Re: How to remove tags from music returned by \keepWithTag ?
2015-03-10 6:55 GMT+01:00 Jim Long lilyp...@umpquanet.com:
If I:
music = \relative c'' {
\tag #'a { a a a a }
\tag #'b { b b b b }
}
and then:
musicA = \keepWithTag #'a \music
\keepWithTag gives me the equivalent of:
musicA = \relative c'' { \tag #'a { a a a a } }
What I want is:
musicA = \relative c'' { a a a a }
In other words, I'd like to find a function similar to
\keepWithTag, except that the returned music expression would be
entirely free of all tags. Perhaps even better would be a
general function which simply strips \tag attributes from a music
expression, but leaves the tagged music itself.
Is this possible?
Jim
music = \relative c'' {
\tag #'a { a a a a }
\tag #'b { b b b b }
}
musicA = \keepWithTag #'a \music
% Using \keepWithTag gives me:
% musicA = \relative c'' { \tag #'a { a a a a } }
% what I want is:
% musicA = \relative c'' { a a a a }
musicB = \keepWithTag #'b \music
\markup Music I:
\score { \music }
\markup Music II:
\score { \musicA }
\markup Music III:
\score { \keepWithTag #'aardvark \musicA }
\markup Music IV:
\score { \musicB }
\markup Music V:
\score { \keepWithTag #'beeblebrox \musicB }
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Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)
Cheers,
Harm
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Testing, feedback and help requested for new font UX
Hi all, I've invested quite some energy to create new ways of managing and using Abraham's great alternative fonts with LilyPond, and I'm nearly ready to release that work. Therefore I need some assistance by others to help testing, discussing and improving the interface and functionality. as I don't want to talk about it publicly yet pleaseget in touch with me directly. The only prerequisite is that you use openLilyLib through its Github repository. If you have experience with Python and/or Scheme you could help more, but the basic qualification is an interest in using alternative fonts with LilyPond. Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Subject: String Concatenation, and Use of Unicode characters [sic]
On 10 Mar 2015, at 02:14, Flaming Hakama by Elaine ela...@flaminghakama.com
wrote:
BTW, I also tend to prepare lead sheets in F and A. Of course, you may not
need this. But if you are preparing a template, it might be helpful to
include other common transpositions.
OK. The choice there is either to compile the file three times, adjusting
\PieceTranspose in the sequence c c then c f then c a, or to make two more
copies of the book-generating section, with (e.g.) \PieceTransposeFourth and
\PieceTransposeSixth in between.
This would make it all a bit unwieldy, and as I want to be able to share this
with novice LilyPond users, I don?t want the make the file too long or too
clever!
Sorry if I was not clear. I wasn't suggesting that you transpose every piece
to the keys of F and A, but rather to be able to produce lead sheets in those
common keys as well:
HornTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose f, c $m #})
AClarinetTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose a, c $m #})
OK, I get you now.
I think such transpositions are sufficiently rare that they could safely be
“left as an exercise for the reader”; putting them all in would generate a lot
of unwanted parts.
If there were a conditional-compilation feature (as in “C”), like...
#DEFINE ALTOSAXPART
…
#IFDEF ALTOSAXPART
(do the alto part here)
#ENDIF
…then the user could suppress (for example) then French Horn part using…
#UNDEF FRENCHHORNPART
…but I think that overcomplicates what is intended to be a quick and easy way
for Lilypond novices to produce the standard set of leadsheets (for Concert, Bb
and Eb instruments).
Granted, A clarinet isn't too common for Jazz, but it can't hurt. And as a
clarinettist, I couldn't avoid the suggestion!
But below, instead of using \PieceTranspose everywhere (which kind of
defeats the purpose of doing something globally) I would suggest
transposing \TheChords and \TheHead and then using \TransposedChords and
\TransposedHead in the template:
This comes to the same thing, but uses two extra variables.
But I can see the advantage in doing this in terms of clarity if it comes
immediately after the definition of the PieceTranspose function.
Besides that, I think that variables help if they clarify things. In this
case, it provides an explicit name for the result of \PieceTranspose {
\TheHead } “
Agreed, as do function calls - which I sometimes use knowing that only one call
is planned, not just to modularise the code and make it easier to debug at the
time, and also to understand what is going on when I come across the code some
years later!
This introduce twos additional variables, but results in six fewer function
calls.
It’s a matter of opinion which is clearer - we’re not talking about conserving
every last byte of memory and squeezing out every unnecessary CPU cycle from
the code.
