Re: Strange beaming error
Do you also have subdivideBeams = ##t somewhere?
If so please show the result with both 2.19.28 and .35..
And if that's the case you should maybe send me (privately?) the full piece so
I could test with several builds before and after several recent changes.
Urs
Am 7. Januar 2016 01:16:43 MEZ, schrieb Chris Yate :
>Further problems. I commented out the Time settings and here's more,
>this
>time in the RH (note paired semiquavers in LH here, which would be in
>sixes).
>
>This is now built with revision 35 (the latest).
>[image: Inline images 1]
>
>On 6 January 2016 at 23:59, Chris Yate wrote:
>
>>
>> On 6 January 2016 at 23:53, Chris Yate wrote:
>>
>>> Hi,
>>>
>>> I'm wondering whether anyone can shed some light on the attached
>image.
>>>
>>> LH of the piano here is:
>>>
>>> {
>>> bf,16 (ef g8) r8
>>> c,16 g' c, g' bf, g'
>>> \clef bass
>>> }
>>>
>>> I have a suspicion this may have something to do with the Timing /
>beat
>>> moment and beat structure, but it's inconclusive. This section of
>the music
>>> has:
>>>
>>> \set Timing.baseMoment = #(ly:make-moment 1/16)
>>> \set Timing.beatStructure = #'( 6 6 )
>>>
>>> There are no barline errors, but I'm seeing this in the output quite
>a
>>> lot:
>>>
>>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>>
>>> continuing, cross fingers
>>>
>>> programming error: mis-predicted force, 108.120472 ~= 105.654382
>>>
>>> continuing, cross fingers
>>>
>>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>>
>>> continuing, cross fingers
>>>
>>>
>>>
>>> Previously I was getting a similar issue where I had bars of 6
>quavers,
>>> which were grouped in 3's -- and the middle of the second group was
>getting
>>> a spurious semiquaver beam. I seem to fixed it, though I'm not sure
>what
>>> the cause was.
>>>
>>> Thanks in advance,
>>>
>>> Chris
>>>
>>
>> P.S. Using Lilypond 2.19.28.
>>
>>
>>
>>>
>>> [image: Inline images 1]
>>>
>>
>>
>
>
>
>
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RE: Strange beaming error
Chris:
What is the time signature? 6/8?
Or is it 2/4 grouped as if in tuplets?
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Chris
Yate
Sent: Wednesday, January 06, 2016 5:21 PM
To: Thomas Morley
Cc: Lilypond-User Mailing List
Subject: Re: Strange beaming error
On 7 January 2016 at 00:49, Thomas Morley mailto:thomasmorle...@gmail.com> > wrote:
2016-01-07 0:53 GMT+01:00 Chris Yate mailto:chrisy...@gmail.com> >:
Hi,
I'm wondering whether anyone can shed some light on the attached image.
LH of the piano here is:
{
bf,16 (ef g8) r8
c,16 g' c, g' bf, g'
\clef bass
}
I have a suspicion this may have something to do with the Timing / beat moment
and beat structure, but it's inconclusive. This section of the music has:
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'( 6 6 )
There are no barline errors, but I'm seeing this in the output quite a lot:
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 105.654382
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
Previously I was getting a similar issue where I had bars of 6 quavers, which
were grouped in 3's -- and the middle of the second group was getting a
spurious semiquaver beam. I seem to fixed it, though I'm not sure what the
cause was.
Thanks in advance,
Chris
Hi Thomas,
Without tiny example everyone can guess only.
Yes, I appreciate that -- I wasn't able to get a minimal working example. I
was hoping for any general suggestions to fix or known bugs that might cause
this.
It's ~200 bars of music, over 5 files, so if necessary I'll put it up on a
Gist.
Btw, your images are inline _not_ attached.
Are inlined images not OK here? ...or were you just being pedantic? ;-)
Chris
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Re: Spanner text in parenthesis on a new system
Hi Kieren, thanks for the reply! On 06/01/16 20:39, Kieren MacMillan wrote: In the meantime, it’s fairly easy to add this as a markup. Do you mean you have to manually align each one of the "(Ped.)" texts manually? Because if that's the case, it would be quite hard to add them to the correct places by hand (i.e. having consistent distances to everything). But if you found a more automatic way of using markups, I'd love to hear about it! Cheers, Gilberto ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strange beaming error
On 7 January 2016 at 00:49, Thomas Morley wrote:
>
> 2016-01-07 0:53 GMT+01:00 Chris Yate :
>
>> Hi,
>>
>> I'm wondering whether anyone can shed some light on the attached image.
