Re: segmented glissando lines
Hi Pierre, Urs,
that's excellent and very instructional, thanks!
--
Orm
Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Hi Orm,
How about :
\version 2.19.15
#(define (add-gliss m)
(case (ly:music-property m 'name)
((NoteEvent) (set! (ly:music-property m 'articulations)
(append (ly:music-property m 'articulations)
(list (make-music (quote GlissandoEvent)
m)
(else #f)))
addGliss = #(define-music-function (parser location music)
(ly:music?)
(map-some-music add-gliss music))
\relative c'' {
\override Glissando.thickness = #2
\override Glissando.bound-details =#'(
(right (attach-dir . 1) (padding . 0))
(left (attach-dir . 1) (padding . 0)))
\override NoteHead.no-ledgers = ##t
\addGliss {
d,2
\omit Stem
\override NoteHead.transparent = ##t
f' d, f' e, g' d, f'
}
}
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
Re: Add \mark entries with edition-engraver?
Hi Harm,
thank you for this snippet! I will work on it next week :)
Cheers, Jan-Peter
Am 10.01.2015 um 19:21 schrieb Thomas Morley:
2015-01-10 15:44 GMT+01:00 Jan-Peter Voigt jp.vo...@gmx.de:
So, if one can show a scheme-engraver, that produces marks (or time-sigs)
programmaticly, I can easily add it to the edition-engraver.
Hi Jan-Peter,
I did not look into your edition-engraver, below you'll find an
engraver printing RehearsalMarks, though. (It's a boiled down version
of some unfinshed own coding)
Obviously you'll need to add an argument (a list, I think) what should
be printed and some conditions when to print.
Nevertheless, maybe it might be helpful.
\version 2.19.15
#(define (RM-engraver context)
`((process-music
.
,(lambda (engraver)
(if (= 0
(ly:moment-main-numerator
(ly:context-property context 'measurePosition)))
(let* ((event '())
(newgrob
(ly:engraver-make-grob engraver 'RehearsalMark event)))
(set! (ly:grob-property newgrob 'text) XY))
#f)
%%
%% EXAMPLE
%%
\score {
\new Staff { \repeat unfold 60 c''4 }
\layout {
\context {
\Score
\consists #RM-engraver
}
}
}
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
- Original Message - From: James Harkins jamshar...@qq.com To: lilypond-user@gnu.org; m...@philholmes.net Sent: Sunday, January 11, 2015 6:37 AM Subject: Re: Score and parts template From: Phil Holmes Since the question came up about organizing LilyPond code for score and parts, I thought I would make a quick demo of what I believe to be the standard way to do it. Somehow I pieced these ideas together from LP code that I found online (Mozart Horn Concerto, as I recall), but I don't remember finding a compact example. I think this is potentially very useful. Is the clarinet part an octave low? No, it's in the correct octave. There's nothing in the clarinet part that goes any lower than Brahms went in bar 13 of the clarinet quintet. If you can confirm that the clarinet is correct, then I think adding it to the LSR, with a tag of docs and templates would be an excellent idea. OK! Thanks for the feedback. I'll do that later. hjh So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
On January 11, 2015 8:06:55 PM Phil Holmes m...@philholmes.net wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet, and concert C# on the A clarinet. Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? The lack of a key signature is fairly standard practice for contemporary music that is not organized around common practice tonality. E.g., the opening section of The Rite of Spring has no key signatures for any instruments, including the transposing ones. (The score is transposed, and later sections that do have key signatures display transposed key signatures in the transposing instruments. So the absence of key signatures in the first section must be deliberate.) hjh Sent with AquaMail for Android http://www.aqua-mail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
- Original Message - From: James Harkins jamshar...@qq.com To: Phil Holmes m...@philholmes.net; lilypond-user@gnu.org Sent: Sunday, January 11, 2015 12:18 PM Subject: Re: Score and parts template On January 11, 2015 8:06:55 PM Phil Holmes m...@philholmes.net wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet, and concert C# on the A clarinet. Whilst checking this, I noticed that you have no key sig: think \global should still have a key sig of c \major, and then the clarinet part should have \transpose a, c \global to get its correct signature for the player? The lack of a key signature is fairly standard practice for contemporary music that is not organized around common practice tonality. E.g., the opening section of The Rite of Spring has no key signatures for any instruments, including the transposing ones. (The score is transposed, and later sections that do have key signatures display transposed key signatures in the transposing instruments. So the absence of key signatures in the first section must be deliberate.) hjh I believe that, as a tutorial template, it would be more useful to illustrate how to accommodate key signature indications with transposing instruments, since this remains the norm for most music. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT crop eps to printed area
Or formulated differently:
How do you adjust print area to printed area in lilypond?
