two consecutive \mark at end and beginning of line
Hi folks
There's any way to let lilypond print the second mark in this minimal
example?
\version "2.19.31"
\relative {
\repeat unfold 8 c'1
\once \override Score.RehearsalMark.break-visibility =
#end-of-line-visible
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \musicglyph #"scripts.segno" }
\break
\mark \default
f1
}
I'm getting this warning:
warning: Two simultaneous mark events, junking this one
As the first mark is at the end of line and the second at the
beginning, there's no chance of collision. I would expect lilypond to
print it.
I think that my case is a little bit different from these snippets:
http://lsr.di.unimi.it/LSR/Item?id=735
http://lsr.di.unimi.it/LSR/Item?id=736
Wait, I think I found the right snippet:
http://lsr.di.unimi.it/LSR/Item?id=892
but it's way too complex for such an easy task. I'd rather go for a
formatted \markup instead of adding such a complexity in my scores.
Thanks in advance for any advice
Federico
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Re: slashes and percent
Hi David,
wow, that's easy to use, many thanks!
all the best, Peter
Am Montag, den 09.11.2015, 14:30 -0800 schrieb Flaming Hakama by Elaine:
[..]
>
>
> % Macro to print single slash
> rs = {
> \once \override Rest #'stencil =
> #ly:percent-repeat-item-interface::beat-slash
> \once \override Rest #'thickness = #0.48
> \once \override Rest #'slope = #1.7
> r4
> }
>
>
> % Function to print a specified number of slashes
> comp = #(define-music-function (parser location count) ( integer?)
> #{
> \override Rest #'stencil =
> #ly:percent-repeat-item-interface::beat-slash
> \override Rest #'thickness = #0.48
> \override Rest #'slope = #1.7
> \repeat unfold $count { r4 }
> \revert Rest #'stencil
> #}
> )
>
>
> % Example use of slashes:
> \score {
> \relative c' {
> c4 d e f |
> \rs \rs \rs \rs |
> \comp #4 |
> }
> }
>
>
>
>
>
>
> HTH,
>
> David Elaine Alt
>
> 415 . 341 .4954 "Confusion
> is highly underrated"
>
> ela...@flaminghakama.com
>
> self-immolation.info
> skype: flaming_hakama
> Producer ~ Composer ~ Instrumentalist
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
On Mon 09 Nov 2015 at 23:22:14 (+), Graham King wrote: > On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote: > > On 11/09/2015 02:47 PM, Kieren MacMillan wrote: > > The very first thing they said to me was, “Add measure numbers.” > > > > That’s sufficient reason for me. =) > > Good answer. > > In that case, I would pick one part, and force those measure numbers in > as numeric rehearsal marks in the other parts. > > Otherwise, you’d need a translation guide... > > ~Chris > > I guess Gould has a point. I've just realised that, under my system as I > described it, a part could have the same bar number twice. For example, in > the > attachment below, T has two bars "9". But apart from an ill-chosen number (in > this case), one could regard the "bar numbers" as "numeric rehearsal marks". > Different mechanism, different formatting, same result. In practice, for the > sort of music I'm dealing with, the polymetric sections tend to be quite short > so, for the most part, bar numbers are more helpful than rehearsal marks. This is avoidable if each new bar is numbered with 1+(number of the bar—looking across all the parts—that most recently finished). Not something I could automate with my zero knowledge of scheme. Cheers, David. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scholarly footnotes
Hi Urs, What can I do to help you advance ScholarLY (or any of your other projects)? E.g. do I need to learn scheme? Do I play around with incorporating ScholarLY into Latex? What would be the most helpful for you? Craig On Tue, 10 Nov 2015 at 03:42 Urs Liska wrote: > Just shortly: > > I do think we'll find a good way for you, and I also think this is a good > opportunity to continue work on ScholarLY. Especially considering that just > a few days ago Craig Dabelstein also asked about ScholarLY. > > > Urs > > > Am 09.11.2015 um 17:33 schrieb Graham King: > > I'm preparing an edition of sixteenth-century polyphony, using the > book-titling template[1]. The edition would benefit from some > footnotes/endnotes (the sort that say things like: "contratenor 1, bar 99: > semiminim A missing in MS"). How best to achieve this, while preserving > the "book-titling" appearance? > > Urs' marvellous work on ScholarLy[2] appears ideal, but outputs its > annotations in Latex (and might have other problems - see separate > thread[3]). So I'm now wondering how best to integrate this with a > published score. Several possibilities present themselves: > > 1) lilypond-book[4]. Requires extensive knowledge of Latex, and appears > to be targetted at presenting small snippets within musicological papers, > rather that large amounts of music with a small number of annotations. > > 2) Latex with \includepdf[5]. > > 3) musicexamples.sty[6]. > > 4) something else? > > I have used Latex (once!) and I'm prepared to do some learning, but I'd > welcome advice on the most efficient way to proceed, and the pros-&-cons of > each approach. > > > [1] From the Snippets Repository: http://lsr.di.unimi.it/LSR/Item?id=368 > [2] http://lilypondblog.org/2015/01/introducing-scholarly/ > [3] lilypond-user list, November 2015: "ScholarLy and polymetric music? > (bar numbering, \RemoveEmptyStaffContext)" > [4] > http://www.lilypond.org/doc/v2.19/Documentation/usage/lilypond_002dbook > [5] > http://lilypondblog.org/2013/07/creating-songbooks-with-lilypond-and-latex/ > [6] http://openlilylib.org/musicexamples/index.html > > ___ > lilypond-user mailing > listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user > > > ___ > 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: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
Hi Graham, > I've just realised that, under my system as I described it, a part could have > the same bar number twice. My proposed solution would be an “analytic continuation” (to borrow a mathematical term) of the non-polymetric measure numbering scheme: 1. A “reference context” would be established (in the case of “The Country Wife", the PianoStaff), and the base measure numbers would be generated in that context; 2. All other contexts would use the base-context measure number when and only when the barlines align; otherwise, each context would use (e.g.) 38A, 38B, … to indicate measures which begin within the moment encompassed by the reference measure. I think such a system would be >95% sufficient. Thoughts? Thanks, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slashes and percent
On 10.11.2015 00:19, Flaming Hakama by Elaine wrote: In my opinion, yours approach is poorly designed, since it introduces a problem (notes to represent slashes that will be transposed) that then requires a solution. The solution I disseminated avoids that problem in its entirety. Good point. After all, the solution I posted is not my own design, so I don’t know the reasoning behind. It might be designed to have a reasonable midi, or to use the same music with and without \improvisationOn. However, you’re right that using rests is a good idea. Good night, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond-aware text editors