Also, if I understand your intentions here, users of this template will never
have to modify the score blocks, or these variables. So, I don't see the
down side of introducing them. If anything, they separate boilerplate code
(that doesn't have to be modified) from the piece-specific code (which does).
If part of your point is to make use of \transpose less fraught, I think you
still have an issue, since
users of this template still have to modify \transpose c c within that
function. Something that might be more friendly:
originalKey = c
newKey = f
PieceTranspose =
#(define-music-function (parser location m)
(ly:music?)
#{ \transpose \originalKey \newKey $m #})
That way, your users won't have to figure out which c in \transpose c c
$m to adjust.
Excellent.
But further on, I prefer...
\TrumpetTranspose \PieceTranspose \TheHead
…to…
\TrumpetTranspose \TransposedHead
…because it is clear that \TheHead as originally defined is being transposed
twice.
No matter - whichever choice is made it will be in the “don’t touch if you
don’t know what you’re doing” section.
I’ll do some road-testing on some of my jam-session colleagues, and get
feedback.
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Re: Trouble with stem length while using cross piano staff chord engraver
Hi Hu, I'm not sure I understand what you are trying to do. Bar 27 of the Takemitsu doesn't include any cross staff stems and neither do any of the examples on the github page. Can you be more specific about what exactly you want? Kevin On Mon, Mar 9, 2015 at 11:45 PM, 良ϖ p2b@gmail.com wrote: Hi, I've gone a bit farther in Rain Tree Sketch as said in a previous thread but I've stumbled upon a Lilypond issue I'm unable to deal with. When one types polyphonic music, one uses voices and Lilypond is clever enough to avoid collision with objects. When one wants to depict a chord made with two hands, one can use cross-staff stems with the corresponding engraver, as documented in this snippet http://lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-cross-staff-stems and the corresponding workaround http://lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-cross_002dstaff-chords-_002d-beaming-problems-workaround . The context is bar 27 of Rain Tree Sketch https://raw.githubusercontent.com/piotr2b/rain-tree-sketch/master/Minimum%20working%20examples/bar27circled.png. It's pretty messy so I cleansed it and wrote minimal examples for this issue. You can find the picture of what is to be get as well as these examples here https://github.com/piotr2b/rain-tree-sketch/tree/master/Minimum%20working%20examples . Actually that problem can be reduced: is there any way to get these two items in the same time? - something that looks like cross-staff chord; - messy voices interleaving within two notes happen on the same beat. I feel ill-at-ease because I don't see where I could have made a mistake. Would this be a bug? Where could I feel a bug report if so? In addition to that, who shall I send a mail to in order to get these two snippets because merged into a single one? I think it may be more useful as they are closely related. Anyway, this large collection of snippets rocks :-) 胡雨軒 Hu YuXuan ___ 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
Beam subdivision
I need to subdivide beams in tuplets into groups of two 32s joined by two
beams, not one. This is pretty common. How can I do this in a more idiomatic,
and less tedious way than the following?
\version 2.19.16
\relative c'' {
\time 1/4
\tuplet 5/4 {
e,32[
\once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) c'
\once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) bes
\once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) e
\once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) d
\once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) bes'
\once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) g
\once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1)) d'
\once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2)) d,
aes']
}
}
Andrew
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Re - How to remove tags from music returned by \keepWithTag ?
Jim Why do you want to remove tags? I must be missing something - AFAIA tags are not engraved. regards Peter Gentry ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trouble with stem length while using cross piano staff chord engraver
By the way, here's how I would do the red circled section in the Takemitsu
\version 2.18.2
rha = \relative {
\voiceOne
s16 s8 s4 s8 g16[ bes,]\laissezVibrer
}
rhb = \relative {
b cis e16[ d ees aes8]~ q4\laissezVibrer
\ottava #1
\voiceTwo
\omit TupletBracket
\once \override Beam.positions = #'(-4 . -4)
\tuplet 3/2 { a''16^\accent[ aes' e~ } a, e' aes8]
}
rhc = \relative {
s16 s8 s4
\hideNotes
\override NoteColumn.ignore-collision = ##t
a''8~ a
}
rhd = \relative {
s16 s8 s4
\hideNotes
\override NoteColumn.ignore-collision = ##t
\omit TupletNumber
\tuplet 3/2 8 { s16 aes'''8~ } aes
}
\new Staff
\cadenzaOn
\new Voice \rha
\new Voice \rhb
\new Voice \rhc
\new Voice \rhd
On Tue, Mar 10, 2015 at 11:28 AM, Kevin Barry barr...@gmail.com wrote:
Hi Hu,
I'm not sure I understand what you are trying to do. Bar 27 of the
Takemitsu doesn't include any cross staff stems and neither do any of the
examples on the github page. Can you be more specific about what exactly
you want?
