Re[2]: Control which voice if shifted left
Unfortunately it does not...
In this case it's not about shifting the middle voice left but shifting
the g' right.
Of course, it's only a small difference and in most cases neglegible,
but sometimes you want to shift a voice in the other direction than
standard and
it can be laborious to find the proper h-shift value for each case.
Yours, musicus
-- Originalnachricht --
Von: Simon Albrecht simon.albre...@mail.de
An: musicus tomtom-ilm...@web.de; Keith OHara
k-ohara5...@oco.net; lilypond-user@gnu.org
Gesendet: 16.06.2015 15:03:14
Betreff: Re: Control which voice if shifted left
Am 16.06.2015 um 14:39 schrieb musicus:
Attached another example, where changing the shift direction could be
helpful...
I don’t think so:
\version 2.19.20
{
\time 3/2
\key d \minor
{ \voiceOne g''2 e'' d''8 cis'' d''4 }
\\
{ \voiceFour d''2 bes' b' }
\\
{ \voiceTwo g'2 g' f' }
}
gives exactly the layout of your example. This is the standard way.
Yours, Simon
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Re[2]: Control which voice if shifted left
Attached another example, where changing the shift direction could be
helpful...
-- Originalnachricht --
Von: Keith OHara k-ohara5...@oco.net
An: lilypond-user@gnu.org
Gesendet: 16.06.2015 06:11:40
Betreff: Re: Control which voice if shifted left
Simon Albrecht simon.albrecht at mail.de writes:
Am 15.06.2015 um 16:50 schrieb Knute Snortum:
I haven't had any replies to this. How can I ask the question
better?
Probably that’s because there is no way to automate this. At least
I’d
be very surprised if there were one. It’s so much of a standard to
shift
columns in the directions they are actually shifted, and everything
more
flexible would require a much more intelligent algorithm, I think.
The code that does the shifting has a comment
TODO: these numbers are magic; should devise a set of grob
propertiess to tune this behavior.
where these numbers are the amounts to shift chords in the various
cases:
\transpose c c' \new Staff
\new Voice {\voiceOne g4 g g g g c' g b g b g }
\new Voice {\voiceTwo e f a8. r16 g4 b b c' c' }
It would take some work to define and briefly document properties
alongside
merge-differently-dotted to let the shift be changed for each of these
cases, but then we could change the sign of the shift for the case
where
the stems currently line up.
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Re: Control which voice if shifted left
Am 16.06.2015 um 06:11 schrieb Keith OHara:
Simon Albrecht simon.albrecht at mail.de writes:
Am 15.06.2015 um 16:50 schrieb Knute Snortum:
I haven't had any replies to this. How can I ask the question better?
Probably that’s because there is no way to automate this. At least I’d
be very surprised if there were one. It’s so much of a standard to shift
columns in the directions they are actually shifted, and everything more
flexible would require a much more intelligent algorithm, I think.
The code that does the shifting has a comment
TODO: these numbers are magic; should devise a set of grob
propertiess to tune this behavior.
where these numbers are the amounts to shift chords in the various cases:
\transpose c c' \new Staff
\new Voice {\voiceOne g4 g g g g c' g b g b g }
\new Voice {\voiceTwo e f a8. r16 g4 b b c' c' }
It would take some work to define and briefly document properties alongside
merge-differently-dotted to let the shift be changed for each of these
cases, but then we could change the sign of the shift for the case where
the stems currently line up.
Sounds good :-)
~ Simon
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Re: Control which voice if shifted left
Am 16.06.2015 um 14:39 schrieb musicus:
Attached another example, where changing the shift direction could be
helpful...
I don’t think so:
\version 2.19.20
{
\time 3/2
\key d \minor
{ \voiceOne g''2 e'' d''8 cis'' d''4 }
\\
{ \voiceFour d''2 bes' b' }
\\
{ \voiceTwo g'2 g' f' }
}
gives exactly the layout of your example. This is the standard way.
