Re: Re:Quoted music and midi (Cynthia Karl)
- Original Message - From: 70147pers...@telia.com However I found a bug report from already 2012, issue 2250, https://code.google.com/p/lilypond/issues/detail?id=2250. There one proposes a workaround, (\set Score.quotedEventTypes = #'(StreamEvent note-event rest-event) ). That helped me a wee, but not the whole way out, unfortunately. /Kaj I've just marked that as a duplicate of Issue 4343, which was fixed in 2.19.19. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Re:Quoted music and midi (Cynthia Karl)
On 2015-03-16 02:02, Cynthia Karl wrote: Date: Fri, 06 Mar 2015 16:00:10 -0600 From: Cynthia Karl pck...@mac.com Subject: Re: Quoted music and midi I wouldn?t consider that a problem... if I quote the violin part in a trumpet part, I wouldn?t expect to hear the brass honking away in the MIDI rendition. Quoting, IMO, is best for cues, not for actual duplicating played music. ~Chris Here's what the Notation Manual has to say about quoteDuring: Quoting other voices It is very common for one voice to use the same notes as those from another voice. For example, first and second violins playing the same phrase during a particular passage of the music. This is done by letting one voice quote the other, without having to re-enter the music all over again for the second voice. It doesn't say anything about borrowing the midiInstrument as well as quoting the notes. It seems to me that the snippet I submitted is exactly the situation described by the NM. The only question is, why no midi output for the quoted notes? Poke. Really? Nobody (else) has an opinion on this (that agrees with mine)? Am I qualified to submit a bug report? I have read some comments that imply that bug reports from Joe User are not welcome. Hi Cynthia I saw your message first now, as I have run into the same problems, and was searching for feedback from the community. At the time of your writing, I had other issues. I must say the comments from Chris and H. S. Teoh were not too clever. They have obviously not discovered the point, if this tool works as intended, not having to divide the music into a lot of separate parts, which else has to be done as a workaround. However I found a bug report from already 2012, issue 2250, https://code.google.com/p/lilypond/issues/detail?id=2250. There one proposes a workaround, (\set Score.quotedEventTypes = #'(StreamEvent note-event rest-event) ). That helped me a wee, but not the whole way out, unfortunately. /Kaj ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Guile SXML example
To all those who had to do with the Guile 2 SXML module with LilyPond. This module can convert a Scheme (music) structure to a generic XML format, and that's what we intend to use for exporting towards MusicXML or other XML formats. But IIUC we cannot simply use that yet because it's only available in Guile 2. So would anybody be able (and so kind to do it) to create an example ly document, the corresponding \displayMusic result and the corresponding SXML document? I would need that example for my presentation in Florence. The document should be very simple, so that the different examples fit on one page of a screen presentation. TIA Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Thank you much for s-z rest
On Wed, 13 May 2015 08:46:58 -0700 (MST) tisimst tisimst.lilyp...@gmail.com wrote: (...) Thanks much to you and Phil Holmes for your replies re the s-z quarter rest. My ineptitude caused my OP to appear in Gmane but apparently not in the mailing list, so I repeat a little: AFAIK s-z was introduced shortly before 1808. It is useful for a rest simultaneous with two other voices when the note heads leave too little room for a Gutenberg rest between them. There is a rule concerning the case where the note heads are too close together to place a rest between them. It is obscure enough that many publishers have violated it over the past two centuries. Such a rest must be placed before a stem. If there is more than one rest, all must be considered to live between the note heads in the space that they were squeezed out of. It is not OK to tuck a colliding reat in close to a downward stem under a note head. If this is done wrong the reader must assume that the rest is in a voice below the note. I have never seen this rule in any textbook, which is one of many reasons that I have