Re: Implementation of \tuplet allow both incorrect and correct musical expressions
Hello,
in general it’s helpful if you always include the list in the
addressees, except for really private messages. You needn’t be afraid of
increasing the traffic on ly-user.
For example, someone else might comment on your question ending the
first paragraph below.
Yours, Simon
Am 26.03.2015 um 00:57 schrieb Ralph D. Jeffords:
Simon, Disregard the last message ( I messed up). Anyway, thanks for
the quick response. The essay
on writing readable tuplets was quite interesting. The documentation
mentions nothing about the intricacies of using tuplets---why isn't
there a link to this article from the section 2.1.7 of the Learning
Manual where tuplets are first discussed?
Even before I read the essay I had some second thoughts that \tuplet
7/4 { c16 ... } might be clearer to the player if annotated as
\tuplet 7/8 { c32 ... } since 7 is closer to 8 than to 4 (i.e., I
anticipated the Nearness Rule). I also found that certain
arpeggios which appeared in a bassoon composition of mine ( I just
downloaded LilyPond about 10 days ago, knowing nothing about it
before, and learned enough of the basics to engrave that composition)
seem easier to read if the notes are nominal 16ths rather than
following the Mathematical Rule:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using tuplets.
I am definitely impressed with LilyPond's capabilities and the input
language (I was a heavy user of LaTeX in my life before retirement, so
I am a fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist before I
retired, but I'm also a bassoonist and even play the piano a bit (my
mother was a piano teacher).
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Re: Guitar chord mode no longer produces MIDI file with chords
2015-03-26 2:40 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2015-03-26 1:08 GMT+01:00 David Bellows davebell...@gmail.com:
Could you confirm that it works for you?
I copy and pasted it directly in and it doesn't change the behavior.
I've attached my file.
Silly me. Must be heavily overtired...
It needs to be put into \midi {}, like:
\score {
\new ChordNames \chordmode { f1:m }
\midi {
\context {
\type Performer_group
\consists Staff_performer
\name ChordNames
\defaultchild Voice
}
}
}
Cheers,
Harm
It's now
https://code.google.com/p/lilypond/issues/detail?id=4330
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Re: how to move upbow inside the staff?
At 17:14 on 25 Mar 2015, MarcM wrote: thanks that helped: http://lilybin.com/tvja0h/3 Interesting that moving the fingering alters the tie position also. It doesn't look like the tie would have collided with the fingering in the tie's default position. -- Mark Knoop ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement of dot after notehead
Another thought, which is a musical solution rather than a lilypond tweak. You can use an equivalent time signature that may make it preferable in terms of readability. 12/8 is logically 4/4 (at a different tempo) and you use triplets. This can be easier one the eyes instead of all those dots. Andrew On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote: Lilyponders: how to solve the dots after notehead and tie collides. 1. tie collide with notehead -- treble staff sample 2. place of dots look awful and not clear - refer to bass staff ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement of dot after notehead
Re tie collision: Add something like the following before the tie to adjust its shape: \override TieColumn.tie-configuration = #'((0.0 . 2)) Andrew On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote: Lilyponders: how to solve the dots after notehead and tie collides. 1. tie collide with notehead -- treble staff sample 2. place of dots look awful and not clear - refer to bass staff ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: placement of dot after notehead
I am not convinced the dots look awful. It’s perfectly legible to me - just highly dotted notation. What do you mean by awful, exactly? Andrew On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote: Lilyponders: how to solve the dots after notehead and tie collides. 1. tie collide with notehead -- treble staff sample 2. place of dots look awful and not clear - refer to bass staff ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Note whiteout
I now understand this can be done using a filled-box markup in white. But how
do you get the box under the notehead and leger lines but above the ties? I am
aware of layer order, but I can’t get the whiteout box just where it should be
in the z-order.
Andrew
On 27 March 2015 at 12:05:33, Andrew Bernard (andrew.bern...@gmail.com) wrote:
What do I whiteout and how exactly to get the chord in the example covering the
leger lines to nicely whiteout just the right things? Notehead, leger lines,
stem? Not real music, just the smallest example I could make.
\version 2.19.17
treble = \relative c'' {
e
\change Staff = bass
e,,, g,
\change Staff = treble
g'' c
c1
}
bass = \relative c {
\clef bass
c, f c,1 ~
c f c,
}
\score {
\new PianoStaff
\new Staff = treble \with { }
{ \treble }
\new Staff = bass \with { }
{ \bass }
\layout { }
}
Andrew
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Re: Note whiteout
Well, answering my own question here. The following works, but now I feel the
need to ask is the best way to do this sort of operation?