On Mon, Nov 09, 2015 at 04:12:54PM -0700, zzk wrote: > Flaming Hakama by Elaine wrote > > Interestingly (perhaps only to me), the only other place I feel like > > I took a step backward in changing editors is that the (in-file) > > find/replace mechanisms in sublime text are clunkier, especially > > since you can't use them macros. > > > > I rather prefer emacs' M-x query replace or M-x replace-string to > > the sublime text approach of multiple selection. > > I agree with your point that emacs' replace capabilities look more > powerful. However, at this stage, it would be an overkill for me, as > I am not a heavy text editor user. > > I guess, it is great that we have so many options today (with a number > of open source apps). [...] I wasn't sure if this would constitute a meaningful data point, but I do use Lilypond extensively and only ever use vim (without syntax highlighting). For the most part, navigation is no problem for me as I use a very specific formatting, with comment markers indicating different sections of a piece, so even in a full orchestral score it's still usable to keep all the parts in a single file. (Layout specific details like \layout and \paper blocks, macro definitions, and other necessary boilerplate, are kept in different files, though, to minimize distraction from the actual music.) T -- Written on the window of a clothing store: No shirt, no shoes, no service. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote: > On 11/09/2015 02:47 PM, Kieren MacMillan wrote: > > The very first thing they said to me was, “Add measure numbers.” > > > > That’s sufficient reason for me. =) > > Good answer. > > In that case, I would pick one part, and force those measure numbers in > as numeric rehearsal marks in the other parts. > > Otherwise, you’d need a translation guide... > > ~Chris I guess Gould has a point. I've just realised that, under my system as I described it, a part could have the same bar number twice. For example, in the attachment below, T has two bars "9". But apart from an ill-chosen number (in this case), one could regard the "bar numbers" as "numeric rehearsal marks". Different mechanism, different formatting, same result. In practice, for the sort of music I'm dealing with, the polymetric sections tend to be quite short so, for the most part, bar numbers are more helpful than rehearsal marks. RemoveEmptyStaffContext.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slashes and percent
Simon, In case you are curious, I read this list in digest form, so sometimes I reply before I see other people's replies posted. However, In terms of this topic, yes, I read your replies on this topic. In fact, it was reading your replies that motivated me to reply with a better solution. In my opinion, yours approach is poorly designed, since it introduces a problem (notes to represent slashes that will be transposed) that then requires a solution. The solution I disseminated avoids that problem in its entirety. In my opinion, getting a slash by saying \rs is pretty tough to beat in terms of simplicity. To each his or her own. How about we just let the OP decide which is best for their purposes? Cheers, David Elaine Alt 415 . 341 .4954 "*Confusion is highly underrated*" ela...@flaminghakama.com self-immolation.info skype: flaming_hakama Producer ~ Composer ~ Instrumentalist -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond-aware text editors
Flaming Hakama by Elaine wrote > Interestingly (perhaps only to me), the only other place I feel like I > took > a step backward in changing editors is that the (in-file) find/replace > mechanisms in sublime text are clunkier, especially since you can't use > them macros. > > I rather prefer emacs' M-x query replace or M-x replace-string to the > sublime text approach of multiple selection. I agree with your point that emacs' replace capabilities look more powerful. However, at this stage, it would be an overkill for me, as I am not a heavy text editor user. I guess, it is great that we have so many options today (with a number of open source apps). Zoran -- View this message in context: http://lilypond.1069038.n5.nabble.com/Re-LilyPond-aware-text-editors-tp183189p183312.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: 7dim symbol in chord names
>> Hello all !
>>
>> Is there a way to modify 7dim (e.g. print "C#7dim"
>
>It's always been C#dim or C#dim7. C#7dim would indicate
>a leading tone or "half diminished" seventh, which is
>not what you apparently want. Regards, Rald
Yes, you can modify the appearance of chord symbols by adding "chord
exceptions" to your chordmode expressions.
For a fuller discussion of this, see my blog post
http://flaminghakama.com/flaming-lilypond-chords
I agree with Rald that "C#dim7" is typical.
However, I'm not sure I would interpret what you want, "C#7dim", the same
way he does. I would probably interpret that as you intend, not
half-diminished. But I would also not suggest it.
Regardless, here is how to accomplish what you want:
\version "2.19.15"
myChordExceptions = {
% Diminished
1-\markup { 7dim }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
myChordExceptions #t) ignatzekExceptions)
myChordSequence = \chordmode {
\set chordChanges = ##t
\set chordNameExceptions = #chExceptions
b1:1.3-.5-.7-
}
myMelody = \relative c'' {
r4 f8 d b aes4.
}
\score {
\new StaffGroup <<
\new ChordNames \myChordSequence
\new Staff {
\myMelody
}
>>
}
HTH,
David Elaine Alt
415 . 341 .4954 "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: slashes and percent
On 09.11.2015 23:52, Simon Albrecht wrote: Did you even _read_ my replies to this thread, Or did the mailing list engine delay posts again, so you couldn’t know that solutions had already been given? ~ Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slashes and percent
On 09.11.2015 23:30, Flaming Hakama by Elaine wrote:
>
> I have a "dirty solution" for this percent ( slashes )
>
> \override Stem #'length = #0.0
> #'thickness = #0.0
> b4 b4 b4
> \override Stem #'length = #7.0
> \override Stem #'thickness = #1.3
>
>
> Looks good on "original sheet" but pretty ugly on the transposed
ones.
Someone else suggested this approach, which I've been using happily,
so I'd like to pass it on.
The concept is that, since rests don't move when you transpose a part,
you specify rests instead of notes, and change the appearance of the
rests to a slash.
This avoids having to do any fussing with anything at all.
Did you even _read_ my replies to this thread, or even the NR paragraph
concerned with exactly this? LilyPond has a feature (the
Pitch_squash_engraver) to neatly deal with this, which means much less
‘fussing’ than the hack that you suggest below.
Yours, Simon
% Macro to print single slash
rs = {
\once \override Rest #'stencil =
#ly:percent-repeat-item-interface::beat-slash
\once \override Rest #'thickness = #0.48
\once \override Rest #'slope = #1.7
r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (parser location count) ( integer?)
#{
\override Rest #'stencil =
#ly:percent-repeat-item-interface::beat-slash
\override Rest #'thickness = #0.48
\override Rest #'slope = #1.7
\repeat unfold $count { r4 }
\revert Rest #'stencil
#}
)
% Example use of slashes:
\score {
\relative c' {
c4 d e f |
\rs \rs \rs \rs |
\comp #4 |
}
}
HTH,
David Elaine Alt
415 . 341 .4954 "/Confusion is highly underrated/"
ela...@flaminghakama.com
self-immolation.info
Re: slashes and percent
>
> >
> > I have a "dirty solution" for this percent ( slashes )
> >
> > \override Stem #'length = #0.0
> > #'thickness = #0.0
> > b4 b4 b4
> > \override Stem #'length = #7.0
> > \override Stem #'thickness = #1.3
> >
> >
> > Looks good on "original sheet" but pretty ugly on the transposed ones.
>
Someone else suggested this approach, which I've been using happily, so I'd
like to pass it on.
The concept is that, since rests don't move when you transpose a part, you
specify rests instead of notes, and change the appearance of the rests to a
slash.
This avoids having to do any fussing with anything at all.
% Macro to print single slash
rs = {
\once \override Rest #'stencil =
#ly:percent-repeat-item-interface::beat-slash
\once \override Rest #'thickness = #0.48
\once \override Rest #'slope = #1.7
r4
}
% Function to print a specified number of slashes
comp = #(define-music-function (parser location count) ( integer?)
