Tie placement in voiceTwo
Good morning list,
ties in \voiceTwo etc are attached to the notehead. Slurs are attached
to the end of the stem. See attached example.
I would prefer the ties to behave like the slurs, i.e. attached to the
end of the stem. How can I achieve that?
BTW, I wouldn't be surprised if this is preferred engraving practice.
Rutger Hofman
Amsterdam
\version 2.16.0
\relative c'' {
\voiceTwo a8~^ties a a8~ a
a(^slurs a) a( a) |
}
attachment: tie-voice-two.png___
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Re: Tie placement in voiceTwo
Rutger Hofman rut...@cs.vu.nl writes: Good morning list, ties in \voiceTwo etc are attached to the notehead. Slurs are attached to the end of the stem. See attached example. I would prefer the ties to behave like the slurs, i.e. attached to the end of the stem. How can I achieve that? BTW, I wouldn't be surprised if this is preferred engraving practice. Given the nature of ties, ties in parallel with beams are not very frequent. The example you give does not seem like something where one would ordinarily employ ties. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie placement in voiceTwo
Am 01.09.2013 10:12, schrieb Rutger Hofman: Good morning list, ties in \voiceTwo etc are attached to the notehead. Slurs are attached to the end of the stem. See attached example. I would prefer the ties to behave like the slurs, i.e. attached to the end of the stem. How can I achieve that? BTW, I wouldn't be surprised if this is preferred engraving practice. Rutger Hofman Amsterdam Hi Rutger, I definitely can't imagine that what you suggest is a valid engraving practice at all. I would _never_ read the second half of your example as meaning to tie the notes. Do you have a real-world example showing ties attached to the stem where it is clear that the 'tied' note shouldn't be repeated? Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie placement in voiceTwo
Please keep replies on the list. Rutger Hofman rut...@cs.vu.nl writes: On 09/01/2013 10:21 AM, David Kastrup wrote: Given the nature of ties, ties in parallel with beams are not very frequent. The example you give does not seem like something where one would ordinarily employ ties. Are slurs better then? It's not a question of better. The meaning of a tie is the note is continued. A tie is _notational_ instruction. Its message is for lack of a better notation for the length of this note, we write a tie. In the example you gave, there _was_ no lack of a better notation, so using a tie would have been decidedly strange. Lack of a better notation can mean that the note length as such has no proper representation, or that using a single note would cause the note to extend across a rhythmical border (such as a bar line) one does not want to cross without warning the reader. Renaissance music does not use such syncopic ties, baroque music uses them pretty much only across bar lines. Jazz uses them pretty much for anything crossing a beat boundary without filling the whole starting beat. Now slurs are _not_ a notational tool, but one indicating execution of _two_ notes. For bowed instruments, they usually indicate passages without bow direction change. For any instrument, it usually indicates not stopping the first note before starting the second one. A slur on identical pitches on single-course instruments is rarely used except by analogy: if I have a phrase constituted of pairs of slurred notes of generally different pitch, and there is a single pair of equal pitch, I want this pair to sound similar in character. On a single-manual keyboard, one would likely use two different fingers for striking the same key. On a string instrument, one would usually use two _different_ strings for the two slurred notes. The J.S.Bach Partita 3 for Solo violin (BWV1006 I think), first movement (preludio) has a lot of those slurred notes on the same pitch, and also some quite nice three-string passages pointed out by beaming/stemming the notes appropriately. Now if your example were to indicate such an execution on a stringed instrument, one would usually have the first note and second note attached to _different_ beams. The note grouping you demonstrated _would_ make sense in an analogy passage where one has something like c( e) c( e) d( e) d( e) e( e) e( e) f( e) f( e) ... but then one would most certainly use slurs, not ties. Ties would suggest an execution where the second note is not sounded separately at all, breaking the character. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
cadenzaOn
Why is this not working (Lilypond 2.16.2)
\version 2.16.2
\relative c' {
\cadenzaOn
c4 d e f g
}
Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
Parsing...
Interpreting music...
warning: cannot find or create `Timing' called `'
warning: cannot find or create `Timing' called `'
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `Cadenzatest.ps'...
