Re: Feedback Request for Music Fonts
Abraham, How wonderful it was to experiment with these new fonts. In particular, I enjoyed the documentation. It was exceptionally clear how to use them (including the 2.18 patch, though I ended up upgrading to 2.19 anyway.) The .ily files that demonstrated the fine tuning were really helpful and pointed the way to really customizing things. This is the first time I have felt that I can really start to control the visual aspect of Lilypond output. I have not yet attempted to do the mixing/matching between fonts, but expect to do so at some point, as I found that I preferred different aspects of different fonts. The single font I like best is Cadence. While it doesn't seem to have any truly characteristic glyphs or implicit swagger, it has the best balance of glyph sizing. In particular, the natural/flat/sharp symbol size, as compared to the note heads (large but not too large), as well as their relative size to each other (some fonts seemed to have sharps that were much bigger than flats, etc.) seemed to be what I noticed and cared about most when comparing the fonts in actual use. Beyond that, I tended to like larger, curvier flags (Paganini, Haydn, Sorlatti) and medium sized articulations (Beethoven, Cadence, Paganini), so once I narrowed the fonts down based on the accidentals, these other considerations led me to choose Cadence as my go-to font. I've also found Scorlatti to be very elegant where there aren't so many accidentals. I know that your work on the LilyJAZZ font was more about completing it, than designing it, so this comment really isn't directed towards you. On the one hand, I really like the concept of a handwriting-style font. But LilyJAZZ seems more like a display font, than one you would actually want to use to typeset a whole piece. Thanks again for your amazing work. I hope enough folks kick down some paypal love to make this worth your while! David Elaine Alt 415 . 341 .4954 *Confusion is highly underrated* ela...@flaminghakama.com self-immolation.info skype: flaming_hakama Producer ~ Composer ~ Instrumentalist -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Using \partcombine with explicit voices
Hi,
I'm trying for the first time to engrave partcombine-d parts, and I'm
running in an issue for which I don't see anything in
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#automatic-part-combining.
Consider the attached example. As it it it compiles fine. But if you
exchange the comments and use the lines the explicitly instantiate the
voices for the music variables it doesn't work - lily complains about
clashing note columns and gives the attached output.
It seems that \partcombine doesn't work when the two music expressions
are enclosed in explicit voices. Is that true? is that expected? is that
necesary?
This poses problems for me because in the current context I'm forced to
enclose a number of consecutive music variables in one Voice context in
order to be able to write spanners or slurs that cross variables (i.e.
start in one and end in the other).
Is there a solution for my problem, either by making some settings so
\partcombine works or by massaging the Voice context to spit out a
bare music expression again?
TIA
Urs
\version 2.19.16
fluteI = \new Voice \relative c'' {
%fluteI = \relative c'' {
c4 b8 a b4 c8 g | a1
}
fluteII = \new Voice \relative e' {
%fluteII = \relative e' {
e4 d c8 b a e' |
fis1
}
flute = \new Voice {
\fluteI \fluteII
}
\score {
\new Staff {
\partcombine
\fluteI
\fluteII
}
}___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
From: Urs Liska u...@openlilylib.org Hi, I'm trying for the first time to engrave partcombine-d parts, and I'm running in an issue for which I don't see anything in http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#automatic-part-combining. Consider the attached example. As it it it compiles fine. But if you exchange the comments and use the lines the explicitly instantiate the voices for the music variables it doesn't work - lily complains about clashing note columns and gives the attached output. It seems that \partcombine doesn't work when the two music expressions are enclosed in explicit voices. Is that true? is that expected? is that necesary? This poses problems for me because in the current context I'm forced to enclose a number of consecutive music variables in one Voice context in order to be able to write spanners or slurs that cross variables (i.e. start in one and end in the other). Is there a solution for my problem, either by making some settings so \partcombine works or by massaging the Voice context to spit out a bare music expression again? TIA Urs Hi Urs, Use the \voiceXXX commands...specifically \voiceOne and \voiceTwo in your case. http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices Phil. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
[no subject]
hey for partial after first one in statement use % part bars \set Score.measureLength = #(ly:make-moment 1 8) % done a'' -4\f | % set back \set Score.measureLength = #(ly:make-moment 4 8) % done ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