persistently maintained that there is no such thing as an authority on music notation, but I have seen it on line, and I have seen it best observed at least a dozen times on a single page of score of a duet by F. Sor from 1808 or so. It is not true that nothing can be done about rest collision or that colliding rests can't be automatically placed correctly in all cases with four stems + rests or less. The best possible placement of fingering is such that it flows to make it easier to follow. It has never had anything to do with being on a staff or not. You will never ever see an example of fingering directly (due east) after its notehead. You should not allow it. It has been the cause of many mistakes, and it has no advantages at all. Fingering is best before a note head because it may govern how you play the note, just as a sharp or flat does. An older way of placing the augmentation dot of a note on a line is to place them so that they point to the next note. It seems to me that this is a better way as long as it is only one voice and no chords on the staff. You will find this interesting rule in a textbook by Gehrkens on line in Gutenberg. The rule is about flow. Flow was very important in elevating music engraving to an art. It would be nice to have more flow in typesetting, wouldn't it? Gardner Read gave us the forked stem. It is less useful than what he intended to replace. If there is more than one fork necessary that becomes ridiculous. I asked long ago for a zero tuplet bracket, so that any chord whatever could be easily typeset. I think now that a grouping bracket, similar to that used for piano score, placed more or less horizontally over anything, could easily and unambiguously indicate notes to be played simultaneously which cannot easily be notated otherwise. Such a chord could be set to look as if it were in sequence, although squeezed a bit, and then the bracket would place all on the same beat, leaving it pretty. It has always bothered me that, until horrid makeshifts were invented, stems were always vertical. There just isn't any good reason to change that. BTW typesetting on my site is all lilypond. Kindest regards and many thanks, Rale -- For All Guitar Beginners: The pages of very easy solos missing from all of the published guitar methods of others. For All Guitarists: solos, duets, and peerless guitar exercises David Raleigh Arnold http://www.openguitar.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd note placement
Thanks!! LP is a complex beast.
Sent from my HTC
- Reply message -
From: Pierre Perol-Schneider pierre.schneider.pa...@gmail.com
To: Guy Stalnaker jimmyg...@gmail.com
Cc: lilypond-user Mailinglist lilypond-user@gnu.org
Subject: Odd note placement
Date: Wed, May 13, 2015 1:09 AM
Hi Guy,
I'm not sure why LP's missing lyrics to new voice association.
Anyway, you can easily avoid this by putting :
...
\new Voice
{
\voiceTwo
c''8 |
g'4 f' e' |
}
\new Lyrics \lyricmode { Al8 -- le4 -- lu -- ia }
...
instead.
'Hope that helps a bit.
Cheers,
Pierre
2015-05-13 4:18 GMT+02:00 Guy Stalnaker jimmyg...@gmail.com:
All,
I cannot figure out why LP is doing this. The snippet is below. Note the
second to last blank measure and the following measure with the b-flat, a
chord which should not be a chord. The two notes should not be
simultaneous. The problem seems to be the Lyrics added to the temporary
polyphonic context soptwomusic - if they are removed, the final two
pitches are engraved correctly in two separate measure. Add the Lyrics and
you see the result. You do see the result, don't you? :-)
I'm using LP 2.19 with Frescobalci 2.18.x. on a Win7 computer.
code
\version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\autoBeamOff
}
% soprano music here
sopranomusic = {
\global
\time 3/4
{
\voiceOne
fs''4 fs'' fs'' |
a'2. |
b''4 b'' b'' |
c'''2. |
}
{ \new Voice
{
\voiceTwo
ds''4 ds'' ds'' |
a'2. |
fs''4 fs'' fs'' |
a''2. |
}
}
\oneVoice
c''4 g'8 c' g'
{
\voiceOne
c''8 |
b'2. |
}
{ \new Voice = soptwomusic
{
\voiceTwo
c''8 |
g'4 f' e' |
}
} \new Lyrics = soptwomusic \lyricsto soptwomusic {
Al -- le -- lu -- ia
}
\oneVoice
bf'2. |
a' |
}
sopranowords = \lyricmode {
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
sopranoStaff = {
\new Staff { \sopranomusic }
\addlyrics { \sopranowords }
}
\score {
\new ChoirStaff
\sopranoStaff
\layout { }
\midi {
\tempo 4=100
}
}
/code
Thanks.
