Re: odd bar check errors
You horn music goes wrong because the opening bracket is in line 169 instead of directly after the \relative and \transpose. And before that another one is missing. I think in the bassoon, same problem with \relative there. Sorry, I don't have enough time now to look at it in detail Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two staffs in one page
On Sun, May 12, 2013 at 7:58 AM, Nathan when.possi...@gmail.com wrote: I'm not sure if I follow your question. Do you have an image or something that demonstrates what you want? Yep, see the attachment. I put the chords at the top for reference, and then the solo follows. The final source code is: https://github.com/fxn/scores/blob/master/bob-mintzer/blues-1-easy-solo.ly Xavier ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara Kiri staff behavior
On Sat, 2013-05-11 at 18:45 +0100, Phil Holmes wrote:
Look in the index for the command \RemoveEmptyStaves
??? that is precisely the page quoted above???
Richard
No it's not. Note the \ .
Ah, yes - thank you, I never noticed before that there was stuff indexed
under \blah as well as blah. Also, I hadn't twigged to the convention of
referring to blah as a command meaning \blah, I have always thought of
\blah it as inserting the thing defined by blah = into the lilypond
text. (Fair enough).
With the page pointed to by \RemoveEmptyStaves I arrived at
\layout { \context { Staff \RemoveEmptyStaves } }
then I discovered that my recollection was correct - I had already been
here some years ago, when I arrived at this
\layout { \context {\RemoveEmptyStaffContext } }
so, I guess I should ask which form is preferred, if any?
Richard
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Re: Hara Kiri staff behavior
2013/5/12 Richard Shann richard.sh...@virgin.net:
With the page pointed to by \RemoveEmptyStaves I arrived at
\layout { \context { Staff \RemoveEmptyStaves } }
then I discovered that my recollection was correct - I had already been
here some years ago, when I arrived at this
\layout { \context {\RemoveEmptyStaffContext } }
so, I guess I should ask which form is preferred, if any?
Hi,
\layout { \context { Staff \RemoveEmptyStaves } }
You'll not find \RemoveEmptyStaffContext in the Docs since version 2.14.
Furthermore, you may want to have a look at /ly/engraver-init.ly:
%% Keep the old definitions in here for compatibility (they erase previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves settings
%% into the desired context. That's just as easy, requires only one line more
%% (the \*Staff), but preserves previous context mods.
%% TODO: DEPRECATED_2.13.17, remove at some point in the future
Cheers,
Harm
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Re: two staffs in one page
2013/5/12 Xavier Noria f...@hashref.com: Not sure what happen with the image. Maybe the image was too large. Posting images, I always try to make them as small as possible, using the -dpreview option, or some graphical software (GIMP etc). If possible, no screenshots. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hara Kiri staff behavior
On Sun, 2013-05-12 at 11:26 +0200, Thomas Morley wrote:
2013/5/12 Richard Shann richard.sh...@virgin.net:
With the page pointed to by \RemoveEmptyStaves I arrived at
\layout { \context { Staff \RemoveEmptyStaves } }
then I discovered that my recollection was correct - I had already been
here some years ago, when I arrived at this
\layout { \context {\RemoveEmptyStaffContext } }
so, I guess I should ask which form is preferred, if any?
Hi,
\layout { \context { Staff \RemoveEmptyStaves } }
You'll not find \RemoveEmptyStaffContext in the Docs since version 2.14.
Furthermore, you may want to have a look at /ly/engraver-init.ly:
%% Keep the old definitions in here for compatibility (they erase previous
%% settings to the corresponding context!).
%% For new scores, one should simply insert the \RemoveEmptyStaves settings
%% into the desired context. That's just as easy, requires only one line more
%% (the \*Staff), but preserves previous context mods.
%% TODO: DEPRECATED_2.13.17, remove at some point in the future
Thank you! The more modern syntax is now in Denemo's git.
Richard
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Re: Hara Kiri staff behavior
- Original Message - From: Richard Shann richard.sh...@virgin.net To: Phil Holmes m...@philholmes.net Cc: lilypond-user lilypond-user@gnu.org Sent: Sunday, May 12, 2013 9:47 AM Subject: Re: Hara Kiri staff behavior On Sat, 2013-05-11 at 18:45 +0100, Phil Holmes wrote: Look in the index for the command \RemoveEmptyStaves ??? that is precisely the page quoted above??? Richard No it's not. Note the \ . Ah, yes - thank you, I never noticed before that there was stuff indexed under \blah as well as blah. Also, I hadn't twigged to the convention of referring to blah as a command meaning \blah, I have always thought of \blah it as inserting the thing defined by blah = into the lilypond text. (Fair enough). That's why I continued to appear awkward - to point out the usefulness of both indices. If you're wondering why there are two, a look at http://code.google.com/p/lilypond/issues/detail?id=855 could be of interest. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to remove time signatures in part of the score
Thomas,
Worked it out - your version doesn't quite work as you have to make sure the
override is in the correct context.
\version 2.16.2
\language english
OboePart= {
\key a \minor
\compressFullBarRests
\clef treble
\override Staff.TimeSignature #'stencil = ##f
R1*81
\override Staff.TimeSignature #'stencil = ##t
\time 2/4
\tempo Fast, dance-like, very rhythmic 4 = 120
\set Score.currentBarNumber = #82
\relative c''
{
c2 d | f g
}
}
\score {
\new Staff \with {
instrumentName = Oboe
}
\OboePart
}
Best regards,
Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-
Saturday, May 11, 2013, 1:04:05 PM, you wrote:
2013/5/11 Peter Toye lilyp...@ptoye.com:
David,
Thanks. But \omit isn't in the documentation (at least, a search in the PDF
fails to find it). How does one find out how to use it please?
Best regards,
Peter
Well, that's the reason why I asked you (in the other thread) to
include the version.
\omit is 2.17.x (don't know exactly)
With 2.16.2 use:
\new Staff \with { \override TimeSignature #'stencil = ##f } \OboePart
With 2.17.17 use:
\new Staff \with { \omit TimeSignature } \OboePart
Cheers,
Harm
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Acciaccatura interferes with ChordNames?
It appears that an acciaccatura in conjunction with
\set chordChanges = ##t can prevent a ChordNames staff from
engraving a repeated chord at the beginning of a line.
Either removing the acciaccatura or setting chordChanges = ##f
eliminates the problem.
Known issue?
Also, the acciaccatura seems a little too close to the clef.