Am 20.10.2014 16:02, schrieb Phil Burfitt: From: Urs Liska u...@openlilylib.org Hi, I'm trying for the first time to engrave partcombine-d parts, and I'm running in an issue for which I don't see anything in http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#automatic-part-combining. Consider the attached example. As it it it compiles fine. But if you exchange the comments and use the lines the explicitly instantiate the voices for the music variables it doesn't work - lily complains about clashing note columns and gives the attached output. It seems that \partcombine doesn't work when the two music expressions are enclosed in explicit voices. Is that true? is that expected? is that necesary? This poses problems for me because in the current context I'm forced to enclose a number of consecutive music variables in one Voice context in order to be able to write spanners or slurs that cross variables (i.e. start in one and end in the other). Is there a solution for my problem, either by making some settings so \partcombine works or by massaging the Voice context to spit out a bare music expression again? TIA Urs Hi Urs, Use the \voiceXXX commands...specifically \voiceOne and \voiceTwo in your case. What do you mean, adding explicit voice numbers in the music expressions instead of using \partcombine? That wouldn't work, but of course I also need the music independently (it's actually what partcombine is meant for: instruments (like the flutes) that are combined in the score and individual in the parts. Urs http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices Phil. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
Hi Urs (et al.), Perhaps this is time for me to renew my call for GUPPY (the Grand Unified Partcombine Project, Yay!). ;) I can put together some bounty money for rewriting the \partcombine framework in a serious way. Given the recent and excellent work on divisi (i.e., expanding staves), and so many examples of wonderful new [Scheme] engravers, perhaps now is the perfect time to bring the complement (i.e., condensing staves) up to snuff? I have lots of ideas on how to proceed… but almost all are from a “serious user” perspective, rather than a “I know how that can be accomplished in the code” sort of way, so I can’t promise any of them are easily achievable. In any case, maybe it’s worth a discussion thread, just to see? All the best, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
From: Urs Liska u...@openlilylib.org Hi Urs, Use the \voiceXXX commands...specifically \voiceOne and \voiceTwo in your case. What do you mean, adding explicit voice numbers in the music expressions instead of using \partcombine? That wouldn't work, but of course I also need the music independently (it's actually what partcombine is meant for: instruments (like the flutes) that are combined in the score and individual in the parts. Urs \voiceXXX commands work in both implicit or explicit voices in \partcombine, but (and I suspect I didn't understand your needs here) will retain those \voiceXXX properties when printed as individual parts (probably what you don't want). Phil. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Mac OSX 10.10 (Yosemite) and LilyPond compatibility?
Anyone happen to know if there are any compatibility problems with LilyPond or Frescobaldi on the new Mac OSX 10.10 (Yosemite)? I have no reason to expect that there would be, but it would be nice to know before upgrading. Thanks in advance, -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/Mac-OSX-10-10-Yosemite-and-LilyPond-compatibility-tp167723.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: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?
On Oct 20, 2014, at 10:21 PM, Paul Morris p...@paulwmorris.com wrote: Anyone happen to know if there are any compatibility problems with LilyPond or Frescobaldi on the new Mac OSX 10.10 (Yosemite)? I have no reason to expect that there would be, but it would be nice to know before upgrading. Thanks in advance, -Paul Just updated today and no problems. Cheers, MS ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
Am 20.10.2014 18:46, schrieb Phil Burfitt:
From: Urs Liska u...@openlilylib.org
Hi Urs,
Use the \voiceXXX commands...specifically \voiceOne and \voiceTwo in
your case.
What do you mean, adding explicit voice numbers in the music
expressions instead of using \partcombine?
That wouldn't work, but of course I also need the music independently
(it's actually what partcombine is meant for: instruments (like the
flutes) that are combined in the score and individual in the parts.
Urs
\voiceXXX commands work in both implicit or explicit voices in
\partcombine, but (and I suspect I didn't understand your needs here)
will retain those \voiceXXX properties when printed as individual
parts (probably what you don't want).
Yes, that's (unfortunately) correct.
I have (say) two flute parts that will be printed individually in parts.
But in the score they should be combined (which is what \partcombine
should be good for ...).
But for some reasons I have to enclose the flute parts in explicit
voices, and this doesn't seem to work with \partcombine.
% fluteI
one = \relative c'' {
c1 ~
}
two = \relative c'' {
c1
}
fluteI = \new Voice {
\one
\two
}
etc.
the \new Voice construct is necessary to enable the tie in this example.
I have no clue if I can get out of this situation with real hassles.
Therefore I asked if there's a way to extract the plain music
expression out of \fluteI here.
Best
Urs
Phil.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?
No problem with lilypond Frescobaldi runs without problem BUT be aware to not update your macports setup at this time. Some dependencies may cause some problems, as the have to be recompiled for the new system (with some possible problem with frescobaldi dependencies) Philippe Le 20 oct. 2014 à 21:21, Paul Morris p...@paulwmorris.com a écrit : Anyone happen to know if there are any compatibility problems with LilyPond or Frescobaldi on the new Mac OSX 10.10 (Yosemite)? I have no reason to expect that there would be, but it would be nice to know before upgrading. Thanks in advance, -Paul ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?
