a wider time signature.
I give you an short example:
[...]
Hi Stefan,
next try:
I defined `customTime´ containing all functionality of \time and
printing a wider TimeSignature in DrumStaff only.
Disadvantage:
It has to be used _in_ the DrumStaff or, if used in a global-variable,
this \global has to be applied to the DrumStaff.
This makes the Devnull-context dispensable. If Devnull is part of some
included template, `customTime´ will produce weird output. To avoid
it, uncomment the \layout in the code below.
- http://lists.gnu.org/archive/html/lilypond-user/2012-10/msg00654.html
\version 2.16.0
% \layout {
% \context {
% \Devnull
% \alias DrumStaff
% }
% }
customTime =
#(define-music-function (parser location baseline-skip beat-structure frac)
(number? (number-list? '()) fraction?)
(let* ((num (car frac))
(denom (cdr frac)))
#{
\override DrumStaff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup grob
#{
\markup %\fontsize #5
\vcenter
\override #`(baseline-skip . ,baseline-skip)
\column {
\number
#(number-string num)
\number
#(number-string denom)
}
#}))
$(make-music
'TimeSignatureMusic
'beat-structure beat-structure
'denominator denom
'numerator num)
#}))
% test
global = {
\customTime #3 #'(4 3) 7/8
s2..
\customTime #3 #'(2 2 2 3) 9/8
s8*9
}
drumnotes = \drummode {
wbl4 wbl wbh4.
\repeat unfold 3 { wbl4 } wbh4.
}
somenotes = \relative c' {
c4 b c4 d8
e4 e f e8 d c
}
\score {
%\new Devnull \global
\new Staff \somenotes
\new DrumStaff \with {
\override StaffSymbol #'line-count = #6
}
\global \drumnotes
}
For now this is the best I can deliver, I didn't manage to find a
scheme-accessable definition for the formating of the
default-TimeSignature.
There _are_ formating-procedures in time-signature-settings.scm, but
they are used in `compoundMeter´ only.
Regards,
Harm
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Re: pitch name transpose into numeric per key signature
Le Sun, 28 Oct 2012 23:16:34 +0100, MING TSANG tsan...@rogers.com a
écrit:
(let* ...
(scalestep (modulo
(- (ly:pitch-notename pitch) (...base of key signature...)) 7))
(name (format #f ~a~a
(string-ref 1234567 (scalestep))...
If i well understand what you want, there is a snippet very near of what
you are searching.
http://lsr.dsi.unimi.it/LSR/Snippet?id=818
The code below is a mix of the code you gave and this snippet.
%%
numbr = #(make-engraver (acknowledgers
((note-head-interface engraver grob source)
(let* (
(context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-index (ly:pitch-notename tonic-pitch))
(event (ly:grob-property grob 'cause))
(grob-pitch (ly:event-property event 'pitch))
(grob-index (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-index tonic-index) 7))
(name (list-ref '(1 2 3 4 5 6 7) delta))
(newgrob (ly:engraver-make-grob engraver 'TextScript event)))
(set! (ly:grob-property newgrob 'text) name)
music = \relative c' {
\key c\major c4 d e f g a b2 |\break
\key g\major g4 a b c d e fs2 | \break
\key ef\major ef,4 f g af bf c d2 | \break
\key d \major d,4 e fs g a b cs2 | \break
\key cf\major cf,4 df ef ff gf af bf2 | \break
}
\score{
\new Staff \with {\consists #numbr }
\music
\layout {}
}
%%%
--
Gilles
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Lyrics Vertical Alignment
Hi,
is there any reason why Lyrics on the two staves in the attached
example is not correctly vertical aligned?
Thanks for your help!
TGattachment: lyrics.png%{ lyrics %}
\version 2.16.0
\include english.ly
firstMusic = \relative c'' {
\time 3/2
g1. | f4. g8 a4 g2 fs4 | g1.
}
firstWords = \lyricmode {
Ho -- | di -- _ _ e __ _ | et
}
secondMusic = \relative c'' {
g1. | a1 a2 | g1.
}
secondWords = \lyricmode {
Ho -- | _ di -- | e
}
\score {
\new StaffGroup
\new Staff
\new Voice = first {\firstMusic}
\lyricsto first \new Lyrics \firstWords
\new Staff
\new Voice = second {\secondMusic}
\lyricsto second \new Lyrics \secondWords
}
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Re: Lyrics Vertical Alignment
2012/10/30 Tiresia GIUNO tires...@googlemail.com:
Hi,
is there any reason why Lyrics on the two staves in the attached
example is not correctly vertical aligned?
No idea.