#{
\override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash
\override Rest #'thickness = #0.48
\override Rest #'slope = #1.7
\repeat unfold $count { r4 }
\revert Rest #'stencil
#}
)
% Example use of slashes:
\score {
\relative c' {
c4 d e f |
\rs \rs \rs \rs |
\comp #4 |
}
}
HTH,
David Elaine Alt
415 . 341 .4954 "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: slashes and percent
On 09.11.2015 23:01, Jacques Menu wrote:
Hello folks,
How about:
\relative c'' {
\override Staff.NoteHead.style = #'slash
\hide Staff.Stem
\repeat unfold 4 { \tweak staff-position #-0.5 c4 }
}
Which doesn’t deal with transpositions. That’s what the
Pitch_squash_engraver and \improvisationOn is for…
Yours, Simon
JM
Le 9 nov. 2015 à 22:46, Simon Albrecht a écrit :
Hello Peter,
now the problem is clear. That’s what the Pitch_squash_engraver, used in the
example from the Notation Reference, is for: it moves all the notes to the
center of the staff, regardless of their pitch. So all you need to do is insert
the following into your file on top level:
\layout {
\context {
\Voice
\consists "Pitch_squash_engraver"
}
}
(or add the \consists command to a layout block you already have)
and it’ll be fine.
Yours, Simon
On 09.11.2015 22:29, Peter Berlau wrote:
Hello Simon,
Thanks for Help,
here is the code, sorry for length, but if You scroll pdf-output in
viewer You will immediateley know what I mean.
%%%
\version "2.18.2"
\header {
title = "Subterranean Homesick Alien"
composer = "Thomas Yorke"
}
melody = \relative c' {
\time 3/4
\key c \major
\improvisationOn
\omit Stem
{
b'4 b b b b b b b b b b b
}
\undo \omit Stem
b4. b b b % given rhythm stems needed here
\improvisationOff
\break
}
%
changes = \chords {
c1.:maj7
c1.:maj7
c1.:maj7
}
\bookpart {
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"C"
>>
}
\bookpart {
\transpose bes c'
<<
\changes
\new Staff { \melody }
\set Staff.instrumentName = #"Bb"
>>
}
\bookpart {
\transpose es c'
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"Eb"
>>
}
\bookpart {
\transpose c c,
<<
\changes
\new Staff \melody \clef bass
\set Staff.instrumentName = #"bs"
>>
}
\version "2.18.2"
%%%
Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
On 09.11.2015 21:38, Peter Berlau wrote:
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
Could you please post a (small, complete and compilable) code example,
eventually with output, of what’s ugly?
Thanks, Simon
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Re: slashes and percent
Hi Jacques,
works also fine, thanks a lot!
All the best,
Peter
Am Montag, den 09.11.2015, 23:01 +0100 schrieb Jacques Menu:
> Hello folks,
>
> How about:
>
> \relative c'' {
> \override Staff.NoteHead.style = #'slash
> \hide Staff.Stem
> \repeat unfold 4 { \tweak staff-position #-0.5 c4 }
> }
>
> JM
>
> > Le 9 nov. 2015 à 22:46, Simon Albrecht a écrit :
> >
> > Hello Peter,
> >
> > now the problem is clear. That’s what the Pitch_squash_engraver, used in
> > the example from the Notation Reference, is for: it moves all the notes to
> > the center of the staff, regardless of their pitch. So all you need to do
> > is insert the following into your file on top level:
> >
> > \layout {
> > \context {
> >\Voice
> >\consists "Pitch_squash_engraver"
> > }
> > }
> >
> > (or add the \consists command to a layout block you already have)
> > and it’ll be fine.
> >
> > Yours, Simon
> >
> > On 09.11.2015 22:29, Peter Berlau wrote:
> >> Hello Simon,
> >>
> >> Thanks for Help,
> >> here is the code, sorry for length, but if You scroll pdf-output in
> >> viewer You will immediateley know what I mean.
> >>
> >>
> >> %%%
> >> \version "2.18.2"
> >>
> >>
> >>
> >> \header {
> >> title = "Subterranean Homesick Alien"
> >> composer = "Thomas Yorke"
> >> }
> >>
> >> melody = \relative c' {
> >> \time 3/4
> >> \key c \major
> >> \improvisationOn
> >>
> >> \omit Stem
> >> {
> >> b'4 b b b b b b b b b b b
> >> }
> >>
> >> \undo \omit Stem
> >> b4. b b b % given rhythm stems needed here
> >>
> >> \improvisationOff
> >> \break
> >>
> >> }
> >> %
> >> changes = \chords {
> >>c1.:maj7
> >>c1.:maj7
> >>c1.:maj7
> >>
> >> }
> >>
> >> \bookpart {
> >> <<
> >> \changes
> >> \new Staff \melody
> >> \set Staff.instrumentName = #"C"
> >> >>
> >> }
> >>
> >>
> >> \bookpart {
> >> \transpose bes c'
> >> <<
> >> \changes
> >> \new Staff { \melody }
> >> \set Staff.instrumentName = #"Bb"
> >> >>
> >> }
> >>
> >>
> >> \bookpart {
> >> \transpose es c'
> >> <<
> >> \changes
> >> \new Staff \melody
> >> \set Staff.instrumentName = #"Eb"
> >> >>
> >> }
> >>
> >>
> >> \bookpart {
> >> \transpose c c,
> >> <<
> >> \changes
> >> \new Staff \melody \clef bass
> >> \set Staff.instrumentName = #"bs"
> >> >>
> >> }
> >>
> >> \version "2.18.2"
> >>
> >>
> >> %%%
> >>
> >>
> >> Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
> >>> On 09.11.2015 21:38, Peter Berlau wrote:
> Hello Simon, hello All!
>
>
> a part of my problem is solved
> i using now
>
> \omit Stem
> b4 b b b
> \undo \omit Stem
>
> with the '/' as notehead
>
> But in tramspostion
> in Bb b = 'cis'
> in Es b = 'gis'
> thats pretty ugly...
> >>> Could you please post a (small, complete and compilable) code example,
> >>> eventually with output, of what’s ugly?
> >>>
> >>> Thanks, Simon
> >>
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: slashes and percent
Hello Simon,
that was exactly what I'm looking for!
Cool, thank You so much!
all the best,
Peter
Am Montag, den 09.11.2015, 22:46 +0100 schrieb Simon Albrecht:
> Hello Peter,
>
> now the problem is clear. That’s what the Pitch_squash_engraver, used in
> the example from the Notation Reference, is for: it moves all the notes
> to the center of the staff, regardless of their pitch. So all you need
> to do is insert the following into your file on top level:
>
> \layout {
>\context {
> \Voice
> \consists "Pitch_squash_engraver"
>}
> }
>
> (or add the \consists command to a layout block you already have)
> and it’ll be fine.
>
> Yours, Simon
>
> On 09.11.2015 22:29, Peter Berlau wrote:
> > Hello Simon,
> >
> > Thanks for Help,
> > here is the code, sorry for length, but if You scroll pdf-output in
> > viewer You will immediateley know what I mean.