>>
>> LH of the piano here is:
>>
>> {
>> bf,16 (ef g8) r8
>> c,16 g' c, g' bf, g'
>> \clef bass
>> }
>>
>> I have a suspicion this may have something to do with the Timing / beat
>> moment and beat structure, but it's inconclusive. This section of the music
>> has:
>>
>> \set Timing.baseMoment = #(ly:make-moment 1/16)
>> \set Timing.beatStructure = #'( 6 6 )
>>
>> There are no barline errors, but I'm seeing this in the output quite a
>> lot:
>>
>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>
>> continuing, cross fingers
>>
>> programming error: mis-predicted force, 108.120472 ~= 105.654382
>>
>> continuing, cross fingers
>>
>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>
>> continuing, cross fingers
>>
>>
>>
>> Previously I was getting a similar issue where I had bars of 6 quavers,
>> which were grouped in 3's -- and the middle of the second group was getting
>> a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
>> the cause was.
>>
>> Thanks in advance,
>>
>> Chris
>>
>>
Hi Thomas,
> Without tiny example everyone can guess only.
>
Yes, I appreciate that -- I wasn't able to get a minimal working example.
I was hoping for any general suggestions to fix or known bugs that might
cause this.
It's ~200 bars of music, over 5 files, so if necessary I'll put it up on a
Gist.
Btw, your images are inline _not_ attached.
>
Are inlined images not OK here? ...or were you just being pedantic? ;-)
Chris
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Re: Strange beaming error
2016-01-07 0:53 GMT+01:00 Chris Yate :
> Hi,
>
> I'm wondering whether anyone can shed some light on the attached image.
>
> LH of the piano here is:
>
> {
> bf,16 (ef g8) r8
> c,16 g' c, g' bf, g'
> \clef bass
> }
>
> I have a suspicion this may have something to do with the Timing / beat
> moment and beat structure, but it's inconclusive. This section of the music
> has:
>
> \set Timing.baseMoment = #(ly:make-moment 1/16)
> \set Timing.beatStructure = #'( 6 6 )
>
> There are no barline errors, but I'm seeing this in the output quite a
> lot:
>
> programming error: mis-predicted force, 108.120472 ~= 101.465263
>
> continuing, cross fingers
>
> programming error: mis-predicted force, 108.120472 ~= 105.654382
>
> continuing, cross fingers
>
> programming error: mis-predicted force, 108.120472 ~= 101.465263
>
> continuing, cross fingers
>
>
>
> Previously I was getting a similar issue where I had bars of 6 quavers,
> which were grouped in 3's -- and the middle of the second group was getting
> a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
> the cause was.
>
> Thanks in advance,
>
> Chris
>
> [image: Inline images 1]
>
Without tiny example everyone can guess only.
Btw, your images are inline _not_ attached.
-Harm
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RE: Strange beaming error
Chris:
My experience in setting piano music is that the “\set Timing” instruction must
be in both voices. If you have not done so, that might be the cause.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Chris
Yate
Sent: Wednesday, January 06, 2016 4:17 PM
To: Lilypond-User Mailing List
Subject: Re: Strange beaming error
Further problems. I commented out the Time settings and here's more, this time
in the RH (note paired semiquavers in LH here, which would be in sixes).
This is now built with revision 35 (the latest).
On 6 January 2016 at 23:59, Chris Yate mailto:chrisy...@gmail.com> > wrote:
On 6 January 2016 at 23:53, Chris Yate mailto:chrisy...@gmail.com> > wrote:
Hi,
I'm wondering whether anyone can shed some light on the attached image.