But you could use:
secondWords = \lyricmode {
Ho -- | \skip1 di -- | e
}
HTH,
Harm
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Re: Lyrics Vertical Alignment
On Tue, 30 Oct 2012 01:02:09 +0100
Thomas Morley thomasmorle...@googlemail.com wrote:
2012/10/30 Tiresia GIUNO tires...@googlemail.com:
Hi,
is there any reason why Lyrics on the two staves in the attached
example is not correctly vertical aligned?
No idea.
But you could use:
secondWords = \lyricmode {
Ho -- | \skip1 di -- | e
}
HTH,
Harm
Thank you, with \skip it gets correctly aligned.
TG
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Re: Lyrics Vertical Alignment
On 2012-10-30 00:46, Tiresia GIUNO wrote: is there any reason why Lyrics on the two staves in the attached example is not correctly vertical aligned? Yes, there is a reason. See e.g. Elaine Gould: Behind Bars -- The Definitive Guide to Music Notation (published by Faber Music, 2011), p.439, section Syllable underlay: = SINGLE NOTE PER SYLLABLE Centre each syllable directly under its note. [...] MORE THAN ONE NOTE PER SYLLABLE (INCLUDING TIED NOTES) The syllable should be ranged left under the first notehead. This draws the eye to the right - an important consideration, since the singer always needs to be looking forward. Some editions place all syllables consistently to the left of the note, but, in general, this not helpful. From time to time there may be an aesthetic case for doing so, in order to align vertically either the same text below different staves or different texts below the same voice part. = Since lilypond cannot determine automatically that your case might be that very exception mentioned in the last sentence, it simply uses the default: centering the syllable to the single note in the first staff and left-aligning with the note in the second staff, since there the syllable is assigned to more than one note. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is it possible to change beaming from the \layout block?
On 2012-10-30 02:12, Vaughan McAlley wrote: This code compiles without complaint, but the beams are still in groups of four. What am I doing wrong? Nothing. The \time 4/4 command implicitly sets all the timing properties, so your global values are overwritten and don't have any effect. Cheers, Reinhold -- -- Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com * Financial Actuarial Math., Vienna Univ. of Technology, Austria * http://www.fam.tuwien.ac.at/, DVR: 0005886 * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is it possible to change beaming from the \layout block?
On 30/10/12 12:12, Vaughan McAlley wrote:
\version 2.16.0
myNotes = \relative c' {
\time 4/4
d8 d d d d d d d
}
\score {
\new Staff = RH
\context Staff
\new Voice { \myNotes }
\layout {
\context {
\RemoveEmptyStaffContext % in case this is relevant
}
\context {
\Voice
\override Timing #'baseMoment = #(ly:make-moment 1 8)
\override Timing #'beatStructure = #'(2 2 2 2)
\override Timing #'beamExceptions = #'()
}
}
}
This works:
\version 2.16.0
myNotes = \relative c' {
\time 4/4
d8 d d d d d d d
}
\score {
\new Staff = RH
\context Staff
\new Voice {
\set beamExceptions = #'((end . (((1 . 8) . (2 2 2 2)
\myNotes
}
\layout { }
}
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Re: Is it possible to change beaming from the \layout block?
On 30 October 2012 13:09, Nick Payne nick.pa...@internode.on.net wrote:
\new Voice {
\set beamExceptions = #'((end . (((1 . 8) . (2 2 2 2)
\myNotes
}
Is there any alternative to setting \beamExceptions explicitly in
every voice? That’s what I’m looking for...
On 30 October 2012 13:00, Reinhold Kainhofer reinh...@fam.tuwien.ac.at wrote:
Nothing. The \time 4/4 command implicitly sets all the timing properties, so
your global values are overwritten and don't have any effect.
Cheers,
Reinhold
So after any time signature change back to 4/4 it would all need to be
set again?
Cheers,
Vaughan
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Re: pitch name transpose into numeric per key signature
Gilles:
Thank you for your solution concerning \numbr. It is great and is what I am
looking for.
I have been using Ez_numbers_engraver for sometime now. It is great to display
numeric of pitch name per key signature inside notehead. One draw back is that
the notehead need to be large for easy reading. When notehead is large, the
staff becomes large as well.
The \numbr you provided is excellent. The staff and noteheads remain the same
while the numeric equivalent notehead pitch per key signature is displayed
below the staff.
One question though: Can the numeric displayed above the staff?
Thanks again for your solution.
Blessing +,
Ming.
Le Sun, 28 Oct 2012 23:16:34 +0100, MING TSANG address@hidden a écrit:
(let* ... (scalestep (modulo (- (ly:pitch-notename pitch) (...base of key
signature...)) 7)) (name (format #f ~a~a (string-ref 1234567
(scalestep))... If i well understand what you want, there is a snippet very
near of what you are searching.
http://lsr.dsi.unimi.it/LSR/Snippet?id=818The code below is a mix of the code
you gave and this snippet. %%numbr =
#(make-engraver (acknowledgers ((note-head-interfaceengraver grob source) (let*
( (context (ly:translator-contextengraver)) (tonic-pitch (ly:context-property
context 'tonic)) (tonic-index (ly:pitch-notename tonic-pitch)) (event
(ly:grob-property grob 'cause)) (grob-pitch (ly:event-property event 'pitch))
(grob-index (ly:pitch-notename grob-pitch)) (delta (modulo (- grob-index
tonic-index) 7)) (name (list-ref '(1 2 3 4 5 6 7) delta))
(newgrob (ly:engraver-make-grobengraver 'TextScript event))) (set!