\version 2.19.17
treble = \relative c'' {
\override Stem.layer = #3
e'
\change Staff = bass
\override NoteHead.layer = #3
e g,-\markup {
\with-dimensions #'(0 . 3) #'(0 . 0)
\with-color #white
\filled-box #'(-1 . 2.5) #'(3 . 7) #0
}
\change Staff = treble
g'' c
c1
}
bass = \relative c {
\clef bass
c, f c,1 ~
c f c,
}
\score {
\new PianoStaff
\new Staff = treble \with {
}
{ \treble }
\new Staff = bass \with {
\override LedgerLineSpanner.layer = #10
}
{ \bass }
\layout { }
}
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Re: placement of dot after notehead
Hello Ming, here’s the best I could come up with. I remember that in hand-engraved scores, this is resolved by shifting the two notes further apart and placing the dots close to each one, which I now mimicked, albeit very poorly: the dot placement looks very odd now. Perhaps you’ll want to fiddle with extra-offset more, adjusting also the Y value (which I didn’t; you may also make the music function take it as another argument – see the Extending Manual on explanations), so it will look good. HTH, Simon Am 26.03.2015 um 16:26 schrieb MING TSANG: Adnrew, Sorry, I choose the wrong word here. I was hoping that the dot will be displayed closer to the notehead. e.g. 1st bar of bass staff, the dot of quarter note be displayed closer to quarter note , now it line up with the half note. This is more evident on bar3. Immanuel, Ming On Thursday, March 26, 2015 9:13 AM, Andrew Bernard andrew.bern...@gmail.com wrote: I am not convinced the dots look awful. It’s perfectly legible to me - just highly dotted notation. What do you mean by awful, exactly? Andrew On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com mailto:tsan...@rogers.com) wrote: Lilyponders: how to solve the dots after notehead and tie collides. 1. tie collide with notehead -- treble staff sample 2. place of dots look awful and not clear - refer to bass staff ___ 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: placement of dot after notehead
Hi, Simon:Thank you, but I did not see the attachment.Immanuel,Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved scores,
this is resolved by shifting the two notes further apart and placing the dots
close to each one, which I now mimicked, albeit very poorly: the dot placement
looks very odd now. Perhaps you’ll want to fiddle with extra-offset more,
adjusting also the Y value (which I didn’t; you may also make the music
function take it as another argument – see the Extending Manual on
explanations), so it will look good.
HTH, Simon
Am 26.03.2015 um 16:26 schrieb MING TSANG:
Adnrew, Sorry, I choose the wrong word here. I was hoping that the dot will
be displayed closer to the notehead. e.g. 1st bar of bass staff, the dot of
quarter note be displayed closer to quarter note , now it line up with the half
note. This is more evident on bar3. Immanuel, Ming
On Thursday, March 26, 2015 9:13 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv9329393738 body{font-family:Lucida Sans Unicode, Arial;font-size:15px;}
I am not convinced the dots look awful. It’s perfectly legible to me - just
highly dotted notation. What do you mean by awful, exactly?
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solve the dots after notehead and tie collides. 1. tie collide with
notehead -- treble staff sample 2. place of dots look awful and not clear -
refer to bass staff
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Re: Implementation of \tuplet allow both incorrect and correct musical expressions
On 2015-03-26 10:53, Simon Albrecht wrote:
The essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about tuplets on
the LilyPond blog:
http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/. I'm
really glad you found it interesting!
The documentation mentions nothing about the intricacies of using
tuplets---why isn't there a link to this article from the section
2.1.7 of the Learning Manual where tuplets are first discussed?
Even before I read the essay I had some second thoughts that \tuplet
7/4 { c16 ... } might be clearer to the player if annotated as
\tuplet 7/8 { c32 ... } since 7 is closer to 8 than to 4 (i.e., I
anticipated the Nearness Rule).
I also found that certain arpeggios which appeared in a bassoon
composition of mine ( I just downloaded LilyPond about 10 days ago,
knowing nothing about it before, and learned enough of the basics to
engrave that composition)
Welcome as a LilyPond user!
[The arpeggios] seem easier to read if the notes are nominal 16ths
rather than following the Mathematical Rule:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using tuplets.
My main point in the text is that the flexibility of LilyPond has to be
used with care not to make the tuplets unnecessarily obscure.
Your example above seems strange to me. Compare this:
|{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } c8 d2 s8 }||
||
||{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } f8 d2 s8 } |
with this:
|{ c,,8( \tuplet 5/4 { g'16 c ef g c ) } c8 d2 }||
||
||{ df8( \tuplet 7/4 { f16 bf df f bf df f~) } f8 d2 }|
When placing five (5) and seven (7) 16ths over two (2) 16ths it seems to
me that you end up with an excessive 8th compared to what one expects
from reading the notation.
I am definitely impressed with LilyPond's capabilities and the input
language (I was a heavy user of LaTeX in my life before retirement, so
I am a fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist before I
retired, but I'm also a bassoonist and even play the piano a bit (my
mother was a piano teacher).
Best
Peter
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Full header on every page vertically centered staves?
Hello,
I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k
For that video I saved every line from the score as a PNG in Frescobaldi,
and put them together with the header and copyright in GIMP. Then I
combined the resulting images to a video.
For further videos I now want to skip GIMP and just let LilyPond create all
the complete PNGs. For that I need on every page the complete header,
copyright, and one line of music, which has to be vertically centered.
If I had a \score block for every page, that would be no problem, I could
simply put the header markup in between the scores. But I hesitate to take
apart the whole score into many small ones for every line. (Impractical, as
I don’t decide on the line breaks before transcribin, and I also want to
produce a normal page layout PDF from the same source.)
Does anybody know a better way to achieve this? Basically, what I need
would be a \bookTitleMarkup after every \break.
I’m also pretty clueless so far how to achieve the vertical centering of a
single staff.