I mean, using paper margins = 0 lets white space at the top and bottom
of the printed area. I suppose there is a way to crop the paper to the
very outside black areas...
Thanks in advance,
Francois
2015-01-10 21:35 GMT-05:00, Alicuota618 alicuota...@gmail.com:
Hello,
Still struggling with gregorian.ly:
So I compile first the gregorian to pdf then convert eps (directly as
dbackend=eps returns inverted black-white and very bad quality), and
include in mybook.ly as
\markup { \epsfile #X #20 #rorateCoeli.eps }
but I dont find how to crop the image to printed area.
Can somebody help?
Thanks in advance,
Francois
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Voice notes stem direction, bass line with score
Hi all/Claudio.
I've put this code into Lilypond...
\version 2.18.2
\language english
\header {
title = Alternating Bass with Walk
composer = EwithM
subtitle = With pick or fingers
}
\paper {
ragged-right = ##f
}
\layout {
indent = 0.0\cm
}
\relative c {
\clef treble_8
\key g \major
\time 4/4
% \partial 8 d8
{c2 e}\\{r4 a c e r a c e } |
\bar |.
}
The bass note stem direction is up and the rests are printed below the
half notes. The quarter note stems go downward. Can the stem direction
be defined per Voice and then would perhaps the rests be printed on the
staff? Voice one stems down and voice 2 upward As it is it is not
very readable.
Namaste,
Kevin Tough
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can I write a bass line with score, same staff?
Hi Kevin, I've done some searching but found no hints as to whether Lilypond can be used to write a bass line and melody or chord notes at the same time. What did you search for? Did sections of the documentation like http://www.lilypond.org/doc/v2.19/Documentation/notation/simultaneous-notes not help? Regards, 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: Can I write a bass line with score, same staff?
Hello Kevin, Not clear what you want to achieve. Do the attached files satisfy the need? JM Test.ly Description: Binary data Le 11 janv. 2015 à 17:31, Kevin Tough ke...@toughlife.org a écrit : HI, I've done some searching but found no hints as to whether Lilypond can be used to write a bass line and melody or chord notes at the same time. Let's say for example I play a C and then an E half note for a measure 4/4. On beats 2 and 4 I would like to indicate that the notes G,C and E should be played in unison, quarter note duration. Is this possible? Namaste, Kevin Tough ___ 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
Can I write a bass line with score, same staff?
HI, I've done some searching but found no hints as to whether Lilypond can be used to write a bass line and melody or chord notes at the same time. Let's say for example I play a C and then an E half note for a measure 4/4. On beats 2 and 4 I would like to indicate that the notes G,C and E should be played in unison, quarter note duration. Is this possible? Namaste, Kevin Tough ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Voice notes stem direction, bass line with score
Kevin,
Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc.
(even numbered) point stems down. So, if you want the quarter notes
stemmed up and the half notes stemmed down, switch their order in the
brackets, like
{r4 a c e r a c e }\\{c2 e}
HTH,
Abraham
On Sun, Jan 11, 2015 at 10:09 AM, Kevin Tough [via Lilypond]
ml-node+s1069038n17032...@n5.nabble.com wrote:
Hi all/Claudio.
I've put this code into Lilypond...
\version 2.18.2
\language english
\header {
title = Alternating Bass with Walk
composer = EwithM
subtitle = With pick or fingers
}
\paper {
ragged-right = ##f
}
\layout {
indent = 0.0\cm
}
\relative c {
\clef treble_8
\key g \major
\time 4/4
% \partial 8 d8
{c2 e}\\{r4 a c e r a c e } |
\bar |.
}
The bass note stem direction is up and the rests are printed below
the
half notes. The quarter note stems go downward. Can the stem
direction
be defined per Voice and then would perhaps the rests be printed on
the
staff? Voice one stems down and voice 2 upward As it is it is
not
very readable.