LH of the piano here is:
{
bf,16 (ef g8) r8
c,16 g' c, g' bf, g'
\clef bass
}
I have a suspicion this may have something to do with the Timing / beat moment
and beat structure, but it's inconclusive. This section of the music has:
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'( 6 6 )
There are no barline errors, but I'm seeing this in the output quite a lot:
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 105.654382
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
Previously I was getting a similar issue where I had bars of 6 quavers, which
were grouped in 3's -- and the middle of the second group was getting a
spurious semiquaver beam. I seem to fixed it, though I'm not sure what the
cause was.
Thanks in advance,
Chris
P.S. Using Lilypond 2.19.28.
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Re: Strange beaming error
Further problems. I commented out the Time settings and here's more, this
time in the RH (note paired semiquavers in LH here, which would be in
sixes).
This is now built with revision 35 (the latest).
[image: Inline images 1]
On 6 January 2016 at 23:59, Chris Yate wrote:
>
> On 6 January 2016 at 23:53, Chris Yate wrote:
>
>> Hi,
>>
>> I'm wondering whether anyone can shed some light on the attached image.
>>
>> LH of the piano here is:
>>
>> {
>> bf,16 (ef g8) r8
>> c,16 g' c, g' bf, g'
>> \clef bass
>> }
>>
>> I have a suspicion this may have something to do with the Timing / beat
>> moment and beat structure, but it's inconclusive. This section of the music
>> has:
>>
>> \set Timing.baseMoment = #(ly:make-moment 1/16)
>> \set Timing.beatStructure = #'( 6 6 )
>>
>> There are no barline errors, but I'm seeing this in the output quite a
>> lot:
>>
>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>
>> continuing, cross fingers
>>
>> programming error: mis-predicted force, 108.120472 ~= 105.654382
>>
>> continuing, cross fingers
>>
>> programming error: mis-predicted force, 108.120472 ~= 101.465263
>>
>> continuing, cross fingers
>>
>>
>>
>> Previously I was getting a similar issue where I had bars of 6 quavers,
>> which were grouped in 3's -- and the middle of the second group was getting
>> a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
>> the cause was.
>>
>> Thanks in advance,
>>
>> Chris
>>
>
> P.S. Using Lilypond 2.19.28.
>
>
>
>>
>> [image: Inline images 1]
>>
>
>
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Re: Strange beaming error
On 6 January 2016 at 23:53, Chris Yate wrote:
> Hi,
>
> I'm wondering whether anyone can shed some light on the attached image.
>
> LH of the piano here is:
>
> {
> bf,16 (ef g8) r8
> c,16 g' c, g' bf, g'
> \clef bass
> }
>
> I have a suspicion this may have something to do with the Timing / beat
> moment and beat structure, but it's inconclusive. This section of the music
> has:
>
> \set Timing.baseMoment = #(ly:make-moment 1/16)
> \set Timing.beatStructure = #'( 6 6 )
>
> There are no barline errors, but I'm seeing this in the output quite a
> lot:
>
> programming error: mis-predicted force, 108.120472 ~= 101.465263
>
> continuing, cross fingers
>
> programming error: mis-predicted force, 108.120472 ~= 105.654382
>
> continuing, cross fingers
>
> programming error: mis-predicted force, 108.120472 ~= 101.465263
>
> continuing, cross fingers
>
>
>
> Previously I was getting a similar issue where I had bars of 6 quavers,
> which were grouped in 3's -- and the middle of the second group was getting
> a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
> the cause was.
>
> Thanks in advance,
>
> Chris
>
P.S. Using Lilypond 2.19.28.
>
> [image: Inline images 1]
>
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Strange beaming error
Hi,
I'm wondering whether anyone can shed some light on the attached image.
LH of the piano here is:
{
bf,16 (ef g8) r8
c,16 g' c, g' bf, g'
\clef bass
}
I have a suspicion this may have something to do with the Timing / beat
moment and beat structure, but it's inconclusive. This section of the music
has:
\set Timing.baseMoment = #(ly:make-moment 1/16)
\set Timing.beatStructure = #'( 6 6 )
There are no barline errors, but I'm seeing this in the output quite a lot:
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 105.654382
continuing, cross fingers
programming error: mis-predicted force, 108.120472 ~= 101.465263
continuing, cross fingers
Previously I was getting a similar issue where I had bars of 6 quavers,
which were grouped in 3's -- and the middle of the second group was getting
a spurious semiquaver beam. I seem to fixed it, though I'm not sure what
the cause was.
