Re: updated margins-a4-letter.ly
Graham Percival-2 wrote
> Here's a slightly updated version of my "produce the same score on
> A4 and letter paper". Should be easier to understand.
>
> Valentin, could you add a wishlist for LSR: snippets that don't
> produce any output. I'd like to check a box and have LSR not even
> attempt to compile this snippet; I think it'll complain since it
> doesn't produce any pdf or png. All stylesheets will need this
> extra option.
>
> No, I don't like the "solution" of adding a { c'4 } to the bottom
> of the page.
I recently was needing to solve this same A4 vs Letter paper problem.
Searching the list archives I found this excellent solution already written
by Graham (thanks!). I think it merits being added to the LSR or somewhere
where it can be more easily found and used.
Maybe at this point including it in the LSR with a { c'4 } "hack" is better
than not including it at all? I'd be glad to submit it. (Or should we hold
out for an LSR option for snippets that have no visual output?)
Cheers,
-Paul
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/updated-margins-a4-letter-ly-tp38004p160532.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 2.0.15
Thank You All! On Mar 17, 2014, at 3:43 PM, Davide Liessi wrote: > 2014-03-11 17:19 GMT+01:00 Wilbert Berendsen : >> Frescobaldi 2.0.15 is out. > > ... and is now available in MacPorts. > > Best wishes. > Davide > > ___ > 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: Staff/chords spacing.
Am 17.03.2014 20:42, schrieb David Kastrup:
Simon Albrecht writes:
In more complex situations with \include and several scores in one
file it _is_ useful or even necessary, if you want to have one \layout
definition for all scores in common, but for example remove the
Mark_engraver (from Score) only for one of the scores. At least I did
not find an alternative for \with in this particular case.
\score {
...
\layout {
\context { \Score
\remove "Mark_engraver"
}
}
}
This only changes \layout for the given score.
I didn't make myself clear:
I have a separate .ly file containing a \layout block which is applied
to all scores using
\score {
...
\include "layout.ly"
}
(I tried using an identifier:
myLayout = { \context {...}
\context {...}
}
\score {
...
\layout {
\context {...}
\myLayout
}
}
but multiple errors occurred and
warning: Music unsuitable for output-def
was issued, so I abandoned the try, thinking there would probably some
principal restriction I don't understand)
So as it is, I can't include another layout block with modifications
only for this particular score but for the score being printed twice.
The solution would have been \new Score \with {}, but as I said there
were some errors also and I don't know why. I'll have another look at
that one in order to find out and come up with a minimal example in case
the issue doesn't clear itself in the making.
Best regards,
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new Bach fugue visualization with ly2video!
The demos look really nice! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.15
2014-03-11 17:19 GMT+01:00 Wilbert Berendsen : > Frescobaldi 2.0.15 is out. ... and is now available in MacPorts. Best wishes. Davide ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Frescobaldi] Frescobaldi on MacPorts?
2014-03-14 10:45 GMT+01:00 Davide Liessi : > I submitted the update. > I hope that it will be merged in a couple of days, as usual. The update has been merged and is now available in MacPorts. Best wishes. Davide ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
chord symbol typography
Based on the discussion about minor chords, I had some more general
comments about how lilypond does (or does not) handle chord symbol notation.
Regardless of which symbol choice you make for how to identify chord types,
there are many details of readable chord notation typography that lilypond
does not attempt. We all seem to complain about symbol choice, but that is
not what makes default lilypond chord symbol output wanting.
For example, complaints about not being able to see a dash as a minor could
simply mean that your dash is too small and thin, and/or it is not
sufficiently separated from the other symbols. There is nothing
"unseeable" about a dash--in fact, em dashes are among the widest
characters in any font. I have seen far more instances of people
misreading "G" as "C" or vice versa due to sloppy handwriting than I have
with people not seeing or misreading a dash.
Here is some of what I have identified as good typographic standards (based
on having to tweak lilypond to reconstruct professional looking chord
symbols) that helps clarify the parsing of chord symbols, regardless of
what symbols you choose for chord flavor:
1) Different relative size between: the letter/symbol used to name the
root, the chord type identifiers (maj, min, 7 etc.), and
extensions/alterations. (Incidentally, I treat a the "7" for a dominant as
a chord type identifier, not an extension).