Namaste,
Kevin Tough
___
lilypond-user mailing list
[hidden email]
https://lists.gnu.org/mailman/listinfo/lilypond-user
If you reply to this email, your message will be added to the
discussion below:
http://lilypond.1069038.n5.nabble.com/Voice-notes-stem-direction-bass-line-with-score-tp170329.html
To start a new topic under User, email
ml-node+s1069038n...@n5.nabble.com
To unsubscribe from Lilypond, click here.
NAML
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Voice-notes-stem-direction-bass-line-with-score-tp170329p170332.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: Voice notes stem direction, bass line with score
2015-01-11 18:21 GMT+01:00 tisimst tisimst.lilyp...@gmail.com:
Kevin,
Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc. (even
numbered) point stems down. So, if you want the quarter notes stemmed up and
the half notes stemmed down, switch their order in the brackets, like
{r4 a c e r a c e }\\{c2 e}
HTH,
Abraham
Or:
\version 2.18.0
global = {
\clef treble_8
\key g \major
\time 4/4 %% not needed, 4/4 is default
}
one =
\new Voice
\relative c' {
\voiceOne
%% maybe add:
% \override Rest.staff-position = 0
r4 a c e r a c e
}
two =
\new Voice
\relative c {
\voiceTwo
c2 e
}
\new Staff
\global \one
\global \two
I strongly recommend to read the Learning Manual and to look into the
Notation Reference
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: moving the ottoava bracket, but not at the very beginning
Dear David,
thanks for You answer!
This command does, what I want to do!
2015-01-05 18:14 GMT+01:00 David Nalesnik david.nales...@gmail.com:
Hi Stefan,
On Mon, Jan 5, 2015 at 10:48 AM, Stefan Thomas
kontrapunktste...@gmail.com wrote:
Dear community,
I would like to move the ottava-bracket a bit upwards.
Not at the beginning but at the 2nd bar.
Is there a way to do this?
\version 2.18.2
Try \alterBroken:
Music = \relative d''' {
\alterBroken padding #'(1 3) Staff.OttavaBracket
\ottava #1
d8 e f e d4 c \break
d'8( e b' e, d2)
}
\new Staff \Music
--David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrumentSwitch and addInstrumentDefinition use
Paul Scott waterhorse at ultrasw.com writes:
Is anyone using instrumentSwitch that can explain what the various
variables in addInstrumentDefinition mean?
Don't use instrumentSwitch. It is a pointless frustrating waste of time.
(The same could be said for LilyPond, except that there is sometimes a
point to wasting time with LilyPond.)
You can define a variable with the things that change each time you
switch instruments, without learning the instrument switch data structure
piccolo = { \transposition c'' \clef treble^8 }
AFAIK I really only
want the key signature to change automatically when I do an
instrument switch.
I am guessing that you input pitches as written for the instrument.
(If you write in concert pitch and then transpose for the instruments
then what I say next will not apply.)
This is a missing function of LilyPond.
One awkwardness is that LilyPond considers the key signature to be
individual to each Staff. It was created by horn players, and horn parts
traditionally omit the key signature. So LilyPond does not store a global
key signature.
We could, I think, keep this organization, and write a variant of
\tranposition bes that looks up the old key-signature and old
transposition on the Staff, figures the concert key, applies the new
transposition, figures the new key-signature for the new transposition
and sets that new key signature.
I just write an explicit \key d\major at the instrument switch when needed
(which is not very often)
Almost everything is copied from NM 1.6.3
Let's change that section
https://codereview.appspot.com/133390043/diff/80001/Documentation/notation/
staff.itely
#'(
This has to be a back-quote ` instead of a forward quote '
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
On Sun, Jan 11, 2015 at 5:29 AM, Phil Holmes-2 [via Lilypond] ml-node+s1069038n170319...@n5.nabble.com wrote: I believe that, as a tutorial template, it would be more useful to illustrate how to accommodate key signature indications with transposing instruments, since this remains the norm for most music. +1! That's exactly what I thought as I looked at this closely (Don't get me wrong, James. What you've done is a great example). Also, since header information is important to the parts as well as the full ensemble scores, shouldn't the Bassoon Part, etc. markups be moved to the individual score headers? And shouldn't they be in their own PDFs? I guess they don't HAVE to, but I feel like that is also the norm for most music. -Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-tp170276p170337.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: Voice notes stem direction, bass line with score
Thanks for the tips. I did a google search and obviously used the wrong
keywords. I'll be digging into the manual this week.
