Re: LilyJAZZ in v2.18
2014-05-15 0:48 GMT+02:00 Stan Sanderson stans...@gmail.com: Thanks for sharing your research and source files. Looks good, Much fun! You're welcome Stan. 2014-05-15 16:05 GMT+02:00 MarcM m...@mouries.net: if the work is open source, can LilyJAZZ be integrated with Lilypond? I think we are a little far from that. One more thing though : I forgot to say that for some reason the apostrphe is lacking in the LilyJAZZ font. I've hacked it with a terrible code in my scores but if anyone could fix that it would be great (I've never worked on any font). Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: two staves different unequal time signatures
Also http://lilypondblog.org/2014/05/independent-meters/ -- Phil Holmes - Original Message - From: Andrew Bernard To: i...@soundand.com ; lilypond-user@gnu.org Sent: Sunday, May 25, 2014 4:26 AM Subject: Re: two staves different unequal time signatures Jay, Perhaps the section in the manual under Polymetric Notation, section 1.2.3 is what you want? Andrew -- ___ 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: Problems with DC al Fine template
Personally, I'd put the DC below the staff in this situation:
\version 2.18.0
accords = \chordmode {
c1 c2 f g c f g g1 c c2 c |
}
alignRight = \once \override Score.RehearsalMark.self-alignment-X = #RIGHT
dc = \markup { \tiny \italic D.C. al Fine }
melody = \relative c' {
c'4 c c b |
c8 b a g f g a f |
b a g f e f g e |
a g f e d e f fis |
g2 g |
c4 c c d |
e8 f e d \alignRight c2 _\dc |
}
basePart =
\new ChordNames { \accords }
\new Staff
\new Voice = melody { \repeat volta 2 { \melody } }
\score {
\basePart
\layout {
}
}
Knute Snortum
(via Gmail)
On Sat, May 24, 2014 at 10:14 AM, Yann yann@free.fr wrote:
2014-05-24 18:20 GMT+02:00 Yann yann@free.fr:
Hello !
(I don't include my previous post which can be seen here :
http://lists.gnu.org/archive/html/lilypond-user/2014-05/msg00359.html
)
Just to say, I solved my issue #1, with the lines numbers, just by
removing the lines
\consists Mark_engraver
\consists Staff_collecting_engraver
and
\remove Mark_engraver
\remove Staff_collecting_engraver
I don't remember why I did put these, maybe I adapted a snippet I
found somewhere that had them.
Yann
Ok, I was too quick to post, now I remember the reason for these
\consists and \remove statements. I have chords in my template, and I
wanted the Fine and DC marks to be printed just above the staff
(that is, between the chords and the staff). About this, where would
you put the marks ? Between chords and staff, or above chords ?
But I discovered it can be achieved by keeping the lines related to
Mark_engraver. the \removeStaff_collecting_engraver seems to be
the one messing with the measure number position.
so my (reduced) working example is as follows :
\version 2.18.0
\paper { #(set-paper-size a4) }
accords = \chordmode {
c1 c2 f g c f g g1 c c2 c |
}
melody = \relative c' {
c'4 c c b |
c8 b a g f g a f |
b a g f e f g e |
a g f e d e f fis |
g2 g |
c4 c c d |
e8 f e d c2\once \override Score.RehearsalMark.self-alignment-X =
#RIGHT \mark \markup { \tiny \italic D.C. al Fine } |
}
% Staves
basePart =
\new ChordNames { \accords }
\new Staff \with {
\consists Mark_engraver
}
\new Voice = melody { \repeat volta 2 { \melody } }
\book {
\score {
\basePart
\layout {
\context {
\Score
\remove Mark_engraver
}
}
}
}
Yann
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Re: two staves different unequal time signatures
The link is what I wanted the polymetric section didn't 'seem' to describe what the link showed. Thanks to all. Jay On 2014-05-25 04:50, Phil Holmes wrote: Also http://lilypondblog.org/2014/05/independent-meters/ [2] -- Phil Holmes - Original Message - FROM: Andrew Bernard TO: i...@soundand.com ; lilypond-user@gnu.org SENT: Sunday, May 25, 2014 4:26 AM SUBJECT: Re: two staves different unequal time signatures Jay, Perhaps the section in the manual under Polymetric Notation, section 1.2.3 is what you want? Andrew - ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user [1] Links: -- [1] https://lists.gnu.org/mailman/listinfo/lilypond-user [2] http://lilypondblog.org/2014/05/independent-meters/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: handbells
On Sun, May 25, 2014 at 9:52 AM, David Nalesnik david.nales...@gmail.comwrote: To make a part for an individual player, you call \colorPitch, That would be \colorPitches... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Fwd: handbells
Oops,
Forgot to reply all... (Messages to the list are now slightly out of
sequence.)