Converting to `./Cadenzatest.pdf'...
Success: compilation successfully completed
Completed successfully in 0.6.
I get a score, but not
By trial and error I found this is working though:
\version 2.16.2
\relative c' {
s4
\cadenzaOn
c4 d e f g
}
Apparently I can't start my music with a cadenzaOn ???
--
MT
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Re: Tie placement in voiceTwo
As David points out the original example is uncommon both regarding ties
and slurs. I like to add another example which represent a more common
use of ties.
As you can see from the ly-file I first use a tie, then a slur, then a
double dot.
I think that you could get away with the second as a tie, mostly because
it uncommon to slur notes of the same pitch. But I don't think it is
preferred practise to use it this way. The double dot could be used, but
in contemporary notation I think a tie is preferred.
Peter Bjuhr
\version 2.16.2
\relative c'' {
\voiceTwo a8~^tie! a16. b32
a8(^tie or slur? a16. ) b32
a8..^double dot b32
}attachment: tie_or_slur.png___
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Re: Tie placement in voiceTwo
- Original Message - From: Peter Bjuhr peterbj...@gmail.com To: lilypond-user@gnu.org Sent: Sunday, September 01, 2013 11:00 AM Subject: Re: Tie placement in voiceTwo As David points out the original example is uncommon both regarding ties and slurs. I like to add another example which represent a more common use of ties. As you can see from the ly-file I first use a tie, then a slur, then a double dot. I think that you could get away with the second as a tie, mostly because it uncommon to slur notes of the same pitch. But I don't think it is preferred practise to use it this way. The double dot could be used, but in contemporary notation I think a tie is preferred. Peter Bjuhr From Elaine Gould: The tie extends from notehead to notehead: if one or both ends of it point to a stem, [it] becomes a slur. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cadenzaOn
Martin Tarenskeen m.tarensk...@zonnet.nl writes:
Why is this not working (Lilypond 2.16.2)
\version 2.16.2
\relative c' {
\cadenzaOn
c4 d e f g
}
Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
Parsing...
Interpreting music...
warning: cannot find or create `Timing' called `'
warning: cannot find or create `Timing' called `'
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `Cadenzatest.ps'...
Converting to `./Cadenzatest.pdf'...
Success: compilation successfully completed
Completed successfully in 0.6.
I get a score, but not
By trial and error I found this is working though:
\version 2.16.2
\relative c' {
s4
\cadenzaOn
c4 d e f g
}
Apparently I can't start my music with a cadenzaOn ???
You need a Timing context first which usually is the same as Score but
not established before Score actually happens to be around. So try
getting a Score context implicitly with \new Staff \relative ... or even
explicitly \new Score ... around your music.
--
David Kastrup
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Re: cadenzaOn
Martin Tarenskeen wrote
Why is this not working (Lilypond 2.16.2)
\version 2.16.2
\relative c' {
\cadenzaOn
c4 d e f g
}
Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
Parsing...
Interpreting music...
warning: cannot find or create `Timing' called `'
warning: cannot find or create `Timing' called `'
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `Cadenzatest.ps'...
Converting to `./Cadenzatest.pdf'...
Success: compilation successfully completed
Completed successfully in 0.6.
hi Martin
it works since version 2.17.12
the problem seems to be the initialization of a context - so putting
\new Voice or \new Staff
around your code or simply adding
before the \cadenzaOn will remedy.
Eluze
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/cadenzaOn-tp150038p150043.html
Sent from the User mailing list archive at Nabble.com.
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Re: cadenzaOn
Eluze elu...@gmail.com writes:
Martin Tarenskeen wrote
Why is this not working (Lilypond 2.16.2)
\version 2.16.2
\relative c' {
\cadenzaOn
c4 d e f g
}
Processing `/home/m.tarenskeen/Dropbox/tmp/Cadenzatest.ly'
Parsing...
Interpreting music...
warning: cannot find or create `Timing' called `'
warning: cannot find or create `Timing' called `'
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `Cadenzatest.ps'...
Converting to `./Cadenzatest.pdf'...
