Re: Headers Placement
Decimo quinto Kalendas Februarias MMXIII scripsit Thomas Morley :
LilyPond supports two kinds of headers: book-header and score-header.
a) book-header (top-level!):
\header { ... }
\score { ... }
b) score-header:
\score {
some-music
\header { ... }
}
I was going to ask more or less the same question as Mark, so thanks
for the explanation. I find the whole header system extremely
confusing (for example, why must the score-header be at the *end* of
the corresponding score, this is a mystery) and would prefer
sectioning commands that work in the LaTeX way, inserting markup where
they are called instead of defining some magic values:
\title #'((title . Concerto) (author . Me))
\title #'((section . I. Allegro ma non troppo))
\score { ... }
\title #'((section . II. Andantino))
\score { ... }
This I can do with Scheme, but maybe something equivalent already
exists?
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Re: Headers Placement
On 19/01/13 19:42, Jérôme Plût wrote:
Decimo quinto Kalendas Februarias MMXIII scripsit Thomas Morley :
LilyPond supports two kinds of headers: book-header and score-header.
a) book-header (top-level!):
\header { ... }
\score { ... }
b) score-header:
\score {
some-music
\header { ... }
}
I was going to ask more or less the same question as Mark, so thanks
for the explanation. I find the whole header system extremely
confusing (for example, why must the score-header be at the *end* of
the corresponding score, this is a mystery) and would prefer
sectioning commands that work in the LaTeX way, inserting markup where
they are called instead of defining some magic values:
\title #'((title . Concerto) (author . Me))
\title #'((section . I. Allegro ma non troppo))
\score { ... }
\title #'((section . II. Andantino))
\score { ... }
This I can do with Scheme, but maybe something equivalent already
exists?
You can use bookparts, as in the attached example. Header fields
redefined in a bookpart header override those in the overall header.
Nick
\version 2.17.6
date = #(strftime %d/%m/%Y (localtime (current-time)))
\paper {
#(define (print-positive-page-number layout props arg)
(if ( (chain-assoc-get 'page:page-number props -1) 0)
(create-page-number-stencil layout props arg)
empty-stencil))
#(define (not-last-page layout props arg)
(if (and (chain-assoc-get 'page:is-bookpart-last-page props #f)
(chain-assoc-get 'page:is-last-bookpart props #f))
empty-stencil
(interpret-markup layout props arg)))
first-page-number = -1
oddHeaderMarkup = \markup \fill-line { }
evenHeaderMarkup = \markup \fill-line { }
oddFooterMarkup = \markup \fill-line { \column { \fontsize #-1
\on-the-fly #not-first-page \on-the-fly #not-last-page
\on-the-fly #print-positive-page-number \fromproperty #'page:page-number-string
\on-the-fly #last-page \fromproperty #'header:tagline
} }
evenFooterMarkup = \markup \fill-line { \column { \fontsize #-1
\on-the-fly #not-first-page \on-the-fly #not-last-page
\on-the-fly #print-positive-page-number \fromproperty #'page:page-number-string
\on-the-fly #last-page \fromproperty #'header:tagline
} }
}
\header {
title = Overall Title
subtitle = \markup {
\left-align \center-column {
Overall Subtitle
\lower #2 % to space ToC away from title/subtitle
}
}
tagline = \markup {
\fontsize #-3.5 {
\override #'(box-padding . 1.0) \override #'(baseline-skip . 2.7) \box \center-column {
\line {
Engraved on \date using \with-url #http://lilypond.org/;
\line {
LilyPond \simple #(lilypond-version) (http://lilypond.org/)
}
}
}
}
}
}
\markuplist \table-of-contents
\pageBreak
\markup \null
\bookpart {
\paper {
print-page-number = ##t
}
\header {
title = Piece One % overrides overall title
subtitle = ##f % prevent overall subtitle from appearing
composer = Composer One
}
\tocItem \markup { 1. Piece One }
\relative c' { c1 }
}
\bookpart {
\paper {
print-page-number = ##t
}
\header {
title = ##f % prevent overall title appearing for this piece
subtitle = Piece Two % overrides overall subtitle
composer = Composer Two
}
\tocItem \markup { 1. Piece Two }
\relative c' { c1 }
}
\bookpart {
\paper {
print-page-number = ##t
}
\header {
subtitle = Piece Three
composer = Composer Three
}
\tocItem \markup { 3. Piece Three }
\relative c' { c1 }
}
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Re: tupletSpannerDuration
Nick Payne nick.pa...@internode.on.net writes:
On 19/01/13 18:04, Mark Stephen Mrotek wrote:
Hello:
From the manual:
\relative c' {
\time 2/4
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
}
I understand everything except how the “1” and “4” relate to
the notation.