Yours, Simon
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Re: Libertango
That's great, Mario! Thanks for sharing! On Tue, Jun 16, 2015 at 2:43 AM, Mario Moles-2 [via Lilypond] ml-node+s1069038n177902...@n5.nabble.com wrote: Hi! The video I uploaded on youtube is my arrangement for four guitars of the famous Libertango by Astor Piazzolla. It was done using Rosegarden, Frescobaldi and Lilypond with beautiful OpenMandriva2014.2. Those interested in the source files, pdf or midi me they can ask with private mail because I have to check for any problems of licenses. Thank you all! https://www.youtube.com/watch?v=kuHkFkV2L6o -- oiram/bin/selom Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni. MIB-kernellinux-tester http://mariomoles.altervista.org/ Linux https://www.kernel.org/ MIB http://mib.pianetalinux.org/blog/ Lilypond http://lilypond.org/ Frescobaldi http://www.frescobaldi.org/ Rosegarden http://www.rosegardenmusic.com/ ___ lilypond-user mailing list [hidden email] http:///user/SendEmail.jtp?type=nodenode=177902i=0 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/Libertango-tp177902.html To start a new topic under User, email ml-node+s1069038n...@n5.nabble.com To unsubscribe from Lilypond, click here http://lilypond.1069038.n5.nabble.com/template/NamlServlet.jtp?macro=unsubscribe_by_codenode=2code=dGlzaW1zdC5saWx5cG9uZEBnbWFpbC5jb218Mnw4MzU3Njg3MDU= . NAML http://lilypond.1069038.n5.nabble.com/template/NamlServlet.jtp?macro=macro_viewerid=instant_html%21nabble%3Aemail.namlbase=nabble.naml.namespaces.BasicNamespace-nabble.view.web.template.NabbleNamespace-nabble.view.web.template.NodeNamespacebreadcrumbs=notify_subscribers%21nabble%3Aemail.naml-instant_emails%21nabble%3Aemail.naml-send_instant_email%21nabble%3Aemail.naml -- View this message in context: http://lilypond.1069038.n5.nabble.com/Libertango-tp177902p177910.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: Control which voice if shifted left
Hi Simon,
gives exactly the layout of your example. This is the standard way.
Actually, if you notice, the layouts are different: in the OP’s image, the top
two voices are vertically aligned, and the low voice is shifted right; in your
example (at least here on my Lily), the top and low voice are aligned and the
middle voice is shifted left.
Curiously, switching voices as
\version 2.19.20
{
\time 3/2
\key d \minor
{ \voiceOne g''2 e'' d''8 cis'' d''4 }
\\
{ \voiceTwo d''2 bes' b' }
\\
{ \voiceFour g'2 g' f' }
}
results in a “left-shifted” voicing that closely resembles what the
Satie-engraving did. =)
In any case, it would be great to have a setting like
Context.voice-shifting = #’(3 1 2 4)
where one simply gives a list of the left-to-right order of voice placement to
be observed if any shifting is required.
Cheers,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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Re: string numbers (fingering instructions) as roman numerals?
On Mon, 30 Jun 2014 15:25:07 -0500 David Nalesnik david.nales...@gmail.com wrote: Hello, Thank you so much for your answer to my question re: string letters instead of numbers. I have seen ringed letters in violin music as well as in the guitar music of Villa Lobos. I don't think HVL made it up. Using it I have found it superior to the common usage. I think HVL reasoned that there is seldom a cause to have to indicate the 1st string, but range makes ambiguity no problem. Sorry I missed your reply. Kindest regards, 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: After-line-breaking behavior?
Interesting. I'm running on Windows - maybe that's the problem! --Steven From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Tuesday, June 16, 2015 3:26 PM To: Steven Weber; 'lilypond-user' Subject: Re: After-line-breaking behavior? Am 17.06.2015 um 00:12 schrieb Steven Weber: Is there any way to guarantee that the order of items processed through after-line-breaking is the exact order they are in the score? I'm doing some fun things with bar lines, and I'm having issues because my scheme code isn't getting them in the order I expect. In the attached file, for example, I expected that I would get the bar lines in order: start repeat, end repeat, start repeat, end repeat, final bar line. Instead, I get start repeat, end repeat, end repeat, start repeat, final. If you comment out the break on line 40, it gets even odder: start repeat, end repeat, final bar line, start repeat, end repeat. Everything behaves as expected with my machine: the relevant log output is Unbroken bar line: .|: Unbroken bar line: :|. Unbroken bar line: .|: Left-broken bar line: :|. Left-broken bar line: |. or, without the break, Unbroken bar line: .|: Unbroken bar line: :|. Unbroken bar line: .|: Unbroken bar line: :|. Left-broken bar line: |. This is with Lily 2.18.2 and Ubuntu 14.04 64bit. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: After-line-breaking behavior?