Here’s the basic layout so far, any ideas are much appreciated:
\version 2.19.15
\header {
title = Title
copyright = ©
}
#(set! paper-alist (cons '(fullHD . (cons (* 6.4 in) (* 3.6 in)))
paper-alist))
\paper {
#(set-paper-size fullHD)
indent = 0 \in
top-margin = 0.25 \in
bottom-margin = 0.25 \in
left-margin = 0.25 \in
line-width = 5.9 \in
systems-per-page = #1
print-page-number = ##f
oddFooterMarkup = \markup {
\column {
\fill-line {
\fromproperty #'header:copyright
}
}
}
evenFooterMarkup = \oddFooterMarkup
}
\score {
\relative c' {
R1*4 \break
R1*4
}
}
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: [LSR] Colored notes with black outlines (enhancement).
Hi Paul 2015-03-24 19:52 GMT+01:00 Paul Morris p...@paulwmorris.com: Looks good! Thanks for working on this. Actually I've found it very instructive; I'm re-discovering the power of the 'path' command (I'm even thinking of writing something about it since - I think - it is not enough documented). I can't think of anything to change, except one little thing -- it still says 0.07 is a good default. Ok deleted ( too bad, I liked it! ;) ) Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Full header on every page vertically centered staves?
I think you could do this pretty easily by adding this to your \paper block: oddHeaderMarkup = \bookTitleMarkup evenHeaderMarkup = \oddHeaderMarkup bookTitleMarkup = Here's your example on LilyBin http://lilybin.com/w3lnok/1 . Peter Crighton wrote Hello, I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k For that video I saved every line from the score as a PNG in Frescobaldi, and put them together with the header and copyright in GIMP. Then I combined the resulting images to a video. For further videos I now want to skip GIMP and just let LilyPond create all the complete PNGs. For that I need on every page the complete header, copyright, and one line of music, which has to be vertically centered. If I had a \score block for every page, that would be no problem, I could simply put the header markup in between the scores. But I hesitate to take apart the whole score into many small ones for every line. (Impractical, as I don’t decide on the line breaks before transcribin, and I also want to produce a normal page layout PDF from the same source.) Does anybody know a better way to achieve this? Basically, what I need would be a \bookTitleMarkup after every \break. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Full-header-on-every-page-vertically-centered-staves-tp173724p173727.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: Implementation of \tuplet allow both incorrect and correct musical expressions
Peter, My strange example of tuplets using neither Math Rule nor Nearness
Rule will be clarified if I show the context. Here is that context from a
part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c' {
\partial 4
\clef bass
\key af \major
c,,8( { \tuplet 5/2 { g'16 c ef g c) } }
|
ef4\fermata
\tuplet 3/2 { df8 ef df }
\tuplet 3/2 { c df c }
\afterGrace bf4 \startTrillSpan { a32 bf \stopTrillSpan }
|
af,8-.[ c'-.
bf-. g,-.]
f-.[ af'-.
g-. ef,-.]
|
df8( { \tuplet 7/2 { f16 bf df f bf df f~) } }
f4~\fermata
\tuplet 3/2 { f8 ef( f }
\tuplet 3/2 { g16[ af g } f16 g])
|
} %relative
\layout { }
\midi { }
} %score
My point is that in this context, the 5/2 and 7/2 tuplets seem more elegant
than if you followed the Math Rule using 5/4 and 7/4, and that the player
would not be confused when playing the score. These two tuplets are the only
ones in this section and the triple beams (required by Math Rule) look rather
messy by comparison. Even messier is the Nearness Rule giving 7/8 for the
septuplet with a quaduple beam.
In fact, a music jock college friend at the time (36 years ago) recopied my
chicken scratches of the autograph and used precisely the 5/2 and 7/2
notation for the quintuplet and septuplet---I didn't even notice when I was
engraving the LilyPond version from his hand-written score. It was only later
that I realized that the 5/2 and 7/2 tuplets did not follow the Math Rule.
Food for thought.
- Original Message -
From: Peter Bjuhr
To: Simon Albrecht ; Ralph D. Jeffords ; lilypond-user
Sent: Thursday, March 26, 2015 9:40 AM
Subject: Re: Implementation of \tuplet allow both incorrect and correct
musical expressions
On 2015-03-26 10:53, Simon Albrecht wrote:
The essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about tuplets on the
LilyPond blog: http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/.
I'm really glad you found it interesting!
The documentation mentions nothing about the intricacies of using
tuplets---why isn't there a link to this article from the section 2.1.7 of the
Learning Manual where tuplets are first discussed?
Even before I read the essay I had some second thoughts that \tuplet 7/4 {
c16 ... } might be clearer to the player if annotated as \tuplet 7/8 { c32
... } since 7 is closer to 8 than to 4 (i.e., I anticipated the Nearness
Rule).
I also found that certain arpeggios which appeared in a bassoon
composition of mine ( I just downloaded LilyPond about 10 days ago, knowing
nothing about it before, and learned enough of the basics to engrave that
composition)
Welcome as a LilyPond user!
[The arpeggios] seem easier to read if the notes are nominal 16ths rather
than following the Mathematical Rule:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using tuplets.
My main point in the text is that the flexibility of LilyPond has to be used
with care not to make the tuplets unnecessarily obscure.
Your example above seems strange to me. Compare this:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } c8 d2 s8 }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } f8 d2 s8 }
with this:
{ c,,8( \tuplet 5/4 { g'16 c ef g c ) } c8 d2 }
{ df8( \tuplet 7/4 { f16 bf df f bf df f~) } f8 d2 }
When placing five (5) and seven (7) 16ths over two (2) 16ths it seems to me
that you end up with an excessive 8th compared to what one expects from reading
the notation.
