Re: Guile SXML example
Sorry to bump this, but is there nobody who can already provide example
code of a music expression (preferably { c' \f } ) in SXML and a
corresponding XML transformation?
That would be *really* helpful for me to add credibility to a part of my
presentation.
Urs
Am 13.05.2015 um 22:59 schrieb Urs Liska:
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
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Re: Bar Fermata at end of system?
Please note that the LSR contains this very example:
http://lsr.di.unimi.it/LSR/Item?id=1
So far, in most cases the LSR already contained the exact solution I was
looking for...
Best regards,
Reinhold
Am 2015-05-17 um 13:51 schrieb Thomas Morley:
2015-05-17 13:37 GMT+02:00 N. Andrew Walsh n.andrew.wa...@gmail.com:
That fixed it, thanks so much! Is this the sort of stuff covered in the
advanced/tweaks sections of the reference, or are they tricks one learns
through practice?
NR 5.4.7 Visibility of objects
Using break-visibility
http://www.lilypond.org/doc/v2.19/Documentation/notation/visibility-of-objects#using-break_002dvisibility
Cheers,
Harm
Cheers,
A
On Sun, May 17, 2015 at 1:26 PM, Nick Payne nick.pa...@internode.on.net
wrote:
On 17/05/2015 20:39, N. Andrew Walsh wrote:
I have a block of music in which the \bar || has a fermata over it, and
which I want to be the end of a system. My Voice for organizing barring and
breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar ||
\break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system. How
do I get the fermata at the end of the system (ie, floating over the double
bar)?
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4 c'1
}
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--
--
Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com/
* Open Tools, Software Development, http://www.open-tools.net/
* Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/
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Piano centered dynamics
How is possible to center perfectly dynamics symbols between the staves of a piano staff? Thank you in advance to all for the your answers. Best regards Marco ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a proper whiteout function
On Apr 28, 2015, at 11:57 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: What would be involved in making a real stencil whiteout function which could be applicable to all grobs? Hi all, I took Kieren up on his offer to sponsor a better whiteout stencil function. It’s attached so that anyone can make use of it. 1. follow exactly the grob/glyph outline (i.e., not just a rectangle/box, as currently implemented); It produces a very close approximation of the stencil outline — not strictly exact but close enough that you probably won’t notice. 2. include a parameter to set the thickness of the outline; and You can set the thickness of the outline. 3. include a parameter to determine whether the whiteout was filled throughout, or allowed “holes” inside (as per the grob/glyph outline). It doesn’t offer this option. I believe it should work with any glyph/stencil. In the attached file there's one function that just deals with stencils and another that deals with grobs (overriding their stencil property). The function takes a “brute-force” approach and creates the white background by super-imposing/combining a bunch of white copies of the stencil behind it. Each copy is systematically offset to make a smooth outline and to fill in any gaps due to “holes” in the stencil. Of course a more elegant approach would be to trace the outline of the stencil, but that’s beyond my skills, and the results of this function are much better than the current 'white square' option. If you’re interested in the implementation you can see how it works by playing with lower values for “density” and higher for “in-fill-density” particularly with a larger outline offset. These are two properties that can be used to “tune the function, to find a good trade-off between efficiency and quality. I think I found pretty good default values for them. Cheers, -Paul stencil-whiteout-outline.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making Feta number glyphs monospaced (tabular)
I was thinking of changing side bearings only. I looked into *.mf files of Feta and noticed that there is some kerning data applied to number glyphs. So I would: 1) remove kerning 2) set the same glyph width for all numbers. And I wonder how time signatures like 12/16 are aligned in Baerenreiter, Peters scores. I own none of these editions and it can be hard to answer that as time signatures like 12/16 are fairly rare. -- Karol Dnia 17-05-2015 o godz. 21:37 Werner LEMBERG napisał(a): Recently I had to use meter 11/16 and noticed that Feta numerals are not monospaced - they are not aligned vertically. I would consider modifying Feta number glyphs so that each of them have the same width. Any thoughts on this? Basically, I don't object. Slightly stretching or squeezing the glyphs horizontally shouldn't be noticeable, I think. However, have you checked (old) scores from Bärenreiter, Peters, UE, etc., whether those numerals really have the same width? I guess that manually engraved digits have a natural deviation in positioning much larger than what you demonstrate (using an extreme magnification). Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: a proper whiteout function
On 5/17/15 5:18 PM, Paul Morris p...@paulwmorris.com wrote: On Apr 28, 2015, at 11:57 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: What would be involved in making a real stencil whiteout function which could be applicable to all grobs? Hi all, I took Kieren up on his offer to sponsor a better whiteout stencil function. It¹s attached so that anyone can make use of it. Paul, This is a nice implementation -- I didn't think it could be done! I think it should be made part of LilyPond, if the performance hit is not too big. It seems to create a lot of stencils, but maybe that is no problem. I'd like to see a couple of changes. 2pi-over-density should be changed to something like angle-increment. 2pi-over-density is the function used to calculate it; the meaning is really angle-increment. And I think that in-fill-density should be changed radius-increment. Then you could say that the function works by creating series of white stencils radially offset from the black stencil with angles from 0 to 2 pi, at an increment of angle-increment, and with radii from radius-increment to offset. At that point, we can understand how the function creates an outline. Oh, and there should be some documentation that indicates that offset is in staff-spaces. Thanks again for creating this! Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Making Feta number glyphs monospaced (tabular)
Recently I had to use meter 11/16 and noticed that Feta numerals are not monospaced - they are not aligned vertically. I would consider modifying Feta number glyphs so that each of them have the same width. Any thoughts on this? -- Karol ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar Fermata at end of system?