Thank you,
Jim
\version 2.16.2
Chords = \new ChordNames {
\set chordChanges = ##t
\chordmode { e1 e1 }
}
\score { % this score has a chord symbol on the 2nd line
\Chords
\new Staff {
\repeat unfold 8 e'8 \break
% \acciaccatura fis'8
\repeat unfold 8 e'8
}
}
\score { % this score is missing a chord symbol on the 2nd line
\Chords
\new Staff {
\repeat unfold 8 e'8 \break
\acciaccatura fis'8
\repeat unfold 8 e'8
}
}
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Re: How to remove time signatures in part of the score
Thomas, That wasn't right either - the 2nd setting should have been \revert Staff.TimeSignature #'stencil Best regards, Peter mailto:lilyp...@ptoye.com www.ptoye.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: many users don't know about \shape
On Sat, May 11, 2013 at 11:42 PM, David Kastrup d...@gnu.org wrote: Janek Warchoł janek.lilyp...@gmail.com writes: 2013/5/11 David Kastrup d...@gnu.org: Janek Warchoł janek.lilyp...@gmail.com writes: my experience (particularly with Fried project) shows that with regard to slurs and ties, LilyPond is very far from automated typesetting. If you want publication quality, you _have_ to tweak the output quite heavily - would you rather do this via setting control-points directly? Actually, \shape is quite close to the spirit of automated engraving, because if the layout changes slightly, \shape modifications usually adapt and still produce good results. Not if there is a change in line/page breaking. Sure, but it's still about a thousand times more reliable than overriding control-points directly. Hardly. It's slightly more benign against different amonuts of stretching/shrinking, Slightly? This strikes me as a bit of an exaggeration. but when the slur positioning algorithm changes, relative changes to control points will give unpredictable results. As I said above, it is most useful when such layout details as line and page breaks are settled--as, of course, is directly overriding control points, -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: many users don't know about \shape
Am 12.05.2013 13:35, schrieb David Nalesnik: On Sat, May 11, 2013 at 11:42 PM, David Kastrup d...@gnu.org wrote: Janek Warcho? janek.lilyp...@gmail.com writes: 2013/5/11 David Kastrup d...@gnu.org: Janek Warcho? janek.lilyp...@gmail.com writes: my experience (particularly with Fried project) shows that with regard to slurs and ties, LilyPond is very far from automated typesetting. If you want publication quality, you _have_ to tweak the output quite heavily - would you rather do this via setting control-points directly? Actually, \shape is quite close to the spirit of automated engraving, because if the layout changes slightly, \shape modifications usually adapt and still produce good results. Not if there is a change in line/page breaking. Sure, but it's still about a thousand times more reliable than overriding control-points directly. Hardly. It's slightly more benign against different amonuts of stretching/shrinking, Slightly? This strikes me as a bit of an exaggeration. but when the slur positioning algorithm changes, relative changes to control points will give unpredictable results. As I said above, it is most useful when such layout details as line and page breaks are settled--as, of course, is directly overriding control points, David N, I think David K is referring to changes in LilyPond's implementation in new versions, not to changes in the layout of the current score. You can't rely on your \shape modifications to still work correctly with new Lily versions. But I'm not sure if that's the real problem. Of course I have to look for regressions if I update a score to a newer LilyPond version. And I have to check this for slurs too that I didn't tweak explicitely (they too may become worse in a specific situation, even when the automatic engraving has improved in general). And as others have pointed out there will always be the need to tweak engraving manually. For these cases it is just better to have \shape than to have to edit control-points manually, because there are infinitely more cases where it works well. Urs -David ___ 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: two staffs in one page
Hi Xavier,
perhaps, this comes close to what you want ({a b c' } being the
replacement for your solo):
\version 2.16.0
\language english
chordslist = \chordmode {
c1:7 cs1:7 d1:m7 d1:7 d1:aug7 d1:11 d1:13 ef1:13 e1:7 e1:aug7 f1:7
g1:7 g1:aug7 a1:m7 a1:7 a1:9 b1:m7 b1:7
}
\bookpart {
\header {
subtitle = (Chords)
}
\new ChordNames {
\chordslist
}
\new Staff {
% remove time signature, bar lines and bar numbers:
% in version 2.16.0:
\override Staff.TimeSignature #'stencil = ##f
\override Staff.BarLine #'stencil = ##f
\override Score.BarNumber #'stencil = ##f
% or in version 2.17.17, you can write:
%\omit Staff.TimeSignature
%\omit Staff.BarLine
%\omit Score.BarNumber
\chordslist
}
\score {
\new Staff { a b c' }
}
}
(You can choose between a general (2.16) version and a 2.17-only version
and remove the other comments.)
HTH,
Joram
PS:
Does anybody know if that is possible?
Almost everything is possible in LilyPond – the question in most cases
is: how ;)
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Re: Fatal bug in strftime?
David,
I'm sorry, but this doesn't help much. I know nothing about GUILE
and have no contact with them.
I agree that this may not be a Lilypond bug, and that you
have better things to do than debug someone else's code
(don't we all?) - but how does one flag this sort of thing
up.
Best regards,
Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-
Message: 5
Date: Sat, 11 May 2013 13:18:55 +0200
From: David Kastrup d...@gnu.org
To: lilypond-user@gnu.org
Subject: Re: Fatal bug in strftime?
Message-ID: 87d2sxhihs@fencepost.gnu.org
Content-Type: text/plain
and...@andis59.se and...@andis59.se writes:
On 2013-05-11 11:27, Federico Bruni wrote:
2013/5/11 Peter Toye lilyp...@ptoye.com mailto:lilyp...@ptoye.com
When I try to use the %e format to get rid of leading zeros in the
date, lilypond crashes out.
\header {
title = title
composer = no-one
tagline = \markup {
Engraved
\simple #(strftime %e/%m/%Y (localtime (current-time)))
with \with-url #http://lilypond.org/;
\line { LilyPond \simple #(lilypond-version)
(http://lilypond.org/) }
}
}
I cannot reproduce the crash on linux.
Some Windows user should check
I can confirm that on Windows 7 32-bit and Lilypond 2.17.13 it crashes!
FATAL: memory error in realloc
C:/lilypond/usr/share/lilypond/current/scm/lily.scm
Exited with return code 3.
Well, strftime is not defined by LilyPond. If anybody is interested in
getting that bug approached, one should test it in GUILE-1.8.8 (from its
command prompt, most likely) and GUILE-2.0.9.
I have my doubts the GUILE team can be interested in releasing anything
past GUILE-1.8.8, but if the bug can be shown to be present in 2.0.9,
chances are that a proper report will result in a fixed version by the
time LilyPond migrates to GUILE-2.0.
--
David Kastrup
--
Message: 6
Date: Sat, 11 May 2013 13:20:38 +0200
From: David Kastrup d...@gnu.org
To: lilypond-user@gnu.org
Subject: Re: many users don't know about \shape
Message-ID: 8761yphiex@fencepost.gnu.org
Content-Type: text/plain; charset=utf-8
Janek Warcho? janek.lilyp...@gmail.com writes:
Sure, we're working on it with Urs (progressing slowly). It'd be nice
for LilyPond Report, but frankly i think we should rather create a
multi-author blog - it would be easier to keep it active.
A multi-author blog sounds pretty much the same as a journal except
that it won't accept non-member contributions.
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How to get multiple text spanners at the same height?
I need to have a sequence of text spanners (like Rall --- en --- tan --- do)
The problem is that because of the varying height of objects on the stave, the
following code places the different bits of text at different vertical
positions.
I can't see anything in the documentation about forcing the text spanners to
follow on from each other. What am I missing please?
\version 2.16.2
\language english
OboePart= {
\key a \minor
\clef treble
\time 2/4
\relative c'' {
\override TextSpanner #'(bound-details left text) = Rallen
g8.\startTextSpan g16 g8 g8 | b4\
\override TextSpanner #'(bound-details left text) = tando
a~\stopTextSpan\startTextSpan| a2\stopTextSpan \bar |.
}
}
\score {
\new Staff \with {
instrumentName = Oboe
}
\OboePart
}
Regards,
Peter
mailto:lilyp...@ptoye.com
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Re:
Thank you again, Thomas!
Well, you could do the following, although it might be not be the same
as \hfill in Tex.
Indeed, there are a few differences, notably in the fact that the amount
of space is not calculated automatically, and in the fact that it cannot
be inserted between two elements (for example to put the final bar at the
end of the staff instead of shortening the staff). But, as I said, it is
already a good solution, and I think I will live with it.
\version 2.14.2
spaceRight =
#(define-music-function (parser location space)(number?)
(let* ((amount (+ space 0.5))
(space-right `(extra-space . ,amount)))
#{
%% Maybe additional layout-objects must be affected!?
\once \override Score.BarLine #'space-alist #'right-edge = #`(extra-space .
,$space)
\once \override Score.KeySignature #'space-alist #'right-edge = $space-right
\once \override Score.KeyCancellation #'space-alist #'right-edge =
$space-right
\once \override Score.TimeSignature #'space-alist #'right-edge =
$space-right
#}))
hfill = \spaceRight #20
{
%\spaceRight #30
%\key d\major
a4\( b c d~(
%\breathe
\hfill\break
%\time 8/8
%\clef alto
%\key cis\major
d4 b) c\) d \bar |.
\hfill
}
I see, I guess that the \once is there to prevent that the \spaceRight
takes effect on all the staffs, which is indeed better. (But I don't
understand why \override BarLine had to be changed.)
--ghe
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Re:
Alas, I use 2.14.2... Why? Because I use Debian, and the version of LilyPond in testing is 2.14.2. I tried to install the 2.16.0 from Debian experimental, but for some reason the overall layout of my scores was changed, for worse. Perhaps I should have tried to fix the problem instead of downgrading, but I did not have the time to do so. --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Modern custodes?