Have a look at the section of the documentation on time administration
(http://lilypond.org/doc/v2.17/Documentation/notation/special-rhythmic-
concerns#time-administration): ly:make-moment n m constructs a
duration of n/m of a whole note. For example, ly:make-moment 1 8 is an
eighth note duration and ly:make-moment 7 16 is the duration of seven
sixteenths notes.
BTW, both #(ly:make-moment 1 4) and #(ly:make-moment 1/4) are valid,
and both forms can be found in the documentation (see
http://lilypond.org/doc/v2.17/Documentation/learning/types-of-properties)
for examples of the second.
Probably because I wrote that.
Is one form preferred over the other? If so, maybe that should be
consistently used throughout the documentation.
The rational form is pretty new. There actually was one previous
occurence of (ly:make-moment 0 0) in the part combiner, and by a
combination of shoestring and magic it actually managed to do the
intended thing, more by accident than anything else.
The change was
commit 9d1653ba738b9a9d6cf1ff4502f875988f632503
Author: David Kastrup d...@gnu.org
Date: Mon Jul 23 12:25:26 2012 +0200
Issue 2692: Let ly:make-moment accept rationals for main and grace timing
For compatibility reasons, it remains possible to write two numbers
specifying numerator and denominator instead of the rationals. These
forms cannot be mixed, and the two-argument form is disambiguated by
the sign of the second argument: if it is positive, it can only be a
denominator and not a grace timing.
so it already was done in 2.15.42 (huh, would have thought it was 2.17
material). However, there has been no systematic attempt of making the
other code and the documentation follow suit. I actually am a bit
surprised since I distinctly remember juggling with some convert-ly
patterns, but it would seem that I never got around to finishing the
change.
At any rate, due to its better mnemonic value (and the availability of
ly:moment-main and ly:moment-grace also from around that time), I think
we should preferably aim for the rational form.
--
David Kastrup
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RE: Unwanted new page at end of score
Thanks for your reply James. The trouble is the issue dosen't appear without
the whole score.
My problem was that the last but one page had space at the bottom of the page
for another line of score but this had been shunted
onto a new page. When I tried to control matters with \pageBreak or \pageTurn I
enterd the problem of herding cats as far as the
page layouts was concerned.
After much puzzlement I finally got some sense by using only \pageTurn in the
music files. Is there any way of changing spacing
between lines of music at arbitray places in the music data. I seem to be stuck
with setting spacing globally for all movememnts.
By the way I have found that changing padding is the easiest way to control
the vertical spacing - but would like to do it on the
fly as it where.
_
From: james [mailto:james.lilyp...@googlemail.com]
Sent: Wednesday, January 16, 2013 9:03 PM
To: Peter Gentry
Cc: lilypond-user@gnu.org
Subject: Re: Unwanted new page at end of score
On Jan 16, 2013, at 12:45 PM, Peter Gentry wrote:
I cannot suppress a page break which looks unnecessary - what am I doing wrong?.
I have included the example in the attached file which I hope does not contain
too much unnecessary data.
I would welcome helpful advice on presenting such information to the list.
regards
Peter Gentry
Last page spacing issue.xml
Out of curiosity, I decided to see what was in the file, yeah, I'm avoiding
work I should be doing.
I'd say this looks like a debug report, for some reason sent as an .xml file
created by microsoft word so as to make it readable
across systems. It even includes an image of what the output is.
The code included will not compile as-is. If you include code, even in an
attached file, please make sure that it can compile on its
own, independent of any other settings. Ideally, the code would contain just
enough information to make the problem apparent. This
goes under the heading, Creating
http://www.lilypond.org/doc/v2.17/Documentation/web/tiny-examples Tiny
Examples. (Note the bit
that says you should include which version you're using.)