Success: compilation successfully completed
Completed successfully in 0.6.
hi Martin
it works since version 2.17.12
Ah, right.
commit 0392d585b07e3f42cd6a30637cdfe7e2d487c4ab
Author: David Kastrup d...@gnu.org
Date: Sun Jan 27 18:33:37 2013 +0100
Issue 3140: Let find_create_context create Score context for Timing
More exactly: if find_create_context finds that no score context
exists yet, but creating one would make it find an alias of it, it
does so.
This is in order to let \set Timing.xxx = yyy work even in the rare
case that the Score context with its hardwired Timing alias does not
yet exist.
Seems that this one bothered me enough to fix it.
the problem seems to be the initialization of a context - so putting
\new Voice or \new Staff
around your code or simply adding
before the \cadenzaOn will remedy.
Yup.
--
David Kastrup
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Re: cadenzaOn
Why is this not working (Lilypond 2.16.2)
\version 2.16.2
\relative c' {
\cadenzaOn
c4 d e f g
}
it works since version 2.17.12
Issue 3140: Let find_create_context create Score context for Timing
The initial reason for my question was the
major-scales-and-primary-triads.ly from another thread, that didn't work
using LilyPond 2.16.2.
Thanks for your comments,
MT
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multiple transpose - was :Emacs integration
Hi,
opening a new thread. It was quite offtopic in Emacs integration
http://lilypond.1069038.n5.nabble.com/Emacs-integration-td150015.html
2013/8/31 Thomas Morley thomasmorle...@gmail.com:
2013/8/31 David Kastrup d...@gnu.org:
Thomas Morley thomasmorle...@gmail.com writes:
\version 2.17.25
scalesAndTriads =
#(define-music-function (parser location m music)(ly:music? ly:music?)
(let* ((elts (ly:music-property m 'elements))
(pitches (map (lambda (x) (ly:music-property x 'pitch)) elts))
(pitch-octaves (map (lambda (x) (ly:pitch-octave x)) pitches))
(pitch-octaves (map ly:pitch-octave pitches))
(pitch-notename (map (lambda (x) (ly:pitch-notename x)) pitches))
(pitch-notename (map ly:pitch-notename pitches))
(pitch-alteration (map (lambda (x) (ly:pitch-alteration x))
pitches)))
guess...
lol
#{
$(make-simultaneous-music
(map
(lambda (octave note alter)
#{
\new Staff
\transpose c $(ly:make-pitch octave note alter)
\relative $music
#})
pitch-octaves pitch-notename pitch-alteration))
#}))
What's the point of picking the pitches apart into octave/note/alter and
then assembling them into a pitch again without change? Why not map
over the pitches directly in the first place?
Silly me.
}
\scalesAndTriads { c f bes ees aes des ges g d a e b fis } \scale
Franky, it took me more than two minutes, although I recycled some old
code for tranposing sequential music, but less than 30 min.
_And_ I now have two functions to reuse again and again: One for
sequential and another for simultaneous music.
Why use two? Just do (music-clone m 'origin location 'elements (map ...
I didn't know 'music-clone'.
A quick search in the archives resulted in _one_ other result.
http://lilypond.1069038.n5.nabble.com/Defining-pitches-in-variables-td142862.html#a142864
:)
Although I didn't use it in the code below, I'm quite happy, that I
learn something new eyery time you have a look on my functions!
And then you use either
\scalesAndTriads { c f bes ees aes des ges g d a e b fis }
or
\scalesAndTriads c f bes ees aes des ges g d a e b fis
I'd not use \relative $music here: that looks like asking for trouble.
Not sure what you suspect.
May I ask for some details?
If people want \relative music, they should spell it out.
--
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Hi David,
thanks for the hints. Will see how I manage to integrate them.
-Harm
I now come up with:
\version 2.17.25
multipleTranspose =
#(define-music-function (parser location m music)(ly:music? ly:music?)