Is there a way to use the custodes feature of LilyPond, but with modern glyphs (for example normal notes with the \teeny size), instead of the funny medieval glyphs? I see in: http://lilypond.org/doc/v2.16/Documentation/notation/ancient-notation_002d_002dcommon-features#custodes that four styles are supported (vaticana, medicaea, hufnagel, mensural), but using any of these in a modern score would not be appropriate I think. --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Omitting notes, tablature numbers
Hi, I'd like to use lilypond to build notation exercises. That requires, for example, that I output chord names, but not the corresponding notes, or notes, but not the corresponding tablature. Still, I'd want the empty staffs or string tabs to show on the output. I've tried removing engravers for the various contexts, but it seems real hard to convince lilypond NOT to do its job, i.e.: outputting notes. Could anyone help, please? Thanks, Simone ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Omitting notes, tablature numbers
Am 12.05.2013 10:51, schrieb simoneces...@libero.it: Hi, I'd like to use lilypond to build notation exercises. That requires, for example, that I output chord names, but not the corresponding notes, or notes, but not the corresponding tablature. Still, I'd want the empty staffs or string tabs to show on the output. I've tried removing engravers for the various contexts, but it seems real hard to convince lilypond NOT to do its job, i.e.: outputting notes. Could anyone help, please? Hi, you could just use spacer rests instead of notes/chords: s4 or you could try: \hideNotes \unHideNotes http://www.lilypond.org/doc/v2.16/Documentation/notation/inside-the-staff#hidden-notes (this does not hide slurs etc.) or remove the engravers as you did (you have to find all of them, here are the names, in case you are searching): http://www.lilypond.org/doc/v2.16/Documentation/internals/engravers-and-performers or look here for the stencil = ##f or the transparent = ##t methods http://www.lilypond.org/doc/v2.16/Documentation/notation/visibility-of-objects (\hide and \omit in newer versions, but not yet documented as far as I know) These are possiblities, I know of. HTH, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fatal bug in strftime?
- Original Message - From: Peter Toye lilyp...@ptoye.com To: lilypond-user-requ...@gnu.org Cc: lilypond-user@gnu.org Sent: Sunday, May 12, 2013 2:38 PM Subject: Re: Fatal bug in strftime? David, I'm sorry, but this doesn't help much. I know nothing about GUILE and have no contact with them. I agree that this may not be a Lilypond bug, and that you have better things to do than debug someone else's code (don't we all?) - but how does one flag this sort of thing up. Best regards, Peter The first step would be to report it as a bug: http://lilypond.org/website/bug-reports.html -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Omitting notes, tablature numbers
or remove the engravers as you did (you have to find all of them, here are the names, in case you are searching) To prevent confusion: I meant all _necessary_ ones in order to hide what you want to be hidden. For sure, you must not hide all engravers listed on the given website. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:
g...@sdf.org writes: Alas, I use 2.14.2... Why? Because I use Debian, and the version of LilyPond in testing is 2.14.2. I tried to install the 2.16.0 from Debian experimental, but for some reason the overall layout of my scores was changed, for worse. Perhaps I should have tried to fix the problem Or report it so that it can be fixed. instead of downgrading, but I did not have the time to do so. Using 2.14 will not remain feasible for all the future. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: many users don't know about \shape
David Nalesnik david.nales...@gmail.com writes: [\shape] As I said above, it is most useful when such layout details as line and page breaks are settled--as, of course, is directly overriding control points, Well, it's good that we have it, and bad that we need it. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
I think I got it. I still have errors in the score lay out because I was trying to add instruments that were not there in the firs place lol! but can someone plz make sure at least the time sig is right? Take care and be blessed. final score.ly Description: Binary data In the mean time I'll get working on the viola part. lol! Thanks all. On May 11, 2013, at 11:28 PM, Wim van Dommelen m...@wimvd.nl wrote: You horn music goes wrong because the opening bracket is in line 169 instead of directly after the \relative and \transpose. And before that another one is missing. I think in the bassoon, same problem with \relative there. Sorry, I don't have enough time now to look at it in detail Regards, Wim. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get multiple text spanners at the same height?
Hi Peter,
On Sun, May 12, 2013 at 8:45 AM, Peter Toye lilyp...@ptoye.com wrote:
I need to have a sequence of text spanners (like Rall --- en --- tan ---
do)
The problem is that because of the varying height of objects on the stave,
the following code places the different bits of text at different vertical
positions.
I can't see anything in the documentation about forcing the text spanners
to follow on from each other. What am I missing please?
Generally, you can adjust 'padding or 'staff-padding for the text spanner.
If the value is large enough, LilyPond is able to align the spanners
vertically. (You'll note that I've done just that in the example below,)
Here, there's the additional complication of a spanner beginning and
ending at the same timestep. The best I could come up with to get the
effect you want is to separate them. I'd hope there's a better way--this
seems fussy,
--David
%
\version 2.16.2
\language english
OboePart= {
\key a \minor
\clef treble
\time 2/4
\relative c'' {
\override TextSpanner #'staff-padding = #2
\override TextSpanner #'(bound-details left text) = Rallen
g8.\startTextSpan g16 g8 g8 | { b4\ } { s8.. s32\stopTextSpan }
\override TextSpanner #'(bound-details left text) = tando
a4~\startTextSpan| a2\!\stopTextSpan \bar |.
}
}
\score {
\new Staff \with {
instrumentName = Oboe
}
\OboePart
}
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pizz and arco: a question
Ok. in braille music, I see the word pizz and i know until I see arco I
have to pluc the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat. So
can I put a custom text after the \volta repeat 2 {custom text, music} to let
them know to do arco the second time? or what ever I decide to do? I might do
pizza for the first time and arco for the second time through. is this an
easy thing to do? I tried looking up custom text but kind of got no ware. lol!
This manual is huge! lol! and i cannot commit all of it to memory.
Take care all and be blessed.
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Re: odd bar check errors
Hi Sarah,
in the lines 114 and 169 your braces are still not right, they should be
after the \relative c command and not before.
In line 315 and 366, there is a closing brace missing (I suppose).
With these changes, LilyPond is able to compile it and the time
signatures are right (12/8). But there are some remaining issues:
* What do you intend with \repeat volta 1? Why would you want to put
something in a repeat that is not repeated.
* The octaves are probably not correctly set (up to 20 ledger lines).
* There are lots of failing bar checks, i.e. wrong durations.
* Wrong durations may be connected to full measure rests written as R1
instead of R1*12/8
* Linked to that, the durations of different staffs and voices do not
match, therefore you have a lot of additional repeat bars in the score.
* There are slurs starting but not ending.
I hope this helps you to proceed. A slightly corrected version (braces
and rests) is attached.
Cheers,
Joram
%!TEX TS-program = Lilypond
#(set-global-staff-size 17)
\paper {
indent = 3.0\cm % space for instrumentName
short-indent = 1.5\cm % space for shortInstrumentName
}
global=
{\time 12/8
\tempo 4. = 100
}
%flute section, 2 flutes
fluteMusic =
{ \relative c' \key g \major
\global
\repeat volta 2 {
\partial 8 d8 |
\repeat percent 1 {g4 d8 b a g }
g4 b'8 c( b a) b4( g8) g4 a8 |
\repeat percent 1 { d8 a fis e d } |
d8( fis e) g( fis e) fis4( d8) d4 a8 |
b8( a b d b gis \grace a gis a) a4 g8 |
fis8 e fis f e f f4 e8 e a g |
{ \voiceOne
fis8( e fis) e( d e) d( a fis) d' a fis |
}
\new Voice
{ \voiceTwo
a4 a8 g4 g8 d a fis d' a fis |
}
\oneVoice
r8 d8 d r8 d8 d r8 fis8 fis r8 d8 d |
r8 a8 a r8 a a fis4 fis8 e d cis |
d4 fis8 g( fis e) f4. r4 |
}
\repeat volta 2 {\partial 8 r8 |
\new Voice
{ \voiceOne
d8( fis a d a fis) d4.~ d4. |
}
\new Voice
{ \voiceTwo
d4.~ d4.~ d8 fis a d a fis |
}
\oneVoice
f4. fis'8( e fis g) fis4.~ fis4 r8 | } }
% Pitches as written on a manuscript for Clarinet in BFlat
% are transposed to concert pitch.