Take care and thanks
On Sun, 2015-01-11 at 18:26 +0100, Thomas Morley wrote:
2015-01-11 18:21 GMT+01:00 tisimst tisimst.lilyp...@gmail.com:
Kevin,
Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc. (even
numbered) point stems down. So, if you want the quarter notes stemmed up and
the half notes stemmed down, switch their order in the brackets, like
{r4 a c e r a c e }\\{c2 e}
HTH,
Abraham
Or:
\version 2.18.0
global = {
\clef treble_8
\key g \major
\time 4/4 %% not needed, 4/4 is default
}
one =
\new Voice
\relative c' {
\voiceOne
%% maybe add:
% \override Rest.staff-position = 0
r4 a c e r a c e
}
two =
\new Voice
\relative c {
\voiceTwo
c2 e
}
\new Staff
\global \one
\global \two
I strongly recommend to read the Learning Manual and to look into the
Notation Reference
HTH,
Harm
___
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
bug with compound glyphs and/or diacritical markings?
Hello all, The code \version “2.19.15 \markup \fontsize #12 “й gives [n.b., The diacritical mark should be centred directly above the glyph.] Is that expected, or is this a bug? In either case, is there a suggested workaround? Thanks, 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: bug with compound glyphs and/or diacritical markings?
The code \version “2.19.15 \markup \fontsize #12 “й gives [a diacritic shifted to the right] [n.b., The diacritical mark should be centred directly above the glyph.] Is that expected, or is this a bug? In either case, is there a suggested workaround? For me it works just fine on my GNU/Linux; see attached PDF. Werner i.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrumentSwitch and addInstrumentDefinition use
Hi all, Is anyone using instrumentSwitch that can explain what the various variables in addInstrumentDefinition mean? Don't use instrumentSwitch. It is a pointless frustrating waste of time. I agree. And I’m particularly irritated about that fact, since I was the one who sponsored (and *paid* Han-Wen) for a point-ful non-frustrating instrument-switching feature back in 2006. =( This is a missing function of LilyPond. Agreed — there should be a far better way of switching instruments. One should be able to write (e.g.) \switchInstrument “piccolo” and the following things happen: 1. The clef changes, if necessary. 2. The key signature changes, if necessary (and force-reprints, if appropriate). 3. The transposition changes, if necessary. 4. The instrumentName and shortInstrumentName change, if necessary. 5. A [user-defined] markup (e.g., \box “to piccolo”) is printed, if appropriate. 6+. ?? So LilyPond does not store a global key signature. No, but as you well know, many (most?) Lilypounders abstract the key signature (etc.) into their own global(s). We could, I think, keep this organization, and write a variant of \tranposition bes that looks up the old key-signature and old transposition on the Staff, figures the concert key, applies the new transposition, figures the new key-signature for the new transposition and sets that new key signature. Why can that not be rolled into an improved instrumentSwitch? I just write an explicit \key d\major at the instrument switch when needed This is one of the great banes of my current Lilypond existence — as a writer of musical theatre and band/orchestral music, I need to change instruments and keys all the time, very often in the middle of a section (w.r.t. key signature). Trying to remember to explicitly add key signatures etc. — and tag them as necessary — is quite frustrating, time-consuming, and error-prone. I offer again my help in designing, testing, and paying for a real instrument-switching mechanism that would Do The Right Thing™. Thanks, 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: bug with compound glyphs and/or diacritical markings?
Hi all, Interesting discovery: on Mac OS X, some Cyrillic keyboard layouts don't output proper Unicode glyphs! Selecting the desired glyph directly from the Unicode Table section of the Character Viewer outputs the correct glyph, and Lilypond then outputs the correct/desired result. Hope this helps someone else, if they run into this issue. Cheers, 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: Add \mark entries with edition-engraver?