Thanks in advance,
Chris
[image: Inline images 1]
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Re: placing crescendo and decrescendo markings within span of a whole note
Simon Albrecht writes:
> Oh, interesting idea! Never heard of. It seems like a fine and
> sensible thing to do, except that normally I would have created the
> voices explicitly in my score block, and I am using \context only when
> referencing already existing contexts – isn’t that kind of a policy?
Sort of, yes.
> But I see, you probably mean putting it inside the music function:
Correct. It was not intended for user-controlled input.
> after =
> #(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
>#{
> \context Bottom <<
>#m
>{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
> >>
>#})
>
> There’s nothing wrong with that, and it prevents any problems indeed.
Good to hear.
--
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Re: placing crescendo and decrescendo markings within span of a whole note
On 06.01.2016 22:05, Simon Albrecht wrote:
On 06.01.2016 21:40, Ryan Michael wrote:
i want a
dis1
with < > (cresencendo / decrescendo)
underneath it. How can I do that and size the crescendo and
decresendo to my liking (say span the < to last 3 quarters of the
whole note and the > to last a quarter)
I have a very handy music function for that (based on an idea by David
K.):
after =
#(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{
<<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
With that you can write things like:
\new Voice {
\after 2. \> dis1\< <>\! |
\after 4 \< \after 2 \> \after 2. \p dis1
\after 2. \stopTrillSpan dis1\startTrillSpan
Sorry for the typo here: should be \downbow (lowercase only)
\after 2 \upbow dis1\downBow
}
Note that it’s essential to explicitly create the voice with \new
Voice, else the <<>> in the music function will create new voices and
it won’t work.
HTH, Simon
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Re: placing crescendo and decrescendo markings within span of a whole note
On 07.01.2016 00:08, David Kastrup wrote:
Simon Albrecht writes:
On 06.01.2016 21:40, Ryan Michael wrote:
i want a
dis1
with < > (cresencendo / decrescendo)
underneath it. How can I do that and size the crescendo and
decresendo to my liking (say span the < to last 3 quarters of the
whole note and the > to last a quarter)
I have a very handy music function for that (based on an idea by David K.):
after =
#(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{
<<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
With that you can write things like:
\new Voice {
\after 2. \> dis1\< <>\! |
\after 4 \< \after 2 \> \after 2. \p dis1
\after 2. \stopTrillSpan dis1\startTrillSpan
\after 2 \upbow dis1\downBow
}
Note that it’s essential to explicitly create the voice with \new
Voice, else the <<>> in the music function will create new voices and
it won’t work.
Any reason you are not writing
\context Bottom << ... >>
here? I seem to remember suggesting that in some discussion (maybe a
different one?) but have no idea any more whether it might have posed a
separate problem at that time.
Oh, interesting idea! Never heard of. It seems like a fine and sensible
thing to do, except that normally I would have created the voices
explicitly in my score block, and I am using \context only when
referencing already existing contexts – isn’t that kind of a policy? But
I see, you probably mean putting it inside the music function:
after =
#(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{
\context Bottom <<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
There’s nothing wrong with that, and it prevents any problems indeed.
Thanks,
Simon
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Re: placing crescendo and decrescendo markings within span of a whole note
Simon Albrecht writes:
> On 06.01.2016 21:40, Ryan Michael wrote:
>> i want a
>>
>> dis1
>>
>> with < > (cresencendo / decrescendo)
>>
>> underneath it. How can I do that and size the crescendo and
>> decresendo to my liking (say span the < to last 3 quarters of the
>> whole note and the > to last a quarter)
>
> I have a very handy music function for that (based on an idea by David K.):
>
> after =
> #(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
>#{
> <<
>#m
>{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
> >>
>#})
>
> With that you can write things like:
> \new Voice {
> \after 2. \> dis1\< <>\! |
> \after 4 \< \after 2 \> \after 2. \p dis1
> \after 2. \stopTrillSpan dis1\startTrillSpan
> \after 2 \upbow dis1\downBow
> }
>
> Note that it’s essential to explicitly create the voice with \new
> Voice, else the <<>> in the music function will create new voices and
> it won’t work.