Please reply to both me and the list.
Guy Stalnaker
jimmyg...@gmail.com
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Various Stanza Questions
Hi everyone, I'm currently using the \rN snippet (http://lsr.di.unimi.it/LSR/Item?id=710) to generate roman numerals for an analysis I'm doing. The piece ventures into various keys, so I would really like the ability to put the analysis for each key in a separate stanza so that they can appear whenever necessary. I have four questions: 1) Is it possible to have multiple stanzas with lyrics that are blank up to a point? For example, one stanza has 40 syllables in it, and then the second has 39 blank syllables to start? 2) Is it possible to automatically hide the stanzas when all the lyrics for that system are blank? 3) If it is possible, is there some way to ensure that the second visible stanza doesn't immediately take the space of the first stanza when the lyrics are blank? i.e., typically when there's a blank object, any object underneath it tends to move up as far as possible. 4) Can I set it up so that the stanza number appears automatically at the beginning of every system? I am using the stanza number to store the key, and having the key appear every system would be useful. Thanks for your help. Brian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd note placement
Guy,
On Tue, May 12, 2015 at 10:16 PM, Guy Stalnaker-2 [via Lilypond]
ml-node+s1069038n17652...@n5.nabble.com wrote:
All,
I cannot figure out why LP is doing this. The snippet is below. Note the
second to last blank measure and the following measure with the b-flat, a
chord which should not be a chord. The two notes should not be
simultaneous. The problem seems to be the Lyrics added to the temporary
polyphonic context soptwomusic - if they are removed, the final two
pitches are engraved correctly in two separate measure. Add the Lyrics and
you see the result. You do see the result, don't you? :-)
I'm using LP 2.19 with Frescobalci 2.18.x. on a Win7 computer.
code
\version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\autoBeamOff
}
% soprano music here
sopranomusic = {
\global
\time 3/4
{
\voiceOne
fs''4 fs'' fs'' |
a'2. |
b''4 b'' b'' |
c'''2. |
}
{ \new Voice
{
\voiceTwo
ds''4 ds'' ds'' |
a'2. |
fs''4 fs'' fs'' |
a''2. |
}
}
\oneVoice
c''4 g'8 c' g'
{
\voiceOne
c''8 |
b'2. |
}
{ \new Voice = soptwomusic
{
\voiceTwo
c''8 |
g'4 f' e' |
}
} \new Lyrics = soptwomusic \lyricsto soptwomusic {
Al -- le -- lu -- ia
}
\oneVoice
bf'2. |
a' |
}
sopranowords = \lyricmode {
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
sopranoStaff = {
\new Staff { \sopranomusic }
\addlyrics { \sopranowords }
}
\score {
\new ChoirStaff
\sopranoStaff
\layout { }
\midi {
\tempo 4=100
}
}
/code
Thanks.
Please reply to both me and the list.
Guy Stalnaker
This is, indeed, a strange bug. My only guess is that LP is having a hard
time differentiating between voices since they are partially implicit and
the main lyrics are implicitly attached, too. Just a guess, though.