-- Forwarded message --
From: David Nalesnik david.nales...@gmail.com
Date: Sun, May 25, 2014 at 9:52 AM
Subject: Re: handbells
To: mark damerell markdamer...@googlemail.com
Hi again,
On Sun, May 25, 2014 at 5:43 AM, mark damerell
markdamer...@googlemail.comwrote:
Thank you, it does some of it. Mark
OK, in that case, here's an expanded set of functions.
To make a part for an individual player, you call \colorPitch, which takes
a music expression containing the pitches to color and the color to use.
In the example, I store information for players in variables for
convenience.
You can color any number of pitches for a player.
The octave matters, of course.
Note that if a ringer has both D# and Eb, you need to put _both_ in the
music expression. (Something could be worked out for enharmonics, I
suppose.)
Anyway, hope this helps!
David
\version 2.18.2
#(define (get-pitch elt)
(ly:music-property elt 'pitch))
#(define (extract-pitches lst result)
(cond
((null? lst) result)
((ly:pitch? (get-pitch (car lst)))
(set! result (append result (list (get-pitch (car lst)
(extract-pitches (cdr lst) result))
((ly:music-property (car lst) 'elements)
(append
(extract-pitches (ly:music-property (car lst) 'elements) result)
(extract-pitches (cdr lst) result)))
(else (extract-pitches (cdr lst) result
colorPitches =
#(define-music-function (parser location mus col) (ly:music? color?)
(let* ((music-list (extract-named-music mus '(EventChord NoteEvent)))
(pitch-list (extract-pitches music-list '(
#{
\override NoteHead.color =
#(lambda (grob)
(let ((pitch (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
(if (member pitch pitch-list)
col)))
#}))
EXAMPLE %%
playerI = \relative c'' { g bes }
playerII = \relative c' { c d dis } % works for chords too
upper = \relative c' {
c4 cis d dis e f fis g gis a bes b c
}
\score {
\new Staff \upper
\layout { }
}
\score {
\new Staff {
\colorPitches \playerI #green
\upper
}
\layout { }
}
\score {
\new Staff {
\colorPitches \playerII #red
\upper
}
\layout { }
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Re: handbells
On Sun, May 25, 2014 at 10:06 AM, David Nalesnik
david.nales...@gmail.comwrote:
(Something could be worked out for enharmonics, I suppose.)
OK, this handles enharmonics:
\version 2.18.2
#(define (get-pitch elt)
(ly:music-property elt 'pitch))
#(define (extract-pitches lst result)
(cond
((null? lst) result)
((ly:pitch? (get-pitch (car lst)))
(set! result (append result (list (get-pitch (car lst)
(extract-pitches (cdr lst) result))
((ly:music-property (car lst) 'elements)
(append
(extract-pitches (ly:music-property (car lst) 'elements) result)
(extract-pitches (cdr lst) result)))
(else (extract-pitches (cdr lst) result
colorPitches =
#(define-music-function (parser location mus col) (ly:music? color?)
(let* ((music-list (extract-named-music mus '(EventChord NoteEvent)))
(pitch-list (extract-pitches music-list '(
#{
\override NoteHead.color =
#(lambda (grob)
(let ((pitch (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
(if (any
(lambda (x) (= (ly:pitch-semitones pitch) (ly:pitch-semitones x)))
pitch-list)
col)))
#}))
EXAMPLE %%
playerI = \relative c'' { g bes }
playerII = \relative c' { c d dis } % works for chords too
upper = \relative c' {
c4 cis d dis es f fis fisis g aeses gis a ais bes b c
}
\score {
\new Staff \upper
\layout { }
}
\score {
\new Staff {
\colorPitches \playerI #green
\upper
}
\layout { }
}
\score {
\new Staff {
\colorPitches \playerII #red
\upper
}
\layout { }
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RE: LilyJAZZ in v2.18
From: Pierre Perol-Schneider [mailto:pierre.schneider.pa...@gmail.com] Sent: Sunday, May 25, 2014 5:51 AM To: MarcM Cc: lilypond-user Subject: Re: LilyJAZZ in v2.18 2014-05-15 16:05 GMT+02:00 MarcM m...@mouries.net: if the work is open source, can LilyJAZZ be integrated with Lilypond? I think we are a little far from that. Urs, can it now at least be safely included in OpenLilyLib? DR ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: LilyJAZZ in v2.18
On 25. Mai 2014 18:01:39 MESZ, Daniel Rosen drose...@gmail.com wrote: From: Pierre Perol-Schneider [mailto:pierre.schneider.pa...@gmail.com] Sent: Sunday, May 25, 2014 5:51 AM To: MarcM Cc: lilypond-user Subject: Re: LilyJAZZ in v2.18 2014-05-15 16:05 GMT+02:00 MarcM m...@mouries.net: if the work is open source, can LilyJAZZ be integrated with Lilypond? I think we are a little far from that. Urs, can it now at least be safely included in OpenLilyLib? Yes, that's what I've been saying for some time. I can't because I don't know it enough. So someone should either make a pull request or send me a reasonably complete zip file. Best Urs DR -- Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyJAZZ in v2.18