Am 17.06.2015 um 00:12 schrieb Steven Weber: Is there any way to guarantee that the order of items processed through after-line-breaking is the exact order they are in the score? I’m doing some fun things with bar lines, and I’m having issues because my scheme code isn’t getting them in the order I expect. In the attached file, for example, I expected that I would get the bar lines in order: start repeat, end repeat, start repeat, end repeat, final bar line. Instead, I get start repeat, end repeat, end repeat, start repeat, final. If you comment out the break on line 40, it gets even odder: start repeat, end repeat, final bar line, start repeat, end repeat. Everything behaves as expected with my machine: the relevant log output is Unbroken bar line: .|: Unbroken bar line: :|. Unbroken bar line: .|: Left-broken bar line: :|. Left-broken bar line: |. or, without the break, Unbroken bar line: .|: Unbroken bar line: :|. Unbroken bar line: .|: Unbroken bar line: :|. Left-broken bar line: |. This is with Lily 2.18.2 and Ubuntu 14.04 64bit. Best regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
After-line-breaking behavior?
Is there any way to guarantee that the order of items processed through after-line-breaking is the exact order they are in the score? I'm doing some fun things with bar lines, and I'm having issues because my scheme code isn't getting them in the order I expect. In the attached file, for example, I expected that I would get the bar lines in order: start repeat, end repeat, start repeat, end repeat, final bar line. Instead, I get start repeat, end repeat, end repeat, start repeat, final. If you comment out the break on line 40, it gets even odder: start repeat, end repeat, final bar line, start repeat, end repeat. I've tried with both 2.18.2 and 2.19.21 and get the same behavior, so this isn't a regression - maybe I'm just not understanding how after-line-breaking works? Thanks! --Steven Example.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Input for \chords: What data type?
Hi Harm, thanks a lot - that's what I needed. Klaus -- View this message in context: http://lilypond.1069038.n5.nabble.com/Input-for-chords-What-data-type-tp177895p177914.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: After-line-breaking behavior?
2015-06-17 0:34 GMT+02:00 Steven Weber pant...@hotmail.com:
Are you running on Linux? This might be a weird Windows related issue.
Yep and yep
And on my system, glyph and glyph-name return the same values, so I was using
glyph to save on typing.
Some bar-line-types will behave special at line-breaks.
Try your function with 'glyph and 'glyph-name on the code below to see
a difference
\new Staff
{
R1
\bar :|.|:
\break
R1
\bar |.
}
cheers,
Harm
P.S. Please always reply to all ;)
--Steven
-Original Message-
From: Thomas Morley [mailto:thomasmorle...@gmail.com]
Sent: Tuesday, June 16, 2015 3:30 PM
To: Steven Weber
Cc: lilypond-user
Subject: Re: After-line-breaking behavior?
2015-06-17 0:12 GMT+02:00 Steven Weber pant...@hotmail.com:
Is there any way to guarantee that the order of items processed
through after-line-breaking is the exact order they are in the score?
I’m doing some fun things with bar lines, and I’m having issues
because my scheme code isn’t getting them in the order I expect. In
the attached file, for example, I expected that I would get the bar
lines in order: start repeat, end repeat, start repeat, end repeat,
final bar line. Instead, I get start repeat, end repeat, end repeat,
start repeat, final. If you comment out the break on line 40, it gets
even odder: start repeat, end repeat, final bar line, start repeat, end
repeat.
I’ve tried with both 2.18.2 and 2.19.21 and get the same behavior, so
this isn’t a regression – maybe I’m just not understanding how
after-line-breaking works?
Thanks!
--Steven
Testing your code, I get:
Unbroken bar line: .|:
Unbroken bar line: :|.
Unbroken bar line: .|:
Unbroken bar line: :|.
Left-broken bar line: |.
That's exactly:
start repeat, end repeat, start repeat, end repeat, final bar line.
Am I missing something?
Anyway, are you sure you want to show 'glyph, not 'glyph-name?
Cheers,
Harm
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Re: After-line-breaking behavior?