I am definitely impressed with LilyPond's capabilities and the input
language (I was a heavy user of LaTeX in my life before retirement, so I am a
fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist before I
retired, but I'm also a bassoonist and even play the piano a bit (my mother was
a piano teacher).
Best
Peter
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Re: Full header on every page vertically centered staves?
Peter,
In ly/titling-init.ly, you'll find the following definitions which
contain the title and copyright fields:
bookTitleMarkup = \markup {
\override #'(baseline-skip . 3.5)
\column {
\fill-line { \fromproperty #'header:dedication }
\override #'(baseline-skip . 3.5)
\column {
\fill-line {
\huge \larger \larger \bold
\fromproperty #'header:title
}
\fill-line {
\large \bold
\fromproperty #'header:subtitle
}
\fill-line {
\smaller \bold
\fromproperty #'header:subsubtitle
}
\fill-line {
\fromproperty #'header:poet
{ \large \bold \fromproperty #'header:instrument }
\fromproperty #'header:composer
}
\fill-line {
\fromproperty #'header:meter
\fromproperty #'header:arranger
}
}
}
}
oddFooterMarkup = \markup {
\column {
\fill-line {
%% Copyright header field only on first page in each bookpart.
\on-the-fly #part-first-page \fromproperty #'header:copyright
}
\fill-line {
%% Tagline header field only on last page in the book.
\on-the-fly #last-page \fromproperty #'header:tagline
}
}
}
Those should give you enough of an idea of what you should put in
evenHeaderMarkup, oddHeaderMarkup, etc., so the title and copyright
show up on all pages.
-Abraham
On Thu, Mar 26, 2015 at 3:53 PM, Peter Crighton [via Lilypond]
ml-node+s1069038n173724...@n5.nabble.com wrote:
Hello,
I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k
For that video I saved every line from the score as a PNG in Frescobaldi,
and put them together with the header and copyright in GIMP. Then I
combined the resulting images to a video.
For further videos I now want to skip GIMP and just let LilyPond create
all the complete PNGs. For that I need on every page the complete header,
copyright, and one line of music, which has to be vertically centered.
If I had a \score block for every page, that would be no problem, I could
simply put the header markup in between the scores. But I hesitate to take
apart the whole score into many small ones for every line. (Impractical, as
I don’t decide on the line breaks before transcribin, and I also want to
produce a normal page layout PDF from the same source.)
Does anybody know a better way to achieve this? Basically, what I need
would be a \bookTitleMarkup after every \break.
I’m also pretty clueless so far how to achieve the vertical centering of a
single staff.
Here’s the basic layout so far, any ideas are much appreciated:
\version 2.19.15
\header {
title = Title
copyright = ©
}
#(set! paper-alist (cons '(fullHD . (cons (* 6.4 in) (* 3.6 in)))
paper-alist))
\paper {
#(set-paper-size fullHD)
indent = 0 \in
top-margin = 0.25 \in
bottom-margin = 0.25 \in
left-margin = 0.25 \in
line-width = 5.9 \in
systems-per-page = #1
print-page-number = ##f
oddFooterMarkup = \markup {
\column {
\fill-line {
\fromproperty #'header:copyright
}
}
}
evenFooterMarkup = \oddFooterMarkup
}
\score {
\relative c' {
R1*4 \break
R1*4
}
}
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Implementation of \tuplet allow both incorrect and correct musical expressions
On 2015-03-26 21:47, Simon Albrecht wrote:
Peter, My strange example of tuplets using neither Math Rule nor
Nearness Rule will be clarified if I show the context. Here is
that context from a part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c' {
\partial 4
\clef bass
\key af \major
c,,8( { \tuplet 5/2 { g'16 c ef g c) } }
|
ef4\fermata
\tuplet 3/2 { df8 ef df }
\tuplet 3/2 { c df c }
\afterGrace bf4 \startTrillSpan { a32 bf \stopTrillSpan }
|
af,8-.[ c'-.
bf-. g,-.]
f-.[ af'-.
g-. ef,-.]
|
df8( { \tuplet 7/2 { f16 bf df f bf df f~) } }
f4~\fermata
\tuplet 3/2 { f8 ef( f }
\tuplet 3/2 { g16[ af g } f16 g])
|
} %relative
\layout { }
\midi { }
} %score
My point is that in this context, the 5/2 and 7/2 tuplets seem more
elegant than if you followed the Math Rule using 5/4 and 7/4, and
that the player would not be confused when playing the score. These
two tuplets are the only ones in this section and the triple beams
(required by Math Rule) look rather messy by comparison. Even
messier is the Nearness Rule giving 7/8 for the septuplet with a
quaduple beam.
Thanks for sharing the full snippet! You have learned LilyPond quickly!
And it's now easier to see what you are aiming for.
The first bar is an upbeat (partial) so the timing isn't exact anyway.
But the last bar with the septuplet is too crowded in my reading. I'd
definitively prefer 32ths here instead of 16ths.
But when you write that the 16ths are more elegant it suggests to me
that you're aiming for a notation with more rhythmical freedom like
grace notes or a cadenza. (You also use excessive brackets to enclose
these tuplets that to me invoke the feeling of something (rhythmically)
exceptional.)