clarinetMusic = \transpose c' bes
\relative c'' { \key g \major
\global
{\repeat volta 2 {
\partial 8 r8 |
d4. r4. } d4. r4. |
g4 b'8 c8( b a) b4. r8 r8 r8 |
R1*12/8 |
d4. g8( fis e) fis4.~ fis4 r8 |
b4. e4. a4. a4 g8 |
fis8 e d f( e f) f4. g4. |
a4 a8 g4 g8 fis4. fis4. |
R1*12/8*3
}
\repeat volta 2 {\partial 8 r8|
d a4. r4 d a4. r4 |
d4 fis8 g( fis e) fis4 d8 d4 r8 |
a cis4. r4. a cis4. r4. |
e4. cis d r4. |
b4. fis4. d4. d4. |
d g4. c8( cis b fis4.~ fis4. |
c4. cis( b cis) d4.~ d4. |
b d4. r4. fis a4. r4. |
g4.~ g4.~ g4.~ g4 r8 |
g4.~ g4.~ g4.~ g4 r8 |
g4. d4. g4. r4 |
}
}
% for 2 trumpets
trumpetMusic = \relative c { \key g \major \repeat volta 2 {
\partial 8 r8 |
R1*12/8*7
r8 d8 d r8 d8 d r8 fis8 fis r8 d8 d |
r8 a8 a r8 a8 a d fis4 d fis8 d( d cis) |
{ \voiceOne
d4. fis8 g fis d4. r8 r8 |}
\new Voice
{ \voiceTwo
d4. a4. d
}
\oneVoice
}
}
%for 2 bassoons
bassoonMusic =
\relative c {
\key g\major
\global
\repeat volta 2
{ \partial 8 r8 |
g d4. r4. g d4. r4 |
g d4. d a g d r4.|
d a4. r4. d a4. r4. |
d4 fis8( g fis e) d4.~ d4 r8 |
d'4. gis a cis |
d4. a d r4. |
R1*12/8*3
}
\repeat volta 1 {\partial 8 r8
d4. r4. d4. r4. |
d4. a'4. d8 fis a d4. |
g4. a4. d4.~ d4. |
d4.~ d4 ais4.~ ais4. |
b4. fis b b8( cis b) |
g2~ g2~ g2 |
g2~ g2~ g2 |
g1~ g2 |
g2~ g2~ g2 |
g4. d4. d4. r4. |} }
%for 2 oboes
oboeMusic =
\relative c'
{ \key g \major
\global
\repeat volta 1 {
\partial 8 r8
R1*12/8*10}
\repeat volta 1 {\partial 8 a8 |
a d4. a8 fis e d a d4. a8 fis e d |
d4 fis'8 g fis e fis4 d8 d4 e8 |
e a4. e8 cis b a e a4. e8 cis b a |
g'8 fis e r8 \grace g8 fis e fis r8 d8 a |
b8 d g fis a cis d a fis d4 fis |
fis b4 fis8 d' cis b cis fis4 cis a gis fis |fis b4 fis'8 d d cis b ais cis4 fis8 e d cis |
{ \voiceOne
b8 ais b ais4. b fis d b4 d8 |}
\new voice
{ \voiceTwo
d4. cis b cis r2 r4 |
}
\oneVoice
d g4 d'8 b a g d g4 a8 fis e d |
g8( a b) a( g fis) g(d b) g( d b) |R1*12/8*2
g4 b8 c( b a) g4. r4 |
} }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c {
\global
{ \repeat volta 2 { \partial 8 d'8 |
g4 r8 r4. g4 r8 r4 |
b8 c( b a) b4 g8 g4 a |
d'4. r4. d4. r4. |
d4. e fis d |
b4. b4. a8( gis a) a4 g |
{ \voiceOne fis8 e f) \grace f e f f4 e8 e a g |
\new Voice
{ \voiceTwo d4.~ d4 d4. cis |
}
}
\oneVoice
fis4 e fis fis|
r8 d8 d fis d d r8 fis8 fis a fis fis |
{ \voiceOne
a2.~\trill a2.\trill |
d8 a g fis e d4. r8 r8 |
}\new Voice
{ \voiceTwo d8 a a d a a d4 d8 e d cis |
d4 fis8 g fis e d4 r8 r8 |
}
\oneVoice
}
\repeat volta 2 { \partial 8 a'8 |
d4. r4. d4. r4. |
d4 fis8 g( fis e) d4.~ d4 d|
a4. r4. a4. r4. |
{ \voiceOne
g8( f g) r8 e8 g \grace g8 fis e fis c a |}
\new Voice
{ \voiceTwo d4. d4. d4. d4.|}
\oneVoice
b'4. r4. b4. r4. |
b4. ais b r4| R1*12/8 |
R1*12/8
R1*12/8
R1*12/8
r8 g8 g b g g r8 b8 b d b b |
r8 d8 d g d d r8 r8 g b a g fis |
g4 b d8 b c a g4 r4 } } }
percussionMusic = \relative c { \key g \major
g4. r4. g4 r4. |
g4. d g r4. |
d4. f4. d4. f4. |
d4. a
Re: many users don't know about \shape
Hi, 2013/5/12 David Kastrup d...@gnu.org: David Nalesnik david.nales...@gmail.com writes: [\shape] As I said above, it is most useful when such layout details as line and page breaks are settled--as, of course, is directly overriding control points, Well, it's good that we have it, and bad that we need it. That's it! Agreed. best, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Notating bends
I was looking for the counterpart to bendAfter and found
that Lilypond does not define a 'bendBefore' function.
I located Valentin's workaround function 'bendStart' at
http://lilypond.1069038.n5.nabble.com/bends-before-notes-how-to-tp22214p22218.html
but it doesn't compile for me under 2.16.2:
GNU LilyPond 2.16.2
Processing `bendStart.ly'
Parsing...
bendStart.ly:27:15: error: GUILE signaled an error for the expression beginning
here
\bend #
$argument
Unbound variable: $argument
bendStart.ly:27:14: error: wrong type for argument 1. Expecting integer, found
#unspecified
\bend
#$argument
bendStart.ly:36:22: error: error in #{ ... #}
\bendStart #-2 { g' }
b8 a g fis e2 }
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Two questions:
1) Is there an open feature request to add a \bendBefore
function to Lilypond, complementary to \bendAfter?
2) Meanwhile, is there a simple adjustment to Valentin's code
at the URL above to make the workaround viable?
Thank you!
Jim
%{
Valentin Villenave
Re: bends before notes... how to?
Here is a new command : \bendStart
it needs two arguments :
\bendStart #number {ghostnote}
the ghostnote will not be printed; its only purpose is to specify the
placement of the bend sign.
%}
\version 2.16.2
#(define (make-bend x)
(make-music 'BendAfterEvent
'delta-step x))
bend =
#(define-music-function (parser location delta) (integer?)
(make-bend (* -1 delta)))
bendStart =
#(define-music-function (parser location argument music) (integer? ly:music?)
#{ \hideNotes
\once \override NoteColumn #'X-extent = #'(0 . 4)
\cadenzaOn
\bend #$argument
\grace $music \cadenzaOff
\unHideNotes
#} )
\paper {
ragged-right = ##t }
\relative {
\bendStart #-2 { g' } b8 a g fis e2 }
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Re: Modern custodes?
2013/5/12 g...@sdf.org: Is there a way to use the custodes feature of LilyPond, but with modern glyphs (for example normal notes with the \teeny size), instead of the funny medieval glyphs? I see in: http://lilypond.org/doc/v2.16/Documentation/notation/ancient-notation_002d_002dcommon-features#custodes that four styles are supported (vaticana, medicaea, hufnagel, mensural), but using any of these in a modern score would not be appropriate I think. I had used mensural ones and they worked (i.e. were helpful for singing), but i'd also like to see normal ones supported by LilyPond. best, janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pizz and arco: a question
On May 12, 2013, at 11:52 AM, Sarah k Alawami marri...@gmail.com wrote:
Ok. in braille music, I see the word pizz and i know until I see arco I
have to pluc the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat.
So can I put a custom text after the \volta repeat 2 {custom text, music} to
let them know to do arco the second time? or what ever I decide to do? I
might do pizza for the first time and arco for the second time through.
is this an easy thing to do? I tried looking up custom text but kind of got
no ware. lol! This manual is huge! lol! and i cannot commit all of it to
memory.
How about using \markup to write such information?
c4^\markup Pizz., 2nd time arco d4 e4 f4
would put the directions above the staff; substituting an underscore for the
carat would position the text below the staff.
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Re: pizz and arco: a question
What does the ^ symbol mean again? I use the words as the table of symbols is
an image only. I wrote about that some ware on this list a while ago. lol!
I'll try the mbark up.
I have slur marks. and I have not played the cello or viola in a while. Will
the pizz part even though it is slered will they know, play these separately,
don't try and slur these notes because you logically cannot? Unless techniques
have changed since the 7 years I abandoned these instruments. lol!
Thanks and I'll give it a shot.