(let* ((elts (ly:music-property m 'elements))
(pitches (map (lambda (x) (ly:music-property x 'pitch)) elts))
(transposed-music-list
(map (lambda (pitch) #{ \transpose c $pitch $music #}) pitches)))
#{
$(cond ((music-is-of-type? m 'sequential-music)
(make-sequential-music transposed-music-list))
((music-is-of-type? m 'simultaneous-music)
(make-simultaneous-music
(map
(lambda (el) #{ \new Staff $el #})
transposed-music-list)))
;; Not sure whether there's need for,
;; though, better be a paranoiac.
(else
(ly:error
m should be sequential or simultaneous-music. Typo?)))
#}))
%% Examples
\new Staff
\multipleTranspose { c cis } \relative c'' { g a }
\new StaffGroup
\multipleTranspose c cis \relative c'' { g a }
Thanks,
Harm
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Re: frescobaldi on mac
2013/8/20 Derek cu...@shmerek.com: Installing now Dear Derek, I noticed today, while I was reading this thread on Nabble, that the message you sent to the list on 2013/08/20 was cut at the first line (see http://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00508.html and http://lilypond.1069038.n5.nabble.com/frescobaldi-on-mac-td139401i40.html#a149513). This is the part that was cut away: Ok I am clueless at this I don't think I am performing: insert the line file:///path/to/repository (where /path/to/repository is the full path to the repository) in /opt/local/etc/macports/sources.conf; (MacPorts finds Portfiles in the order specified in sources.conf, so you may want to insert the line before other repositories.) in Terminal, cd to the repository and execute portindex. Just to be clear the files in step 2 are we inserting the path of where the ports-master folder is currently into the sources.config file in the /opt/local/etc/macports folder? I am not too clear on this step I'll give an example. == Let's suppose that your username is derek, that your home directory (~) is /Users/derek and that you want to keep my repository in a subdirectory of ~/github (that you have already created). Then open the Terminal and do cd ~/github git clone git clone https://github.com/dliessi/ports.git Now you have a subdirectory called ports that contains my repository. The next step is to open the sources.conf file in your favorite editor, for example nano. In the Terminal sudo nano /opt/local/etc/macports/sources.conf Go after the comment lines (those that begin with #) and before the line(s) that begin with 'rsync://' and add the following line file:///Users/derek/github/ports/ Then save the file and exit the editor (if you use nano: ctrl-O to save, enter to confirm the file name, ctrl-X to exit). Now again in the Terminal cd ~/github/ports portindex Now your MacPorts installation should be able to see my Portfiles. To test this, try in the Terminal port info py-python-poppler-qt4 port info frescobaldi == I'll reword the instructions in the home page of my repository. Let me know if you need help. Best wishes. Davide ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multiple transpose - was :Emacs integration
Thomas Morley thomasmorle...@gmail.com writes:
And then you use either
\scalesAndTriads { c f bes ees aes des ges g d a e b fis }
or
\scalesAndTriads c f bes ees aes des ges g d a e b fis
I'd not use \relative $music here: that looks like asking for trouble.
Not sure what you suspect.
May I ask for some details?
Silently applying \relative means that
a) a reference pitch will be picked out without asking the user
b) if the user intended absolute pitch, he'll get a surprise
I now come up with:
\version 2.17.25
multipleTranspose =
#(define-music-function (parser location m music)(ly:music? ly:music?)
(let* ((elts (ly:music-property m 'elements))
(pitches (map (lambda (x) (ly:music-property x 'pitch)) elts))
(transposed-music-list
(map (lambda (pitch) #{ \transpose c $pitch $music #}) pitches)))
#{
$(cond ((music-is-of-type? m 'sequential-music)
(make-sequential-music transposed-music-list))
((music-is-of-type? m 'simultaneous-music)
(make-simultaneous-music
(map
(lambda (el) #{ \new Staff $el #})
transposed-music-list)))
;; Not sure whether there's need for,
;; though, better be a paranoiac.
(else
(ly:error
m should be sequential or simultaneous-music. Typo?)))
#}))
%% Examples
\new Staff
\multipleTranspose { c cis } \relative c'' { g a }
\new StaffGroup
\multipleTranspose c cis \relative c'' { g a }
Well, as with \relative, I'd say that \new Staff deserves getting
_explicit_ specification by the user if that's his intent. Now let's do
this somewhat recklessly:
\version 2.17.23
multipleTranspose =
#(define-music-function (parser location m music)(ly:music? ly:music?)