2014-05-25 18:26 GMT+02:00 Uns Liska u...@openlilylib.org: Yes, that's what I've been saying for some time. I can't because I don't know it enough. So someone should either make a pull request or send me a reasonably complete zip file. Ok Urs, no problem with that. What I meant is that I think it's too early at that stage. Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [SPAM] Re: LilyJAZZ in v2.18
Am 25.05.2014 19:43, schrieb Pierre Perol-Schneider: 2014-05-25 18:26 GMT+02:00 Uns Liska u...@openlilylib.org: Yes, that's what I've been saying for some time. I can't because I don't know it enough. So someone should either make a pull request or send me a reasonably complete zip file. Ok Urs, no problem with that. What I meant is that I think it's too early at that stage. What exactly do you mean? Of course LilyPond isn't in a state to allow font switching easily and it is of course not ready to have any alternative fonts to be included. But I think things like LilyJAZZ can safely be included in the openLilyLib snippets. It can be used, it is used, it is discussed and referenced, and it can be made work very easily in the context of the sinppets repo. It's one of its purposes to make stuff available that is useful but for any reason inappropriate for inclusion in LilyPond itself. Best Urs Cheers, Pierre ___ 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
Setting accent notes in a drum staff
Hi everybody, I'm trying to use Lilypond to typeset drum notes for a bigband. While this might not be the area, where Lilypond shines the most, I've had considerable success so far. Now however, I'm stuck. Especially in Swing/Jazz music, notation is sometimes quite minimal, the whole sheet consisting more or less only of \repeat percent something. What is quite common is the notation of unison accents as some kind of second voice above the line (see [0] for an example. The small notes on top of the line are basically the rhythm of what the whole band plays at that point. The notes are quite a bit smaller than what would be on the line, if there was something). Can I somehow (preferably easily) do something like this in Lilypond? If yes: how? If read the documentation and browsed throught snippets etc., but I don't seem to use the right search terms (quite possible, as I have no idea, how those notes are actually called). Thanks for your patience. So long, Markus [0] http://test.slash-me.net/accents.jpg ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Setting accent notes in a drum staff
On Sun, May 25, 2014 at 10:45:42PM +0200, Markus Brueckner wrote:
Hi everybody,
Especially in Swing/Jazz music, notation is sometimes quite minimal, the
whole sheet consisting more or less only of \repeat percent something.
What is quite common is the notation of unison accents as some kind of
second voice above the line (see [0] for an example. The small notes
on top of the line are basically the rhythm of what the whole band plays
at that point. The notes are quite a bit smaller than what would be on
the line, if there was something).
I create lead sheets with rhythmic cues using something like:
(this is older 2.16-ish syntax, but should still work with 2.18.
Adjust some of these values to suit your taste.)
rhythmMarks = \new RhythmicStaff \with {
\override StaffSymbol #'line-count = #0
\override StaffSymbol #'staff-space = #(magstep -3)
\override StaffSymbol #'stencil = ##f
\override BarLine #'stencil = ##f
\override NoteHead #'style = #'slash
\override TimeSignature #'transparent = ##t
\override VerticalAxisGroup
#'staff-staff-spacing =
#'((basic-distance . 0)
(minimum-distance . 0)
(padding . 1.0))
} {
\set fontSize = #-4
\stemDown
s1*4
s1*20
s1*16
s1*16
s1*8
r4 b- r r | r4 b- r r
r8 b b[ b] b[ b] b[ b] | b r r b ~ b2
} % rhythmMarks
I then include that as simultaneous music, something like:
\score {
\harmonies
\rhythmMarks
\melody
}
I hope that gives you some ideas. I'm attaching a lame example that I had
sitting around already. The rhythms variable is the important one.
There's a lot of other cruft in the other simultaneous contexts
that isn't strictly pertinent to your question.