On May 12, 2013, at 12:05 PM, Tim McNamara tim...@bitstream.net wrote:
On May 12, 2013, at 11:52 AM, Sarah k Alawami marri...@gmail.com wrote:
Ok. in braille music, I see the word pizz and i know until I see arco I
have to plug the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat.
So can I put a custom text after the \volta repeat 2 {custom text, music} to
let them know to do arco the second time? or what ever I decide to do? I
might do pizza for the first time and arco for the second time through.
is this an easy thing to do? I tried looking up custom text but kind of got
no ware. lol! This manual is huge! lol! and i cannot commit all of it to
memory.
How about using \markup to write such information?
c4^\markup Pizz., 2nd time arco d4 e4 f4
would put the directions above the staff; substituting an underscore for the
carat would position the text below the staff.
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ANN: Frescobaldi 2.0.10
Hi all, Frescobaldi 2.0.10 is out, with a new tool Tools-Outline, showing the structure of LilyPond documents (configurable in the Preferences-Tools-Outline). Translations have been added and bugs fixed. Full changelog: Changes in 2.0.10 -- May 12th, 2013 * Translations: - updated: nl, de, fr, cs, es, it * New features: - Document Outline tool with tooltips showing portions of the document. The patterns that are used for the outline can be modified by the user. * Improvements: - Highlight more music functions that were added in LilyPond 2.16 - Better chord mode highlighting * Bug fixes: - fix QPyNullVariant error message on Mac OS X when setting helper app prefs - fix Scorewizard error in Leadsheet with accompaniment and ambitus turned on - fix #113: add files opened via file manager to recent files - fix #143: don't count tremolo repeat as a duration Download: http://code.google.com/p/lilykde/downloads/list Enjoy! Wilbert -- Wilbert Berendsen (http://www.wilbertberendsen.nl) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pizz and arco: a question
Hey thank you thank you thank you for the mark up idea. It appears to have
worked and didn't error out so I guess that's good. I can't wait to get this
done. I'm sick of hearing this song over and over and… at least in my head
anyways.
Be blessed.
On May 12, 2013, at 12:05 PM, Tim McNamara tim...@bitstream.net wrote:
On May 12, 2013, at 11:52 AM, Sarah k Alawami marri...@gmail.com wrote:
Ok. in braille music, I see the word pizz and i know until I see arco I
have to pluc the string. In lily pond I don't want to put \pizz over every
single note especially since with the \repeat volta 2 {music} I want to only
have the viola do \arco at the second time through this particular repeat.
So can I put a custom text after the \volta repeat 2 {custom text, music} to
let them know to do arco the second time? or what ever I decide to do? I
might do pizza for the first time and arco for the second time through.
is this an easy thing to do? I tried looking up custom text but kind of got
no ware. lol! This manual is huge! lol! and i cannot commit all of it to
memory.
How about using \markup to write such information?
c4^\markup Pizz., 2nd time arco d4 e4 f4
would put the directions above the staff; substituting an underscore for the
carat would position the text below the staff.
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Rookie transpose / bookpart questions
I'm creating some jazz charts that require a transposed lead
sheet for a Bb or Eb instrument. I haven't messed with \bookpart
much before.
The most obvious problem, and one that I knew was coming,
pertains to stroke marks in improvisation sections:
\version 2.16.2
stemOff = { \override Staff.Stem #'transparent = ##t }
stemOn = { \revert Staff.Stem #'transparent }
\score {
\new Staff {
\relative f' { f4 g a c }
\improvisationOn \stemOff
b'4 b' b' b'
\improvisationOff \stemOn
\relative f' { g4 a b d }
}
}
Is there a better way to create the effect in measure 2? It
looks fine until you transpose it, and then the b' notes get
transposed. Is there either a way to wrap that second measure to
protect it from being transposed, or a better way altogether?
The attached example is expanded to illustrate transposition.
It produces a warning that I think I understand,
Transposing fes'' by beses' makes alteration larger than double
because I presume of an A double-flat chord with the fifth (E
double-flat) lowered to E triple-flat.
\version 2.16.2
stemOff = { \override Staff.Stem #'transparent = ##t }
stemOn = { \revert Staff.Stem #'transparent }
Melody = {
\key e \major
\relative f' { e4 fis gis b }
\improvisationOn \stemOff
b'4 b' b' b'
\stemOn \improvisationOff
\relative f' { fis4 gis a cis }
}
Chords = \chordmode { bes1:maj7.5- }
\score {
\new ChordNames \Chords
\new Staff \Melody
}
% this works, but transposes E major to an unfortunate C# major
\score {
\transpose ees c' \new ChordNames \Chords
\transpose ees c' \new Staff \Melody
}
%{ So I did this to get Db major (five flats instead of seven
sharps) but now the chord symbol is not transposed correctly.
Granted, even the correct answer of aeses:maj7.5- is not all
that great, but the transposed output shows a very different
chord nomenclature.
Be that as it may, what's the practical approach to fixing that
one chord in the transposed output? The original key of E
calls out a bes:maj7.5- so I think in Db the best choice is
g:maj7.5-. How do I accomplish that? A special-case Ignatzek
exception or some such? Is that the simplest way? %}
\score {
\transpose dis c' \new ChordNames \Chords
\transpose dis c' \new Staff \Melody
}
Thank you again!
Jim
\version 2.16.2
stemOff = { \override Staff.Stem #'transparent = ##t }
stemOn = { \revert Staff.Stem #'transparent }
Melody = {
\key e \major
\relative f' { e4 fis gis b }
\improvisationOn \stemOff
b'4 b' b' b'
\stemOn \improvisationOff
\relative f' { fis4 gis a cis }
}
Chords = \chordmode { bes1:maj7.5- }
\score {
\new ChordNames \Chords
\new Staff \Melody
}
% this works, but transposes E major to an unfortunate C# major
\score {
\transpose ees c' \new ChordNames \Chords
\transpose ees c' \new Staff \Melody
}
%{ So I did this to get Db major (five flats instead of seven
sharps) but now the chord symbol is not transposed correctly.
Granted, even the correct answer of aeses:maj7.5- is not all
that great, but the transposed output shows a very different
chord nomenclature. It would expect it to say A double-flat
triangle flat 5.
Be that as it may, what's the practical approach to fixing that
one chord in the transposed output? The original key of E
calls out a bes:maj7.5- so I think in Db the best choice is
g:maj7.5-. How do I accomplish that? A special-case Ignatzek
exception or some such? Is that the simplest way? %}
\score {
\transpose dis c' \new ChordNames \Chords
\transpose dis c' \new Staff \Melody
}
attachment: tiny.png___
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Re: Notating bends
Jim Long lilyp...@umpquanet.com writes: I was looking for the counterpart to bendAfter and found that Lilypond does not define a 'bendBefore' function. I located Valentin's workaround function 'bendStart' at http://lilypond.1069038.n5.nabble.com/bends-before-notes-how-to-tp22214p22218.html but it doesn't compile for me under 2.16.2: It has been presented in 2007, approximately version 2.10.33. convert-ly should be able to convert the code to 2.16.2. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Rookie transpose / bookpart questions
On Sun, May 12, 2013 at 2:10 PM, Jim Long lilyp...@umpquanet.com wrote:
I'm creating some jazz charts that require a transposed lead
sheet for a Bb or Eb instrument. I haven't messed with \bookpart
much before. [...]
Try adding this to the score block:
\score {
% ...
\layout {
\context {
\Voice
\consists Pitch_squash_engraver
}
}
}
When typesetting slash notation, I use this snippet:
http://lsr.dsi.unimi.it/LSR/Item?id=332. You don't have to worry about
transposition because the slashes are really rests. (Also, it doesn't add
weird notes to the MIDI output.)
Regards,
Nathan
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Re: How to get multiple text spanners at the same height?
On 12/05/13 23:45, Peter Toye wrote:
I need to have a sequence of text spanners (like Rall --- en --- tan --- do)
The problem is that because of the varying height of objects on the stave, the
following code places the different bits of text at different vertical
positions.