Hi Jan-Peter, thank you for this snippet! I will work on it next week :) While you’re in there… ;) 1. If you \set Score.currentBarNumber, everything gets wonky from there on. =) 2. Please consider addding some syntactic sugar for common actions like 2a. setting a lot of items at the same moment within different measures, e.g., \editionMod #’(1 4 8 12 18) 0/4 \lineBreak 2b. lumping all overrides for a single context id, e.g., \editionMod my-context-id #’( 1 0/4 \overrideA 3 1/8 \overrideB 14 3/4 \overrideC ) Thanks! 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: segmented glissando lines
2015-01-12 0:06 GMT+01:00 Urs Liska u...@openlilylib.org: Hi Harm, this is terrific! I'm about to collect a number of examples why LilyPond rocks for engraving contemporary music, and this should definitely be part of it. Hi Urs, glad you like it. Though, there's the problem I mentioned and it needs some real life testing. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score and parts template
Phil Holmes mail at philholmes.net writes: I believe that, as a tutorial template, it would be more useful to illustrate how to accommodate key signature indications with transposing instruments, since this remains the norm for most music. Ah, OK -- that makes perfect sense. It sounded at first like you were criticizing my notation, when in fact it was about pedagogy. I'll update that before adding the snippet. I'll also see what I can do about the headers. hjh ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: segmented glissando lines
2015-01-11 10:28 GMT+01:00 Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de:
Hi Pierre, Urs,
that's excellent and very instructional, thanks!
--
Orm
Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Hi Orm,
How about :
\version 2.19.15
#(define (add-gliss m)
(case (ly:music-property m 'name)
((NoteEvent) (set! (ly:music-property m 'articulations)
(append (ly:music-property m 'articulations)
(list (make-music (quote GlissandoEvent)
m)
(else #f)))
addGliss = #(define-music-function (parser location music)
(ly:music?)
(map-some-music add-gliss music))
\relative c'' {
\override Glissando.thickness = #2
\override Glissando.bound-details =#'(
(right (attach-dir . 1) (padding . 0))
(left (attach-dir . 1) (padding . 0)))
\override NoteHead.no-ledgers = ##t
\addGliss {
d,2
\omit Stem
\override NoteHead.transparent = ##t
f' d, f' e, g' d, f'
}
}
Cheers,
Pierre
Below my own attempt.
It has some advantages and limitations compared with Pierre's coding.
There is one thing I have no clue about:
If the function is applied to a dotted whole note some very strange
things may happen and a warning is printed:
Loose column does not have right side to attach to.
If someone has an idea how to fix, I'd love to hear it.
(Look out for
%% !
if you want to test)
\version 2.19.15
%#(use-modules (ice-9 pretty-print))
lengthen-gliss =
#(define-music-function (parser loation nmbr)(number?)
#{
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
\once \override Glissando.minimum-length = #nmbr
#})
fancy-gliss =
#(define-music-function (parser location pts-list)(list?)
#{
\once \override Glissando.after-line-breaking =
#(lambda (grob)
(let ((stil (ly:line-spanner::print grob)))
(if (ly:stencil? stil)
(let*
((left-bound-info (ly:grob-property grob 'left-bound-info))
(left-bound (ly:spanner-bound grob LEFT))
(y-off (assoc-get 'Y left-bound-info))
(padding (assoc-get 'padding left-bound-info))
(note-column (ly:grob-parent left-bound X))
(note-heads (ly:grob-object note-column 'note-heads))
(ext-X
(if (null? note-heads)
'(0 . 0)
(ly:relative-group-extent note-heads grob X)))
(dot-column (ly:note-column-dot-column note-column))
(dots
(if (null? dot-column)
'()
(ly:grob-object dot-column 'dots)))
(dots-ext-X
(if (null? dots)
'(0 . 0)
(ly:relative-group-extent dots grob X)))
(factor
(/ (interval-length (ly:stencil-extent stil X))
(car (take-right (last pts-list) 2
(new-stil
(make-connected-path-stencil
(map
(lambda (e)
(cond ((= (length e) 2)
(cons (* (car e) factor) (cdr e)))
((= (length e) 6)
(list
(* (car e) factor)
(cadr e)
(* (third e) factor)
(fourth e)
(* (fifth e) factor)
(sixth e)))
(else
(ly:error
Some element(s) of the given list do
not fit
pts-list)
(layout-line-thickness grob) ;line-width
1 ;scaling
1 ;scaling
#f
#f)))
(ly:grob-set-property! grob 'stencil
(ly:stencil-translate
new-stil
(cons (+ (interval-length ext-X)
(interval-length dots-ext-X)
padding)
y-off
(begin
(ly:warning
Cannot find stencil. Please set 'minimum-length accordingly)
#f
#})
#(display \n\tLimitations:
\t-Does not work with line-break
\t-dotted notes with glissando may return a warning for unknown reasons,
\t strange things may happen)
%% EXAMPLE
\paper { indent = 28 }
\header { title = Fancy Glissando }
music =
\new Staff \with { instrumentName = fancy-gliss }
\relative c' {
\set Score.defaultBarType = #
%% If spacing is very tight Glissando sometimes is omitted.