(music-clone m
'elements
(map (lambda (pitch)
(ly:music-property #{ \transpose c $pitch $music #} 'element))
(event-chord-pitches m
%% Examples
\new Staff
\multipleTranspose { c cis } \relative c'' { g a }
\new StaffGroup
\multipleTranspose c cis \relative c'' \new Staff { g a }
\new Staff
\multipleTranspose c cis g''!
--
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Re: Tie placement in voiceTwo
(sorry for not including the conversation, but this from my Android phone.) OK, a slur it must be. But, although the notation a8( a8) may be uncommon nowadays, it is quite common in baroque music. Most recently, I met it in BWV 146 mvt 2, all over the place. It also occurs elsewhere with 3 or 4 notes. My baroque violin player friend says: oh yes, that is bow vibrato. Not vibrato in the modern sense, but 2 (3, 4) notes under one bowing. Rutger Hofman Amsterdam Verzonden vanaf mijn Sony Ericsson X10 Peter Bjuhr peterbj...@gmail.comschreef: As David points out the original example is uncommon both regarding ties and slurs. I like to add another example which represent a more common use of ties. As you can see from the ly-file I first use a tie, then a slur, then a double dot. I think that you could get away with the second as a tie, mostly because it uncommon to slur notes of the same pitch. But I don't think it is preferred practise to use it this way. The double dot could be used, but in contemporary notation I think a tie is preferred. Peter Bjuhr ___ 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: frescobaldi on mac
2013/9/1 Davide Liessi davide.lie...@gmail.com: git clone git clone https://github.com/dliessi/ports.git Typo: replace with git clone https://github.com/dliessi/ports.git ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie placement in voiceTwo
Rutger Hofman rhn...@vu.nl writes: (sorry for not including the conversation, but this from my Android phone.) OK, a slur it must be. But, although the notation a8( a8) may be uncommon nowadays, it is quite common in baroque music. Most recently, I met it in BWV 146 mvt 2, all over the place. It also occurs elsewhere with 3 or 4 notes. My baroque violin player friend says: oh yes, that is bow vibrato. Not vibrato in the modern sense, but 2 (3, 4) notes under one bowing. In modern notation, you'd do this as c8--( c-- c-- c--) That the baroque manuscripts are less explicit is not much of a surprise. They tend to be less cluttered, being intended for mature readership rather than music for dummies and sightreaders. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: system and staff spacing
2013/8/30 Gilberto Agostinho gilbertohasn...@googlemail.com:
Hello all,
I have been trying to modify the distance between systems and staves, but I
found it somehow difficult to understand. I am using the following code (on
which I added the a \paper snippet):
\version 2.17.24
\paper {
system-system-spacing #'basic-distance = #8
score-system-spacing =
#'((basic-distance . 12)
(minimum-distance . 6)
(padding . 1)
(stretchability . 12))
}
\new Staff {
\repeat unfold 200 { a4 b c' d' }
}
I was playing with the values of the snippet above, and the only line that
affects something is the system-system-spacing. All parameters of
score-system-spacing seem to do nothing here, even though it is defined in
the reference as the distance between the last system of a score and the
first system of the score that follows it, when no (title or top-level)
markup exists between them.
Huh? You have just _one_ score here, containing 200 measures of { a4
b c' d' }, so small wonder that score-system-spacing doesn't do
anything. To change the spacing between lines (systems), you use
system-system-spacing, exactly as you said.
Is this clearer now?