That fixed it, thanks so much! Is this the sort of stuff covered in the
advanced/tweaks sections of the reference, or are they tricks one learns
through practice?
Cheers,
A
On Sun, May 17, 2015 at 1:26 PM, Nick Payne nick.pa...@internode.on.net
wrote:
On 17/05/2015 20:39, N. Andrew Walsh wrote:
I have a block of music in which the \bar || has a fermata over it, and
which I want to be the end of a system. My Voice for organizing barring and
breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar ||
\break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system. How
do I get the fermata at the end of the system (ie, floating over the double
bar)?
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4 c'1
}
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Bar Fermata at end of system?
I have a block of music in which the \bar || has a fermata over it, and
which I want to be the end of a system. My Voice for organizing barring and
breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system. How
do I get the fermata at the end of the system (ie, floating over the double
bar)?
Cheers,
A
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Re: Bar Fermata at end of system?
On 17/05/2015 20:39, N. Andrew Walsh wrote:
I have a block of music in which the \bar || has a fermata over it,
and which I want to be the end of a system. My Voice for organizing
barring and breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar ||
\break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system.
How do I get the fermata at the end of the system (ie, floating over
the double bar)?
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4 c'1
}
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Re: Bar Fermata at end of system?
2015-05-17 13:37 GMT+02:00 N. Andrew Walsh n.andrew.wa...@gmail.com:
That fixed it, thanks so much! Is this the sort of stuff covered in the
advanced/tweaks sections of the reference, or are they tricks one learns
through practice?
NR 5.4.7 Visibility of objects
Using break-visibility
http://www.lilypond.org/doc/v2.19/Documentation/notation/visibility-of-objects#using-break_002dvisibility
Cheers,
Harm
Cheers,
A
On Sun, May 17, 2015 at 1:26 PM, Nick Payne nick.pa...@internode.on.net
wrote:
On 17/05/2015 20:39, N. Andrew Walsh wrote:
I have a block of music in which the \bar || has a fermata over it, and
which I want to be the end of a system. My Voice for organizing barring and
breaking thus has this line:
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72 \mark \markup { \musicglyph #scripts.ufermata } \bar ||
\break
\time 4/4
}
However, that puts the fermata at the *beginning* of the next system. How
do I get the fermata at the end of the system (ie, floating over the double
bar)?
Voice {
\time 2/4
\tempo \markup {\sans \medium \fontsize #4 Andantè}
s2*72
\once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
\mark \markup { \musicglyph #scripts.ufermata } \bar || \break
\time 4/4 c'1
}
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Re: Bar Fermata at end of system?