In this case, you would need a file that includes enough information to show
that the music is on two pages. Or at the very least,
what overrides you've set to try and reduce the number of pages.
The best I can make of this is this:
\paper {
annotate-spacing = ##t
two-sided = ##t
top-margin = 10\mm
bottom-margin = 10\mm
inner-margin = 20 \mm
outer-margin = 15 \mm
binding-offset = 5 \mm
first-page-number = #1
blank-after-score-page-force = #100 % no change in output whatever value is
specified here
page-breaking = #ly:page-turn-breaking
ragged-bottom = ##t
indent = 5\mm
print-page-number = ##t
print-first-page-number = ##f
oddHeaderMarkup = \markup \null
evenHeaderMarkup = \markup \null
oddFooterMarkup = \markup {
\fill-line {
\null \fontsize #2 \fromproperty #'header:mycustomtext
\on-the-fly #print-page-number-check-first
\fontsize #2 \fromproperty #'page:page-number-string
} % end of fill line
} % end of markup block
evenFooterMarkup = \oddFooterMarkup
} % end of paper block
\score {
{
\mark \default d''8 \f [ bes'8 bes'8 bes'8 ] c''8 [ bes'8 d''8 bes'8 ] |
% 236
ees''8 [ g''8 ees''8 c''8 ] d''8 [ c''8 e''8 c''8 ] | % 237
f''8 [ c''8 a''8 f''8 ] g''8 [ f''8 a''8 f''8 ] | % 238
bes''8 [ f''8 bes''8 f''8 ] c''8 [ f''8 d''8 f''8 ] | % 239
ees''4 r4 r2 | % 240
f''2 \p ( e''4 ees''4 ) | % 241
d''4 r4 r2 | % 242
r8 f''8 [ f''8 f''8 ] f''8 [ ees''8 d''8 c''8 ] | % 243
bes''8 r4. r2 | % 244
f'2 ( e'4 ees'4 | % 245
d'4 ) r4 r2 | % 246
r8 f''8 [ f''8 f''8 ] f''8 [ ees''8 d''8 c''8 ] | % 247
bes'4 r4 r2 | % 248
f''2 ( e''4 ees''4 ) | % 249
d''4 r4 r2 | % 250
d''2 ( des''4 c''4 ) | % 251
bes'4 r4 r2 | % 252
r8 f''8 \pp [ f''8 f''8 ] g''8 [ f''8 a''8 f''8 ] | % 253
bes''4 r4 r2 \bar |.
}
}
I don't know if this truly is what you were hoping to show, but this is the
best I could make of it.
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Re: General bar setup for score
On Jan 18, 2013, at 11:26 AM, Maarten de Keijzer wrote:
Am 16.01.2013 08:51, schrieb Maarten de Keijzer:
Hi,
Is it possible to create some general setup for the total number of
bars within the score, including time changes?
In the example I have a score with two voices on the right (piano)
staff with 6/8 and 3/8 bars.
When I create in one voice some rhythmic accents (like grace notes or
acciaccatura) the new time indicator gets duplicated.
This is a very annoying bug in lilypond IIRC.
You can use an invisible \grace in the other voice as a workaround:
rightOne = \relative c'' {
\global
c2. |
\time 3/8 bes16as es as bes c |
\time 6/8 \acciaccatura { bes16[ c16] } bes4.~ bes |
g8 bes es g bes es |
}
rightTwo = \relative c'' {
\global
a2. |
\time 3/8 f8 s f |
\time 6/8 \grace { s8 } f4 f g |
g4. r |
}
HTH,
Marc
Thanks Marc,
I tried it successfully, but I wonder if this the only solution for this
problem.
Having a piano score with two voices in the right hand and one for the left,
I have to create extra 'articulations' in two other parts.
How would that be for even more complex (multi staff) scores?
I put all of my time signatures in an extra variable. It allows me to see all
of the time changes in one place, and change them all in one place, if need be.
I also put barline changes (\bar :) in this variable:
\version 2.16.1
global = {
\time 6/8 s2.
\time 3/8 s4.