Janek
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Re: Tie placement in voiceTwo
On Sep 1, 2013 6:01 AM, Peter Bjuhr peterbj...@gmail.com wrote: As David points out the original example is uncommon both regarding ties and slurs. I like to add another example which represent a more common use of ties. As you can see from the ly-file I first use a tie, then a slur, then a double dot. I think that you could get away with the second as a tie, mostly because it uncommon to slur notes of the same pitch. But I don't think it is preferred practise to use it this way. The double dot could be used, but in contemporary notation I think a tie is preferred. The case in my experience where I could see such a notation being practiced is in vocal music where there are multiple verses and some verses have more syllables than others. Thus, the notes would be present as required for all the syllables that are sung at one point or another, but then ties and slurs are inserted to accommodate the verses with fewer syllables. It is not so much an issue in my own work since I do not autobeam, but I could probably find in my collection of hymnals a few examples of this being done. Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie placement in voiceTwo
On 09/01/2013 04:16 PM, David Kastrup wrote: Rutger Hofman rhn...@vu.nl writes: (sorry for not including the conversation, but this from my Android phone.) OK, a slur it must be. But, although the notation a8( a8) may be uncommon nowadays, it is quite common in baroque music. Most recently, I met it in BWV 146 mvt 2, all over the place. It also occurs elsewhere with 3 or 4 notes. My baroque violin player friend says: oh yes, that is bow vibrato. Not vibrato in the modern sense, but 2 (3, 4) notes under one bowing. In modern notation, you'd do this as c8--( c-- c-- c--) That the baroque manuscripts are less explicit is not much of a surprise. They tend to be less cluttered, being intended for mature readership rather than music for dummies and sightreaders. It's not only manuscript. The BWV146 is from the printed Bach Gesamtausgabe (BGA) from 1884. Moreover, this is still common practice today in printed baroque music -- but I but don't know if it is limited to Urtext. Rutger ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: system and staff spacing
Yes it is Janek, and I got it working well with the correct system-system-spacing code (it seems I used some old code for it). And I do understand why the score-system-spacing wasn't making any difference at all :) Thanks a lot for all the help! Gilberto ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: system and staff spacing
Shall we reword something in the documentation to make this clearer? Janek 2013/9/1 Gilberto Agostinho gilbertohasn...@googlemail.com: Yes it is Janek, and I got it working well with the correct system-system-spacing code (it seems I used some old code for it). And I do understand why the score-system-spacing wasn't making any difference at all :) Thanks a lot for all the help! Gilberto ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
bus error crash, possibly because of custom (ScoreMarks) context?
Hello all,
I use my own ScoreMarks context to display RehearsalMarks and MetronomeMarks.
Most of the time, it works perfectly — unfortunately, I have recently been
getting fatal crashes (i.e., Lily stops right after Preprocessing; DEBUG log
stops after the two lines Guile 1.8 + Bus Error).
The crashes seem to be directly related to any MetronomeMark which is at the
very beginning of the score — I deduced this mostly because Lily outputs
programming error: cyclic chain in pure-Y-offset callbacks
right at that point in the score, and if I put s4 \tempo FOOBAR, everything is
fine.
I use a custom wrapper function to format MetronomeMarks, which may certainly
be part of the problem (especially because I've been using it for many, many
versions, and things may have changed in the meantime). I've included a
minimal example incorporating both the custom context and custom function.
Unfortunate, it doesn't actually demonstrate the problem (i.e., it doesn't
crash on my machine) — but I thought maybe someone might be able see something
obvious (like the way parameters are handled in my tempoMUMM function) that is
a likely culprit for the bus error.
Thanks for any help!
Kieren.
\version 2.17
\layout {
\context {
\type Engraver_group
\name ScoreMarks
\consists Staff_collecting_engraver
\consists Axis_group_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #2
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.minimum-distance
= #4
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.stretchability =
#0.5
\consists Metronome_mark_engraver
\override MetronomeMark #'self-alignment-Y = #-1
\override MetronomeMark #'font-size = #3
\override MetronomeMark #'font-series = #'normal
\override MetronomeMark #'padding = #0
\override MetronomeMark #'outside-staff-priority = #200
\override MetronomeMark #'Y-offset = #3.5
\consists Text_spanner_engraver
\override TextSpanner #'font-size = #2
\consists Mark_engraver
\override RehearsalMark #'outside-staff-priority = #75
\override RehearsalMark #'font-size = #4
\consists Time_signature_engraver
\override TimeSignature #'stencil = #point-stencil
}
\context {
\StaffGroup
\accepts ScoreMarks
}
\context {
\GrandStaff
\accepts ScoreMarks
}
\context {
\Score
\remove Metronome_mark_engraver
\remove Mark_engraver
\accepts ScoreMarks
}
}
tempoMUMM =
#(define-music-function
(parser location prependText notevalue mmText)
(string? string? string?)