Jim
\version 2.16.2
%\paper { annotate-spacing = ##t }
melody = \new Staff \with {
\override VerticalAxisGroup
#'staff-staff-spacing = #'(
(basic-distance . 0)
(minimum-distance . 0)
(padding . 0)
)
} { % 20 bars
\repeat unfold 4 { g4 g'' g'' g'' } \break
\repeat unfold 4 { g4 g'' g'' g'' } \break
\repeat unfold 4 { g4 g'' g'' g'' } \break
\repeat unfold 4 { g4 g'' g'' g'' } \break
\repeat unfold 4 { g4 g'' g'' g'' } \break
} % melody
harmonies = \new ChordNames \with {
\override VerticalAxisGroup
#'staff-staff-spacing = #'(
(basic-distance . 0)
(minimum-distance . 0)
(padding . 0)
)
} \chordmode { % 20 bars
\repeat unfold 5 { c2 a2:m | f2 g2 | s4 c s a:m | f2 g2 }
} % harmonies
rhythms = \new RhythmicStaff \with {
\override StaffSymbol #'line-count = #0
\override StaffSymbol #'staff-space = #(magstep -3)
\override BarLine #'stencil = ##f
\override TimeSignature #'stencil = ##f
\override NoteHead #'style = #'slash
\override VerticalAxisGroup
#'staff-staff-spacing = #'(
(basic-distance . 0)
(minimum-distance . 0)
(padding . 0.5)
)
fontSize = #-2
} { % 20 bars
\stemDown
s1*8
s1 s1 | r4 b r b | b r b r
s1*4
s1 s1 | r4 b r b | b r b r
} % rhythms
\score {
\harmonies
\rhythms
\melody
\layout {
\context { \Staff \RemoveEmptyStaves }
\context { \RhythmicStaff \RemoveEmptyStaves }
}
}
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Re: handbells
Hi again,
Thinking about this some more, I realized that there is a bit of redundant
calculation going on: the pitches to be colored are extracted each time the
function \colorPitches is called. While the wasted time probably wouldn't
be noticeable with the two or three notes a handbell player would have in
circulation, it bugs me. It might be noticeable if you were to do
something like color the range held in common between two instrumental
parts--don't know why you'd want to, but there it is.
The attached uses a new function \extractPitches which returns a list of
the pitches used in a music expression. This might be useful for other
purposes.
[BTW, there's a correction in extract-pitches.]
HTH,
David
On Sun, May 25, 2014 at 10:47 AM, David Nalesnik
david.nales...@gmail.comwrote:
On Sun, May 25, 2014 at 10:06 AM, David Nalesnik david.nales...@gmail.com
wrote:
(Something could be worked out for enharmonics, I suppose.)
OK, this handles enharmonics:
\version 2.18.2
#(define (get-pitch elt)
(ly:music-property elt 'pitch))
#(define (extract-pitches lst result)
(cond
((null? lst) result)
((ly:pitch? (get-pitch (car lst)))
(set! result (append result (list (get-pitch (car lst)
(extract-pitches (cdr lst) result))
((ly:music-property (car lst) 'elements)
(append
(extract-pitches (ly:music-property (car lst) 'elements) result)
(extract-pitches (cdr lst) '(
(else (extract-pitches (cdr lst) result
extractPitches =
#(define-scheme-function
(parser location lst)
(ly:music?)
(extract-pitches
(extract-named-music lst '(EventChord NoteEvent))
'()))
colorPitches =
#(define-music-function (parser location pitch-list col)
(list? color?)
#{
\override NoteHead.color =
#(lambda (grob)
(let ((pitch (ly:event-property (ly:grob-property grob 'cause) 'pitch)))
(if (any
(lambda (x) (= (ly:pitch-semitones pitch) (ly:pitch-semitones x)))
pitch-list)
col)))
#})
EXAMPLE %%
upper = \relative c' {
c cis d dis es f fis fisis g aeses gis a ais bes b c
}
% \colorPitches takes a list of pitches. These may be specified using the Scheme
% function ly:make-pitch or they can be extracted from a music expression, using
% the function \extractPitches
playerI = #(list (ly:make-pitch 0 1 0) (ly:make-pitch 0 4 1/2))
playerII = \extractPitches { \relative c' { cis es g } }
\score {
\new Staff \upper
\layout { }
}
\score {
\new Staff {
\colorPitches \playerI #blue
\upper
}
\layout { }
}
\score {
\new Staff {
\colorPitches \playerII #green
\upper
}
\layout { }
}
\score {
\new Staff {
\colorPitches \extractPitches { \relative c' { fis ais } } #yellow
\upper
}
\layout { }
}
% demonstrates \extractPitches
%#(display #{ \extractPitches \upper #})___
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[WAS: Re: handbells] Tabulating notes used in a score
Hi all,
FWIW, here's something which tabulates the notes used in an excerpt and
presents them in ascending order.