> >
> >
> > %%%
> > \version "2.18.2"
> >
> >
> >
> > \header {
> > title = "Subterranean Homesick Alien"
> > composer = "Thomas Yorke"
> > }
> >
> > melody = \relative c' {
> > \time 3/4
> > \key c \major
> > \improvisationOn
> >
> > \omit Stem
> > {
> > b'4 b b b b b b b b b b b
> > }
> >
> > \undo \omit Stem
> > b4. b b b % given rhythm stems needed here
> >
> > \improvisationOff
> > \break
> >
> > }
> > %
> > changes = \chords {
> > c1.:maj7
> > c1.:maj7
> > c1.:maj7
> >
> >}
> >
> > \bookpart {
> ><<
> > \changes
> > \new Staff \melody
> > \set Staff.instrumentName = #"C"
> >>>
> > }
> >
> >
> > \bookpart {
> > \transpose bes c'
> ><<
> > \changes
> > \new Staff { \melody }
> > \set Staff.instrumentName = #"Bb"
> >>>
> > }
> >
> >
> > \bookpart {
> > \transpose es c'
> ><<
> > \changes
> > \new Staff \melody
> > \set Staff.instrumentName = #"Eb"
> >>>
> > }
> >
> >
> > \bookpart {
> > \transpose c c,
> ><<
> > \changes
> > \new Staff \melody \clef bass
> > \set Staff.instrumentName = #"bs"
> >>>
> > }
> >
> > \version "2.18.2"
> >
> >
> > %%%
> >
> >
> > Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
> >> On 09.11.2015 21:38, Peter Berlau wrote:
> >>> Hello Simon, hello All!
> >>>
> >>>
> >>> a part of my problem is solved
> >>> i using now
> >>>
> >>> \omit Stem
> >>> b4 b b b
> >>> \undo \omit Stem
> >>>
> >>> with the '/' as notehead
> >>>
> >>> But in tramspostion
> >>> in Bb b = 'cis'
> >>> in Es b = 'gis'
> >>> thats pretty ugly...
> >> Could you please post a (small, complete and compilable) code example,
> >> eventually with output, of what’s ugly?
> >>
> >> Thanks, Simon
> >
>
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Re: Parallel CueVoice with "too early" a clef change
Hello David,
Fine, you hit the point, and the following code avoids the non-appearing notes
problem:
% Music to be used by CueDuring has to start at the same point in time
% as the music that incorporates it!
HautboisAvantChiffreSept = \relative gis' {
\voiceOne
% \tweak staff-position #-1 r4
R2 |
\tweak staff-position #-1 r4
gis8 \mf \< ( a |
b [ cis d e ] |
fis2 -> ) \! ~ |
fis4 e8 ( d |
d4 cis ) |
r8 cis ( [ bis cis ] |
e [ d b fis ] |
fis4 gis |
gis4
%a8 )
%s |
}
\addQuote "HautboisAvantChiffreSept" { \HautboisAvantChiffreSept }
My original problem can be avoided for the time being by preventing Cue’d and
Cue’ing musics to sound in parallel at any given point, since the effect of
that is not clearly defined in the docs.
Thanks to all!
JM
> Le 9 nov. 2015 à 18:59, David Wright a écrit :
>
> On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
>> Hello David,
>>
>> The docs say that the part that « receives » a Cue is usually made of rests,
>> but not what happens if they contain actual notes.
>> Removing the last eight in the Cue avoids the problem, of course.
>>
>> I tried with cueDuringWithClef, but then the four first eights at the
>> beginning of the cue’d music don’t appear, even though the examples in the
>> docs work fine.
>> That beats me, see second part of the attached files.
>
> OK, I've looked quickly at the notation manual and there's a lot to
> get one's head around. However, I'm hoping that there's a connection
> between QuoteDuring and CueDuring. I think your problem has to do with
> the R2 at the beginning of Basson. While that R2 is passing by, you're
> not quoting the Hautbois, but it's first two bars are still being
> consumed, because its "clock" runs from the same instant as the
> Basson clock. to understand this, look carefully at page 196 in
> Notation Manual (2.18.2) and see where the "a4 gis g gis" in the
> flute part have gone.
>
> In other words, \quoteDuring #"flute" { s1 } parachutes in "s1-duration"
> of flute, but the section parachuted in is the *corresponding* time
> interval in the flute part, not the *first* bar of the flute part. The
> clocks of the two parts are running together the whole time.
>
> I'm expecting Cue... to behave as Quote...
>
> Cheers,
> David.
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Re: slashes and percent
Hello folks,
How about:
\relative c'' {
\override Staff.NoteHead.style = #'slash
\hide Staff.Stem
\repeat unfold 4 { \tweak staff-position #-0.5 c4 }
}
JM
> Le 9 nov. 2015 à 22:46, Simon Albrecht a écrit :
>
> Hello Peter,
>
> now the problem is clear. That’s what the Pitch_squash_engraver, used in the
> example from the Notation Reference, is for: it moves all the notes to the
> center of the staff, regardless of their pitch. So all you need to do is
> insert the following into your file on top level:
>
> \layout {
> \context {
>\Voice
>\consists "Pitch_squash_engraver"
> }
> }
>
> (or add the \consists command to a layout block you already have)
> and it’ll be fine.
>
> Yours, Simon
>
> On 09.11.2015 22:29, Peter Berlau wrote:
>> Hello Simon,
>>
>> Thanks for Help,
>> here is the code, sorry for length, but if You scroll pdf-output in
>> viewer You will immediateley know what I mean.
>>
>>
>> %%%
>> \version "2.18.2"
>>
>>
>>
>> \header {
>> title = "Subterranean Homesick Alien"
>> composer = "Thomas Yorke"
>> }
>>
>> melody = \relative c' {
>> \time 3/4
>>\key c \major
>> \improvisationOn
>>
>> \omit Stem
>> {
>> b'4 b b b b b b b b b b b
>> }
>>
>> \undo \omit Stem
>> b4. b b b % given rhythm stems needed here
>>
>> \improvisationOff
>> \break
>>
>> }
>> %
>> changes = \chords {
>> c1.:maj7
>> c1.:maj7
>> c1.:maj7
>>
>> }
>>
>> \bookpart {
>> <<
>> \changes
>> \new Staff \melody
>> \set Staff.instrumentName = #"C"
>> >>
>> }
>>
>>
>> \bookpart {
>> \transpose bes c'
>> <<
>> \changes
>> \new Staff { \melody }
>> \set Staff.instrumentName = #"Bb"
>> >>
>> }
>>
>>
>> \bookpart {
>> \transpose es c'
>> <<
>> \changes
>> \new Staff \melody
>> \set Staff.instrumentName = #"Eb"
>> >>
>> }
>>
>>
>> \bookpart {
>> \transpose c c,
>> <<
>> \changes
>> \new Staff \melody \clef bass
>> \set Staff.instrumentName = #"bs"
>> >>
>> }
>>
>> \version "2.18.2"
>>
>>
>> %%%
>>
>>
>> Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
>>> On 09.11.2015 21:38, Peter Berlau wrote:
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
>>> Could you please post a (small, complete and compilable) code example,
>>> eventually with output, of what’s ugly?
>>>
>>> Thanks, Simon
>>
>
>
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Re: slashes and percent
Hello Peter,
now the problem is clear. That’s what the Pitch_squash_engraver, used in
the example from the Notation Reference, is for: it moves all the notes
to the center of the staff, regardless of their pitch. So all you need
to do is insert the following into your file on top level:
\layout {
\context {
\Voice
\consists "Pitch_squash_engraver"
}
}
(or add the \consists command to a layout block you already have)
and it’ll be fine.
Yours, Simon
On 09.11.2015 22:29, Peter Berlau wrote:
Hello Simon,
Thanks for Help,
here is the code, sorry for length, but if You scroll pdf-output in
viewer You will immediateley know what I mean.