Kevin
On Mon, Mar 9, 2015 at 11:45 PM, 良ϖ p2b@gmail.com wrote:
Hi,
I've gone a bit farther in Rain Tree Sketch as said in a previous thread
but I've stumbled upon a Lilypond issue I'm unable to deal with. When one
types polyphonic music, one uses voices and Lilypond is clever enough to
avoid collision with objects. When one wants to depict a chord made with
two hands, one can use cross-staff stems with the corresponding engraver,
as documented in this snippet
http://lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-cross-staff-stems
and the corresponding workaround
http://lilypond.org/doc/v2.18/Documentation/snippets/tweaks-and-overrides#tweaks-and-overrides-cross_002dstaff-chords-_002d-beaming-problems-workaround
.
The context is bar 27 of Rain Tree Sketch
https://raw.githubusercontent.com/piotr2b/rain-tree-sketch/master/Minimum%20working%20examples/bar27circled.png.
It's pretty messy so I cleansed it and wrote minimal examples for this
issue. You can find the picture of what is to be get as well as these
examples here
https://github.com/piotr2b/rain-tree-sketch/tree/master/Minimum%20working%20examples
.
Actually that problem can be reduced: is there any way to get these two
items in the same time?
- something that looks like cross-staff chord;
- messy voices interleaving within two notes happen on the same beat.
I feel ill-at-ease because I don't see where I could have made a mistake.
Would this be a bug? Where could I feel a bug report if so?
In addition to that, who shall I send a mail to in order to get these two
snippets because merged into a single one? I think it may be more useful as
they are closely related. Anyway, this large collection of snippets rocks
:-)
胡雨軒 Hu YuXuan
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Disable spaces around italic text
When using `\italic`, it seems that spaces are inserted before and after the
formatted text. Is it possible to disable this, ie, place an italic character
directly next to a non-italic character?
For example, the following prints 'a b c d e f g'; would it be possible to
make it print 'ab cde fg', with b, c, e and f still italic?
\version 2.12.2
\markup {
a\italic{b c}d\italice fg.
}
As an aside, it seems one can use either braces or double quotes to format a
string containing spaces. Is there a difference between these two methods?
Thanks!
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Re: Disable spaces around italic text
On Tue, Mar 10, 2015 at 12:34 PM, Ian Mackinnon imackin...@gmail.com
wrote:
When using `\italic`, it seems that spaces are inserted before and after
the
formatted text. Is it possible to disable this, ie, place an italic
character
directly next to a non-italic character?
Hi Ian,
LilyPond adds space between all markups. To glue two or more things
together you need to use the \concat function, e.g.:
\markup {
\concat { a \italic {b c} d \italic e f g. }
}
By the way, version 2.12, if that is what you are using, is well out of
date. You should upgrade to 2.18. It's 100% awesome!
Kevin
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Re: Disable spaces around italic text
Thanks Kevin, that solves the problem.
I used weblily.net to write my example, and that seems to use v2.12.2, but
I have the latest version installed locally, thanks :)
---
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@imackinnon https://twitter.com/imackinnon
España: +34722747843
UK: +447770838710
---
On 10 March 2015 at 13:43, Kevin Barry barr...@gmail.com wrote:
On Tue, Mar 10, 2015 at 12:34 PM, Ian Mackinnon imackin...@gmail.com
wrote:
When using `\italic`, it seems that spaces are inserted before and after
the
formatted text. Is it possible to disable this, ie, place an italic
character
directly next to a non-italic character?
Hi Ian,
LilyPond adds space between all markups. To glue two or more things
together you need to use the \concat function, e.g.:
\markup {
\concat { a \italic {b c} d \italic e f g. }
}
By the way, version 2.12, if that is what you are using, is well out of
date. You should upgrade to 2.18. It's 100% awesome!