#{
\tempo \markup \concat {
\bold $prependText
\bold \override #'(word-space . 0.5) \line {
(
\fontsize #-0.8 {
\fontsize #-2.2 \general-align #Y #DOWN \note #notevalue #1
=
$mmText
}
)
}
}
#})
global = {
\tempoMUMM #Testing #4 #ca. 100 s1
}
someMusic = \relative c' { c1 }
\score {
\new ScoreMarks \global
\new Staff \someMusic
}
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Untransposable music [was Re: Reverting to atonal or open key]
On Sat, Aug 31, 2013 at 11:05:39PM +0200, David Kastrup wrote:
Well, you could do something like
\withMusicProperty #'untransposable ##t \key c\major
It's not terribly fabulous, but possibly will do the trick.
Oh, but it IS terribly fabulous! This is what I was looking for
last May when I wrote:
On Sun, May 12, 2013 at 02:10:59PM -0700, Jim Long wrote:
\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 either a way to wrap that second measure to
protect it from being transposed, or a better way altogether?
So the correct answer to my question back then is,
Put the music you wish to be unaffected by \transpose inside a
block of:
\withMusicProperty #'untransposable ##t { ... }
Such as:
\version 2.16.2
stemOff = { \override Staff.Stem #'transparent = ##t }
stemOn = { \revert Staff.Stem #'transparent }
\score {
\new Staff {
\relative f' { f4 g a c }
\withMusicProperty #'untransposable ##t {
\improvisationOn \stemOff
b'4 b' b' b'
\improvisationOff \stemOn
}
\relative f' { g4 a b d }
}
}
\score {
\transpose ees c'
\new Staff {
\relative f' { f4 g a c }
\withMusicProperty #'untransposable ##t {
\improvisationOn \stemOff
b'4 b' b' b'
\improvisationOff \stemOn
}
\relative f' { g4 a b d }
}
}
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Re: Tie placement in voiceTwo
I believe it was Couperin who distinguished between ties and slurs in his manuscripts by using slightly different shapes for each. I don't have my copy of L'art de toucher le clavecin nearby, but I believe the slurs had more squared-off ends and ties had more rounded ends. Too bad Couperin's system didn't catch on. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Tie-placement-in-voiceTwo-tp150033p150074.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: frescobaldi on mac
That is awesome and perfectly clear thank you! -- View this message in context: http://lilypond.1069038.n5.nabble.com/frescobaldi-on-mac-tp139401p150075.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: Tie placement in voiceTwo
That is an interesting notion. I will have to dig my copy out tomorrow and examine it, not remembering an such distinction at the moment. Shane On Sun, Sep 1, 2013 at 8:09 PM, Michael Rivers michaeljriv...@gmail.com wrote: I believe it was Couperin who distinguished between ties and slurs in his manuscripts by using slightly different shapes for each. I don't have my copy of L'art de toucher le clavecin nearby, but I believe the slurs had more squared-off ends and ties had more rounded ends. Too bad Couperin's system didn't catch on. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Tie-placement-in-voiceTwo-tp150033p150074.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: frescobaldi on mac
Hello, First of all, thanks for your work, Davide :-) I installed the portfile and it works without problem. For those who already installed Frescobaldi and want to update next versions this way, macports detects that python-poppler-qt4 is already installed. We need thus to force the installation by macports: port -f activate py27-python-poppler-qt4 On my setup, the same occurred with frescobaldi itself. Note: I doesn't break the former setup. I have now a macports installed stable version, and the github synced hand-made installation. Both are running well (for me, the github synced version is easier to work on the French translation). Philippe -- View this message in context: http://lilypond.1069038.n5.nabble.com/frescobaldi-on-mac-tp139401p150077.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