FYI, this bug doesn't happen in the latest unstable, but here's what you
can (should?) do to make it work normally with 2.18.2: move the temporary
soprano two lyrics out to the staff-level and make the soprano one voice
more explicit, like this:
code
\version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\autoBeamOff
}
% soprano music here
sopranomusic = {
\global
\time 3/4
{
\voiceOne
fs''4 fs'' fs'' |
a'2. |
b''4 b'' b'' |
c'''2. |
}
{ \new Voice
{
\voiceTwo
ds''4 ds'' ds'' |
a'2. |
fs''4 fs'' fs'' |
a''2. |
}
}
\oneVoice
c''4 g'8 c' g'
{
\voiceOne
c''8 |
b'2. |
}
{ \new Voice = soptwomusic
{
\voiceTwo
c''8 |
g'4 f' e' |
}
}
\oneVoice
bf'2. |
a' |
}
sopranowords = \lyricmode {
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
sopranoStaff =
% make the soprano one voice explicit here
\new Voice = soponemusic { \sopranomusic }
% make the lyrics explicitly assigned
\new Lyrics \lyricsto soponemusic { \sopranowords }
\new Lyrics \lyricsto soptwomusic { Al -- le -- lu -- ia }
\score {
\new ChoirStaff
\sopranoStaff
\layout { }
\midi {
\tempo 4=100
}
}
/code
I've found that putting lyrics outside and doing explicit assignments like
this always seems to help, but like I said above, you can do exactly what
you've coded in the latest unstable and it works like you expect it to.
- Abraham
--
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Typesetting renaissance music
Hi everyone,
I've just started using Lilypond a week or so ago, and so far I'm very
impressed! I've been able to produce really nice results in a relatively
short time.
My main interest is in typesetting renaissance choral music, and there's
one thing I haven't been able to figure out how to do. Some singers (incl
myself) prefer to have notes cross over bar lines when it's appropriate
from the manuscript, and I've seen two ways to represent this.
One is to use the Mensurstriche layout, which has bar lines between staves
but not through them. My preferred option is to move the barline up or down
if the note is low or high, and split it if the note is in the middle.
I've been able to move the barline up and down with the following commands:
upBar = { \override Staff.BarLine #'bar-extent = #'(0.5 . 3) }
downBar = { \override Staff.BarLine #'bar-extent = #'(-3 . -0.5) }
And reset it to normal with
fullBar = { \override Staff.BarLine #'bar-extent = #'(-2 . 2) }
But I can't figure out how to get the split bar line. Ideally, it would
look something like :
topPart = { \override Staff.BarLine #'bar-extent = #'(2 . 3) }
bottomPart = [ \override Staff.BarLine #'bar-extent = #'(-3 . -2) }
but both at the same time!
Can anyone suggest how I might achieve this?
Cheers,
Murray-Luke
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Re: Higher-level score handling needed? (was: Do we really offer the future?)
On Mon, 27 Apr 2015 14:18:19 +0200 Jacques Menu imj-muz...@bluewin.ch wrote: Or maybe the user should start from the global architecture of the score (number of systems, staves and bars, where the repeats/alternatives occur and for how many times, where vertical spacing should be augmented, …) and then « populate » the resulting « canevas ». When working on a (new) score, my highest priority is to get all the notes and rests and articulations and lyrics and so on in their correct places. In this stage, the above approach could be very useful, since it would be possible to render the score, or even the actual part that is being worked on, very fast. Only when the contents of the score are technically okay, the more tedious and slower process of typesetting needs to begin. -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd note placement
Hi Guy,
I'm not sure why LP's missing lyrics to new voice association.
Anyway, you can easily avoid this by putting :
...
\new Voice
{
\voiceTwo
c''8 |
g'4 f' e' |
}
\new Lyrics \lyricmode { Al8 -- le4 -- lu -- ia }
...
instead.
'Hope that helps a bit.
Cheers,
Pierre
2015-05-13 4:18 GMT+02:00 Guy Stalnaker jimmyg...@gmail.com:
All,
I cannot figure out why LP is doing this. The snippet is below. Note the
second to last blank measure and the following measure with the b-flat, a
chord which should not be a chord. The two notes should not be
simultaneous. The problem seems to be the Lyrics added to the temporary
polyphonic context soptwomusic - if they are removed, the final two
pitches are engraved correctly in two separate measure. Add the Lyrics and
you see the result. You do see the result, don't you? :-)
I'm using LP 2.19 with Frescobalci 2.18.x. on a Win7 computer.