2) Horizontal space after the chord root name/symbols
3) Vertical space below chord type symbols as well as
extensions/alterations
I use a customized chord definition file to handle these treatments, and I
also choose a bolder font for chords, and set an appropriate font size.
On the one hand, once you have a decent file to define your chExceptions,
you are pretty much done. However, it might be nice if lilypond could
understand these categorical differences in symbol treatment to help make
the default output better, as well as to be able to switch fonts without
having to retweak symbol placements as much.
I am curious to hear if anyone has considered or encountered these aspects
of chord symbol typography. Or, is there a way to simplify or generalize
the tweaks I use so that it is more robust.
I am including my chord file, so you can see how all this fussiness works
in practice.
You may note that I prefer the symbols language (triangle=major,
dash=minor, circle=diminished, plus=augmented, empty set=half diminished,
7=dominant), because I believe it to be the most consistent, complete,
compact and unambiguous set of symbols, and is fully well-understood by the
communities that I work with.
\version "2.14.1"
\include "english.ly"
flamingChordNames = {
% Major
1-\markup { \raise #0.7 { \magnify #0.5 { " " \triangle ##f }
\normalsize 7 } }
1-\markup { \raise #0.7 { \magnify #0.5 { " " \triangle ##f }
\normalsize 9 } }
1-\markup { \raise #0.7 { \magnify #0.5 { " " \triangle ##f
} \normalsize 13 } }
1-\markup { \super "6(add9)" }
1-\markup { \raise #0.7 { \magnify #0.5 { " " \triangle ##f
} \normalsize b13 } }
% Minor
1-\markup { \raise #0.6 { \magnify #0.2 { " " } \tiny { \char
##x2013 } \magnify #10 { " " } } }
1-\markup { \raise #0.6 { \magnify #0.2 { " " } \tiny { \char
##x2013 } \magnify #0.2 { " " }} \raise #0.7 \normalsize 6 }
1-\markup { \raise #0.6 { \magnify #0.2 { " " } \tiny {
\char ##x2013 } \magnify #0.1 { " " }} \raise #0.7 \normalsize 7 }
1-\markup { \raise #0.6 { \magnify #0.2 { " " } \tiny { \char
##x2013 } \magnify #0.1 { " " }} \raise #0.7 { \magnify #0.5 { " "
\triangle ##f } \small 7 } }
1-\markup { \raise #0.6 { \magnify #0.2 { " " } \tiny
{ \char ##x2013 } \magnify #0.1 { " " }} \raise #0.7 \normalsize 9 }
1-\markup { \raise #0.6 { \magnify #0.2 { " " }
\tiny { \char ##x2013 } \magnify #0.1 { " " }} \raise #0.7 \normalsize 13 }
% minor7 b13 as "-7 b13"
% 1-\markup { \raise #0.6 { \magnify #0.2 { " " }
\tiny { \char ##x2013 } \magnify #0.1 { " " }} \raise #0.7 { \normalsize 7
} \raise #0.9 { \small b13 } }
% minor7 b13 as "- b13"
1-\markup { \raise #0.6 { \magnify #0.2 { " " }
\tiny { \char ##x2013 } \magnify #0.1 { " " }} \raise #0.9 { \small "
b13" } }
1-\markup { \raise #0.6 { \magnify #0.2 { " " }
\tiny { \char ##x2013 } \magnify #0.1 { " " }} \raise #0.7 \normalsize "9
b13" }
% Dominant (but not lydian dominant)
1-\markup { \raise #0.7 { \normalsize 6 } }
1-\markup { \raise #0.7 { \normalsize 7 } }
1-\markup { \raise #0.7 { \normalsize 9 } }
1-\markup { \raise #0.7 { \normalsize 7 } \raise #0.9 {
\small " b9" } }
1-\markup { \raise #0.7 { \normalsize 7 } \raise #0.9
{ \small " #9" } }
1-\markup { \raise #0.7 { \normalsize 7 }
\raise #3.9 { \tiny \center-column { \lower #1.25 { " b9" } " #9" } } }
1-\markup { \raise #0.7 { \normalsize 13 } }
1-\markup { \raise #0.7 { \normalsize 13 } \raise
#0.9 { \small " b9" } }
1-\markup { \raise #0.7 { \normalsize 7 } \raise #0.9 {
\small " b13" } }
1-\markup { \raise #0.7 { \normalsize 9 } \raise
#0.9 { \small " b13" } }
% Dom
Re: Staff/chords spacing.