%% Use 'lengthen-gliss' with an apropiate value in this case.
%\lengthen-gliss #10
\fancy-gliss
#'(
(1 3)
(2 0)
(3 3)
(4 1)
(5 3.5)
(6
Re: segmented glissando lines
Hi Harm,
this is terrific!
I'm about to collect a number of examples why LilyPond rocks for
engraving contemporary music, and this should definitely be part of it.
Best
Urs
Am 12.01.2015 um 00:00 schrieb Thomas Morley:
2015-01-11 10:28 GMT+01:00 Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de:
Hi Pierre, Urs,
that's excellent and very instructional, thanks!
--
Orm
Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Hi Orm,
How about :
\version 2.19.15
#(define (add-gliss m)
(case (ly:music-property m 'name)
((NoteEvent) (set! (ly:music-property m 'articulations)
(append (ly:music-property m 'articulations)
(list (make-music (quote GlissandoEvent)
m)
(else #f)))
addGliss = #(define-music-function (parser location music)
(ly:music?)
(map-some-music add-gliss music))
\relative c'' {
\override Glissando.thickness = #2
\override Glissando.bound-details =#'(
(right (attach-dir . 1) (padding . 0))
(left (attach-dir . 1) (padding . 0)))
\override NoteHead.no-ledgers = ##t
\addGliss {
d,2
\omit Stem
\override NoteHead.transparent = ##t
f' d, f' e, g' d, f'
}
}
Cheers,
Pierre
Below my own attempt.
It has some advantages and limitations compared with Pierre's coding.
There is one thing I have no clue about:
If the function is applied to a dotted whole note some very strange
things may happen and a warning is printed:
Loose column does not have right side to attach to.
If someone has an idea how to fix, I'd love to hear it.
(Look out for
%% !
if you want to test)
\version 2.19.15
%#(use-modules (ice-9 pretty-print))
lengthen-gliss =
#(define-music-function (parser loation nmbr)(number?)
#{
\once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
\once \override Glissando.minimum-length = #nmbr
#})
fancy-gliss =
#(define-music-function (parser location pts-list)(list?)
#{
\once \override Glissando.after-line-breaking =
#(lambda (grob)
(let ((stil (ly:line-spanner::print grob)))
(if (ly:stencil? stil)
(let*
((left-bound-info (ly:grob-property grob 'left-bound-info))
(left-bound (ly:spanner-bound grob LEFT))
(y-off (assoc-get 'Y left-bound-info))
(padding (assoc-get 'padding left-bound-info))
(note-column (ly:grob-parent left-bound X))
(note-heads (ly:grob-object note-column 'note-heads))
(ext-X
(if (null? note-heads)
'(0 . 0)
(ly:relative-group-extent note-heads grob X)))
(dot-column (ly:note-column-dot-column note-column))
(dots
(if (null? dot-column)
'()
(ly:grob-object dot-column 'dots)))
(dots-ext-X
(if (null? dots)
'(0 . 0)
(ly:relative-group-extent dots grob X)))
(factor
(/ (interval-length (ly:stencil-extent stil X))
(car (take-right (last pts-list) 2
(new-stil
(make-connected-path-stencil
(map
(lambda (e)
(cond ((= (length e) 2)
(cons (* (car e) factor) (cdr e)))
((= (length e) 6)
(list
(* (car e) factor)
(cadr e)
(* (third e) factor)
(fourth e)
(* (fifth e) factor)
(sixth e)))
(else
(ly:error
Some element(s) of the given list do
not fit
pts-list)
(layout-line-thickness grob) ;line-width
1 ;scaling
1 ;scaling
#f
#f)))
(ly:grob-set-property! grob 'stencil
(ly:stencil-translate
new-stil
(cons (+ (interval-length ext-X)
(interval-length dots-ext-X)
padding)
y-off
(begin
(ly:warning
Cannot find stencil. Please set 'minimum-length accordingly)
#f
#})
#(display \n\tLimitations:
\t-Does not work with line-break
\t-dotted notes with glissando may return a warning for unknown reasons,
\t strange things may happen)
%% EXAMPLE
\paper { indent = 28 }
\header { title = Fancy Glissando }
music =
\new Staff \with { instrumentName = fancy-gliss }
\relative c' {
\set Score.defaultBarType = #
Re: bug with compound glyphs and/or diacritical markings?