code
\version 2.18.2
\language english
\paper {
#(set-paper-size letter)
}
global = {
\key d \major
\numericTimeSignature
\autoBeamOff
}
% soprano music here
sopranomusic = {
\global
\time 3/4
{
\voiceOne
fs''4 fs'' fs'' |
a'2. |
b''4 b'' b'' |
c'''2. |
}
{ \new Voice
{
\voiceTwo
ds''4 ds'' ds'' |
a'2. |
fs''4 fs'' fs'' |
a''2. |
}
}
\oneVoice
c''4 g'8 c' g'
{
\voiceOne
c''8 |
b'2. |
}
{ \new Voice = soptwomusic
{
\voiceTwo
c''8 |
g'4 f' e' |
}
} \new Lyrics = soptwomusic \lyricsto soptwomusic {
Al -- le -- lu -- ia
}
\oneVoice
bf'2. |
a' |
}
sopranowords = \lyricmode {
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
Al -- le -- lu -- ia,
}
sopranoStaff = {
\new Staff { \sopranomusic }
\addlyrics { \sopranowords }
}
\score {
\new ChoirStaff
\sopranoStaff
\layout { }
\midi {
\tempo 4=100
}
}
/code
Thanks.
Please reply to both me and the list.
Guy Stalnaker
jimmyg...@gmail.com
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Re: Where is there a z or s quarter rest?
Example of its use here: http://lilypond.org/doc/v2.19/Documentation/snippets/rhythms#rhythms-rest-styles. -- Phil Holmes - Original Message - From: tisimst To: lilypond-user@gnu.org Sent: Tuesday, May 12, 2015 10:52 PM Subject: Re: Where is there a z or s quarter rest? David, The latest set of unstable versions has the rest you speak of, called rests.2z. Is that the one you're looking for? http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font#rest-glyphs - Abraham On Tue, May 12, 2015 at 3:45 PM, David Raleigh Arnold-3 [via Lilypond] [hidden email] wrote: tisimst tisimst.lilypond at gmail.com writes: All, I couldn't wait any longer, so here's a formal announcement about the new music fonts that I've been working on, by way of example. They are all 100% LilyPond compatible Please, a z-s rest? It's newer than the Gutenberg quarter rests you have in all of the fonts, and it has its advocates. It's especially good for complex guitar music, because it takes less vertical space. I call your present quarter a Gutenberg rest because it is a blackletter R, and used in printing as well as writing because the fonts and the blackletter writing style developed together in Gutenberg's day. Of course the R was joined to a straight-sided letter on its left when writing, but the same form was printed next to a straight sided letter without connection. The z-s rest looks like a backwards z. It was an improvement on the classical rest, because it did not cause frequent mistakes. Regards, Rale ___ 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/See-the-new-music-fonts-in-action-tp164898p176520.html To start a new topic under User, email [hidden email] To unsubscribe from Lilypond, click here. NAML -- View this message in context: Re: Where is there a z or s quarter rest? 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: How many lilypond users are there?
On 13-May 6:57, H. S. Teoh wrote: On Tue, May 12, 2015 at 12:41:12PM -0700, Paul Scott wrote: On Tue, May 12, 2015 at 08:10:03AM -0700, H. S. Teoh wrote: On Tue, May 12, 2015 at 06:15:55PM +1000, Andrew Bernard wrote: Greetings All, I am wondering how large the lilypond end user community is. Are there any estimates? Additional to this, I am wondering what the breakdown is by computer platform, for example, how many people use Fedora, and so on. [...] I use lilypond regularly, on Debian GNU/Linux (unstable). That's exactly my setup. I use Emacs. [...] I use vim. :-) T Lilypond 2.18.2 is available in the OpenBSD ports/packages repository as of OpenBSD 5.6 - Probably a small audience, but it's there. And Frescobaldi isn't too hard to get working either. Regards, Graeme ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