Simon Albrecht writes:
> In more complex situations with \include and several scores in one
> file it _is_ useful or even necessary, if you want to have one \layout
> definition for all scores in common, but for example remove the
> Mark_engraver (from Score) only for one of the scores. At least I did
> not find an alternative for \with in this particular case.
\score {
...
\layout {
\context { \Score
\remove "Mark_engraver"
}
}
}
This only changes \layout for the given score.
--
David Kastrup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Am 17.03.2014 20:22, schrieb David Kastrup:
Simon Albrecht writes:
Am 17.03.2014 19:00, schrieb Matthias Hüsken:
On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
Mini example please
~Pierre
Sorry, forgot to post one.
During shortening some code into a mini example, I was actually able
to solve my problem. I'm posting it anyway because I'm not sure it's
the most elegant or clever was of doing.
Short repetition of what I want to achieve:
* a StaffGroup consisting of two Staffs
[the plural is staves, sorry for mentioning]
* a ChordLine in between
* Fixed distances between the staffs
* the ChordLine centered in between.
I can't shake the feeling that my approach may be a bit too
brute-force, but at least it works for me :) If someone has a better
approach, I'd be interested in trying it.
Thanks,
Matthias
It’s nice to see that \new Score \with {} now actually works.
When did it ever _not_ work?
I tried it in one of my scores and it didn’t and doesn’t work. I’ll go
troubleshooting and minimizing then...
I wasn’t aware of that. Brilliant!
Well, nothing one cannot do by either changing the \layout context
definition of Score, or by just putting \override Score.xxx at the start
of the music.
In more complex situations with \include and several scores in one file
it _is_ useful or even necessary, if you want to have one \layout
definition for all scores in common, but for example remove the
Mark_engraver (from Score) only for one of the scores. At least I did
not find an alternative for \with in this particular case.
Cheers, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Simon Albrecht writes:
> Am 17.03.2014 19:00, schrieb Matthias Hüsken:
>> On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
>>> Mini example please
>>> ~Pierre
>>
>> Sorry, forgot to post one.
>>
>> During shortening some code into a mini example, I was actually able
>> to solve my problem. I'm posting it anyway because I'm not sure it's
>> the most elegant or clever was of doing.
>>
>> Short repetition of what I want to achieve:
>> * a StaffGroup consisting of two Staffs
> [the plural is staves, sorry for mentioning]
>> * a ChordLine in between
>> * Fixed distances between the staffs
>> * the ChordLine centered in between.
>>
>> I can't shake the feeling that my approach may be a bit too
>> brute-force, but at least it works for me :) If someone has a better
>> approach, I'd be interested in trying it.
>>
>> Thanks,
>>
>> Matthias
>>
> It’s nice to see that \new Score \with {} now actually works.
When did it ever _not_ work?
> I wasn’t aware of that. Brilliant!
Well, nothing one cannot do by either changing the \layout context
definition of Score, or by just putting \override Score.xxx at the start
of the music.
--
David Kastrup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
Am 17.03.2014 19:00, schrieb Matthias Hüsken:
On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
Mini example please
~Pierre
Sorry, forgot to post one.
During shortening some code into a mini example, I was actually able
to solve my problem. I'm posting it anyway because I'm not sure it's
the most elegant or clever was of doing.
Short repetition of what I want to achieve:
* a StaffGroup consisting of two Staffs
[the plural is staves, sorry for mentioning]
* a ChordLine in between
* Fixed distances between the staffs
* the ChordLine centered in between.
I can't shake the feeling that my approach may be a bit too
brute-force, but at least it works for me :) If someone has a better
approach, I'd be interested in trying it.
Thanks,
Matthias
It’s nice to see that \new Score \with {} now actually works. I wasn’t
aware of that. Brilliant!