%%%
\version "2.18.2"
\header {
title = "Subterranean Homesick Alien"
composer = "Thomas Yorke"
}
melody = \relative c' {
\time 3/4
\key c \major
\improvisationOn
\omit Stem
{
b'4 b b b b b b b b b b b
}
\undo \omit Stem
b4. b b b % given rhythm stems needed here
\improvisationOff
\break
}
%
changes = \chords {
c1.:maj7
c1.:maj7
c1.:maj7
}
\bookpart {
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"C"
>>
}
\bookpart {
\transpose bes c'
<<
\changes
\new Staff { \melody }
\set Staff.instrumentName = #"Bb"
>>
}
\bookpart {
\transpose es c'
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"Eb"
>>
}
\bookpart {
\transpose c c,
<<
\changes
\new Staff \melody \clef bass
\set Staff.instrumentName = #"bs"
>>
}
\version "2.18.2"
%%%
Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
On 09.11.2015 21:38, Peter Berlau wrote:
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
Could you please post a (small, complete and compilable) code example,
eventually with output, of what’s ugly?
Thanks, Simon
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Re: slashes and percent
Hello Simon,
Thanks for Help,
here is the code, sorry for length, but if You scroll pdf-output in
viewer You will immediateley know what I mean.
%%%
\version "2.18.2"
\header {
title = "Subterranean Homesick Alien"
composer = "Thomas Yorke"
}
melody = \relative c' {
\time 3/4
\key c \major
\improvisationOn
\omit Stem
{
b'4 b b b b b b b b b b b
}
\undo \omit Stem
b4. b b b % given rhythm stems needed here
\improvisationOff
\break
}
%
changes = \chords {
c1.:maj7
c1.:maj7
c1.:maj7
}
\bookpart {
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"C"
>>
}
\bookpart {
\transpose bes c'
<<
\changes
\new Staff { \melody }
\set Staff.instrumentName = #"Bb"
>>
}
\bookpart {
\transpose es c'
<<
\changes
\new Staff \melody
\set Staff.instrumentName = #"Eb"
>>
}
\bookpart {
\transpose c c,
<<
\changes
\new Staff \melody \clef bass
\set Staff.instrumentName = #"bs"
>>
}
\version "2.18.2"
%%%
Am Montag, den 09.11.2015, 21:42 +0100 schrieb Simon Albrecht:
> On 09.11.2015 21:38, Peter Berlau wrote:
> > Hello Simon, hello All!
> >
> >
> > a part of my problem is solved
> > i using now
> >
> > \omit Stem
> > b4 b b b
> > \undo \omit Stem
> >
> > with the '/' as notehead
> >
> > But in tramspostion
> > in Bb b = 'cis'
> > in Es b = 'gis'
> > thats pretty ugly...
>
> Could you please post a (small, complete and compilable) code example,
> eventually with output, of what’s ugly?
>
> Thanks, Simon
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Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
On 11/09/2015 02:47 PM, Kieren MacMillan wrote: The very first thing they said to me was, “Add measure numbers.” That’s sufficient reason for me. =) Good answer. In that case, I would pick one part, and force those measure numbers in as numeric rehearsal marks in the other parts. Otherwise, you’d need a translation guide... ~Chris -- Chris Maden, text nerd http://crism.maden.org/ > “All I ask of living is to have no chains on me, and all I ask of dying is to go naturally.” — Laura Nyro, “And When I Die” GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
Hi Chris, > What do you need the bar numbers for? I suspect rehearsal marks would fit > the bill, no? If not, why not? The score runs 105 measures in the piano part. I have 9 rehearsal marks (A-I), for an average of ~12 measures per rehearsal mark. In anticipation of officially [self-]publishing “The Country Wife” ASAP, I sat down just this past Friday with HAVEN Trio to see how I could improve the score and parts. HAVEN has been performing it the most often (~20 performances in the past year), and in fact were here in Toronto for new three performances. The very first thing they said to me was, “Add measure numbers.” That’s sufficient reason for me. =) Cheers, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slashes and percent
On 09.11.2015 21:38, Peter Berlau wrote: Hello Simon, hello All! a part of my problem is solved i using now \omit Stem b4 b b b \undo \omit Stem with the '/' as notehead But in tramspostion in Bb b = 'cis' in Es b = 'gis' thats pretty ugly... Could you please post a (small, complete and compilable) code example, eventually with output, of what’s ugly? Thanks, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slashes and percent
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
if i can use the percent and percent - slash the
position of the percent and slash sign are not touched by
transposition...
Thats, what i looking for, but without the first note printed out.
i can do this with percent, but not with the slash...
and don't not know, why... ;)
Thanks for Help,
all the best,
Peter
Am Montag, den 09.11.2015, 00:30 +0100 schrieb Simon Albrecht:
> Hello Peter,
>
> On 09.11.2015 00:09, Peter Berlau wrote:
> > Hello Simon,
> > thanks for fast answer.
> > I use this also, but in this case I need no first note written,
> > I like to use the percent and slashes as we call in german 'faulenzer'.
> >
> > It is for an "arrangement" for jazz ensemble.
> > I have to create sheets for C-, Bb-, Eb- and Bass-Clef-C-Instruments
> > so I use something like
> >
> > \bookpart {
> > \transpose bes c'
> ><<
> > \changes
> > \new Staff { \melody }
> > \set Staff.instrumentName = #"Bb"
> >>>
> > }
> >
> >
> > \bookpart {
> > \transpose es c'
> ><<
> > \changes
> > \new Staff \melody
> > \set Staff.instrumentName = #"Eb"
> >>>
> > }
> >
> > etc., ...
> >
> > I have a "dirty solution" for this percent ( slashes )
> >
> > \override Stem #'length = #0.0
> > #'thickness = #0.0
> > b4 b4 b4
> > \override Stem #'length = #7.0
> > \override Stem #'thickness = #1.3
> >
> >
> > Looks good on "original sheet" but pretty ugly on the transposed ones.
> >
> > In Jazz, in the improvisation chorus, if chords change from melody, it
> > is usual to write only the chords over the bars
> > and slashes in bars instead of notes, like
> > D-7
> > | / / / / ||
> > The slash as notehead with stem is used if note/melody is free, but
> > rhythm is given, often for rhythm intro ( piano or/and bass part(s) )
>
> How about:
> %
> \version "2.18.2"
>
> <<
>\new ChordNames { }
>\new Voice \with { \consists "Pitch_squash_engraver" } {
> \override Stem.stencil = #point-stencil
> \improvisationOn
> c4 c c c
>}
> >>
> %%
>
> Yours, Simon
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Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
On 11/09/2015 01:47 PM, Kieren MacMillan wrote: Is there a standard/convention/best practice on measure numbering in polymetric scores? I’m running into an issue of that myself (in my song “The Country Wife”), and can’t find anything definitive. Note: Gould (p. 484) writes, “Bar numbers should not be used in music in which individual performers have different numbers of bars or where barlines do not coincide”… but I’d like to at least have a non-recommended alternative. What do you need the bar numbers for? I suspect rehearsal marks would fit the bill, no? If not, why not? ~Chris -- Chris Maden, text nerd http://crism.maden.org/ > “All I ask of living is to have no chains on me, and all I ask of dying is to go naturally.” — Laura Nyro, “And When I Die” GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9 A210 4A51 DBAC 5C5C 3D5E ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup for repeated notes or phrases
P.S. Technically, \staccato and similar are not markups (which would
create a TextScript grob), but articulations (which create a Script
grob) – important, when you want to use an override.