Someone asked much the same question about cres - - cen - - do last
month. My suggestion was along the lines of the following:
\version 2.17.15
\new Staff \relative c'' {
c, d e f g a b c b a g f
}
\new Dynamics {
s1-\tweak bound-details.left.text Rallen
-\tweak bound-details.right.padding #1 \startTextSpan
s4 s2.\stopTextSpan-\tweak bound-details.left.text tan
-\tweak bound-details.right.text do
-\tweak bound-details.right.padding #2
\startTextSpan s2. s4\stopTextSpan
}
attachment: spanner.png___
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Re: Notating bends
Jim Long wrote: I was looking for the counterpart to bendAfter This might do what you want: http://lists.gnu.org/archive/html/lilypond-user/2009-06/msg00137.html Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
final touches to the score
Ok. can someone please go over the score and correct what I missed? I think I missed some braces and misplaced some accent marks but please let me know if the notes are in the proper ranges of the instruments as I'm still 1, learning them and 2, learning lily pond. I still could not get the bass drum and snare and symbol in lile the teacher wanted as I was unsure how to add those and Im working on a misstranscribed copy in braille so some notes might be wrong, but I'll let my professor know Also how will I get all of this to fit on 8.5 by 14 inch legal paper? what do I need to modify in the paper block to get this to print out correctly tomorrow? Attached is the ly file. You guys have been so so helpful and I'm just trying to fight my way through to the end of this project. lol! Take care all and be blessed. final score.ly Description: Binary data I hoep I can learn enough to help out one day and give sage advice. lol! Hehahaa. S___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.10
Excellent! Thank you so much for all your work. Using Frescobaldi is always a pleasure. -- View this message in context: http://lilypond.1069038.n5.nabble.com/ANN-Frescobaldi-2-0-10-tp145815p145829.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
re; ANN: Frescobaldi 2.0.10
I use the following link from the caption subject http://code.google.com/p/lilykde/downloads/list I got the following error message. Frescobaldi Setup 2.0.10.exeUnknown network error. Ming.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Grace note displayed exactly on beat (and not before)
Hello List, I know about the \grace, \appoggiatura, \acciaccatura and \afterGrace commands which can be used in order to create grace notes. However, none of these would put a grace note exactly on the beat: they would either put it just after the `main' note (in the case of \afterGrace) or just before it (in all other cases). I was wondering how I would be able to put the grace note just on the beat. To illustrate the idea, I attach an example (scanned from a piano score). This is not the actual scenario that I wish to typeset, but it illustrates my need quite clearly (I need to typeset a short passage in an orchestral score for one of the instruments, where the passage itself should start at the same time as the other instruments start to play). Thank you for any help, Ádám inline: example.jpeg ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches to the score
on 2013-05-12 at 16:45 Sarah k Alawami wrote:
Ok. can someone please go over the score and correct what I missed?
I found many errors when compiling of different kinds, mainly: lilypond
syntactic errors, bar check errors, and octave errors.
I don't know how to proceed. I could try to identify and locate some of the
errors for you to correct, or I could try to modify the file myself and
send it back to you. But that's risky, because from some obvious mistakes,
I don't know how the correct output should be. Also people with better
knowledge of Lilypond could contribute.
Some syntactic errors i found are: in line 397 you wrote G4 (capital letter
G) instead of lowercase g (lilypond is case sensitive), and you wrote
\partial 8 in every music variable. The manual says The \partial command
should be used only at the beginning of a piece., and lilypond complained
about it when compiling. I deleted all the extra \partials, and I return
you the file with only these two corrections.
In my opinion the next thing would be taking care of the numerous bar
check errors. For example, in line 348, beginning of cello part, you have:
g8( b d g4.) g,8( b d 4.g) |
perhaps you meant:
g8( b d g4.) g,8( b d g4.) |
There are many others, but I suspect some (many?) are related to \repeat
problems. Someone else already called your attention that in some
places you're using \repeat 1, which makes me think that you got it wrong:
the number is the *total* number of times the expression will appear. So if
you want something repeated once, you should write \repeat 2, because
that's the total number of times it will appear. So check your \repeats.
Once the bar checks are solved and everything is in place we should look at
the octave problems.
Best,
lj%!TEX TS-program = Lilypond
#(set-global-staff-size 17)
\paper {
indent = 3.0\cm % space for instrumentName
short-indent = 1.5\cm % space for shortInstrumentName
}
global=
{\time 12/8
\tempo 4. = 100
}
%flute section, 2 flutes
fluteMusic =
{ \relative c' \key g \major
{\global
\repeat volta 2 {
\partial 8 d8 |
\repeat percent 1 {g4 d8 b a g }
g4 b'8 c( b a) b4( g8) g4 a8 |
\repeat percent2 { d8 a fis e d } |
d8( fis e) g( fis e) fis4( d8) d4 a8 |
b8( a b d b gis \grace a gis a) a4 g8 |
fis8 e fis f e f f4 e8 e a g |
{ \voiceOne
fis8( e fis) e( d e) d( a fis) d' a fis |
}
\new Voice
{ \voiceTwo
a4 a8 g4 g8 d a fis d' a fis |
}
\oneVoice
r8 d8 d r8 d8 d r8 fis8 fis r8 d8 d |
r8 a8 a r8 a a fis4 fis8 e d cis |
d4 fis8 g( fis e) f4. r4 |
}
\repeat volta 2 {r8 |
\new Voice
{ \voiceOne
d8( fis a d a fis) d4.~ d4. |
}
\new Voice
{ \voiceTwo
d4.~ d4.~ d8 fis a d a fis |
}
\oneVoice
f4. fis'8( e fis g) fis4.~ fis4 r8 | } } }
% Pitches as written on a manuscript for Clarinet in BFlat
% are transposed to concert pitch.
clarinetMusic = \transpose c' bes
\relative c'' { \key g \major
\global
{\repeat volta 2 {
r8 |
d4. r4. } d4. r4. |
g4 b'8 c8( b a) b4. r8 r8 r8 |
R1*12/8 |
d4. g8( fis e) fis4.~ fis4 r8 |
b4. e4. a4. a4 g8 |
fis8 e d f( e f) f4. g4. |
a4 a8 g4 g8 fis4. fis4. |
R1*12/8*3
}
\repeat volta 2 {r8 |
d a4. r4 d a4. r4 |
d4 fis8 g( fis e) fis4 d8 d4 r8 |
a cis4. r4. a cis4. r4. |
e4. cis d r4. |
b4. fis4. d4. d4. |
d g4. c8( cis b fis4.~ fis4. |
c4. cis8( b cis) d4.~ d4. |
b d4. r4. fis a4. r4. |
g4.~ g4.~ g4.~ g4 r8 |
g4.~ g4.~ g4.~ g4 r8 |
g4. d4. g4. r4 |
}
}
% for 2 trumpets
trumpetMusic = \relative c { \key g \major \repeat volta 2 {
r8 |
R1*12/8*7
r8 d8 d r8 d8 d r8 fis8 fis r8 d8 d |
r8 a8 a r8 a8 a d fis4 d fis8 d( d cis) |
{ \voiceOne
d4. fis8 g fis d4. r8 r8 |}
\new Voice
{ \voiceTwo
d4. a4. d
}
\oneVoice
}
\repeat volta 2 {r8 |
R1*12/8*10
r8 g8\ff \accent g r8 r8 g8\ff \accent g r8 b8\ff \accent b r8 b8\ff \accent b \accent |
r8 d8 \accent d r8 d8 \accent d r8 r8 b d8 a( g fis |
g4 b d8 c( b a) g4 r4 |
} }
%for 2 bassoons
bassoonMusic =
\relative c {
\key g\major
\global
\repeat volta 2
{ r8 |
g d4. r4. g d4. r4. |
g d4. d a g d r4.|
d a4. r4. d a4. r4. |
d4 fis8( g fis e) d4.~ d4 r8 |
d'4. gis a cis |
d4. a d r4. |
R1*12/8*3
}
\repeat volta 1 {r8
d4. r4. d4. r4. |
d4. a'4. d8 fis a d4. |
g4. a4. d4.~ d4. |
d4.~ d4 ais4.~ ais4. |
b4. fis b b8( cis b) |
g2~ g2~ g2 |
g2~ g2~ g2 |
g1~ g2 |
g2~ g2~ g2 |
g4. d4. d4. r4. |} }
%for 2 oboes
oboeMusic =
\relative c'
{ \key g \major
\global
\repeat volta 1 {
r8
R1*12/8*10}
\repeat volta 1 {a8 |
a d4. a8 fis e d a d4. a8 fis e d |
d4 fis'8 g fis e fis4 d8 d4 e8 |
e a4. e8 cis b a e a4. e8 cis b a |
g'8 fis e r8 \grace g8 fis e fis r8 d8 a |
b8 d g fis a cis d a fis d4 fis |
fis b4 fis8 d' cis b cis fis4 cis a gis fis |fis b4 fis'8 d d cis b ais cis4 fis8 e d cis |
{ \voiceOne
b8 ais b ais4. b fis d b4 d8 |}
\new voice
{ \voiceTwo
d4. cis b cis r2 r4 |
}
\oneVoice
d g4 d'8 b a g d g4 a8 fis e d |
g8( a b) a( g fis) g(d b) g( d b) |R1*12/8*2
g4 b8 c( b a) g4. r4 |
} }
% Key signature is often omitted for horns
hornMusic = \transpose c' f
\relative c
{\global
\repeat volta
Re: re; ANN: Frescobaldi 2.0.10
On 13/05/13 11:12, MING TSANG wrote: I use the following link from the caption subject http://code.google.com/p/lilykde/downloads/list I got the following error message. Frescobaldi Setup 2.0.10.exeUnknown network error. I had no problems downloading from the same link. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
stylesheet structure