Regards, Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff/chords spacing.
On 15.03.2014 09:09, Pierre Perol-Schneider wrote:
Mini example please
~Pierre
Sorry, forgot to post one.
During shortening some code into a mini example, I was actually able to
solve my problem. I'm posting it anyway because I'm not sure it's the
most elegant or clever was of doing.
Short repetition of what I want to achieve:
* a StaffGroup consisting of two Staffs
* a ChordLine in between
* Fixed distances between the staffs
* the ChordLine centered in between.
I can't shake the feeling that my approach may be a bit too brute-force,
but at least it works for me :) If someone has a better approach, I'd be
interested in trying it.
Thanks,
Matthias
\version "2.18.0"
startLine =
{
\overrideProperty Score.NonMusicalPaperColumn.line-break-system-details #'((alignment-distances . (8 6 6)))
\break
}
harmonies = \chordmode
{
c1 a1:m
f1 c1
}
upper = \relative c''
{
\startLine
g4 g e g | g g e g |
\startLine
a f a a | g g e g }
lower = \relative c
{
\startLine
c4 e g c | c,4 e g c |
\startLine
f,4 a c f | c,4 e g c |
}
\new Score
\with
{
\override NonMusicalPaperColumn.line-break-permission = ##f
\override NonMusicalPaperColumn.page-break-permission = ##f
}
{
\new StaffGroup
<<
\new Staff = upper
{
\clef treble
\upper
}
\new ChordNames
{
\override VerticalAxisGroup.staff-affinity = ##f
\harmonies
}
\new Staff = lower
{
\clef bass
\lower
}
>>
}
\layout
{
\context
{
\StaffGroup
\accepts "ChordNames"
}
\context
{
\Score
\remove "Bar_number_engraver"
}
}
\paper
{
set-paper-size = "a4"
systems-per-page = #6
ragged-bottom = ##t
ragged-right = ##f
}
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using LilyPond with Arabic music
Check, it works. You cannot handle to do it with regular Arabic keyboard, I played a little with the Character map and I got the text. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Using-LilyPond-with-Arabic-music-tp32053p160512.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: using a scheme function, but with a different name
David Kastrup wrote > IVvR = #fourquarterRests Ah, of course, that's even better! -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/using-a-scheme-function-but-with-a-different-name-tp160506p160511.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: using a scheme function, but with a different name
Urs Liska wrote
> Can't try out a solution right now, but generally you'd have to write a
> "IVvR" function that internally calls the old implementation, as an
> alias frontend, so to say.
Something like this should work:
\version "2.18.0"
IVvR = #(define-music-function (parser location ANFANG ENDE ) (number?
number? )
#{ \scaleDurations #(cons (+ 1(- ENDE ANFANG)) 1) {R1 } #})
fourquarterRests = #(define-music-function (parser location ANFANG ENDE )
(number? number? )
#{ \IVvR #ANFANG #ENDE #})
{ \fourquarterRests #2 #4 }
{ \IVvR #2 #4 }
HTH,
-Paul
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/using-a-scheme-function-but-with-a-different-name-tp160506p160510.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: using a scheme function, but with a different name
Stefan Thomas writes:
> Dear community,
> I would like to use a scheme-function, but with a different name:
> fourquarterRests = #(define-music-function (parser location ANFANG ENDE )
> (number? number? )
> #{ \scaleDurations #(cons (+ 1(- ENDE ANFANG)) 1) {R1 } #})
>
> I want to use the function with the name "IVvR" but, for backwards
> compatibility, I also want to keep the old name.
> How can I do this?
IVvR = #fourquarterRests
if I understand what you want. The description leaves something to be
desired.