Kevin
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Re: Ace editor - Lilypond support
Thanks for the input! I'll have a look at the VIM files, although I'm not familiar with their format. I've found that there is an automatic importer for Ace that can take a syntax described in a .tmLanguage file (Text Mate format). There are such files for Lilypond here: https://github.com/yrammos/SubLilyPond I haven't given it a try yet but the generated files might be a good enough start for getting Lilypond support in Ace. //Erik On Mon, Mar 9, 2015 at 5:39 PM, Michael Hendry hendry.mich...@gmail.com wrote: On 9 Mar 2015, at 13:34, Erik Nilsson nilsso...@gmail.com wrote: Hi, I'm considering creating a syntax highlighter for Lilypond code for the Ace javascript code editor (http://ace.c9.io/). I think it would be useful for tools like for instance weblily (http://www.weblily.net/). Is there a clear definition of the lilypond language that one could use as the basis for such work? Does anybody know of other syntax highlighters out there (Frescobaldi, Emacs, Sublime or whatever) that would be a good starting point (being fairly complete, readable code). Regards, Erik I’m not sure if this is what you’re looking for, Erik, but my installation of lilypond (on iMac) includes the following files: /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/compiler/lilypond.vim /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/ftdetect/lilypond.vim /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/ftplugin/lilypond.vim /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/indent/lilypond.vim /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/vim/syntax/lilypond.vim …which allow MacVim to provide syntax highlighting for lilypond. I’m not sure now whether these came with lilypond, or whether I installed them separately. Michael ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam subdivision
On Tue, Mar 10, 2015 at 12:03 PM, Andrew Bernard andrew.bern...@gmail.com
wrote:
How can I do this in a more idiomatic, and less tedious way than the
following?
Hi Andrew,
The following should be what you want. It works by setting the baseMoment
to a theoretical value of 1/20 (that is, four fifths of a semiquaver, which
is the duration of the two-demisemiquaver groups in your example).
\version 2.18.2
\relative c'' {
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/20)
\set beatStructure = #'(5)
\tuplet 5/4 {
e,32[ c' bes e d bes' g d' d, aes']
}
}
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Re: Beam subdivision
This is good, and helpful, but I was wanting two beams between the groups of
32s, not one. [Maybe this is non standard after all.]
On 10 March 2015 at 23:27:30, Kevin Barry (barr...@gmail.com) wrote:
The following should be what you want. It works by setting the baseMoment to a
theoretical value of 1/20 (that is, four fifths of a semiquaver, which is the
duration of the two-demisemiquaver groups in your example).
\version 2.18.2
\relative c'' {
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/20)
\set beatStructure = #'(5)
\tuplet 5/4 {
e,32[ c' bes e d bes' g d' d, aes']
}
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Re: Trouble with stem length while using cross piano staff chord engraver
Hi Kevin, Thanks a lot for your replies. Your code example eventually runs and brings me a lot of interesting stuff. I should use hidden notes technique more often, it's very convenient. Actually you're right, my examples were wrong – shame!~ Maybe I got a proper example than I changed something and didn't notice example has got wrong. Actually original bar 27 doesn't contain cross-staff chords but Rain Tree Sketch does and at first I believed the problem was because of that. Your rocking example has solved my problem in an elegant way, thank you very much! I've adjusted your code (note name turned Italian and few notes added, nothing special) and put it into this folder https://github.com/piotr2b/rain-tree-sketch/tree/master/Troubles/Bar%2027%20%28cross-staff%20chords%20and%20multiple%20upper%20staves%29 . Would you mind to give me a last advice about that bar? Lines 87 sqq. in the (now-)working example I set a variable to make sure notes are grouped the correct way. It works but would you know anything lighter or is this the correct way? Thanks again :-) 胡雨軒 Yuxuan Hu ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam subdivision
The other question the OP was asking is can the group default to have TWO full
beams across the group, while the pairs of 32nd notes are beamed together with
a third. It seems like non-standard notation, so quick, generic solutions for
any size of group, outside of a function like the one already proposed, may not
exist. I had a look through the IR and couldn't find anything that says it will
only use a SINGLE beam across the whole group.
- Abraham
Sent from my iPhone
On Mar 10, 2015, at 9:30 AM, Stephen MacNeil [via Lilypond]
ml-node+s1069038n172923...@n5.nabble.com wrote:
\version 2.18.2
\relative c'' {
% this should be all you need
% if you use \once you can aply it any time
\once \set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/20)
\tuplet 5/4 {
% no square brackets needed
e,32 c' bes e d bes' g d' d, aes'
}
% without
\tuplet 5/4 {
e,32 c' bes e d bes' g d' d, aes'
}
% with
\once \set subdivideBeams = ##t
\tuplet 5/4 {
e,32 c' bes e d bes' g d' d, aes'
}
}
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Re: Getting ragged-last-bottom et. al to work?