Interesting that you perceive it that way. Certainly, it looks less
‘impressive’. :-) Personally, I’d probably prefer following the
Nearness Rule here. But, you see, for that reason it’s good that Lily
gives us the freedom to choose ourselves.
I totally agree! Lily should be a flexible tool and give the full
freedom that it is up to the composer/engraver to master.
Best
Peter
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NoteColumn.force-hshift doesn't work on 2nd beat but works on others??
Howdy!
For some reason this doesn't work as expected.
\once \override NoteColumn.force-hshift
works fine in voiceTwo on beats 1 and 3 but not on beat 2?
I need more space around the rest.
http://www.gooeytar.com/projects/test/test.ly
http://www.gooeytar.com/projects/test/test.pdf
ideas? - steve
\version 2.18.2
voiceone = \relative c' {
\voiceOne
\clef G_8
\time 4/4
\key c \major
s4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
%\once \override NoteColumn.force-hshift = #-1.0 % works
\stemUp
g4
\stemDown
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
%g4
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour
\score { \new Staff \guitar }
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Re: NoteColumn.force-hshift doesn't work on 2nd beat but works on others??
Steve,
1. Remember that the { } \\ { } ... syntax automatically (implicitly)
applies \voiceXXX in ascending order.
2. Putting notes in proper voices usually eliminates any need to manually
specify \stemUp and \stemDown, note\rest, etc.
3. Here's how I would re-code your score, if I understand your intentions:
% - SNIP -
\version 2.18.2
voiceone = \relative c' {
\clef G_8
\time 4/4
\key c \major
g4 r16 g8. ~ g2 |
}
voicetwo = \relative c' {
s4 g8 fis ~ fis2 |
}
voicethree = \relative c' {
}
voicefour = \relative c {
c1 |
}
guitar =
\voiceone \\
\voicetwo \\
\voicethree \\
\voicefour
\score { \new Staff \guitar }
% - SNIP -
Regards,
Abraham
On Thu, Mar 26, 2015 at 2:55 PM, steve-166 [via Lilypond]
ml-node+s1069038n173722...@n5.nabble.com wrote:
Howdy!
For some reason this doesn't work as expected.
\once \override NoteColumn.force-hshift
works fine in voiceTwo on beats 1 and 3 but not on beat 2?
I need more space around the rest.
http://www.gooeytar.com/projects/test/test.ly
http://www.gooeytar.com/projects/test/test.pdf
ideas? - steve
\version 2.18.2
voiceone = \relative c' {
\voiceOne
\clef G_8
\time 4/4
\key c \major
s4
\once \override Rest #'extra-offset = #'(1.6 . 0.6 )
g16\rest g8.^~ g2 |
}
voicetwo = \relative c' {
\voiceTwo
%\once \override NoteColumn.force-hshift = #-1.0 % works
\stemUp
g4
\stemDown
\once \override NoteColumn.force-hshift = #-1.0 % doesn't work
g8 fis~
%g4
% \once \override NoteColumn.force-hshift = #1.0 % works
fis2 |
}
voicethree = \relative c' {
\voiceThree
}
voicefour = \relative c {
\voiceFour
c1
}
guitar = \voiceone \\ \voicetwo \\ \voicethree \\ \voicefour
\score { \new Staff \guitar }
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Re: Implementation of \tuplet allow both incorrect and correct musical expressions
Am 26.03.2015 um 20:59 schrieb Ralph D. Jeffords:
Peter, My strange example of tuplets using neither Math Rule nor
Nearness Rule will be clarified if I show the context. Here is that
context from a part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c' {
\partial 4
\clef bass
\key af \major
c,,8( { \tuplet 5/2 { g'16 c ef g c) } }
|
ef4\fermata
\tuplet 3/2 { df8 ef df }
\tuplet 3/2 { c df c }
\afterGrace bf4 \startTrillSpan { a32 bf \stopTrillSpan }
|
af,8-.[ c'-.
bf-. g,-.]
f-.[ af'-.
g-. ef,-.]
|
df8( { \tuplet 7/2 { f16 bf df f bf df f~) } }
f4~\fermata
\tuplet 3/2 { f8 ef( f }
\tuplet 3/2 { g16[ af g } f16 g])
|
} %relative
\layout { }
\midi { }
} %score
My point is that in this context, the 5/2 and 7/2 tuplets seem more
elegant than if you followed the Math Rule using 5/4 and 7/4, and
that the player would not be confused when playing the score. These
two tuplets are the only ones in this section and the triple beams
(required by Math Rule) look rather messy by comparison. Even
messier is the Nearness Rule giving 7/8 for the septuplet with a
quaduple beam.
Interesting that you perceive it that way. Certainly, it looks less
‘impressive’. :-) Personally, I’d probably prefer following the Nearness
Rule here. But, you see, for that reason it’s good that Lily gives us
the freedom to choose ourselves.
Yours, Simon
In fact, a music jock college friend at the time (36 years ago)
recopied my chicken scratches of the autograph and used precisely
the 5/2 and 7/2 notation for the quintuplet and septuplet---I didn't
even notice when I was engraving the LilyPond version from his
hand-written score. It was only later that I realized that the 5/2 and
7/2 tuplets did not follow the Math Rule. Food for thought.
- Original Message -
*From:* Peter Bjuhr mailto:peterbj...@gmail.com
*To:* Simon Albrecht mailto:simon.albre...@mail.de ; Ralph D.