I think this might be useful in handbell music (which the example assuredly
is not).
Any suggestions for improving this are welcome.
--David
\version 2.18
#(define (get-pitch elt)
(ly:music-property elt 'pitch))
#(define (extract-pitches lst result)
(cond
((null? lst) result)
((ly:pitch? (get-pitch (car lst)))
(set! result (append result (list (get-pitch (car lst)
(extract-pitches (cdr lst) result))
((ly:music-property (car lst) 'elements)
(append
(extract-pitches (ly:music-property (car lst) 'elements) result)
(extract-pitches (cdr lst) '(
(else (extract-pitches (cdr lst) result
extractPitches =
#(define-scheme-function
(parser location lst)
(ly:music?)
(extract-pitches
(extract-named-music lst '(EventChord NoteEvent))
'()))
%% quoted/adapted from http://lsr.di.unimi.it/LSR/Snippet?id=122
#(define (make-note-req p d)
(make-music 'NoteEvent
'duration d
'pitch p))
#(define (make-note elts)
(make-music 'EventChord
'elements elts))
#(define (seq-music-list elts)
(make-music 'SequentialMusic
'elements elts))
notesFromPitchList =
#(define-scheme-function
(parser location lst)
(list?)
(seq-music-list
(map
(lambda (pitch)
(make-note (list (make-note-req pitch (ly:make-duration 2 0)
(sort
(delete-duplicates lst)
(lambda (a b) (ly:pitch? a b))
%% EXAMPLE %
%% Music taken from http://www.lilypond.org/doc/v2.19/Documentation/b9/lily-02539259.ly
global = { \key g \minor}
partI = \relative c' {
\voiceOne
fis8 d' ees g, fis4 g
r8 a16 bes c8 bes16 a d8 r r4
r2 r8 d16 ees f8 ees16 d
ees4 ~ 16 d c bes a4 r8 ees'16 d
c8 d16 ees d8 e16 fis g8 fis16 g a4 ~
8 d, g f ees d c bes
a2 g\fermata \bar |.
}
partII = \relative c' {
\voiceTwo
d4 r4 r8 d'16 c bes8 c16 d
ees8 d c ees a, r r4
r8 fis16 g a8 g16 fis g2 ~
2 r8 d' ees g,
fis4 g r8 a16 bes c8 bes16 a
bes4. g b8 a c r d, g r
ees g4 d fis d2
}
partIII = \relative c' {
\voiceOne
r2 r8 d ees g, fis4 g r8 a16 bes c8 bes16 a
bes2 ~ 8 b16 a g8 a16 b
c4 r r2
R1
r8 d ees g, fis4 g
r8 a16 bes c8 bes16 a b2
}
partIV = \relative c {
\voiceTwo
d4 r r2
r8 d ees g, fis4 a
d,8 d'16 c bes8 c16 d ees2 ~
8 ees16 d c8 d16 ees fis,8 a16 g fis8 g16 a
d,8 d'16 c bes8 c16 d ees8 c a fis'
g f ees d c bes a g
c a d d, g2\fermata
}
%% \score and \layout must be stripped when assigning music expression to variable?
Bach =
\set Score.currentBarNumber = #28
\bar
\new PianoStaff
\new Staff = RH
\global
\new Voice = voiceI { \partI }
\new Voice = voiceII { \partII }
\new Staff = LH
\clef bass
\global
\new Voice = voiceIII { \partIII }
\new Voice = voiceIV { \partIV }
%% full score
\score {
\Bach
\layout {
\context {
\Staff
\remove Time_signature_engraver
}
\context {
\PianoStaff
\override StaffGrouper.staff-staff-spacing.padding = #1
}
}
}
% How many notes?
\markup {
\line {
There are
#(number-string
(length
(delete-duplicates
#{ \extractPitches \Bach #})))
different pitches in this excerpt.
}
}
%% pitches used in example, in ascending order
\markup \vspace #1
\markup { Notes used: }
notesUsed = \notesFromPitchList \extractPitches \Bach
\score {
\new StaffGroup
\new Staff = up {
\global
#(skip-of-length #{ \notesUsed #})
}
\new Staff = down {
\clef bass
\global
\autochange { \notesUsed }
}
}
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Grace notes placed at the end of the prior bar
This typeset places grace notes in the prior bar (see attached). How could this be accomplished? LilyPond NR/site is down today :( Thanks! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