On 17/05/15 12:51, Thomas Morley wrote: 2015-05-17 13:37 GMT+02:00 N. Andrew Walsh n.andrew.wa...@gmail.com: That fixed it, thanks so much! Is this the sort of stuff covered in the advanced/tweaks sections of the reference, or are they tricks one learns through practice? NR 5.4.7 Visibility of objects Using break-visibility http://www.lilypond.org/doc/v2.19/Documentation/notation/visibility-of-objects#using-break_002dvisibility Cheers, Harm Yup. Unfortunately, a lot of this is learnt through practice. I think the big problem is knowing what's available, knowing WHAT lily is capable of. I'm building up a personal library of all these little tweaks, but I'm hoping we can have several full-blown example settings added to the lily documentation at some point so people can find a piece that looks roughly like what they're trying to do and then study it to find out how it does what it does. The LSR is great in many respects, but it's too many bitty examples, and then when you try and do something, you find they interact in unexpected ways. Cheers, Wol ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
Thanks, I was unaware of Lukas Pietsch's work (I'm rather an occasional lilypond user, usually under a lot of time pressure when I finally get to it). I'll go check it out! I don't particularly mean modern notation in different scalings (the target audience for this particular repertoire is likely to prefer full values, although half might be an option); more different stages of editing: with or without certain ficta rules implemented, for example, or different hybrids among old and modern notation. Part of the project involves organ tablature. I made macros for this for MusixTeX a while ago, and haven't yet got round to investigating lilypond options. At the moment, I've cobbled together a little program that can read **kern input and give functional, if not terribly pretty, lilypond output, but I think I need to figure out far more precisely what I actually need at the end to think constructively about the best way of getting there, if you know what I mean. Frauke On Sat, May 16, 2015 at 8:23 PM, Graham King lilyp...@tremagi.org.uk wrote: On Sat, 2015-05-16 at 15:38 +0100, Frauke Jurgensen wrote: I'm working on a bigger project that may involve generating multiple versions in different types of notation from the same source file; If by this you mean modern notation in full note values, half note values, etc. I have a solution. It's a bit big to post on the list, and I don't have anywhere to host it reliably at the moment (It uses multiple files, so it's not a snippet; maybe it's a candidate for openLilyLib - I should check with Urs), so if you're interested let me know and I'll email it to you off-list. It also includes (as markup to the modern editions) all the mensuration and proportion combinations I've needed so far. And it generates midi output with the mensuration and proportion correctly observed. I hope you're also aware of the excellent work that Lukas Pietsch has been doing, improving lilypond support of various sorts of early notation, including mensural notation. There is an old version at http://lukas-pietsch.de/Music/ and back in about February there was some activity on lilypond-devel indicating that an updated version might be integrated into lilypond itself. If that happens, it will be a great advance. ___ 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: Making Feta number glyphs monospaced (tabular)
Recently I had to use meter 11/16 and noticed that Feta numerals are not monospaced - they are not aligned vertically. I would consider modifying Feta number glyphs so that each of them have the same width. Any thoughts on this? Basically, I don't object. Slightly stretching or squeezing the glyphs horizontally shouldn't be noticeable, I think. However, have you checked (old) scores from Bärenreiter, Peters, UE, etc., whether those numerals really have the same width? I guess that manually engraved digits have a natural deviation in positioning much larger than what you demonstrate (using an extreme magnification). Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano centered dynamics
On 05/17/2015 08:04 PM, Marco wrote: How is possible to center perfectly dynamics symbols between the staves of a piano staff? Hi Marco, see https://code.google.com/p/lilypond/issues/detail?id=1127 :-( (And shame on me for withdrawing my bounty on that one...) Best, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Mensural notation: 2 questions
- Original Message - From: Simon Albrecht simon.albre...@mail.de To: Phil Holmes m...@philholmes.net Cc: LilyPond User Group lilypond-user@gnu.org Sent: Saturday, May 16, 2015 4:32 PM Subject: Re: Mensural notation: 2 questions Am 16.05.2015 um 17:20 schrieb Phil Holmes: I've been doing something similar with madrigals from around 1590. You will likely find tags useful, to identify where you need to use different notation for modern and ancient music. If you can't see how this works, please let me know: I don't have time right now to give examples. I also have a function kindly created by David Kastrup that allows a rest to be placed on a non-standard staff line in mensural music, but the normal staff line in modern. Let me know if you're interested. I am; is this in the LSR? Yours, Simon http://lsr.di.unimi.it/LSR/Item?id=1001 -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ottavation text too long for next line
Great suggestions. Thanks.
Knute Snortum
(via Gmail)
On Sat, May 16, 2015 at 5:04 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Knute,
Maybe something like this will work for you?
\version 2.19.20
\language english
#(define (ottava-jr grob)
(let* (
;; have we been split?
(orig (ly:grob-original grob))
;; if yes, get the split pieces (our siblings)
(siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig)
'(
(if (and (= (length siblings) 2)
(eq? (car (last-pair siblings)) grob))
(ly:grob-set-property! grob 'text '8va m.d.
octaveUp = {
\once \override Staff.OttavaBracket.direction = #UP
\set Staff.ottavation = #8va pour la main droite seulement
\once \override Staff.OttavaBracket.after-line-breaking = #ottava-jr
\set Voice.middleCPosition = #(- 6 5)
}
octaveOff = {
\unset Staff.ottavation
\unset Voice.middleCPosition
}
\relative c' {
{
s1 | s1 | s1 | s1 |
\octaveUp
\repeat unfold 4 { e4 f g a }
\octaveOff
s1 | s1 | s1 | s1 | s1 | s1 | s1 | s1 |
}
\\
{
\repeat unfold 16 { c4 d e f }
}
}
Hope that helps!
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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