Jeffords mailto:ralph.d.jeffo...@cox.net ; lilypond-user
mailto:lilypond-user@gnu.org
*Sent:* Thursday, March 26, 2015 9:40 AM
*Subject:* Re: Implementation of \tuplet allow both incorrect and
correct musical expressions
On 2015-03-26 10:53, Simon Albrecht wrote:
The essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about
tuplets on the LilyPond blog:
http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/.
I'm really glad you found it interesting!
The documentation mentions nothing about the intricacies of using
tuplets---why isn't there a link to this article from the section
2.1.7 of the Learning Manual where tuplets are first discussed?
Even before I read the essay I had some second thoughts that
\tuplet 7/4 { c16 ... } might be clearer to the player if
annotated as \tuplet 7/8 { c32 ... } since 7 is closer to 8 than
to 4 (i.e., I anticipated the Nearness Rule).
I also found that certain arpeggios which appeared in a bassoon
composition of mine ( I just downloaded LilyPond about 10 days
ago, knowing nothing about it before, and learned enough of the
basics to engrave that composition)
Welcome as a LilyPond user!
[The arpeggios] seem easier to read if the notes are nominal
16ths rather than following the Mathematical Rule:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using tuplets.
My main point in the text is that the flexibility of LilyPond has
to be used with care not to make the tuplets unnecessarily obscure.
Your example above seems strange to me. Compare this:
|{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } c8 d2 s8 }||
||
||{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } f8 d2 s8 } |
with this:
|{ c,,8( \tuplet 5/4 { g'16 c ef g c ) } c8 d2 }||
||
||{ df8( \tuplet 7/4 { f16 bf df f bf df f~) } f8 d2 }|
When placing five (5) and seven (7) 16ths over two (2) 16ths it
seems to me that you end up with an excessive 8th compared to what
one expects from reading the notation.
I am definitely impressed with LilyPond's capabilities and the
input language (I was a heavy user of LaTeX in my life before
retirement, so I am a fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist
before I retired, but I'm also a bassoonist and even play the
piano a bit (my mother was a piano teacher).
Best
Peter
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Re: placement of dot after notehead
Am 26.03.2015 um 19:57 schrieb MING TSANG:
Hi, Simon:
Thank you, but I did not see the attachment.
That’s probably because I forgot to attach it…
Here you go :-)
Immanuel,
Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved
scores, this is resolved by shifting the two notes further apart and
placing the dots close to each one, which I now mimicked, albeit very
poorly: the dot placement looks very odd now. Perhaps you’ll want to
fiddle with extra-offset more, adjusting also the Y value (which I
didn’t; you may also make the music function take it as another
argument – see the Extending Manual on explanations), so it will look
good.
HTH, Simon
Am 26.03.2015 um 16:26 schrieb MING TSANG:
Adnrew,
Sorry, I choose the wrong word here.
I was hoping that the dot will be displayed closer to the notehead.
e.g. 1st bar of bass staff, the dot of quarter note be displayed
closer to quarter note , now it line up with the half note. This is
more evident on bar3.
Immanuel,
Ming
On Thursday, March 26, 2015 9:13 AM, Andrew Bernard
andrew.bern...@gmail.com mailto:andrew.bern...@gmail.com wrote:
I am not convinced the dots look awful. It’s perfectly legible to me
- just highly dotted notation. What do you mean by awful, exactly?
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com
mailto:tsan...@rogers.com) wrote:
Lilyponders:
how to solve the dots after notehead and tie collides.
1. tie collide with notehead -- treble staff sample
2. place of dots look awful and not clear - refer to bass staff
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\version 2.19.17
\language english
global = {
\key d \major
\numericTimeSignature
\time 12/8
\tempo 4.=72
}
ncShift = #(define-music-function (parser location am) (number?)
#{ \once\override NoteColumn.force-hshift = $am #})
x-stencil = #(lambda (grob) (grob-interpret-markup grob (markup |)))
dotShift = #(define-music-function (parser location n) (number?)
#{ \once\override DotColumn.extra-spacing-width = #'(+inf.0 . -inf.0)
\once\override Dots.extra-offset = #`(,n . 0)
%\once\override Dots.stencil = #x-stencil
#})
right = {
\global
{ g'2.-\tweak TieColumn.tie-configuration #'((0 . 1)) ~ 4 } \\ { b8 d' g' b' g' d' b4 }
r8\fermata r4. | %m47
}
left = {
\global
{ \dotShift -2.4 d,4.~ 4 a,8 fs,fs2. } \\ { \ncShift 1 d,2. s2. } |%m07
{ b,4.~ 4 b8 s4 } \\ { \ncShift 1 \dotShift -2.5 b,2.~ b,a4 } r8 r4.|%m08
{ \dotShift -2.3 e g2.~ 4 } \\ { \ncShift 1 e4. b,4. e,4 } r8 r4. |%m09
\key ef\major
{ \dotShift -2.3 bf2. c'4. bf4. } \\ { \ncShift 1 bf4. g4. ef2. } |%m28
\key g\major
{ g,4.~ 4 d8 b4 } \\ { \ncShift 1 \dotShift -2.5 g,2.~ 4 } r8 r4. |%m45
}
\new Staff = right \right
\score {
\new Staff = left { \clef bass \left }
\layout {
\context {
\Staff
\remove Dot_column_engraver
}
\context {
\Voice
\consists Dot_column_engraver
}
}
}
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Re: Full header on every page vertically centered staves?