--
David Kastrup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
Robert Schmaus writes: > Oh, I'm sorry. I was looking into the problem some months ago and > found a email correspondence between David kastrup and others about > the removal of the "accepts" technique. I have never seen that it was > later replaced by this new command. There is no new command. The example in the 2.18 manual is exactly the same as in the 2.16 manual. The example in the 2.19 manual has been changed to be "more illustrative", not because the old example would have stopped working. As I wrote: it works as before. Maybe one should put the old example somewhere else as it would appear that it is something that it is specifically something people want to do? -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using a scheme function, but with a different name
Am 17.03.2014 12:21, schrieb Stefan Thomas:
Dear community,
I would like to use a scheme-function, but with a different name:
fourquarterRests = #(define-music-function (parser location ANFANG ENDE )
(number? number? )
#{ \scaleDurations #(cons (+ 1(- ENDE ANFANG)) 1) {R1 } #})
I want to use the function with the name "IVvR" but, for backwards
compatibility, I also want to keep the old name.
How can I do this?
Can't try out a solution right now, but generally you'd have to write a
"IVvR" function that internally calls the old implementation, as an
alias frontend, so to say.
Or (if the implementation has changed significantly too):
Write a new "internal" function and write two "interface" functions with
the desired old and new names that _use_ that internal function.
Good luck
Urs
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
using a scheme function, but with a different name
Dear community,
I would like to use a scheme-function, but with a different name:
fourquarterRests = #(define-music-function (parser location ANFANG ENDE )
(number? number? )
#{ \scaleDurations #(cons (+ 1(- ENDE ANFANG)) 1) {R1 } #})
I want to use the function with the name "IVvR" but, for backwards
compatibility, I also want to keep the old name.
How can I do this?
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
Oh, I'm sorry. I was looking into the problem some months ago and found a email correspondence between David kastrup and others about the removal of the "accepts" technique. I have never seen that it was later replaced by this new command. My apologies! Also for sending an accidental reply just a couple of minutes ago ... > Please don't spread rumors. It works as before: > > http://lilypond.org/doc/v2.18/Documentation/notation/context-layout-order> > > This has been fixed in 2.17.30, issue 3641. So it most definitely does > not preclude you from moving to 2.18 or 2.19 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
Robert Schmaus writes: > - > Von meinem Fliewatüüt gesendet. [full-quote without content elided] I think Jazz musicians really should get off the habit of only writing - when it would be so much easier to get their meaning if they were just a bit more verbose. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
- Von meinem Fliewatüüt gesendet. > On 17 Mar 2014, at 11:57, David Kastrup wrote: > > Robert Schmaus writes: > >> So, again, it boils down to whatever works. There's no standard to >> this, and frankly, I've never experienced that as a problem. Jazz >> music is improvised music, and I don't know a jazz musician who has >> problems "improvising" here as well. Everyone has different >> preferences, sure, but problems reading different styles - not at all. >> My own preference for C-Δ7 over, say, Cmmaj7 is simply a question of >> space: the latter takes up WAY too much of it (in particular as this >> chord often appears as a transition between C- and C-7 and uses only >> half a bar). >> >> But there's another thing that surprises me in this discussion: I >> always thought that Lilypond is mainly being used and intended for >> "classical" (exact) music. >> Now I have the impression that indeed many use it for jazz sheets as >> we'll - I, myself, use LP only for that, but can't move from version >> 2.16 to 17 or 18, because the possibility to have Staffs accept chord >> names has been removed. > > Please don't spread rumors. It works as before: > > http://lilypond.org/doc/v2.18/Documentation/notation/context-layout-order> > > This has been fixed in 2.17.30, issue 3641. So it most definitely does > not preclude you from moving to 2.18 or 2.19. > >> That is, however a common notation practice in jazz music. Is there an >> obvious replacement for this that I haven't seen yet ... or is no one >> but me using that notation style in LP? > > N/A > > -- > David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