On Tue, Jun 16, 2015 at 5:30 PM, Thomas Morley thomasmorle...@gmail.com wrote: 2015-06-17 0:12 GMT+02:00 Steven Weber pant...@hotmail.com: Is there any way to guarantee that the order of items processed through after-line-breaking is the exact order they are in the score? I’m doing some fun things with bar lines, and I’m having issues because my scheme code isn’t getting them in the order I expect. In the attached file, for example, I expected that I would get the bar lines in order: start repeat, end repeat, start repeat, end repeat, final bar line. Instead, I get start repeat, end repeat, end repeat, start repeat, final. If you comment out the break on line 40, it gets even odder: start repeat, end repeat, final bar line, start repeat, end repeat. I’ve tried with both 2.18.2 and 2.19.21 and get the same behavior, so this isn’t a regression – maybe I’m just not understanding how after-line-breaking works? Perhaps this is an issue with Windows systems. Using Windows 7 64-bit with 2.19.21, I get (with an added location to clarify the out-of-orderness): Unbroken bar line: .|:(2 . #Mom 0) Unbroken bar line: :|.(3 . #Mom 0) Left-broken bar line: :|.(5 . #Mom 0) Unbroken bar line: .|:(4 . #Mom 0) Left-broken bar line: |.(6 . #Mom 0) and (no break): Unbroken bar line: .|:(2 . #Mom 0) Unbroken bar line: :|.(3 . #Mom 0) Unbroken bar line: .|:(4 . #Mom 0) Left-broken bar line: |.(6 . #Mom 0) Unbroken bar line: :|.(5 . #Mom 0) You might consider collecting the barlines using a Scheme engraver. I couldn't say whether you'd be able to manipulate them, though. David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: After-line-breaking behavior?
On Tue, Jun 16, 2015 at 5:51 PM, Steven Weber pant...@hotmail.com wrote: Interesting – how did you get the location information? I added (display (grob::rhythmic-location g)) to your function. This is only available in the last few development releases. David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: After-line-breaking behavior?
2015-06-17 0:12 GMT+02:00 Steven Weber pant...@hotmail.com: Is there any way to guarantee that the order of items processed through after-line-breaking is the exact order they are in the score? I’m doing some fun things with bar lines, and I’m having issues because my scheme code isn’t getting them in the order I expect. In the attached file, for example, I expected that I would get the bar lines in order: start repeat, end repeat, start repeat, end repeat, final bar line. Instead, I get start repeat, end repeat, end repeat, start repeat, final. If you comment out the break on line 40, it gets even odder: start repeat, end repeat, final bar line, start repeat, end repeat. I’ve tried with both 2.18.2 and 2.19.21 and get the same behavior, so this isn’t a regression – maybe I’m just not understanding how after-line-breaking works? Thanks! --Steven Testing your code, I get: Unbroken bar line: .|: Unbroken bar line: :|. Unbroken bar line: .|: Unbroken bar line: :|. Left-broken bar line: |. That's exactly: start repeat, end repeat, start repeat, end repeat, final bar line. Am I missing something? Anyway, are you sure you want to show 'glyph, not 'glyph-name? Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: question about multi measure rests from a blind user
Hello David and Trever,
Pardon me if I miss spelled your name. So… what exactly does
\compressFullBarRests do? Here is what I tried to do:
\score {
\new Staff {
… music …. \compressFullBarRests R1*32 … more music }
\layout { }
}
Is there anything that I am missing to accomplish the engraving of a multi
measure rest with a “32 above it?
On Jun 16, 2015, at 5:14 AM, Trevor Daniels t.dani...@treda.co.uk wrote:
David Kastrup wrote Tuesday, June 16, 2015 8:24 AM
\compressFullBarRests is probably named a bit confusingly: LilyPond
merely refrains from uncompressing the rests then, but it does not
actively compress them.
It is poorly named, but for a different reason. \compressFullBarRests
merely sets 'skipBars to #t, which causes bar lines and bars to be
suppressed for any rest or note which extends over several bars. See
https://code.google.com/p/lilypond/issues/detail?id=3687
There is a music function \compressMMRests available from
Release 2.19.20 and later whose action is strictly limited
to multi-measure rests. It is likely \compressFullBarRests
will be deprecated at some time, or more likely renamed to
better indicate its true action.
Trevor
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Re: Control which voice if shifted left
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Curiously, switching voices as
[...]
results in a “left-shifted” voicing that closely resembles what the Satie-
engraving did. =)
In any case, it would be great to have a setting like
Context.voice-shifting = #’(3 1 2 4)
where one simply gives a list of the left-to-right order of voice
placement
to be observed if any shifting is required.
In this case, I think we should first fix one thing about what LilyPond
does
on her own.