It does exactly what I need, thanks again! -- Peter Crighton | Musician Music Engraver based in Mainz, Germany http://www.petercrighton.de 2015-03-26 23:30 GMT+01:00 tyronicus samuelsp...@gmail.com: Peter Crighton wrote For further videos I now want to skip GIMP and just let LilyPond create all the complete PNGs. For that I need on every page the complete header, copyright, and one line of music, which has to be vertically centered. ... I’m also pretty clueless so far how to achieve the vertical centering of a single staff. This is a hack in the \paper block to do that: top-system-spacing #'basic-distance = #100 last-bottom-spacing #'basic-distance = #100 LilyBin link. http://lilybin.com/w3lnok/2 -- View this message in context: http://lilypond.1069038.n5.nabble.com/Full-header-on-every-page-vertically-centered-staves-tp173724p173729.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [LSR] Colored notes with black outlines (enhancement).
Schneidy wrote Actually I've found it very instructive; I'm re-discovering the power of the 'path' command (I'm even thinking of writing something about it since - I think - it is not enough documented). That sounds good. It probably does deserve some more exposure. Schneidy wrote I can't think of anything to change, except one little thing -- it still says 0.07 is a good default. Ok deleted ( too bad, I liked it! ;) ) Oh, well, I was thinking it could just be changed to 7 is a good default so it would match the new input scale. Cheers, -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/LSR-Colored-notes-with-black-outlines-enhancement-tp173243p173732.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: Full header on every page vertically centered staves?
Peter Crighton wrote For further videos I now want to skip GIMP and just let LilyPond create all the complete PNGs. For that I need on every page the complete header, copyright, and one line of music, which has to be vertically centered. ... I’m also pretty clueless so far how to achieve the vertical centering of a single staff. This is a hack in the \paper block to do that: top-system-spacing #'basic-distance = #100 last-bottom-spacing #'basic-distance = #100 LilyBin link. http://lilybin.com/w3lnok/2 -- View this message in context: http://lilypond.1069038.n5.nabble.com/Full-header-on-every-page-vertically-centered-staves-tp173724p173729.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: Full header on every page vertically centered staves?
Of course, I have no idea why I didn’t think of putting the titles into the header, it’s so obvious … Thank you both! -- Peter Crighton | Musician Music Engraver based in Mainz, Germany http://www.petercrighton.de 2015-03-26 23:11 GMT+01:00 tyronicus samuelsp...@gmail.com: I think you could do this pretty easily by adding this to your \paper block: oddHeaderMarkup = \bookTitleMarkup evenHeaderMarkup = \oddHeaderMarkup bookTitleMarkup = Here's your example on LilyBin http://lilybin.com/w3lnok/1 . Peter Crighton wrote Hello, I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k For that video I saved every line from the score as a PNG in Frescobaldi, and put them together with the header and copyright in GIMP. Then I combined the resulting images to a video. For further videos I now want to skip GIMP and just let LilyPond create all the complete PNGs. For that I need on every page the complete header, copyright, and one line of music, which has to be vertically centered. If I had a \score block for every page, that would be no problem, I could simply put the header markup in between the scores. But I hesitate to take apart the whole score into many small ones for every line. (Impractical, as I don’t decide on the line breaks before transcribin, and I also want to produce a normal page layout PDF from the same source.) Does anybody know a better way to achieve this? Basically, what I need would be a \bookTitleMarkup after every \break. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Full-header-on-every-page-vertically-centered-staves-tp173724p173727.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Note whiteout
What do I whiteout and how exactly to get the chord in the example covering the
leger lines to nicely whiteout just the right things? Notehead, leger lines,
stem? Not real music, just the smallest example I could make.
\version 2.19.17
treble = \relative c'' {
e
\change Staff = bass
e,,, g,
\change Staff = treble
g'' c
c1
}
bass = \relative c {
\clef bass
c, f c,1 ~
c f c,
}
\score {
\new PianoStaff
\new Staff = treble \with { }
{ \treble }
\new Staff = bass \with { }
{ \bass }
\layout { }
}
Andrew
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Re: placement of dot after notehead
Simon,Wow! Its perfect. Thank you very much.Immanuel,Ming.
On Thursday, March 26, 2015 4:48 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Am 26.03.2015 um 19:57 schrieb MING TSANG:
Hi, Simon: Thank you, but I did not see the attachment.
That’s probably because I forgot to attach it…
Here you go :-)
Immanuel, Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved scores,
this is resolved by shifting the two notes further apart and placing the dots
close to each one, which I now mimicked, albeit very poorly: the dot placement
looks very odd now. Perhaps you’ll want to fiddle with extra-offset more,
adjusting also the Y value (which I didn’t; you may also make the music
function take it as another argument – see the Extending Manual on
explanations), so it will look good.
HTH, Simon
Am 26.03.2015 um 16:26 schrieb MING TSANG:
Adnrew, Sorry, I choose the wrong word here. I was hoping that the dot will
be displayed closer to the notehead. e.g. 1st bar of bass staff, the dot of
quarter note be displayed closer to quarter note , now it line up with the half
note. This is more evident on bar3. Immanuel, Ming
On Thursday, March 26, 2015 9:13 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv4130637112 body{font-family:Lucida Sans Unicode, Arial;font-size:15px;}
I am not convinced the dots look awful. It’s perfectly legible to me - just
highly dotted notation. What do you mean by awful, exactly?