Robert Schmaus writes: > So, again, it boils down to whatever works. There's no standard to > this, and frankly, I've never experienced that as a problem. Jazz > music is improvised music, and I don't know a jazz musician who has > problems "improvising" here as well. Everyone has different > preferences, sure, but problems reading different styles - not at all. > My own preference for C-Δ7 over, say, Cmmaj7 is simply a question of > space: the latter takes up WAY too much of it (in particular as this > chord often appears as a transition between C- and C-7 and uses only > half a bar). > > But there's another thing that surprises me in this discussion: I > always thought that Lilypond is mainly being used and intended for > "classical" (exact) music. > Now I have the impression that indeed many use it for jazz sheets as > we'll - I, myself, use LP only for that, but can't move from version > 2.16 to 17 or 18, because the possibility to have Staffs accept chord > names has been removed. Please don't spread rumors. It works as before: http://lilypond.org/doc/v2.18/Documentation/notation/context-layout-order> This has been fixed in 2.17.30, issue 3641. So it most definitely does not preclude you from moving to 2.18 or 2.19. > That is, however a common notation practice in jazz music. Is there an > obvious replacement for this that I haven't seen yet ... or is no one > but me using that notation style in LP? N/A -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minor chords (and a possible transition to a new topic)
So, again, it boils down to whatever works. There's no standard to this, and frankly, I've never experienced that as a problem. Jazz music is improvised music, and I don't know a jazz musician who has problems "improvising" here as well. Everyone has different preferences, sure, but problems reading different styles - not at all. My own preference for C-Δ7 over, say, Cmmaj7 is simply a question of space: the latter takes up WAY too much of it (in particular as this chord often appears as a transition between C- and C-7 and uses only half a bar). But there's another thing that surprises me in this discussion: I always thought that Lilypond is mainly being used and intended for "classical" (exact) music. Now I have the impression that indeed many use it for jazz sheets as we'll - I, myself, use LP only for that, but can't move from version 2.16 to 17 or 18, because the possibility to have Staffs accept chord names has been removed. That is, however a common notation practice in jazz music. Is there an obvious replacement for this that I haven't seen yet ... or is no one but me using that notation style in LP? Best, Robert - Von meinem Fliewatüüt gesendet. > On 17 Mar 2014, at 10:12, Marc Hohl wrote: > > Am 17.03.2014 01:45, schrieb Jim Long: >>> I understand the Cmi7, too, but when sketching >>> some chords on paper during a Jazz session, a simple "-" is >>> way faster to write than "mi" all the way. >>> >>> So it's rather a matter of personal taste IMHO. >>> >>> Just my 2 cents >>> >>> Marc >> >> With great respect, I beg to add, >> >> Beware of "shortcuts" which are for the benefit of the writer. >> IMO, engraving decisions should be made for the benefit of the >> reader. > > Yep, that's true. I was unclear in my answer above: the first > "Real Book" was a collection of songs written by Steve Swallow. > He used the "-" sign for the whole book AFAIK. > After his collection got copied over and over again, most > musicians got accustomed to this style. So I think it's a matter > of habit. > > Speaking for myself, I'd prefer a C-7 over a Cmi7, and a C-Δ > over Cmmaj7. But I can play both ;-) > > Marc > > > ___ > 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: minor chords
Am 17.03.2014 01:45, schrieb Jim Long: I understand the Cmi7, too, but when sketching some chords on paper during a Jazz session, a simple "-" is way faster to write than "mi" all the way. So it's rather a matter of personal taste IMHO. Just my 2 cents Marc With great respect, I beg to add, Beware of "shortcuts" which are for the benefit of the writer. IMO, engraving decisions should be made for the benefit of the reader. Yep, that's true. I was unclear in my answer above: the first "Real Book" was a collection of songs written by Steve Swallow. He used the "-" sign for the whole book AFAIK. After his collection got copied over and over again, most musicians got accustomed to this style. So I think it's a matter of habit. Speaking for myself, I'd prefer a C-7 over a Cmi7, and a C-Δ over Cmmaj7. But I can play both ;-) Marc ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: Replace dot symbol?
Am 17.03.2014 04:59, schrieb Paul Morris: Simon Albrecht-2 wrote Interesting question: the Internals Reference says the stencil for Dots is ly:dots::print. But where is this defined? Where can I look it up? I think at this point the next step is to try to find this callback function in the source code itself. Maybe a search for "ly:dots::print" on the source files? (I think that looks like C++ syntax with the double colons.) It's defined in lily/dots.cc as Dots::print. It uses the dots.dot glyph from the feta font (or the vaticana counterpart) – but this is hardcoded and not changeable without rewriting the complete stencil function. HTH, Marc -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Replace-dot-symbol-tp160473p160492.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: Temporary polyphony with lyrics
...or even:
\version "2.18.0"
<<
\new Voice = "first" {
a'4
<<
{
\voiceOne
g' f'
}
\new Voice = "second" {
\voiceTwo
d'2
}
>>
\oneVoice
e'4
}
\new Lyrics \lyricsto "first" {
One One One
}
\new Lyrics \lyricsto "second" {
Two
}
>>
(Slightly modified example from
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices )
On 17 March 2014 09:20, David Stephen Grant wrote:
> Hello,
> A suggestion using spacer notes in the second voice.