\time 6/8 \grace { s8 } s2.*2
}
rightOne = \relative c'' {
c2. |
bes16as es as bes c |
\acciaccatura { bes16[ c16] } bes4.~ bes |
g8 bes es g bes es |
}
rightTwo = \relative c'' {
a2. |
f8 s f |
f4 f g |
g4. r |
}
\score {
\new Staff
\global
\new Voice { \voiceOne \rightOne }
\new Voice { \voiceTwo \rightTwo }
\layout {}
}
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Re: tupletSpannerDuration
David Kastrup wrote Saturday, January 19, 2013 9:10 AM Nick Payne nick.pa...@internode.on.net writes: BTW, both #(ly:make-moment 1 4) and #(ly:make-moment 1/4) are valid, Is one form preferred over the other? If so, maybe that should be consistently used throughout the documentation. At any rate, due to its better mnemonic value (and the availability of ly:moment-main and ly:moment-grace also from around that time), I think we should preferably aim for the rational form. I agree. Bug Squad: please raise an issue for this so it doesn't get forgotten. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: prall with accidental
Of course, you can easily write the tweak version instead:
prallSharp =
-\tweak Script.text \markup {
\override #'(baseline-skip . 1.2) \center-column {
\fontsize #-4 \sharp
\musicglyph #scripts.prall
} }
-\tweak Script.stencil #ly:text-interface::print \prall
I plead for adding this and related macros to LilyPond. Three reasons:
. The definition is non-trivial.
. It is quite frequent.
. It should be extended to work with articulate.ly, and as such the
macro names need to be standardized.
Werner
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Re: prall with accidental
On Sat, Jan 19, 2013 at 8:21 AM, Werner LEMBERG w...@gnu.org wrote:
I plead for adding this and related macros to LilyPond.
I have a bunch of turns defined like this:
turnXS =
#(make-music
'TextScriptEvent
'tweaks '((avoid-slur . inside) (outside-staff-priority . #f))
'direction 1
'text #{ \markup { \override #'(baseline-skip . 1) \center-column {
\musicglyph #scripts.turn {\tiny \smaller \sharp} } } #})
X - nothing
S - sharp
F - flat
N - natural
The first letter says what's above the turn. The second is below. Then
I have similar turns defined. (Though I should make the accidentals
smaller like you have in the pralls.)
I agree that adding modified pralls, turns and the like to lilypond
proper would be nice (whatever the naming scheme). It's very common
notation.
-Jay
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RE: tupletSpannerDuration
Mr. Payne:
My thanks to you and Mr. Kastrup for addressing my inquiry.
Please check my understanding. The 1 and the 4 refer to a quarter note,
the span over which the command \times 2/3 acts. Therefore, in the example
(attached) the tuplets are in the span of a quarter note. If I had wanted
the tuplets over the spam of a 16th note, I would use 1 and 16. Am I
correct?
Thank you for your kind attention.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Nick Payne
Sent: Friday, January 18, 2013 11:23 PM
To: lilypond-user@gnu.org
Subject: Re: tupletSpannerDuration
On 19/01/13 18:04, Mark Stephen Mrotek wrote:
Hello:
From the manual:
\relative c' {
\time 2/4
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
}
I understand everything except how the 1 and 4 relate to the notation.
Have a look at the section of the documentation on time administration
(http://lilypond.org/doc/v2.17/Documentation/notation/special-rhythmic-conce
rns#time-administration): ly:make-moment n m constructs a duration of n/m
of a whole note. For example, ly:make-moment 1 8 is an eighth note duration
and ly:make-moment 7 16 is the duration of seven sixteenths notes.
BTW, both #(ly:make-moment 1 4) and #(ly:make-moment 1/4) are valid, and
both forms can be found in the documentation (see
http://lilypond.org/doc/v2.17/Documentation/learning/types-of-properties)
for examples of the second. Is one form preferred over the other? If so,
maybe that should be consistently used throughout the documentation.
Nick
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Re: strange output with lilypond book
Dear Julien,
unfortunately the blank line (do Yoy mean \\?) doesn't help!
On 18/01/2013 4:56 PM, Stefan Thomas wrote:
Dear community,
when I compile the following file with latex and lilypondbook, it looks
quite strange.
There's is a break after every bar of the lilypond example.