- Original Message -
From: st...@linuxsuite.org
To: Phil Holmes m...@philholmes.net
Cc: lilypond-user lilypond-user@gnu.org
Sent: Tuesday, March 10, 2015 2:30 PM
Subject: Re: Getting ragged-last-bottom et. al to work?
Subject: Getting ragged-last-bottom et. al to work?
Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..
Well, the example you sent is too complex to debug by sight and doesn't
compile without all the included files, but ragged-last in a layout block
definitely does work as documented:
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##t
}
}
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##f
}
}
Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the
problem
but I haven't been able to... yet.
All if the files needed to compile my example can be found in
http://www.gooeytar.com/projects/FourMoments/Python/
Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9 X 12 paper size, which is standard size for music score in
my locale
Your dynamics music is one bar longer than your guitar music, so it pushes
the guitar music to the left to accommodate it. Take off your final s2 s2
and the problem is solved.
--
Phil Holmes
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Re: Beam subdivision
\version 2.18.2
\relative c'' {
% this should be all you need
% if you use \once you can aply it any time
\once \set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/20)
\tuplet 5/4 {
% no square brackets needed
e,32 c' bes e d bes' g d' d, aes'
}
% without
\tuplet 5/4 {
e,32 c' bes e d bes' g d' d, aes'
}
% with
\once \set subdivideBeams = ##t
\tuplet 5/4 {
e,32 c' bes e d bes' g d' d, aes'
}
}
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Re: How to remove tags from music returned by \keepWithTag ?
Jim Long lilypond at umpquanet.com writes:
On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)
\taggedRep looks especially interesting. I often use the
'extractMusic' family of snippet functions, for cases when a
phrase repeats, but with slight variation (most conveniently, at
the beginning or ending of the phrase):
But \taggedRep doesn't quite fit that use case.
The development version has a \tagGroup concept, that is intended
as a general solution to some of the problems LSR snippet 871
is intended to solve. There is basic documentation in the
version 2.19.16 manuals, and some background here
http://code.google.com/p/lilypond/issues/detail?can=2q=4083
For some uses of \taggedRep, a simple alternative is parallel music
\repeat unfold 16 {c'4 d' e' f'}
{s1\p s1\ s1*13 s4 s s s\f }
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Pedal line staff sepation
I would like to have piano music with a normal two staff layout with a separate line for dynamics and under that a separate line for pedal indications. Whatever I do I can only get the pedal and the dynamics staff overlapping at the same distance from the bottom stave. How does one achieve the separation and control over the spacing of multiple Dynamics staves in a a piano score? Do you need to create a special pedal context object? Using version 2.19.16. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting ragged-last-bottom et. al to work?
Phil,
Thats IT Pulled my hair out for days..
I'll pay it forward... somehow
thanx - steve
- Original Message -
From: st...@linuxsuite.org
To: Phil Holmes m...@philholmes.net
Cc: lilypond-user lilypond-user@gnu.org
Sent: Tuesday, March 10, 2015 2:30 PM
Subject: Re: Getting ragged-last-bottom et. al to work?
Subject: Getting ragged-last-bottom et. al to work?
Umm,,, no I don't want a ragged layout. I want the last line
on
the last page to fill the line..
Well, the example you sent is too complex to debug by sight and doesn't
compile without all the included files, but ragged-last in a layout
block
definitely does work as documented:
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##t
}
}
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##f
}
}
Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the
problem
but I haven't been able to... yet.
All if the files needed to compile my example can be found in
http://www.gooeytar.com/projects/FourMoments/Python/
Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9 X 12 paper size, which is standard size for music score
in
my locale
Your dynamics music is one bar longer than your guitar music, so it pushes
the guitar music to the left to accommodate it. Take off your final s2 s2
and the problem is solved.
--
Phil Holmes
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Re: Getting ragged-last-bottom et. al to work?
Subject: Getting ragged-last-bottom et. al to work?
Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..
Well, the example you sent is too complex to debug by sight and doesn't
compile without all the included files, but ragged-last in a layout block
definitely does work as documented:
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##t
}
}
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##f
}
}
Yes, I have proven to myself that it works for simple examples.
I am trying
to reduce my example to a simple one that will still demonstrate the problem
but I haven't been able to... yet.