On 09.11.2015 18:45, Stephan Neuhaus wrote:
Dear list,
I have a piece that contains phrases that are repeated often. For
example, let us assume that the phrase consists of two sixteenth notes.
In the piece in question, the unit of repetition is in fact much longer;
this is just an example. So I have done this:
phrase = { c16 d16 }
\relative c' { \repeat unfold 8 \phrase }
But the composer has sometimes put expressive marks on some of the notes
in the phrase, some of the time. For example:
\relative c' { c16 d c d c d c d\staccato c d c d c d c d }
Obviously I could do
\relative c' {
\repeat unfold 3 \phrase
c d\staccato
\repeat unfold 4 \phrase
}
But this obscures the fact that the "c d\staccato" is the same as
"\phrase", just with expression markings added. (When the unit of
repetition is several bars long, this is not as obvious as in this
simplified example.)
Is there an elegant way to keep the structure visible, and yet to add
markings to selected parts of \phrase?
Thanks in advance,
Stephan
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Re: ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
Hi all, Is there a standard/convention/best practice on measure numbering in polymetric scores? I’m running into an issue of that myself (in my song “The Country Wife”), and can’t find anything definitive. Note: Gould (p. 484) writes, “Bar numbers should not be used in music in which individual performers have different numbers of bars or where barlines do not coincide”… but I’d like to at least have a non-recommended alternative. Thanks, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup for repeated notes or phrases
Hello Stephan,
On 09.11.2015 18:45, Stephan Neuhaus wrote:
Dear list,
I have a piece that contains phrases that are repeated often. For
example, let us assume that the phrase consists of two sixteenth notes.
In the piece in question, the unit of repetition is in fact much longer;
this is just an example. So I have done this:
phrase = { c16 d16 }
\relative c' { \repeat unfold 8 \phrase }
But the composer has sometimes put expressive marks on some of the notes
in the phrase, some of the time. For example:
\relative c' { c16 d c d c d c d\staccato c d c d c d c d }
Obviously I could do
\relative c' {
\repeat unfold 3 \phrase
c d\staccato
\repeat unfold 4 \phrase
}
But this obscures the fact that the "c d\staccato" is the same as
"\phrase", just with expression markings added. (When the unit of
repetition is several bars long, this is not as obvious as in this
simplified example.)
Is there an elegant way to keep the structure visible, and yet to add
markings to selected parts of \phrase?
You can use parallel music expressions within one voice: either
explicitly (first score in the example) or through a handy music
function (second score):
%
\version "2.18.2"
pattern = { c16 d16 }
music = \relative c' { \repeat unfold 8 \pattern }
\new Voice <<
\music
{ s4.. s16-. s4 s16 s8.-> }
>>
%music function by David Kastrup and Simon Albrecht
after =
#(define-music-function (parser location t e m) (ly:duration? ly:music?
ly:music?)
#{
<<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
\new Voice { \after 4.. -. \after 16*13 -> \music }
%%%
HTH, Simon
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Re: Parallel CueVoice with "too early" a clef change
On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
> Hello David,
>
> The docs say that the part that « receives » a Cue is usually made of rests,
> but not what happens if they contain actual notes.
> Removing the last eight in the Cue avoids the problem, of course.
>
> I tried with cueDuringWithClef, but then the four first eights at the
> beginning of the cue’d music don’t appear, even though the examples in the
> docs work fine.
> That beats me, see second part of the attached files.
OK, I've looked quickly at the notation manual and there's a lot to
get one's head around. However, I'm hoping that there's a connection
between QuoteDuring and CueDuring. I think your problem has to do with
the R2 at the beginning of Basson. While that R2 is passing by, you're
not quoting the Hautbois, but it's first two bars are still being
consumed, because its "clock" runs from the same instant as the
Basson clock. to understand this, look carefully at page 196 in
Notation Manual (2.18.2) and see where the "a4 gis g gis" in the
flute part have gone.
In other words, \quoteDuring #"flute" { s1 } parachutes in "s1-duration"
of flute, but the section parachuted in is the *corresponding* time
interval in the flute part, not the *first* bar of the flute part. The
clocks of the two parts are running together the whole time.
I'm expecting Cue... to behave as Quote...
Cheers,
David.
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Markup for repeated notes or phrases
Dear list,
I have a piece that contains phrases that are repeated often. For
example, let us assume that the phrase consists of two sixteenth notes.
In the piece in question, the unit of repetition is in fact much longer;
this is just an example. So I have done this:
phrase = { c16 d16 }
\relative c' { \repeat unfold 8 \phrase }
But the composer has sometimes put expressive marks on some of the notes
in the phrase, some of the time. For example:
\relative c' { c16 d c d c d c d\staccato c d c d c d c d }
Obviously I could do
\relative c' {
\repeat unfold 3 \phrase
c d\staccato
\repeat unfold 4 \phrase
}
But this obscures the fact that the "c d\staccato" is the same as
"\phrase", just with expression markings added. (When the unit of
repetition is several bars long, this is not as obvious as in this
simplified example.)
Is there an elegant way to keep the structure visible, and yet to add
markings to selected parts of \phrase?
Thanks in advance,
Stephan
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Re: Scholarly footnotes
Just shortly: I do think we'll find a good way for you, and I also think this is a good opportunity to continue work on ScholarLY. Especially considering that just a few days ago Craig Dabelstein also asked about ScholarLY. Urs Am 09.11.2015 um 17:33 schrieb Graham King: > I'm preparing an edition of sixteenth-century polyphony, using the > book-titling template[1]. The edition would benefit from some > footnotes/endnotes (the sort that say things like: "contratenor 1, bar > 99: semiminim A missing in MS"). How best to achieve this, while > preserving the "book-titling" appearance? > > Urs' marvellous work on ScholarLy[2] appears ideal, but outputs its > annotations in Latex (and might have other problems - see separate > thread[3]). So I'm now wondering how best to integrate this with a > published score. Several possibilities present themselves: > > 1) lilypond-book[4]. Requires extensive knowledge of Latex, and > appears to be targetted at presenting small snippets within > musicological papers, rather that large amounts of music with a small > number of annotations. > > 2) Latex with \includepdf[5]. > > 3) musicexamples.sty[6]. > > 4) something else? > > I have used Latex (once!) and I'm prepared to do some learning, but > I'd welcome advice on the most efficient way to proceed, and the > pros-&-cons of each approach. > > > [1] From the Snippets Repository: http://lsr.di.unimi.it/LSR/Item?id=368 > [2] http://lilypondblog.org/2015/01/introducing-scholarly/ > [3] lilypond-user list, November 2015: "ScholarLy and polymetric > music? (bar numbering, \RemoveEmptyStaffContext)" > [4] > http://www.lilypond.org/doc/v2.19/Documentation/usage/lilypond_002dbook > [5] > http://lilypondblog.org/2013/07/creating-songbooks-with-lilypond-and-latex/ > [6] http://openlilylib.org/musicexamples/index.html > > > ___ > 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: Parallel CueVoice with "too early" a clef change
Hello the other David,
I’ve found that \compressFullBarRests is too much just before I got your
message, thanks for that one.
And yes, I forgot to comment out:
a8 )
s
at the end of HautboisAvantChiffreSept, hence the difference in length.
But doing so doesn’t solve the problem: the first four eights won’t show up,
and the remaining cue’d contents is shifted as much to the left.