I think it has to do with the input-command.
Here is the code of the latex-file:
\documentclass[a4paper,12pt]{
article}
\usepackage[ngerman]{babel}
\usepackage[utf8]{inputenc}
\usepackage[paper=a4paper,left=20mm,right=20mm,top=25mm,bottom=25mm]{geometry}
\input{./semester.tex}
\author{Myself}
\title{Examination \Semester }
\date{ \Datummontag }
\begin{document}
\maketitle
\begin{flushright}
Name, Vorname:
\end{flushright}
It would help to insert a paragraph break (blank line) here...
\textbf{First exercise:}
and/or here.
\begin{lilypond}
\relative { c d e f g2 e g 4 f e d e2 c }
\end{lilypond}
\end{document}
Cheers,
Julien
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Re: strange output with lilypond book
On 19/01/2013 1:17 PM, Stefan Thomas wrote:
Dear Julien,
unfortunately the blank line (do Yoy mean \\?) doesn't help!
I mean a blank, empty line.
%---snippet---
\begin{flushright}
Name, Vorname:
\end{flushright}
\textbf{First exercise:}
\begin{lilypond}
\relative { c d e f g2 e g 4 f e d e2 c }
\end{lilypond}
%---snippet---
Cheers,
Julien
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Re: tupletSpannerDuration
Mark Stephen Mrotek carsonm...@ca.rr.com writes:
On 19/01/13 18:04, Mark Stephen Mrotek wrote:
Hello:
From the manual:
\relative c' {
\time 2/4
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
}
I understand everything except how the “1” and “4” relate to
the notation.
Have a look at the section of the documentation on time administration
(http://lilypond.org/doc/v2.17/Documentation/notation/special-rhythmic-
concerns#time-administration): ly:make-moment n m constructs a
duration of n/m of a whole note. For example, ly:make-moment 1 8 is an
eighth note duration and ly:make-moment 7 16 is the duration of seven
sixteenths notes.
Please check my understanding. The “1” and the “4” refer to a quarter
note, the span over which the command “\times 2/3” acts. Therefore, in
the example (attached) the tuplets are in the span of a quarter note.
If I had wanted the tuplets over the spam of a 16th note, I would use
“1” and “16.” Am I correct?
Sounds like it. Once issue 3095
URL:http://code.google.com/p/lilypond/issues/detail?id=3095 passes,
you can write
\tuplet 3/2 4 { c8 c c c c c }
and that hopefully needs less of an explanation. Of course, that
explanation still needs to be done (there is no user-level documentation
yet short of the music function appendix), but it will hopefully be more
obvious.
--
David Kastrup
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RE: tupletSpannerDuration
Mr. Kastrup:
Thank you.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of David
Kastrup
Sent: Saturday, January 19, 2013 10:39 AM
To: lilypond-user@gnu.org
Subject: Re: tupletSpannerDuration
Mark Stephen Mrotek carsonm...@ca.rr.com writes:
On 19/01/13 18:04, Mark Stephen Mrotek wrote:
Hello:
From the manual:
\relative c' {
\time 2/4
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { c8 c c c c c }
}
I understand everything except how the “1” and “4” relate to
the notation.
Have a look at the section of the documentation on time
administration
(http://lilypond.org/doc/v2.17/Documentation/notation/special-rhythmi
c-
concerns#time-administration): ly:make-moment n m constructs a
duration of n/m of a whole note. For example, ly:make-moment 1 8 is
an eighth note duration and ly:make-moment 7 16 is the duration of
seven sixteenths notes.
Please check my understanding. The “1” and the “4” refer to a quarter
note, the span over which the command “\times 2/3” acts. Therefore, in
the example (attached) the tuplets are in the span of a quarter note.
If I had wanted the tuplets over the spam of a 16th note, I would use
“1” and “16.” Am I correct?
Sounds like it. Once issue 3095
URL:http://code.google.com/p/lilypond/issues/detail?id=3095 passes, you can
write
\tuplet 3/2 4 { c8 c c c c c }
and that hopefully needs less of an explanation. Of course, that explanation
still needs to be done (there is no user-level documentation yet short of the
music function appendix), but it will hopefully be more obvious.
--
David Kastrup
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