All if the files needed to compile my example can be found in
http://www.gooeytar.com/projects/FourMoments/Python/
Also I modified
/usr/local/lilypond/usr/share/lilypond/current/scm/paper.scm
by adding a 9 X 12 paper size, which is standard size for music score in
my locale
(gooeytar_9X12 . (cons (* 9.0 in) (* 12.0 in)))
-steve
--
Phil Holmes
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Re: Beam subdivision
On Tue, Mar 10, 2015 at 12:40 PM, Andrew Bernard andrew.bern...@gmail.com
wrote:
This is good, and helpful, but I was wanting two beams between the groups
of 32s, not one. [Maybe this is non standard after all.]
Ah my apologies; I misread your mail. A quick search didn't yield what
property sets the default at one beam for subdivision. Without changing
that your best bet would be to make a function that does what you wrote
automatically. I'm not good at writing music functions, but below is one I
just hacked up. It only works when there are 10 notes in the tuplet, but it
should illustrate how to do it. The proper way would probably involve
specifying a music-list of notes and working on that. Someone else might
best know how to do it.
\version 2.18.2
tenTuplet =
#(define-music-function
(parser location note1 note2 note3 note4 note5 note6 note7 note8 note9
note10)
(ly:music? ly:music? ly:music? ly:music? ly:music? ly:music? ly:music?
ly:music? ly:music? ly:music?)
#{
\tuplet 5/4 { #note1
\bl #note2
\br #note3
\bl #note4
\br #note5
\bl #note6
\br #note7
\bl #note8
\br #note9
#note10 }
#})
bl = \once \override Stem.beaming = #(cons (list 0 1 2) (list 0 1))
br = \once \override Stem.beaming = #(cons (list 0 1) (list 0 1 2))
\score {
\relative c'' {
\time 1/4
\tenTuplet e,32[
c'
bes
e
d
bes'
g
d'
d,
aes']
}
}
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Re: Beam subdivision
Hi,
On 03/10/2015 05:52 PM, tisimst wrote:
The other question the OP was asking is can the group default to have
TWO full beams across the group
Am 10.03.2015 um 21:01 schrieb Rutger Hofman:
So, if 32nd notes are subgrouped into groups of 4, the subgroup duration is
1/8 and the
beam count between subgroups should be 1. If 32nd notes are subgrouped into
groups of 2, then
the subgroup duration is 1/16 and the beam count between subgroups should be
2.
Is this different from Lilypond's default behaviour?
Yes. LilyPond always uses one beam connecting all notes:
\version 2.18.2
{
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/8)
a32 a a a a a a a
\set baseMoment = #(ly:make-moment 1/16)
a32 a a a a a a a
}
And this is not only the default behaviour, but also it is not obvious
how to tweak it to get the two connecting beams, the OP want (and that
comply with Gould’s recommendation you mentioned above.
Cheers,
Joram
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Re: Help please with alternate jazz chord naming system
Thanks for your help. I will explore and learn.. respect… Peter On 2015-03-09, at 2:53 PM, Tim McNamara tim...@bitstream.net wrote: There is also the pop-chords.ly file that can be used for chord names and I am working on modifying the same file to follow the Roemer chord name conventions which I will make available when done. It appears that the OP would like Real Book style chord names; the pop-chords.ly file is easily modified. It may be in the Lilypond snippet repository. If not I can send a copy to the OP. On Mar 9, 2015, at 1:07 PM, Michael Hendry hendry.mich...@gmail.com wrote: I have a file called… /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/ly/AccordsJazzDefs.ly …in my Mac installation of LilyPond, and I \include it near the beginning of the file to get the alternative jazz chord names. I can’t remember where I got it now, but no doubt Google would help. Michael ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to remove tags from music returned by \keepWithTag ?
On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote:
Something in
http://lsr.di.unimi.it/LSR/Item?id=871
which matches your needs?
(didn't test myself)
Cheers,
Harm
Thank you, Harm! That looks very promising. I must train myself
to remember the snippet repository when I'm Googling for
solutions.
\taggedRep looks especially interesting. I often use the
'extractMusic' family of snippet functions, for cases when a
phrase repeats, but with slight variation (most conveniently, at
the beginning or ending of the phrase):
\include extractMusic.ily % http://lsr.dsi.unimi.it/LSR/Item?id=542
Aphrase = {
c'4 d' e' f'
g' a' b' c''
c'' b' a' g'
f' e' d' c'
}
\score {
\extractBegin { \repeat unfold 3 \Aphrase } s1*11 % copy first 11 bars
d'4 f' e' c' % 12th bar
}
But \taggedRep doesn't quite fit that use case. Hmm, I'll have
to muse over it a while and see if new uses for \taggedRep reveal
themselves to me.