JM
> Le 9 nov. 2015 à 17:55, David Wright a écrit :
>
> On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
>> Hello David,
>>
>> The docs say that the part that « receives » a Cue is usually made of rests,
>> but not what happens if they contain actual notes.
>> Removing the last eight in the Cue avoids the problem, of course.
>>
>> I tried with cueDuringWithClef, but then the four first eights at the
>> beginning of the cue’d music don’t appear, even though the examples in the
>> docs work fine.
>> That beats me, see second part of the attached files.
>
> I'm not the right David, but just looking at the picture and at the
> source for it, I can't understand two things (at a superficial level):
>
> Why is the length of
>
> HautboisAvantChiffreSept = \relative gis' {
> \voiceOne
> % \tweak staff-position #-1 r4
> gis8 \mf \< ( a |
> b [ cis d e ] |
> fis2 -> ) \! ~ |
> fis4 e8 ( d |
> d4 cis ) |
> r8 cis ( [ bis cis ] |
> e [ d b fis ] |
> fis4 gis |
> gis4
> a8 )
> s |
> }
> \addQuote "HautboisAvantChiffreSept" { \HautboisAvantChiffreSept }
>
> at 8½ bars not the same as
>
> \cueDuringWithClef #"HautboisAvantChiffreSept" #UP #"treble" {
>R2*8 |
>\mark\default
>r4
>% \clef "bass"
>\cueClefUnset
>gis,8 \f ( [ a8 ] | % 90
> }
>
> at 9¼ bars?
>
> And why compress whole-rest bars when you're setting the cue's notes
> through them?
>
> Cheers,
> David.
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Re: Parallel CueVoice with "too early" a clef change
On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
> Hello David,
>
> The docs say that the part that « receives » a Cue is usually made of rests,
> but not what happens if they contain actual notes.
> Removing the last eight in the Cue avoids the problem, of course.
>
> I tried with cueDuringWithClef, but then the four first eights at the
> beginning of the cue’d music don’t appear, even though the examples in the
> docs work fine.
> That beats me, see second part of the attached files.
I'm not the right David, but just looking at the picture and at the
source for it, I can't understand two things (at a superficial level):
Why is the length of
HautboisAvantChiffreSept = \relative gis' {
\voiceOne
% \tweak staff-position #-1 r4
gis8 \mf \< ( a |
b [ cis d e ] |
fis2 -> ) \! ~ |
fis4 e8 ( d |
d4 cis ) |
r8 cis ( [ bis cis ] |
e [ d b fis ] |
fis4 gis |
gis4
a8 )
s |
}
\addQuote "HautboisAvantChiffreSept" { \HautboisAvantChiffreSept }
at 8½ bars not the same as
\cueDuringWithClef #"HautboisAvantChiffreSept" #UP #"treble" {
R2*8 |
\mark\default
r4
% \clef "bass"
\cueClefUnset
gis,8 \f ( [ a8 ] | % 90
}
at 9¼ bars?
And why compress whole-rest bars when you're setting the cue's notes
through them?
Cheers,
David.
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ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)
(This note describes an issue arising from the separate thread,
"Scholarly footnotes" [1])
I would like to use Urs' annotate.ily[2] to add some footnotes to an
edition of sixteenth-century polyphony. But, before investing too much
time, I need to check whether there is now a way for it to cope with
polymetric music[3].
In case it is relevant, there are two extra features of these scores:
they use \RemoveEmptyStaff, and they (manually) adjust bar numbering to
be continuous along the printed top staff of the system, whichever staff
that happens to be. This is illustrated in the attachment, below,
(which might make a useful snippet for someone). The bar numbering aims
to provide a reasonable way to describe locations in rehearsal, at the
possible expense of logical rigour. For example, in the attachment, the
penultimate note of the alto line could be described as "counting
forward from bar 9, the second note of alto bar 10." For the purpose of
annotation, this would be "Alto, bar 10." I accept that this would need
careful handling in certain situations, such as orchestral score and
parts.
[1] lilypond-user, November 2015.
[2] http://lilypondblog.org/2015/01/introducing-scholarly/
[3]
http://www.lilypond.org/doc/v2.19/Documentation/notation/modifying-context-plug_002dins#index-polymetric-scores
\version "2.19.21"
\score {
<<
\new Staff \with {
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
\consists "Bar_number_engraver"
instrumentName = "S"
shortInstrumentName = "S"
}
\relative c'' {
\time 2/4
\repeat unfold 6 c4
\break
\repeat unfold 6 c4
\break
R2*3
\break
\set Staff.currentBarNumber = #9
\repeat unfold 6 c4
}
\new Staff \with {
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
\consists "Bar_number_engraver"
instrumentName = "A"
shortInstrumentName = "A"
}
\relative c''{
% Suppress bar numbers by default, as this is not the top staff of the
system.
\override Staff.BarNumber.break-visibility = ##(#f #f #f)
\time 2/4
\repeat unfold 6 g4
\time 3/4
\repeat unfold 6 g4
% Where \RemoveEmptyStaffContext makes this the top staff, make
% the bar numbers visible.
\set Staff.currentBarNumber = #7
\temporary \override Staff.BarNumber.break-visibility = ##(#f #f #t)
\repeat unfold 6 g4
% and hide bar numbers again, when the upper line reappears.
\revert Staff.BarNumber.break-visibility
\repeat unfold 6 g4
}
>>
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\RemoveEmptyStaffContext
}
}
}
RemoveEmptyStaffContext.pdf
Description: Adobe PDF document
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Scholarly footnotes
I'm preparing an edition of sixteenth-century polyphony, using the book-titling template[1]. The edition would benefit from some footnotes/endnotes (the sort that say things like: "contratenor 1, bar 99: semiminim A missing in MS"). How best to achieve this, while preserving the "book-titling" appearance? Urs' marvellous work on ScholarLy[2] appears ideal, but outputs its annotations in Latex (and might have other problems - see separate thread[3]). So I'm now wondering how best to integrate this with a published score. Several possibilities present themselves: 1) lilypond-book[4]. Requires extensive knowledge of Latex, and appears to be targetted at presenting small snippets within musicological papers, rather that large amounts of music with a small number of annotations. 2) Latex with \includepdf[5]. 3) musicexamples.sty[6]. 4) something else? I have used Latex (once!) and I'm prepared to do some learning, but I'd welcome advice on the most efficient way to proceed, and the pros-&-cons of each approach. [1] From the Snippets Repository: http://lsr.di.unimi.it/LSR/Item?id=368 [2] http://lilypondblog.org/2015/01/introducing-scholarly/ [3] lilypond-user list, November 2015: "ScholarLy and polymetric music? (bar numbering, \RemoveEmptyStaffContext)" [4] http://www.lilypond.org/doc/v2.19/Documentation/usage/lilypond_002dbook [5] http://lilypondblog.org/2013/07/creating-songbooks-with-lilypond-and-latex/ [6] http://openlilylib.org/musicexamples/index.html ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel CueVoice with "too early" a clef change
Hello David,
The docs say that the part that « receives » a Cue is usually made of rests,
but not what happens if they contain actual notes.
Removing the last eight in the Cue avoids the problem, of course.
I tried with cueDuringWithClef, but then the four first eights at the beginning
of the cue’d music don’t appear, even though the examples in the docs work
fine.
That beats me, see second part of the attached files.