> Best,
> David
>
> \version "2.18.0"
>
>
> <<
>
> \new Staff {
>
> <<
>
> \new Voice = "first"
>
> \relative c' {
>
> \voiceOne
>
> c1
>
> c'1
>
> c,1
>
> }
>
>
> \new Voice = "second"
>
> \relative c' {
>
> \voiceTwo
>
> s1
>
> c1
>
> s1
>
> }
>
> >>
>
> }
>
>
> \new Lyrics {
>
> \lyricsto "first" {
>
> One one one
>
> }
>
> }
>
>
> \new Lyrics {
>
> \lyricsto "second" {
>
> two
>
> }
>
> }
>
> >>
>
>
> On 17 March 2014 05:34, TaoCG wrote:
>
>> Hey all,
>>
>> I have a one-staff vocal part where I need somewhere in the middle a
>> temporary two-voice part withe different lyrics to each voice but my
>> attempts so far have failed and I have the feeling that I'm trying to
>> solve
>> this the wrong way.
>> I prepared a minimal example and what strikes me as odd is that after the
>> temporary polyphony all notes are registered on the same time as if
>> duration
>> wasn't important anymore.
>> I also tried \set associatedVoice with named voices instead of \addlyrics
>> but then the lyrics simply won't show.
>>
>> \version "2.18.0"
>>
>> foo = \relative
>> {
>> \voiceOne
>> c'1
>> }
>> \addlyrics { foo }
>>
>> barr = \relative
>> {
>> \voiceTwo
>> c''1
>> }
>> \addlyrics { bar }
>>
>> music = \relative
>> {
>> c'1
>> << \foo \\ \barr >>
>> c1 c2
>> }
>>
>> text = \lyricmode
>> {
>> text here
>> }
>>
>> \score
>> {
>> <<
>> \new Staff \new Voice = "v" \music
>> \new Lyrics \lyricsto "v" \text
>> >>
>> }
>>
>>
>>
>> --
>> View this message in context:
>> http://lilypond.1069038.n5.nabble.com/Temporary-polyphony-with-lyrics-tp160493.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: Temporary polyphony with lyrics
Hello,
A suggestion using spacer notes in the second voice.
Best,
David
\version "2.18.0"
<<
\new Staff {
<<
\new Voice = "first"
\relative c' {
\voiceOne
c1
c'1
c,1
}
\new Voice = "second"
\relative c' {
\voiceTwo
s1
c1
s1
}
>>
}
\new Lyrics {
\lyricsto "first" {
One one one
}
}
\new Lyrics {
\lyricsto "second" {
two
}
}
>>
On 17 March 2014 05:34, TaoCG wrote:
> Hey all,
>
> I have a one-staff vocal part where I need somewhere in the middle a
> temporary two-voice part withe different lyrics to each voice but my
> attempts so far have failed and I have the feeling that I'm trying to solve
> this the wrong way.
> I prepared a minimal example and what strikes me as odd is that after the
> temporary polyphony all notes are registered on the same time as if
> duration
> wasn't important anymore.
> I also tried \set associatedVoice with named voices instead of \addlyrics
> but then the lyrics simply won't show.
>
> \version "2.18.0"
>
> foo = \relative
> {
> \voiceOne
> c'1
> }
> \addlyrics { foo }
>
> barr = \relative
> {
> \voiceTwo
> c''1
> }
> \addlyrics { bar }
>
> music = \relative
> {
> c'1
> << \foo \\ \barr >>
> c1 c2
> }
>
> text = \lyricmode
> {
> text here
> }
>
> \score
> {
> <<
> \new Staff \new Voice = "v" \music
> \new Lyrics \lyricsto "v" \text
> >>
> }
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Temporary-polyphony-with-lyrics-tp160493.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