2014-10-20 21:21 GMT+02:00 Paul Morris p...@paulwmorris.com: Anyone happen to know if there are any compatibility problems with LilyPond or Frescobaldi on the new Mac OSX 10.10 (Yosemite)? Speaking of Frescobaldi, if you installed it with MacPorts, I advise you to wait some time before upgrading: the buildbot for Yosemite has not been set up yet, so in the meanwhile all ports are built from source and this takes a lot of hours (in my experience about 6-7, half of them for Qt4). Anyway, if you use MacPorts, when you upgrade your OS you should follow the migration instructions: https://trac.macports.org/wiki/Migration The experimental standalone application should work, but I can't test since I don't own a Yosemite-capable machine. I cannot speak for Homebrew since I don't use it. I have no reason to expect that there would be, but it would be nice to know before upgrading. I also have no reason to expect problems with either Frescobaldi or LilyPond, but I have no way to test, as I said. Best wishes. Davide ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
Urs,
On Mon, Oct 20, 2014 at 1:30 PM, Urs Liska u...@openlilylib.org wrote:
Yes, that's (unfortunately) correct.
I have (say) two flute parts that will be printed individually in
parts. But in the score they should be combined (which is what
\partcombine should be good for ...).
But for some reasons I have to enclose the flute parts in explicit
voices, and this doesn't seem to work with \partcombine.
% fluteI
one = \relative c'' {
c1 ~
}
two = \relative c'' {
c1
}
fluteI = \new Voice {
\one
\two
}
etc.
the \new Voice construct is necessary to enable the tie in this
example.
I have no clue if I can get out of this situation with real hassles.
Therefore I asked if there's a way to extract the plain music
expression out of \fluteI here.
Best
Urs
Do you have to make the voice explicit? When I changed your example to
just
fluteI = {
\one
\two
}
{ \fluteI }
it works just as it did without the \new Voice. This could be from
the simplicity of the example, but it makes me curious.
Regards,
Abraham
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using \partcombine with explicit voices
Am 20.10.2014 21:39, schrieb Abraham Lee:
Urs,
On Mon, Oct 20, 2014 at 1:30 PM, Urs Liska u...@openlilylib.org wrote:
Yes, that's (unfortunately) correct. I have (say) two flute parts
that will be printed individually in parts. But in the score they
should be combined (which is what \partcombine should be good for
...). But for some reasons I have to enclose the flute parts in
explicit voices, and this doesn't seem to work with \partcombine. %
fluteI one = \relative c'' { c1 ~ } two = \relative c'' { c1 } fluteI
= \new Voice { \one \two } etc. the \new Voice construct is necessary
to enable the tie in this example. I have no clue if I can get out of
this situation with real hassles. Therefore I asked if there's a way
to extract the plain music expression out of \fluteI here. Best Urs
Do you have to make the voice explicit? When I changed your example to
just
fluteI = {
\one
\two
}
{ \fluteI }
it works just as it did without the \new Voice. This could be from
the simplicity of the example, but it makes me curious.
Hm, it seems I have to look into the issue again.
I see what you mean. But I'm sure I did test the set-up earlier. This is
indeed quite complex (maybe too complex), and we have a few things that
don't really behave the way we'd expect them (i.e. things that compile
differently (or not at all) in the score than in an individual part).
Maybe there's another place where I can tweak the set-up ...
Best
Urs
Regards,
Abraham
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Anacrusis in multiple tunes on page
Recently you posted:
It seems clear to me that I am mis-formatting something.
What I am trying to do is is to put multiple tunes on a single page
as for a set of tunes for a dance. The problem that I'm having is
that many of these tunes start both the A part and the B part
with an anacrusis and end the part with a shorter measure to
make the number of beats work out.
Partial works fine for the initial anacrusis, but if the piece has multiple
parts, each with an anacrusis, the processor complains about the
subsequent \partial directives. It also doesn't much like a \partial
at the end of the section.
I've tried just leaving them out, but the programmer in me does not
like the warning messages that result.
I've noticed that I can account for the missing beats with s and the
missing time, but this results in unnecessary whitespace and throws
the overall note spacing out.
Is there an alternative to s that would allow Lilypond to account for
the missing beats without adding space that I do not want?
More or less minimal example follows -- I've left in the directive blocks
on the off chance that there's something there or missing from there
that would influence the problem.
Thanks,
-Don
and Keith Ohara responded:
From what you wrote I see no problem,
I think what he means is that your more or less minimal example doesn't throw
any warning or error messages in LilyPond 2.18.0. Here is a minimal example:
\version 2.18.0
\paper { ragged-right = ##t }
music = \relative b' {
\partial 4 c4
c1
\break
\partial 4 d4
d1
}
\score {
\music
\layout {}
}
which does throw the warning:
Interpreting music...