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solve the dots after notehead and tie collides. 1. tie collide with
notehead -- treble staff sample 2. place of dots look awful and not clear -
refer to bass staff
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How to recognize Voice-continuation?
Hi,
consider the (artificial) code below.
In my naivity I expected that voice-b would be recognized as it works
for voice-a
I.e. the three triggering features (tieWaitForNote, NoteHead.colors
and assigned Lyrics) would work for the second appearance of voice-b.
Any chance to have LilyPond identify the second voice-b as a
continuation of the first?
\version 2.19.17
lyrI =
\lyricmode { one two three }
lyrII =
\lyricmode { a b c d e f g h i j k l m n o p }
\new Staff
\relative c' {
\new Voice = a
\with { \override NoteHead #'color = #green }
{ \set tieWaitForNote = ##t c1~ }
\new Voice = b
\with { \override NoteHead #'color = #red }
{ \set tieWaitForNote = ##t cis4 d dis e~ }
\context Voice = a
{ d2 c2 }
\context Voice = b
{ f4 e fis g }
\context Voice = a
{ e1 }
}
\new Lyrics \lyricsto a \lyrI
\new Lyrics \lyricsto b \lyrII
Cheers,
Harm
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How to enter explicit voices for use in Staff and TabStaff?
Hi all,
consider the following code:
\version 2.19.17
mus =
\relative c'' {
{ \voiceOne c r c r }
{ \voiceTwo r a r a}
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
It returns some warnings.
Although it could be resolved using the {...}\\{...} construct,
let us think about how to use explicit voices.
Though, using \new Voice like:
mus =
\relative c'' {
{ \voiceOne c r c r }
\new Voice { \voiceTwo r a r a}
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
ouputs an additional Staff, entering TabVoice would output an
additional TabStaff.
It's absolut clear to me why this happens, though how to code that
Staff _and_ TabStaff behave as wanted?
Best would be to have a neutral Bottom-context.
Though, I found no way to do it within LilyPond, best I can come up with is:
mus =
\relative c'' {
{ \voiceOne c r c r }
%\new Voice { \voiceTwo r a r a}
#(context-spec-music #{ \voiceTwo r a r a #} 'Bottom foo)
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
Is there a better way to do it?
Or any chance to get a neutral 'Bottom-context for use with LilyPond-syntax?
Cheers,
Harm
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Re: placement of dot after notehead
Andrew,Thank you for the suggestion. I will try - is this mean I have to update
all beats on the whole song. This will require lot of time.Immanuel,Ming.
On Thursday, March 26, 2015 9:23 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv3982050275 body{font-family:Lucida Sans Unicode,
Arial;font-size:15px;}Another thought, which is a musical solution rather than
a lilypond tweak. You can use an equivalent time signature that may make it
preferable in terms of readability. 12/8 is logically 4/4 (at a different
tempo) and you use triplets. This can be easier one the eyes instead of all
those dots.
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solvethe dots after notehead and tie collides. 1. tiecollide with
notehead -- treble staff sample2. placeof dots look awful and not clear -
refer to bass staff
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Re: Guitar chord mode no longer produces MIDI file with chords
Silly me. Must be heavily overtired...
It needs to be put into \midi {}, like:
Yep, that does it!
It's now
https://code.google.com/p/lilypond/issues/detail?id=4330
Thanks for this!
On Thu, Mar 26, 2015 at 3:16 AM, Thomas Morley thomasmorle...@gmail.com wrote:
2015-03-26 2:40 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2015-03-26 1:08 GMT+01:00 David Bellows davebell...@gmail.com:
Could you confirm that it works for you?
I copy and pasted it directly in and it doesn't change the behavior.
I've attached my file.
Silly me. Must be heavily overtired...
It needs to be put into \midi {}, like:
\score {
\new ChordNames \chordmode { f1:m }
\midi {
\context {
\type Performer_group
\consists Staff_performer
\name ChordNames
\defaultchild Voice
}
}
}
Cheers,
Harm
It's now
https://code.google.com/p/lilypond/issues/detail?id=4330
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Re: placement of dot after notehead
Andrew,Thank you for the \overrideImmanuel,Ming
On Thursday, March 26, 2015 9:06 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv8457135819 body{font-family:Lucida Sans Unicode, Arial;font-size:15px;}Re
tie collision:
Add something like the following before the tie to adjust its shape:
\override TieColumn.tie-configuration = #'((0.0 . 2))
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solvethe dots after notehead and tie collides. 1. tiecollide with
notehead -- treble staff sample2. placeof dots look awful and not clear -
refer to bass staff
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Re: placement of dot after notehead
Adnrew,Sorry, I choose the wrong word here. I was hoping that the dot will be
displayed closer to the notehead. e.g. 1st bar of bass staff, the dot of
quarter note be displayed closer to quarter note , now it line up with the half
note. This is more evident on bar3.Immanuel,Ming
On Thursday, March 26, 2015 9:13 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv0384427230 body{font-family:Lucida Sans Unicode, Arial;font-size:15px;}I
am not convinced the dots look awful. It’s perfectly legible to me - just
highly dotted notation. What do you mean by awful, exactly?
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solvethe dots after notehead and tie collides. 1. tiecollide with
notehead -- treble staff sample2. placeof dots look awful and not clear -
refer to bass staff
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