Hello all, I'm working on putting together some house style stylesheets, and wanted to see if I had the best structure… As one example, I'm tweaking up a Henle piano score stylesheet (e.g. Beethoven Piano Sonatas Urtext, ca. 1980): 1. Lilypond.ily -- basic settings [that really should be Lilypond defaults!] 2. Score.ily -- \Score context settings [that really should be Lilypond defaults!] -- \include Lilypond.ily 3. PianoStaff.ily -- \PianoStaff context settings [that really should be Lilypond defaults!] -- \include Score.ily 4. Henle_house.ily -- settings that are Henle- (but not piano-) specific 5. Henle_piano.ily -- settings that are Henle-piano-specific -- \include Henle_house.ily and \PianoStaff.ily 6. piano_Henle_concert.ily -- final settings that make it all look like (e.g.) the Beethoven Piano Sonatas edition -- \include Henle_piano.ily Does that look like the best (i.e., most flexible) structure? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches to the score
Ok. I correct what I could, but I'm having issues with the grace notes. I tried putting the \grace command both before and after the note where the grace note is and no change. What now? I think there is a similar issue with the \trill command which I got to work before but can't get to work now. Attached is the corrected ly file. final score.ly Description: Binary data On May 12, 2013, at 6:17 PM, luis jure l...@internet.com.uy wrote: on 2013-05-12 at 16:45 Sarah k Alawami wrote: Ok. can someone please go over the score and correct what I missed? I found many errors when compiling of different kinds, mainly: lilypond syntactic errors, bar check errors, and octave errors. I don't know how to proceed. I could try to identify and locate some of the errors for you to correct, or I could try to modify the file myself and send it back to you. But that's risky, because from some obvious mistakes, I don't know how the correct output should be. Also people with better knowledge of Lilypond could contribute. Some syntactic errors i found are: in line 397 you wrote G4 (capital letter G) instead of lowercase g (lilypond is case sensitive), and you wrote \partial 8 in every music variable. The manual says The \partial command should be used only at the beginning of a piece., and lilypond complained about it when compiling. I deleted all the extra \partials, and I return you the file with only these two corrections. In my opinion the next thing would be taking care of the numerous bar check errors. For example, in line 348, beginning of cello part, you have: g8( b d g4.) g,8( b d 4.g) | perhaps you meant: g8( b d g4.) g,8( b d g4.) | There are many others, but I suspect some (many?) are related to \repeat problems. Someone else already called your attention that in some places you're using \repeat 1, which makes me think that you got it wrong: the number is the *total* number of times the expression will appear. So if you want something repeated once, you should write \repeat 2, because that's the total number of times it will appear. So check your \repeats. Once the bar checks are solved and everything is in place we should look at the octave problems. Best, ljfinal score.ly___ 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: ANN: Frescobaldi 2.0.10
Struggling through with installing this on a Mac, how the heck does one get Poppler to work? Jeez, after installing nearly a GB of dependencies, everything seems to work but Poppler. Qt libraries (qt-mac-opensource-4.8.4.dmg) Python 2.7.4 for OS X 10.6 sip-4.14.6 (which seems to be part of the problem) PyQtX+_py273_q482_pyqt494.pkg Frescobaldi (which does launch correctly and will edit files and send them to LilyPond, yay!) python-poppler-qt4-0.16.2 pygame-1.9.2 (because the other one with the MIDI library is a PITA to download) [tim ~/Desktop/Downloads/python-poppler-qt4-0.16.2]$ python setup.py build_ext --poppler-version=0.16.2 running build_ext building 'popplerqt4' extension /Library/Frameworks/Python.framework/Versions/2.7/bin/sip -I /Library/Frameworks/Python.framework/Versions/2.7/share/sip -t POPPLER_V0_16_0 -c build/temp.macosx-10.6-intel-2.7 -b build/temp.macosx-10.6-intel-2.7/poppler-qt4.sbf -I /Library/Frameworks/Python.framework/Versions/2.7/share/sip/PyQt4 -x VendorID -t WS_MACX -x PyQt_NoPrintRangeBug -t Qt_4_8_0 -x Py_v3 -g poppler-qt4.sip sip: Deprecation warning: poppler-qt4.sip:1: %Module version number should be specified using the 'version' argument sip: Unable to find file QtCore/QtCoremod.sip error: command '/Library/Frameworks/Python.framework/Versions/2.7/bin/sip' failed with exit status 1 [tim ~/Desktop/Downloads/python-poppler-qt4-0.16.2]$ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.10
Excellent! Thank you so much for releasing this! On a side note, have you seen this message of mine? http://lilypond.1069038.n5.nabble.com/Quick-Frescobaldi-question-td145534.html Any thoughts on how (if at all possible) I could get icons in place of the menu text on Ubuntu/Linux? (i.e. Save, Open, etc) Thanks again! Wilbert Berendsen-6 wrote Hi all, Frescobaldi 2.0.10 is out, with a new tool Tools-Outline, showing the structure of LilyPond documents (configurable in the Preferences-Tools-Outline). Translations have been added and bugs fixed. Full changelog: Changes in 2.0.10 -- May 12th, 2013 * Translations: - updated: nl, de, fr, cs, es, it * New features: - Document Outline tool with tooltips showing portions of the document. The patterns that are used for the outline can be modified by the user. * Improvements: - Highlight more music functions that were added in LilyPond 2.16 - Better chord mode highlighting * Bug fixes: - fix QPyNullVariant error message on Mac OS X when setting helper app prefs - fix Scorewizard error in Leadsheet with accompaniment and ambitus turned on - fix #113: add files opened via file manager to recent files - fix #143: don't count tremolo repeat as a duration Download: http://code.google.com/p/lilykde/downloads/list Enjoy! Wilbert -- Wilbert Berendsen (http://www.wilbertberendsen.nl) ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user - composer | sound designer -- View this message in context: http://lilypond.1069038.n5.nabble.com/ANN-Frescobaldi-2-0-10-tp145815p145839.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.10
On May 12, 2013, at 10:24 PM, Tim McNamara tim...@bitstream.net wrote: Struggling through with installing this on a Mac, how the heck does one get Poppler to work? Jeez, after installing nearly a GB of dependencies, everything seems to work but Poppler. Hi Tim, Glad you've got Frescobaldi working except for Poppler. I haven't tackled upgrading to 2.0.10 yet, but I previously got Poppler to work with 2.0.8 by installing it through MacPorts. Here's my current version info, if that's helpful: Frescobaldi: 2.0.8 Python: 2.7.3 Qt: 4.8.4 PyQt4: 4.9.6 sip: 4.14.2 Operating System: Darwin-12.3.0-x86_64-i386-64bit And here are some notes I made for myself, FWIW: Use macports to install: - poppler (using +qt4 variant (also added +quartz variant, but that's probably not necessary)) - use terminal to install poppler-qt from their site as described on frescobaldi site (note: I had to add sudo before python setup.py install to get it to work) -- -Paul Morris ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.10
On 13 May 2013 12:24, Tim McNamara tim...@bitstream.net wrote: Struggling through with installing this on a Mac, how the heck does one get Poppler to work? Jeez, after installing nearly a GB of dependencies, everything seems to work but Poppler. Qt libraries (qt-mac-opensource-4.8.4.dmg) Python 2.7.4 for OS X 10.6 sip-4.14.6 (which seems to be part of the problem) PyQtX+_py273_q482_pyqt494.pkg Frescobaldi (which does launch correctly and will edit files and send them to LilyPond, yay!) python-poppler-qt4-0.16.2 pygame-1.9.2 (because the other one with the MIDI library is a PITA to download) [tim ~/Desktop/Downloads/python-poppler-qt4-0.16.2]$ python setup.py build_ext --poppler-version=0.16.2 running build_ext building 'popplerqt4' extension /Library/Frameworks/Python.framework/Versions/2.7/bin/sip -I /Library/Frameworks/Python.framework/Versions/2.7/share/sip -t POPPLER_V0_16_0 -c build/temp.macosx-10.6-intel-2.7 -b build/temp.macosx-10.6-intel-2.7/poppler-qt4.sbf -I /Library/Frameworks/Python.framework/Versions/2.7/share/sip/PyQt4 -x VendorID -t WS_MACX -x PyQt_NoPrintRangeBug -t Qt_4_8_0 -x Py_v3 -g poppler-qt4.sip sip: Deprecation warning: poppler-qt4.sip:1: %Module version number should be specified using the 'version' argument sip: Unable to find file QtCore/QtCoremod.sip error: command '/Library/Frameworks/Python.framework/Versions/2.7/bin/sip' failed with exit status 1 [tim ~/Desktop/Downloads/python-poppler-qt4-0.16.2]$ Frescobaldi is tricky to install on Mac—Wilbert doesn’t have one (which is fair enough), and the dependencies sometimes get a little out of sync. You might have luck downgrading a couple things... I think I still have the versions mentioned in this post: https://github.com/wbsoft/frescobaldi/issues/77#issuecomment-7265828 On my next computer I think I’ll install a virtual Linux partition and run Frescobaldi and other other open source software off that. Vaughan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: final touches to the score