Any reason you are not writing
\context Bottom << ... >>
here? I seem to remember suggesting that in some discussion (maybe a
different one?) but have no idea any more whether it might have posed a
separate problem at that time.
--
David Kastrup
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Re: \addlyrics affects midi channel selection
On 1/6/16 12:58 PM, Simon Albrecht wrote:
On 06.01.2016 19:55, Patrick Karl wrote:
The following snippet:
\version "2.19.32"
S = \relative c'' { c d e f }
SLyrA = \lyricmode { tra la la la }
T = \relative c'' { c d e f }
\score {
<<
\new Staff \S
\addlyrics \SLyrB
\new Staff \T
>>
\layout {}
\midi {}
}
generates a midi file which has the \S and \T music on midi channels
1 and 3, resp. If there are more \addlyrics commands, then more midi
channels are skipped.
This is, I believe, new behavior which started sometime after
v2.19.15 and before or at v2.19.19. I read the Changes.pdf for
v2.19.19 and didn't see (or recognize) any description of this new
behavior.
Are you sure that this has changed? I thought lyrics had always been
included in midi files.
Actually, I am no longer sure that this has changed. My evidence seems
to have been evanescent.
Is there a way to turn this behavior off?
Create a separate \score block for midi generation, without any Lyrics
contexts.
Great idea. Thanks.
Yours, Simon
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Re: placing crescendo and decrescendo markings within span of a whole note
On 06.01.2016 21:40, Ryan Michael wrote:
i want a
dis1
with < > (cresencendo / decrescendo)
underneath it. How can I do that and size the crescendo and decresendo
to my liking (say span the < to last 3 quarters of the whole note and
the > to last a quarter)
I have a very handy music function for that (based on an idea by David K.):
after =
#(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{
<<
#m
{ \skip $t <> -\tweak extra-spacing-width #empty-interval $e }
>>
#})
With that you can write things like:
\new Voice {
\after 2. \> dis1\< <>\! |
\after 4 \< \after 2 \> \after 2. \p dis1
\after 2. \stopTrillSpan dis1\startTrillSpan
\after 2 \upbow dis1\downBow
}
Note that it’s essential to explicitly create the voice with \new Voice,
else the <<>> in the music function will create new voices and it won’t
work.
HTH, Simon
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placing crescendo and decrescendo markings within span of a whole note
I have the following lilypond format dis1\<~ dis1~\!\>dis2\! but really i want a dis1 with < > (cresencendo / decrescendo) underneath it. How can I do that and size the crescendo and decresendo to my liking (say span the < to last 3 quarters of the whole note and the > to last a quarter) Thanks! -- ॐ नमः शिवाय ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spanner text in parenthesis on a new system
Hi Gilberto (et al.), > It's a pity this is a bit more > complicated to achieve, as I'd say the (Ped) indications are much more > important than the (8a) indications, since we already show a 8a at a new > system but the mixed pedal is just a single straight line. Maybe this could > go to the issue tracker as a feature request. In the meantime, it’s fairly easy to add this as a markup. I’m doing a lot of that in my current engraving — bonus: I’m doing it via the edition-engraver, so I can simply cut those mods from my “edition" once Lilypond has been programmed to Do The Right Thing™. 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
Bravura svg font
Hi, I'm a new use of lilypond-windows on Win 8.1 64bit and Win 7. First of all, thanks for wonderful software; I'm generating many snippets for educational purposes. My main problem so far is getting the bravura alternative font to appear. I don't mind trying a few things, but this problem has me stumped. Bravura works fine when I produce png images, but I get something else when I try to make an svg. The svg is fine with Lilypond font, and I am only trying to change the clef to bravura bass clef. I put this in cmd. "c:\Program Files (x86)\LilyPond\usr\bin\lilypond-windows.exe" -dgui -dbackend=svg -dpreview file.ly I have this in the file.ly \version "2.18.2" \include "custom-music-fonts/smufl/definitions.ily" and \override Staff.Clef.stencil = #smufl-clef The offending part of the svg, instead of the clef path, is Evidently, it is trying to be bravura but from the text font perhaps? I got the same result when I tried 2.19.35. Would I have better luck with Linux? (last resort). Thank you ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