(ly:grob-property newgrob 'text) name) music= \relative c' { \key c\major
c4 d e f g a b2 |\break \key g\major g4 a b c d e fs2 | \break \key ef\major
ef,4 f g af bf c d2 | \break \key d \major d,4 e fs g a b cs2 | \break \key
cf\major cf,4 df ef ff gf af bf2 | \break
} \score{ \new Staff \with {\consists #numbr } \music \layout {}
}
%%%
--
Gilles
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Re: Is it possible to change beaming from the \layout block?
On 30/10/12 13:36, Vaughan McAlley wrote:
On 30 October 2012 13:09, Nick Payne nick.pa...@internode.on.net wrote:
\new Voice {
\set beamExceptions = #'((end . (((1 . 8) . (2 2 2 2)
\myNotes
}
Is there any alternative to setting \beamExceptions explicitly in
every voice? That’s what I’m looking for...
Yes, you can set it at the Staff level:
\version 2.17.5
upper = \relative c'' {
c8 c c c c c c c
}
lower = \relative c' {
c8 c c c c c c c
}
\score {
\new Staff {
\set Staff.beamExceptions = #'((end . (((1 . 8) . (2 2 2 2)
\clef treble
\key c \major
\time 4/4
\new Voice { \voiceOne \upper }
\new Voice { \voiceTwo \lower }
}
\layout { }
}
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Re: enlarge vertical distance in time signature
I consider it much nicer to make strg of type fraction?, and then num
can be (car strg) and denom can be (cdr strg).
and
can just be \spreadTimeSignature #8 2/4 ... which is nicer on the eyes.
I was intrigued and tried to modify the code as you suggested as a learning
exercise. But I ran into a problem I do not understand. I assumed that fraction
is a pair of two numbers, so num and denom are of type number. column needs
strings so the numbers have to be converted. However, I get the following
error:
test12.ly:18:25: error: syntax error, unexpected NUMBER_IDENTIFIER
(number-string
$num)
/usr/local/lilypond/usr/share/lilypond/current/ly/init.ly:61:0: error: error in
#{ ... #}
I think I'm close but missing some subtle issue about the types.
\version 2.16.0
\language english
#(set-global-staff-size 30)
spreadTimeSignature =
#(define-music-function (parser location baselineSkip strg music)(number?
fraction? ly:music?)
(let* ((num (car strg))
(denom (cdr strg)))
#{
\override Staff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup grob
#{
\markup %\fontsize #5
\vcenter
\override #`(baseline-skip . ,baselineSkip)
\column {
(number-string $num)
(number-string $denom)
}
#}))
$(make-music 'TimeSignatureMusic 'beat-structure '() 'denominator denom
'numerator num)
$music
#}))
% test
\relative c' {
\spreadTimeSignature #3 2/4
c8 c c c
\spreadTimeSignature #8 3/4
c16 c c c c c c c c4
}
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Re: enlarge vertical distance in time signature
pabuhr pab...@fastmail.fm writes:
I consider it much nicer to make strg of type fraction?, and then num
can be (car strg) and denom can be (cdr strg).
and
can just be \spreadTimeSignature #8 2/4 ... which is nicer on the eyes.
I was intrigued and tried to modify the code as you suggested as a
learning exercise. But I ran into a problem I do not understand. I
assumed that fraction is a pair of two numbers, so num and denom are
of type number. column needs strings so the numbers have to be
converted. However, I get the following error:
test12.ly:18:25: error: syntax error, unexpected NUMBER_IDENTIFIER
(number-string
$num)
/usr/local/lilypond/usr/share/lilypond/current/ly/init.ly:61:0: error: error
in #{ ... #}
I think I'm close but missing some subtle issue about the types.
\version 2.16.0
\language english
#(set-global-staff-size 30)
spreadTimeSignature =
#(define-music-function (parser location baselineSkip strg music)(number?
fraction? ly:music?)
(let* ((num (car strg))
(denom (cdr strg)))
#{
\override Staff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup grob
#{
\markup %\fontsize #5
\vcenter
\override #`(baseline-skip . ,baselineSkip)
\column {
(number-string $num)
This needs to be $(number-string num) instead, as the expression you
want to splice in here as if it were written in LilyPond includes the
Scheme call.
Other than that (same with denom), the code looks fine to me.
--
David Kastrup
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