Thanks again!
Jim
\include extractMusic.ily % http://lsr.dsi.unimi.it/LSR/Item?id=542
\include tagging.ily % http://lsr.di.unimi.it/LSR/Item?id=871
Aphrase = {
c'4 d' e' f'
g' a' b' c''
c'' b' a' g'
f' e' d' c'
}
\score {
\new Staff {
\extractBegin { \repeat unfold 3 \Aphrase } s1*11 % copy first 11 bars
d'4 f' e' c' % 12th bar
}
}
Aphrase = {
c'4 d' e' f'
g' a' b' c''
c'' b' a' g'
{ f' e' d' c' } % 4th bar and 8th bar
\tag #'lasttime { d'4 f' e' c' } % 12th bar
}
\score {
\new Staff \taggedRep #'firsttime #'lasttime 3 \Aphrase
}
foo.pdf
Description: Adobe PDF document
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Re: How to set alternative chord names?
thank you for your advice… I will explore and learn from it. respect Peter (nidan) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam subdivision
On 03/10/2015 05:52 PM, tisimst wrote: The other question the OP was asking is can the group default to have TWO full beams across the group, while the pairs of 32nd notes are beamed together with a third. It seems like non-standard notation, so quick, generic solutions for any size of group, outside of a function like the one already proposed, may not exist. I had a look through the IR and couldn't find anything that says it will only use a SINGLE beam across the whole group. - Abraham Gould (Behind Bars) pp.156,157 says that the number of beams between subgroups should reflect the duration of the subgroup. So, if 32nd notes are subgrouped into groups of 4, the subgroup duration is 1/8 and the beam count between subgroups should be 1. If 32nd notes are subgrouped into groups of 2, or 64th notes are subgrouped into groups of 4, then the subgroup duration is 1/16 and the beam count between subgroups should be 2. Is this different from Lilypond's default behaviour? Rutger Hofman Amsterdam ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam subdivision
tisimst wrote Tuesday, March 10, 2015 4:52 PM The other question the OP was asking is can the group default to have TWO full beams across the group, ... I had a look through the IR and couldn't find anything that says it will only use a SINGLE beam across the whole group. The snippet in NR 1.2.4 Beams which shows how to subdivide beams says: When set, multiple beams will be subdivided at intervals defined by the current value of baseMoment by reducing the multiple beams to just one beam between the sub-groups. But you're right in the sense that there is no accessible property that controls the number of inter-group beams, and there should be, or even better, LilyPond should just do the correct subdivision if subdivideBeams is set. In Behind Bars, on pages 156-157, Elaine Gould makes it quite explicit that using a single beam to separate groups of four 64th notes is wrong. She says, the number of beams separating the groups [should be] equal to the duration of the groups they separate. A group of four 64th notes equals a 16th, so two such groups should be separated by a 16th beam, i.e. two beams. Four such groups should have two beams between first and second and between third and fourth groups, and a single beam between second and third. She gives an example showing exactly this. There is an enhancement request for this: see https://code.google.com/p/lilypond/issues/detail?id=2361 Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam subdivision
2015-03-10 22:29 GMT+01:00 Trevor Daniels t.dani...@treda.co.uk:
tisimst wrote Tuesday, March 10, 2015 4:52 PM
The other question the OP was asking is can
the group default to have TWO full beams
across the group, ...
I had a look through the IR and couldn't find
anything that says it will only use a SINGLE
beam across the whole group.
The snippet in NR 1.2.4 Beams which shows how to subdivide beams says:
When set, multiple beams will be subdivided at intervals defined by the
current value of baseMoment by reducing the multiple beams to just one beam
between the sub-groups.
But you're right in the sense that there is no accessible property that
controls the number of inter-group beams, and there should be, or even
better, LilyPond should just do the correct subdivision if subdivideBeams is
set. In Behind Bars, on pages 156-157, Elaine Gould makes it quite
explicit that using a single beam to separate groups of four 64th notes is
wrong. She says, the number of beams separating the groups [should be]
equal to the duration of the groups they separate. A group of four 64th
notes equals a 16th, so two such groups should be separated by a 16th beam,
i.e. two beams. Four such groups should have two beams between first and
second and between third and fourth groups, and a single beam between second
and third. She gives an example showing exactly this.