On 06.01.2016 19:55, Tim Reeves wrote: > > Message: 6 > > Date: Tue, 5 Jan 2016 21:55:42 -0700 > > From: Colin Campbell > > To: lilypond-user@gnu.org > > Subject: Re: When to Use Pound Signs > > Message-ID: <568c9e4e.6060...@shaw.ca> > > > > On 16-01-05 09:47 PM, Andrew Bernard wrote: > > > > I wonder if the spaces delimited by the lines are thorpes? I' also > > carpent for a living, though. > > The main problem with that theory is that there are nine such thorps. > The only things there seem to be eight of is the ends of the line segments comprising it. I also note that a sharp symbol does not have four perpendicular intersections like the hash/pound/octothorpe Now that we are at off-topic nitpicking: Many representations of # have slanted vertical lines, so no perpendicular intersections at all. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \addlyrics affects midi channel selection
On 06.01.2016 19:55, Patrick Karl wrote:
The following snippet:
\version "2.19.32"
S = \relative c'' { c d e f }
SLyrA = \lyricmode { tra la la la }
T = \relative c'' { c d e f }
\score {
<<
\new Staff \S
\addlyrics \SLyrB
\new Staff \T
>>
\layout {}
\midi {}
}
generates a midi file which has the \S and \T music on midi channels 1
and 3, resp. If there are more \addlyrics commands, then more midi
channels are skipped.
This is, I believe, new behavior which started sometime after v2.19.15
and before or at v2.19.19. I read the Changes.pdf for v2.19.19 and
didn't see (or recognize) any description of this new behavior.
Are you sure that this has changed? I thought lyrics had always been
included in midi files.
Is there a way to turn this behavior off?
Create a separate \score block for midi generation, without any Lyrics
contexts.
Yours, Simon
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Re: When to Use Pound Signs
> > Message: 6 > > Date: Tue, 5 Jan 2016 21:55:42 -0700 > > From: Colin Campbell > > To: lilypond-user@gnu.org > > Subject: Re: When to Use Pound Signs > > Message-ID: <568c9e4e.6060...@shaw.ca> > > > > On 16-01-05 09:47 PM, Andrew Bernard wrote: > > > > I wonder if the spaces delimited by the lines are thorpes? I' also > > carpent for a living, though. > > The main problem with that theory is that there are nine such thorps. > The only things there seem to be eight of is the ends of the line segments comprising it. I also note that a sharp symbol does not have four perpendicular intersections like the hash/pound/octothorpe but rather, the horizontal lines are slanted. Tim___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\addlyrics affects midi channel selection
The following snippet:
\version "2.19.32"
S = \relative c'' { c d e f }
SLyrA = \lyricmode { tra la la la }
T = \relative c'' { c d e f }
\score {
<<
\new Staff \S
\addlyrics \SLyrB
\new Staff \T
>>
\layout {}
\midi {}
}
generates a midi file which has the \S and \T music on midi channels 1
and 3, resp. If there are more \addlyrics commands, then more midi
channels are skipped.
This is, I believe, new behavior which started sometime after v2.19.15
and before or at v2.19.19. I read the Changes.pdf for v2.19.19 and
didn't see (or recognize) any description of this new behavior.
Is there anywhere a discussion of what this is about? Why would one
want to include lyrics in a midi file? Is there a way to turn this
behavior off?
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Re: ly:one-line-breaking
2016-01-06 19:31 GMT+01:00 Simon Albrecht :
> On 06.01.2016 18:18, Mathieu Demange wrote:
>>
>> Hi all,
>>
>> Is there a way to make LilyPond also automatically adjust the paper height
>> when using this?
>>
>> \paper {
>>
>>page-breaking = #ly:one-line-breaking
>>
>> }
>
>
> I do not think there is a vertical analogon to this. Seems like you are
> condemned to trial & error…
>
> Best, Simon
You could try to invoke lilypond with the -dpreview option.
And/or investigate how it is done with this option and adjust it to
your needs, if possible at all.