On 01/11/2015 02:18 PM, Kieren MacMillan wrote: Hello all, The code \version “2.19.15 \markup \fontsize #12 “й gives [n.b., The diacritical mark should be centred directly above the glyph.] Is that expected, or is this a bug? In either case, is there a suggested workaround? The workaround would be to use a proper i-kratkoye (й) instead of an i plus combining breve... and really, since it’s considered a separate letter, that would be the correct thing anyway. ~crism -- Chris Maden, text nerd URL: http://crism.maden.org/ Surround hate and force it to surrender. GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: segmented glissando lines
Am 12.01.2015 um 00:37 schrieb Thomas Morley: 2015-01-12 0:06 GMT+01:00 Urs Liska u...@openlilylib.org: Hi Harm, this is terrific! I'm about to collect a number of examples why LilyPond rocks for engraving contemporary music, and this should definitely be part of it. Hi Urs, glad you like it. Though, there's the problem I mentioned and it needs some real life testing. Yes, I know. But as usual with advertising I think we can generously ignore that :-/ Best Urs Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Overriding preset tablature for ukulele
When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd string 3rd fret. I want it to make G as 4th string open, but cannot find in the manual how exactly to do that. Thank you for help! Ryan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bug with compound glyphs and/or diacritical markings?
Hi Christopher, The workaround would be to use a proper i-kratkoye (й) instead of an i plus combining breve... and really, since it’s considered a separate letter, that would be the correct thing anyway. Yes — thanks. The main thing was, it turns out that while I was *trying* to use the proper character (a Ukrainian ‘yot’), my keyboard was fudging the compound glyph. 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: bug with compound glyphs and/or diacritical markings?
Werner LEMBERG wl at gnu.org writes: For me it works just fine on my GNU/Linux; see attached PDF. Almost certainly the problem with kerning and combining characters when using Pango on Windows, then http://code.google.com/p/lilypond/issues/detail?id=2657 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overriding preset tablature for ukulele
Ryan Clarin ryanclarin at gmail.com writes: When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd string 3rd fret. I want it to make G as 4th string open, but cannot find in the manual how exactly to do that. It should be under string number in the fretted strings section g\4 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrumentSwitch and addInstrumentDefinition use
On Sun, Jan 11, 2015 at 03:36:43PM -0500, Kieren MacMillan wrote: Hi all, Is anyone using instrumentSwitch that can explain what the various variables in addInstrumentDefinition mean? Don't use instrumentSwitch. It is a pointless frustrating waste of time. I agree. And I’m particularly irritated about that fact, since I was the one who sponsored (and *paid* Han-Wen) for a point-ful non-frustrating instrument-switching feature back in 2006. =( This is a missing function of LilyPond. Thank you to both of you. What I've been doing works. I just thought there might be a cleaner way. Paul Agreed — there should be a far better way of switching instruments. One should be able to write (e.g.) \switchInstrument “piccolo” and the following things happen: 1. The clef changes, if necessary. 2. The key signature changes, if necessary (and force-reprints, if appropriate). 3. The transposition changes, if necessary. 4. The instrumentName and shortInstrumentName change, if necessary. 5. A [user-defined] markup (e.g., \box “to piccolo”) is printed, if appropriate. 6+. ?? So LilyPond does not store a global key signature. No, but as you well know, many (most?) Lilypounders abstract the key signature (etc.) into their own global(s). We could, I think, keep this organization, and write a variant of \tranposition bes that looks up the old key-signature and old transposition on the Staff, figures the concert key, applies the new transposition, figures the new key-signature for the new transposition and sets that new key signature. Why can that not be rolled into an improved instrumentSwitch? I just write an explicit \key d\major at the instrument switch when needed This is one of the great banes of my current Lilypond existence — as a writer of musical theatre and band/orchestral music, I need to change instruments and keys all the time, very often in the middle of a section (w.r.t. key signature). Trying to remember to explicitly add key signatures etc. — and tag them as necessary — is quite frustrating, time-consuming, and error-prone. I offer again my help in designing, testing, and paying for a real instrument-switching mechanism that would Do The Right Thing™. Thanks, 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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrumentSwitch and addInstrumentDefinition use
On Sun, 11 Jan 2015 12:36:43 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
So LilyPond does not store a global key signature.