SpuriousPartialWarning.ly:11:3: warning: trying to use \partial after the start
of a piece
\partial 4 d4
I think the difference is that your anacruces(?) are in different scores, while
mine are in the same score.
The good news is that the above snippet doesn't throw any warning messages at
2.19.15. So you could upgrade to that or wait for 2.20 to be released.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \tweak and \markup variables
2014-10-20 1:19 GMT+02:00 Gilberto Agostinho gilbertohasn...@gmail.com:
Hello LilyPonders,
I am having a problem creating a single variable that involves \tweak.
Basically, here is the problem:
This works fine:
myVariable = \markup{foo bar}
{ c'^\myVariable }
This works fine as well:
myVariable = \markup{foo bar}
{ c'-\tweak extra-offset #'(-3 . 1)^\myVariable }
But this does not work:
myVariable = \tweak extra-offset #'(-3 . 1)^\markup{foo bar}
{ c'-\myVariable }
Well, it _does_ work on my machine with 2.19.13
Changing it to
... \tweak #'extra-offset ...
makes it work with 2.16.0 as well.
-Harm
Not even using two variables I could make it work (and I wouldn't want to
carry two variables over the whole score anyway):
myVariableOne = \tweak extra-offset #'(-3 . 1)}
myVariableTwo = \markup{foo bar}
{ c'-\myVariableOne^\myVariableTwo }
So how can I tweak the offset of a markup text inside a variable? Does
anyone have any suggestion how to tackle this problem?
As always, thanks a lot for any help,
Gilberto
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
disappearing post(s)?
Hello, Over the past two days, I have sent three versions of almost exactly the same post to these lists — the first two times cc’ed to both, the last time sent only to -user — but none of those posts have appeared on the list. This despite several other posts I’ve sent in the interim appearing almost immediately. What can I do to determine what happened to those posts? Perhaps an over-eager spam filter got them? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?
i have upgraded to yosemite, lilypond and frescobaldi still works even though the MacPorts update is failing on cmake Error: org.macports.configure for port cmake returned: configure failure: command execution failed -- View this message in context: http://lilypond.1069038.n5.nabble.com/Mac-OSX-10-10-Yosemite-and-LilyPond-compatibility-tp167723p167736.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: Feedback Request for Music Fonts
Am 2014-10-20 um 23:02 schrieb Abraham Lee tisimst.lilyp...@gmail.com: Personally, I agree with your comment about LilyJAZZ. While there is a certain personality behind it, I don't think I'd use it for a large score. However, I think there are lots of people who would, so that's cool! I've got another font done that looks more like a hand-copyist style--very consistent, not extravagant or embellished like LilyJAZZ, designed for clarity. I've attached a small sample image to give you a taste of what I mean :) Any true hand-copyists out there? Hey, that’s a good one! I saw no reason to replace Emmentaler, but I might use this new hand font, it fits my songbooks. (Nalada, is it?) Greetlings, Hraban --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
Glad you like it! The snippet portrayed in the image is from a piece called Nálada. You probably noticed it as an example score I've used to showcase some other other fonts. I call this font Improviso. Regards, Abraham Sent from my iPhone On Oct 20, 2014, at 9:07 PM, Henning Hraban Ramm lilypon...@fiee.net wrote: Am 2014-10-20 um 23:02 schrieb Abraham Lee tisimst.lilyp...@gmail.com: Personally, I agree with your comment about LilyJAZZ. While there is a certain personality behind it, I don't think I'd use it for a large score. However, I think there are lots of people who would, so that's cool! I've got another font done that looks more like a hand-copyist style--very consistent, not extravagant or embellished like LilyJAZZ, designed for clarity. I've attached a small sample image to give you a taste of what I mean :) Any true hand-copyists out there? Hey, that’s a good one! I saw no reason to replace Emmentaler, but I might use this new hand font, it fits my songbooks. (Nalada, is it?) Greetlings, Hraban --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
The snippet portrayed in the image is from a piece called Nálada. You probably noticed it as an example score I've used to showcase some other other fonts. I call this font Improviso. In case it's a font intended for songbooks, you might call it `Lalala' :-) Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feedback Request for Music Fonts
Well, I can't say that it was intended for any particular purpose, other than to look like a hand copyist's writing, but that was clever! Regards, Abraham Sent from my iPhone On Oct 20, 2014, at 9:58 PM, Werner LEMBERG w...@gnu.org wrote: The snippet portrayed in the image is from a piece called Nálada. You probably noticed it as an example score I've used to showcase some other other fonts. I call this font Improviso. In case it's a font intended for songbooks, you might call it `Lalala' :-) Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