Cheers,
Harm
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Re: ly:one-line-breaking
On 06.01.2016 18:18, Mathieu Demange wrote:
Hi all,
Is there a way to make LilyPond also automatically adjust the paper
height when using this?
\paper {
page-breaking = #ly:one-line-breaking
}
I do not think there is a vertical analogon to this. Seems like you are
condemned to trial & error…
Best, Simon
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ly:one-line-breaking
Hi all,
Is there a way to make LilyPond also automatically adjust the paper
height when using this?
\paper {
page-breaking = #ly:one-line-breaking
}
Thanks for the help!
Regards,
Mathieu
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Re: Snippet: Vertical brace spanning several lyrics lines [addition]
2016-01-06 10:01 GMT+01:00 Robert Blackstone : > Dear list, > > I found the snippet: "Vertical brace spanning several lyrics lines" > (http://lsr.di.unimi.it/LSR/Item?id=265 and > http://lsr.di.unimi.it/LSR/Snippet?id=265). [...] > If yes, is this post sufficient? I'm fairly new in the LilyPond universe and > I have no clear idea who manages the snippet repository and how. > > Best regards, > Robert Blackstone Hi Robert, this list is fine to announce new snippets and/or get help in usage of them. If you observe a bug in a LSR-snippet or want to propose some addition, etc, you may post here as well or on the bug-list. I think all people with permission to edit snippets are reading both lists. I'll have a look at your proposal later the day. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
Andrew Bernard writes: > Other sources suggest that Mr Kerr’s story is fabricated or > unreliable, and etymologists regard such stories with caution. > > http://www.worldwidewords.org/weirdwords/ww-oct1.htm > > Amusingly, myself, apart from enjoying the word octothorpe, I also > call it ‘sharp’ (incorrectly), which brings us back to music! We could call it "augmented fifth". Which is pretty much the same as an octosharp. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
Other sources suggest that Mr Kerr’s story is fabricated or unreliable, and etymologists regard such stories with caution. http://www.worldwidewords.org/weirdwords/ww-oct1.htm Amusingly, myself, apart from enjoying the word octothorpe, I also call it ‘sharp’ (incorrectly), which brings us back to music! Andrew On 6/01/2016, 17:39, "Nathan Ho" wrote: Fun fact -- the term "octothorpe" was completely fabricated and doesn't have an etymology. It started out as an in-joke at Bell Labs: http://dougkerr.net/Pumpkin/articles/Octatherp.pdf ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
Well, something I never knew: >From the Oxford English Dictionary II Online: octothorp, n. The hash sign (#), as it appears on the buttons of touch-tone telephones and some other keypads. 1996 New Scientist 30 Mar. 54/3 The term ‘octothorp(e)’ (which MWCD10 dates 1971) was invented for ‘#’, allegedly by Bell Labs engineers when touch-tone telephones were introduced in the mid-1960s. ‘Octo-’ means eight, and ‘thorp’ was an Old English word for village: apparently the sign was playfully construed as eight fields surrounding a village. Andrew On 6/01/2016, 15:55, "Colin Campbell" wrote: I wonder if the spaces delimited by the lines are thorpes? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Strings as variable names
Josiah Boothby writes: > Now, yes, I'm sure that with a handful of hours of trying to learn > Scheme, I could probably find a way to do this that doesn't involve so > many lines of Lilypond code, but my free time to work on this > particular project is in half-hours here and there: learning enough > scheme to do this is impractical. So in the meantime, I basically have > to give each three-note motive a variable with a coded name that allows > sufficient differentiation and can be searched reasonably easily. > Variables with Arabic numerals would make these far more descriptive > and easier to read! Such as, for instance, trichord (0,1,6), in the > form and ordering of (0,11,5), enharmonic spelling version "c": > > \016_0e5-c > > ...instead of: > > \EbIIiii > > ...which is oblique and obnoxious to read. (And which I have to remind > myself not to read as "E-flat...er...major? Minor? Huh?") Ok, here indeed \"016_0e5-c" seems like the lesser evil (it _has_ worked in that manner since version 2.17.28, it's just not really publicized). -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
Nathan Ho writes: > A lot of young people today call the symbol a "hashtag." Some might > scoff at this since a hashtag is an application of a hash and not the > symbol itself, but hey, metonymy is metonymy. Pars pro toto, like "Regulus' feet were neither last nor least among the hussars of Orange". -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Snippet: Vertical brace spanning several lyrics lines [addition]
Dear list,
I found the snippet: "Vertical brace spanning several lyrics lines"
(http://lsr.di.unimi.it/LSR/Item?id=265 and
http://lsr.di.unimi.it/LSR/Snippet?id=265).