I think LilyPond should align the innermost voices, rather than voiceOne
and voiceTwo, and consider the merging note-heads between inner voices.
That is, align the B-flat and E in the example two posts back, and merge
the Es in
\time 3/2
\key d \minor
{ \voiceOne g''2 e'' d''8 cis'' d''4 }
\\ { \voiceFour d''2 e'' b' }
\\ { \voiceTwo g'2 g' f' }
( LilyPond works best if the outer voices are one and two, and then the
inner voices are three and four, and the documentation instructs to order
voices this way. This makes practical sense, because the inner voices are
more often temporary, so we might start with voiceOne and voiceTwo and then
add voiceThree for a short time. But, the order from high pitch to low
pitch is the counter-intuitive 2, 4, 3, 1. )
I don't have a reference explaining what is standard practice for four
voices, so I'm not sure if aligning and merging inner voices is recommended
in general, but I do see it done a lot.
A minor problem is the names of the \shiftOff and \shiftOn commands, which
would look wrong if the higher-numbered inner voices are aligned. But
these would be more descriptively named \shiftTowardHead and
\shiftTowardStem anyway.
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question about multi measure rests from a blind user
Hello all,
I was just curious as to what the difference is between the commands
\compressFullBarRests and \set Score.skipBars = ##t ?
I arranged some salsa charts that were performed over the weekend, My friend
who played trumpet mentioned that I had a rest that was 32 bars long. He told
me that the rests were not written in compressed form. What I had in my LY file
was something like ….
\score { \compressFullBarRests
music….
}
Am I missing something else? Thanks for any help.
Daniel Contreras
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Re: question about multi measure rests from a blind user
Daniel Contreras daniel.c.9...@gmail.com writes: I was just curious as to what the difference is between the commands \compressFullBarRests and \set Score.skipBars = ##t ? skipBars prints nothing and gives no indication about what was left. I arranged some salsa charts that were performed over the weekend, My friend who played trumpet mentioned that I had a rest that was 32 bars long. He told me that the rests were not written in compressed form. Only full bar rests are compressed. Full bar rests are printed in the middle of the bar (rather than at its beginning) and look like semi-breve rests (duration 1) for most meters (exceptions are meters like 2/1 or 4/2). Compressed rests show various forms, with the largest ones being a large vertically centered horizontal bar with the number of measures above. Full-bar rests are entered with a capital R. For full-bar rests to be compressed, they have to be entered as a _single_ rest, like R2.*16 for 16 measures of rest in a 3/4 meter. That makes it possible to have, say, 16 measures of rest followed by 3 by writing something like R1*16 R1*3 and have them compressed in logical sections. But it means you have to compress your rests manually. \compressFullBarRests is probably named a bit confusingly: LilyPond merely refrains from uncompressing the rests then, but it does not actively compress them. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Libertango
Hi! The video I uploaded on youtube is my arrangement for four guitars of the famous Libertango by Astor Piazzolla. It was done using Rosegarden, Frescobaldi and Lilypond with beautiful OpenMandriva2014.2. Those interested in the source files, pdf or midi me they can ask with private mail because I have to check for any problems of licenses.Thank you all! https://www.youtube.com/watch?v=kuHkFkV2L6o-- /oiram/bin/selom/ /Da ognuno secondo le proprie capacità ad ognuno secondo i propri bisogni./ /MIB-kernellinux-tester/ http://mariomoles.altervista.org/[1] Linux[2] MIB[3] Lilypond[4] Frescobaldi[5] Rosegarden[6] [1] http://mariomoles.altervista.org/ [2] https://www.kernel.org/ [3] http://mib.pianetalinux.org/blog/ [4] http://lilypond.org/ [5] http://www.frescobaldi.org/ [6] http://www.rosegardenmusic.com/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: question about multi measure rests from a blind user
David Kastrup wrote Tuesday, June 16, 2015 8:24 AM \compressFullBarRests is probably named a bit confusingly: LilyPond merely refrains from uncompressing the rests then, but it does not actively compress them. It is poorly named, but for a different reason. \compressFullBarRests merely sets 'skipBars to #t, which causes bar lines and bars to be suppressed for any rest or note which extends over several bars. See https://code.google.com/p/lilypond/issues/detail?id=3687 There is a music function \compressMMRests available from Release 2.19.20 and later whose action is strictly limited to multi-measure rests. It is likely \compressFullBarRests will be deprecated at some time, or more likely renamed to better indicate its true action. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