Hey thanks for pointing those out. I'm still having failed bar checks where there is a pick up note in to the measure, but the check fail happens at the end of the repeat where that measure is incomplete anyway. Here is the attached almost corrupted ly file. final score.ly Description: Binary data I'm still having issues with the grace notes though. I don't know what's up there. Any help, please? Thanks and be blessed. On May 12, 2013, at 7:13 PM, Tim McNamara tim...@bitstream.net wrote: On May 12, 2013, at 6:45 PM, Sarah k Alawami wrote: Ok. can someone please go over the score and correct what I missed? I think I missed some braces and misplaced some accent marks but please let me know if the notes are in the proper ranges of the instruments as I'm still 1, learning them and 2, learning lily pond. I still could not get the bass drum and snare and symbol in lile the teacher wanted as I was unsure how to add those and Im working on a misstranscribed copy in braille so some notes might be wrong, but I'll let my professor know Also how will I get all of this to fit on 8.5 by 14 inch legal paper? what do I need to modify in the paper block to get this to print out correctly tomorrow? Attached is the ly file. You guys have been so so helpful and I'm just trying to fight my way through to the end of this project. lol! There are multiple LilyPond problems as identified in the error log. The first attempt at compiling failed due to a note spelled as G4 instead of g4 at line 397. If that is fixed, it will compile but badly. You should be able to catch that one easily, since the error log gives you the line number. There are many barcheck failures meaning you've got some errors in time values- bars that don't add up to 12/8. The barchecks should also give you information about where the problem is, but I never use them because my charts are simple lead sheets with a melody and chordnames, so it's easy to troubleshoot those problems. You've got a \partial that is not at the beginning of the piece; indeed, you've got two \partials, one before the \volta and one afterwards. It is the latter that LilyPond is probably complaining about, because \partial should only be used before the first bar. Things like \accent, \grace etc. should not have a space between them and the note. It's c4\accent and not c4 \accent. I've never used \grace notes in a chart, so I don't know but I would guess that if the \grace is detached from the note, then it would be counted differently and might result in some of your barcheck problems. BTW, \accent goes *after* the accented note without a separating space, it is not clear looking at your .ly file to which note the \accent marks refer. I think there are problems with \repeat percent 1 and \repeat percent 2 but I don't know the correct usage of those; I use \repeat volta in my charts but otherwise just write out short passages that are repeated. Relying on the musician's memory creates a higher risk of performance errors. There are also multiple musical problems. The ranges of several/most instruments are obviously incorrect. For example, in the first measure, the bassoon is 7 ledger lines below the staff- and playing two notes at once. I don't know the range of the bassoon but I doubt it is that many octaves below middle C. I think the bassoon is normally written in bass clef and you've got it in treble clef. At the end, the cello notes are 16 ledger lines above the staff and the bass is 18 ledger lines above, which neither instrument could possibly play and no one could sight read in performance. There are other range problems in other places, but you'll never see those until you can get it to compile by fixing that G4. You've got the violin and viola playing four note chords. Can they even physically do that? It looks like you've got multiple instruments playing in the wrong keys (if the concert instruments are playing in G (one sharp), the Bb clarinet, trumpet, etc. should be notated in their transposed keys (A or three sharps in this case). Horn in F appears reasonably transposed from G major to C major. As for naming instruments by specific transposition, it is more usual to call a Clarinet in Bb a Bb Clarinet to avoid confusion (it looks like you are saying the clarinet should be playing in Bb even though the key signature is G major); I also think that the convention is that a clarinet is a Bb transposing instrument unless otherwise stated (e.g., Eb clarinet). As for Trumpet in C, trumpet is a Bb transposing instrument and I have never seen a non-transposing trumpet (i.e., C trumpet), although they could exist and I could just be ignorant... I have not played orchestral music since playing cello in the 4th grade- almost 45 years ago). One pretty easy thing, though. You can set paper size in the \paper
Re: Grace note displayed exactly on beat (and not before)
Siska Ádám sales at sadam.hu writes:
I was
wondering how I would be able to put the grace note just on the beat.
It is easiest to use normal notes and tell LilyPond that the durations
shorter than normal, say 1/4 the written length, with c'16*1/4 and
that the following note gets only a fraction of its full time.
\new Staff \new Voice{
\new Voice {\teeny \override Flag #'stroke-style = #grace
\override Stem #'no-stem-extend = ##t
\override Stem #'length-fraction = #0.7
c'16*1/4\noBeam d' }
g'1*31/32
}
\new Staff {b1}
The difficult thing was finding the \overrides to give the smaller
the style of grace notes. I copied the more-important ones from
a LilyPond startup file 'music-functions.scm'
I could not quickly figure out how to apply all the 'graceSettings
to the normal voice, but there is probably a way to do so and maybe
we should make a short command \graceSettings for that.
This same method is useful when we want to let grace notes overlap
earlier notes in another voice.
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Re: Grace note displayed exactly on beat (and not before)
Keith OHara k-ohara5a5a at oco.net writes: I could not quickly figure out how to apply all the 'graceSettings to the normal voice, but there is probably a way to do so and maybe we should make a short command \graceSettings for that. Some less-ugly version of graceSettings = \applyContext # (lambda (context) (map (lambda (x) (ly:context-pushpop-property context (cadr x) (caddr x) (cadddr x))) (ly:context-property context 'graceSettings )) and then we still need the bit with Flag #'stroke-style =#grace when we want the stroke through the grace notes This same method is useful when we want to let grace notes overlap earlier notes in another voice. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: odd bar check errors
Hello to the list. I notice that some of my grace notes are also causing the bar check errors but most of them I think are happening at the end dog repeats where there's an incomplete measure as it was filling time so you can go back and repeat the anicrusis. Over all thats all I'm noting, that and the wrong octaves that I'm still not sure how to fix. sometimes I hate perfect pitch, like today. Attached is the .ly file. Take care. final score.ly Description: Binary data On May 12, 2013, at 10:12 AM, Noeck noeck.marb...@gmx.de wrote: Hi Sarah, in the lines 114 and 169 your braces are still not right, they should be after the \relative c command and not before. In line 315 and 366, there is a closing brace missing (I suppose). With these changes, LilyPond is able to compile it and the time signatures are right (12/8). But there are some remaining issues: * What do you intend with \repeat volta 1? Why would you want to put something in a repeat that is not repeated. * The octaves are probably not correctly set (up to 20 ledger lines). * There are lots of failing bar checks, i.e. wrong durations. * Wrong durations may be connected to full measure rests written as R1 instead of R1*12/8 * Linked to that, the durations of different staffs and voices do not match, therefore you have a lot of additional repeat bars in the score. * There are slurs starting but not ending. I hope this helps you to proceed. A slightly corrected version (braces and rests) is attached. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