It works perfectly "out of the box" for three lyrics lines as in the snippet,
but it took me quite some time to get it to work for two lyric lines. It is a
wee bit more complicated than with an odd number of lyric lines.
This would be the "even number"-version:
-
dropLyrics = {
\override LyricText.extra-offset = #'(0 . -1)
\override LyricHyphen.extra-offset = #'(0 . -1)
\override LyricExtender.extra-offset = #'(0 . -1)
\override StanzaNumber.extra-offset = #'(0 . -1)
}
leftbrace = \set stanza = \markup {
\hspace #1
\translate #'(0 . -0.6) \left-brace #25 }
rightbrace = \set stanza = \markup {
\hspace #1
\translate #'(0 . 0.4) \right-brace #25 }
lyricsbeforebrace = \lyricmode { Here are some ly -- rics }
lyricsfrombrace = \lyricmode { Here come some more }
melody = \relative c' { c d e f g r4 f e d c }
\score{
<<
\new Voice = m {\autoBeamOff \melody}
\new Lyrics \lyricsto m {\leftbrace \lyricsbeforebrace \rightbrace
\dropLyrics \lyricsfrombrace}
\new Lyrics \lyricsto m { \lyricsbeforebrace }
>>
}
-
I wonder if it would be a good idea to add this even number case to the
existing snippet.
If yes, is this post sufficient? I'm fairly new in the LilyPond universe and I
have no clear idea who manages the snippet repository and how.
Best regards,
Robert Blackstone___
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Re: Strings as variable names
Sorry to delve into this a bit late, but an earlier point in this ongoing thread is relevant to work currently on my desk :) On Mon, 28 Dec 2015 19:20:28 +0100 David Kastrup wrote: > > flute_phrase01 = > > flute_phrase02 = > > > > or similar. > > When would you ever want to do that? Actually, I've got two use cases for this loaded in my editor right now. The first (an older, ongoing project) is a set of about 150 simple etudes. I can use--and am using--Roman numerals. It feels like a little bit of a cludge, but it works. The second is a bit more involved. I'm writing a set of accuracy training exercises that involve simple permutations of chromatic trichords (e.g., changes of order, and octave shifts). I'm currently using Roman numerals because there is no reasonable concise, descriptive name of each permutation that does not involve enumeration, and Arabic numbers are out of the question. So I have a legend at the top of each include file describing what my nomenclature means: % Trichord Variable Names % 012: A % 013: B % 014: C % 015: D % 016: E % 024: F % 025: G % 026: H % 027: I % 036: J % 037: K % 048: L % % Permutations: % Aa, Ab, Ac, Ad, etc. % % Permutation Variations: % AaI, AaII, AaIII, etc. % % Respellings (enharmonic respelling for legibility): % AaIi, AaIii, AaIiii, etc. Now, yes, I'm sure that with a handful of hours of trying to learn Scheme, I could probably find a way to do this that doesn't involve so many lines of Lilypond code, but my free time to work on this particular project is in half-hours here and there: learning enough scheme to do this is impractical. So in the meantime, I basically have to give each three-note motive a variable with a coded name that allows sufficient differentiation and can be searched reasonably easily. Variables with Arabic numerals would make these far more descriptive and easier to read! Such as, for instance, trichord (0,1,6), in the form and ordering of (0,11,5), enharmonic spelling version "c": \016_0e5-c ...instead of: \EbIIiii ...which is oblique and obnoxious to read. (And which I have to remind myself not to read as "E-flat...er...major? Minor? Huh?") Again, programming with scheme is almost definitely the correct--or at least most efficient and elegant--approach. But for reasons of time management for a freelance performer with next to zero programming experience, the preparatory study requirements make this superior approach non-pragmatic. Best, Josiah ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