No, but as you well know, many (most?) Lilypounders abstract the key signature
(etc.)
into their own global [variable](s).
Right, but LilyPond doesn't know if that is the concert-pitch key (nor does she
require all instruments to be playing in the same concert-pitch key). I
thought that would make automatic generation of key signature hard, but...
We could, I think, keep this organization, and write a
\tranpositionUpdateKey bes that looks up the old key-signature and old
transposition on the Staff, figures the concert key, applies the new
transposition, figures the new key-signature for the new transposition
and sets that new key signature.
Why can that not be rolled into an improved instrumentSwitch?
It could. The old instrumentDefinition, however, had no advantage over just
collecting the instrument-switch settings in a variable, and was harder to use.
I just write an explicit \key d\major at the instrument switch when needed
This is one of the great banes of my current Lilypond existence — as a writer
of musical theatre and band/orchestral music, I need to change instruments and
keys all the time, very often in the middle of a section (w.r.t. key
signature). Trying to remember to explicitly add key signatures etc. — and tag
them as necessary — is quite frustrating, time-consuming, and error-prone.
I guess you enter the notes in concert pitch, then ?
Do you use the \quoteDuring mechanism (as below) or Jan-Peter's
auto-transposing engraver to generate the engraved pitches for each instrument?
\version 2.19.15
transpositionUpdateKey =
#(define-music-function (parser location new-transposition) (ly:pitch?)
(_i Set instrument transposition and, based on the previous
transposition and key, generate the key-change to keep the sounding key.)
(define (generate-key-change c)
(define (same-scale-step? a b) (= (car a) (car b)))
(let* ((old-alt (delete-duplicates!
(append (ly:context-property c 'keyAlterations)
major)
same-scale-step?))
(old-tonic (ly:context-property c 'tonic (ly:make-pitch 0 0 0)))
(old-transp (ly:context-property c 'instrumentTransposition
(ly:make-pitch 0 0 0)))
(delta (ly:pitch-diff old-transp new-transposition))
(new-alt (ly:transpose-key-alist old-alt delta))
(new-tonic (ly:pitch-transpose old-tonic delta))
(sev (ly:make-stream-event `(key-change-event)
`((pitch-alist . ,new-alt)
(tonic . ,new-tonic)
(ly:broadcast (ly:context-event-source c) sev)))
#{
\applyContext #generate-key-change
\transposition $new-transposition
#} )
prepClarinet = { \set Staff.shortInstrumentName=Clar
^\markup\italic\center-align pick up clarinet }
clarinet = { ^\markup\boldClarinet
\once\set Staff.whichBar = ||
\transpositionUpdateKey bes }
concertBandEdition = {
s1*3 \tag#'Sue \prepClarinet
s1 \markAll Reeds \tag#'Sue \clarinet}
tune = { \key c\major \repeat unfold 4 {c'4 e' g' b' R1} }
backup = { \key c\major \repeat unfold 8 {c'4 e' g' b' } }
\addQuote tune \tune
\new Staff \with { instrumentName=horn in F }
\keepWithTag#'Sue
\concertBandEdition \transposition f
\quoteDuring tune #(skip-of-length tune)
\new Staff \with { instrumentName=alto clarinet }
\keepWithTag#'Joe
\concertBandEdition \transposition es
\transpose es c' \backup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