JM
\version "2.19.30"
Basson = \relative b' {
\set Score.markFormatter = #format-mark-circle-numbers
\compressFullBarRests
\accidentalStyle Score.teaching
\numericTimeSignature\time 2/4
\tempo "Lent" 4 = 76
\clef "bass"
R2 |
<<
{
\tweak staff-position #-6 R2*8 |
\mark\default
r4
\cueClefUnset
\clef "bass"
gis,8 \f ( [ a8 ] | % 90
}
\new CueVoice {
\relative {
\set instrumentCueName = "Hbs"
\cueClef "treble"
%\stemDown
%\slurUp
\voiceOne
\tweak staff-position #-1 r4
gis'8 \mf \< ( a |
b [ cis d e ] |
fis2 -> ) \! ~ |
fis4 e8 ( d |
d4 cis ) |
r8 cis ( [ bis cis ] |
e [ d b fis ] |
fis4 gis |
gis4
%% < here is the problem
% a8 ) % JMI TEMPORARY!
% s |
}
}
>>
b8 [ cis8 d8 e8 ]
\bar "||"
\time 3/4
fis2 e8 [ d8 ]
\bar "||"
\time 2/4
d4 -\markup{\italic "céder à peine"} cis4 )
\bar "||"
}
{ \Basson }
HautboisAvantChiffreSept = \relative gis' {
\voiceOne
% \tweak staff-position #-1 r4
gis8 \mf \< ( a |
b [ cis d e ] |
fis2 -> ) \! ~ |
fis4 e8 ( d |
d4 cis ) |
r8 cis ( [ bis cis ] |
e [ d b fis ] |
fis4 gis |
gis4
a8 )
s |
}
\addQuote "HautboisAvantChiffreSept" { \HautboisAvantChiffreSept }
Basson = \relative b' {
\set Score.markFormatter = #format-mark-circle-numbers
\compressFullBarRests
\accidentalStyle Score.teaching
\numericTimeSignature\time 2/4
\tempo "Lent" 4 = 76
\clef "bass"
R2 |
\new CueVoice {
\set instrumentCueName = "Hbs"
}
\cueDuringWithClef #"HautboisAvantChiffreSept" #UP #"treble" {
R2*8 |
\mark\default
r4
% \clef "bass"
\cueClefUnset
gis,8 \f ( [ a8 ] | % 90
}
b8 [ cis8 d8 e8 ]
\bar "||"
\time 3/4
fis2 e8 [ d8 ]
\bar "||"
\time 2/4
d4 -\markup{\italic "céder à peine"} cis4 )
\bar "||"
}
{ \Basson }
> Le 8 nov. 2015 à 10:44, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello folks,
>>
>> In the following, from Poulenc, I added a CueVoice to help the bassonnist
>> (i.e.
>> myself). The example is a bit long, sorry for that.
>>
>> The critial point is on the second beat of the bar at the « 1 » rehearsal
>> mark:
>> the clef change to « bass » for the bassoon takes effect also for the oboe
>> (Hbs), making the last a8 look abnormally high.
>>
>> Is there a way to force it to be displayed in treble clef even though the
>> (parallel) bassoon voice is in bass clef?
>
> Have you tried working with \cueDuringWithClef ? It seems designed for
> that use case.
>
> --
> David Kastrup
>
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Re: 7dim symbol in chord names
On Fri, 16 Oct 2015 20:10:14 +0200 Yann wrote: > Hello all ! > > Is there a way to modify 7dim (e.g. print "C#7dim" It's always been C#dim or C#dim7. C#7dim would indicate a leading tone or "half diminished" seventh, which is not what you apparently want. Regards, Rald ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scorio Software
On Sun, 2015-11-08 at 21:48 -0700, Abraham Lee wrote: > It looks like they use MusicXML as their main data format then process > it into LilyPond syntax for engraving on their server. > Maybe we could work with them to leverage their converter if it works > well. This is highly unlikely, I think you have been seduced by the MusicXML-universal-format myth: it is very easy to create a MusicXML file from some music. And knowing exactly how you have created it, it is easy to read it back (and easy to create LilyPond for it). So Scorio can easily take input from the user store it using their version of MusicXML and retrieve it again without having the remotest chance of reading MusicXML generated by some other program. There are any number of ways you can create a "valid" MusicXML description of some music and it very unlikely that someone could create a MusicXML reader that will understand whatever choices you made and interpretation you gave without first seeing examples of what you generate. So Sibelius can read its own MusicXML (I presume) and so on for all the others. Only the people behind MusicXML (that's Finale I think) can expect their output to be read by others, because they are the de facto standard. They provide a set of examples which people use to test their reader - the pages of "documentation" look impressive but are (inevitably?) ambiguous. I notice that MEI talks happily about there being "many ways" you can describe the same music notation in its format. It seems to me that the ideal would be a way of describing a book containing music notation where there would be only one output file that correctly described it. I imagine it would need to be a highly constrained notion of what a book containing music notation is, to make that possible. And yet, at the other extreme, it seems clear that many people would wish to rescue all the notes that they had so painstakingly entered into some software for re-use in another program when the original gets dropped. Richard ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scorio Software
On Sun, 2015-11-08 at 21:48 -0700, Abraham Lee wrote: > It looks like they use MusicXML as their main data format then process > it into LilyPond syntax for engraving on their server. > Maybe we could work with them to leverage their converter if it works > well. This is highly unlikely, I think you have been seduced by the MusicXML-universal-format myth: it is very easy to create a MusicXML file from some music. And knowing exactly how you have created it, it is easy to read it back (and easy to create LilyPond for it). So Scorio can easily take input from the user store it using their version of MusicXML and retrieve it again without having the remotest chance of reading MusicXML generated by some other proram. There are any number of ways you can create a "valid" MusicXML description of some music and it very unlikely that someone could create a MusicXML reader that will understand whatever choices you made and interpretation you gave without first seeing examples of what you generate. So Sibelius can read its own MusicXML (I presume) and so on for all the others. Only the people behind MusicXML (that's Finale I think) can expect their output to be read by others, because they are the de facto standard. They provide a set of examples which people use to test their reader - the pages of "documentation" look impressive but are (inevitably?) ambiguous. I notice that MEI talks happily about there being "many ways" you can describe the same music notation in its format. It seems to me that the ideal would be a way of describing a book containing music notation where there would be only one output file that correctly described it. I imagine it would need to be a highly constrained notion of what a book containing music notation is, to make that possible. And yet, at the other extreme, it seems clear that many people would wish to rescue all the notes that they had so painstakingly entered into some software for re-use in another program when the original gets dropped. Richard ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scorio Software
Abraham Lee writes: > While perusing the main LilyPond website, in the announcements > section, I only just discovered the online software Scorio that acts > as a GUI front end to LilyPond 2.16. Does anyone on this list actually > use it? I don't think I ever will for a number of reasons, but I was > just curious if anyone else does. > > It looks like they use MusicXML as their main data format then process > it into LilyPond syntax for engraving on their server. Maybe we could > work with them to leverage their converter if it works well. As opposed to Philomelos, there has not been much of an attempt of Scorio to cooperate/contribute to LilyPond and their business model also seems a lot more closed down. It would make much more sense to actually integrate the work on musicxml2ly that Patrick Schmidt from Philomelos has in his GitHub repository into LilyPond. He offered this for taking but does not have the time to put this into patches or similar by himself. But if someone wants to work on that, it should be reasonably low-hanging fruit. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