There is an enhancement request for this: see
https://code.google.com/p/lilypond/issues/detail?id=2361
Trevor
I'm with Trevor, LilyPond's default should do it correctly, if
subdivideBeams = ##t
Nevertheless, maybe the following is of some help for the current request.
Although trying to typeset the example David Bobroff gave in said
issue is not really convincing.
\version 2.19.16
set-connected-beam-counts =
#(define-music-function (parser location val music)(integer? ly:music?)
#{
\temporary
\override Stem.after-line-breaking =
#(lambda (grob)
(let*((beaming (ly:grob-property grob 'beaming)))
(if (= val 0)
(begin
(if (and (list? (car beaming))
(= (caar beaming) 0))
(ly:grob-set-property! grob 'beaming
(cons (iota val) (cdr beaming
(if (and (list? (cdr beaming))
(= (cadr beaming) 0))
(ly:grob-set-property! grob 'beaming
(cons (car beaming) (iota val)
(ly:message negative beam-count detected, ignoring
$music
\revert Stem.after-line-breaking
#})
%%
%% EXAMPLE
%%
\paper { line-width = 80 indent = 0 }
mI = \tuplet 5/4 { e,32[ c' bes e d bes' g d' d, aes'] \bar \break }
mII = \tuplet 5/4 { e,128[ c' bes e d bes' g d' d, aes'] \bar \break }
mIII = { c64[ d e f g f e d c d e f] \bar \break }
\version 2.18.2
\relative c'' {
\cadenzaOn
\set subdivideBeams = ##t
\set beatStructure = #'(5)
\set baseMoment = #(ly:make-moment 1/20)
\set-connected-beam-counts 2
\mI
\set baseMoment = #(ly:make-moment 1/80)
\set-connected-beam-counts 0
\mII
\set-connected-beam-counts 1
\mII
\set-connected-beam-counts 2
\mII
\set-connected-beam-counts 3
\mII
\set-connected-beam-counts 4
\mII
\set-connected-beam-counts 5
\mII
\set-connected-beam-counts 6
\mII
\set-connected-beam-counts 7
\mII
\set baseMoment = #(ly:make-moment 2/64)
\set-connected-beam-counts 1
\mIII
\set baseMoment = #(ly:make-moment 3/64)
\set-connected-beam-counts 2
\mIII
\set baseMoment = #(ly:make-moment 4/64)
\set-connected-beam-counts 3
\mIII
}
%% https://code.google.com/p/lilypond/issues/detail?id=2361
%% typesetting the example by David Bobroff
\relative c {
\clef bass
\key e \major
\omit Staff.TimeSignature
\time 3/8
\set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/16)
fis8~
fis32.
\set-connected-beam-counts 2
{ gis64 fis32.} gis64
fis32.
\set-connected-beam-counts 2
{ gis64 fis32. }
gis64
}
Cheers,
Harm
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Re: Getting ragged-last-bottom et. al to work?
- Original Message -
From: st...@linuxsuite.org
To: Phil Holmes m...@philholmes.net
Cc: lilypond-user lilypond-user@gnu.org
Sent: Monday, March 09, 2015 7:01 PM
Subject: Re: Getting ragged-last-bottom et. al to work?
- Original Message -
From: st...@linuxsuite.org
To: lilypond-user lilypond-user@gnu.org
Sent: Monday, March 09, 2015 5:42 PM
Subject: Getting ragged-last-bottom et. al to work?
Umm,,, no I don't want a ragged layout. I want the last line on
the last page to fill the line..
Well, the example you sent is too complex to debug by sight and doesn't
compile without all the included files, but ragged-last in a layout block
definitely does work as documented:
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##t
}
}
\score {
\repeat unfold 52 c''
\layout {
ragged-last = ##f
}
}
--
Phil Holmes
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Re: Beam subdivision
Trevor, Thanks! Indeed lilypond is not doing the right thing, and needs to be adjustable by the user in this aspect. I can do it the original way with explicit beam control, so there is a solution. It’s just very tedious and error prone - when there are several hundred of these in the score I am setting. The suggestion to make the commands into music functions will work fine for now. Thanks Kevin! Andrew On 11 March 2015 at 08:31:44, Trevor Daniels (t.dani...@treda.co.uk) wrote: There is an enhancement request for this: see https://code.google.com/p/lilypond/issues/detail?id=2361 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
