RE: beaming with cadenzaOn
Sam,
Perhaps
http://lilypond.org/doc/v2.18/Documentation/notation/beams
Mark
-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Sam
Frybyte
Sent: Wednesday, May 31, 2017 10:16 AM
To: lilypond user group
Subject: beaming with cadenzaOn
If there is a time signature the beaming of 8th notes with acciaccaturas
between them is created as I expect.
in version. 2.18.2
with \cadenzaOn
\stemUp\acciaccatura c'8 \stemNeutral a8
\stemUp\acciaccatura b8 \stemNeutral ges8
\times 2/3 {f16 [des des]} des4
I have not been able to figure out or find a way for the 8ths to be beamed.
Please direct me to the place in manual where this is found.
Thank you. Or if it's not in the manual and there's a solution that you know
I look forward to knowing this.
Jay
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Re: RE;re; beaming with cadenzaOn
At 03:47 01/06/2017 -0700, Sam Frybyte wrote: Date: Wed, 31 May 2017 18:29:51 +0100 From: Brian Barker Just as you would beam any other notes: follow the a8 with a left bracket "a8[" and the ges8 with a right bracket "ges8]". It doesn't work. It does for me - and clearly also for Mr Holmes. I tried this and at least in version 2.18.2 nothing happens ... For what it's worth, it works for me in 2.18.2. Unless you mean I must include the quotation marks? No. Otherwise without the marks nothing happens. You must be doing something different; I cannot guess what this may be. Are you sure you are putting both the brackets exactly where suggested? Brian Barker ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: additional clef at start
Hi musicus,
musicus wrote
> How to get a second clef at the beginning of a piece?
Here's another workaround, inspired by lsr.di.unimi.it/LSR/Item?id=956:
%
\new PianoStaff {
<<
\new Staff {
\partial 2
s4*1/200
e''4*199/200 f''4
}
\new Staff {
\partial 2
\clef "bass"
s8*1/100
\clef "treble"
c'8*99/100 g'8 e' g'
}
>>
}
%
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Sent from the User mailing list archive at Nabble.com.
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Re: certain type of vocal notation in liturgical contexts
2017-06-01 11:52 GMT+02:00 Michael Gerdau : > Hallo Jonathan, > > > I would like to typeset a certain type of notation, which can be found > in liturgical context. I have an example image attached. (Ignore the > lyrics written in Fraktur). I have two questions: > > How is this notation called? > How can I (easily) reproduce it with LP? - a question which might > break apart into: > 2a) how do I typeset those "double-quarter" notes? > 2b) how do I manage the alignment of lyrics conveniently? (NB > that several times there happen to be multiple syllables on one note). > > quite some time ago Thomas Morley kindly provided a very helpful function > \offsetChord which is rather helpful to deal with these melismata. Find > below an engraving of the image you mailed: See https://archiv.lilypondforum.de/index.php/topic,2027.msg11201.html#msg11201 with another example revised coding: https://archiv.lilypondforum.de/index.php/topic,2027.msg11900.html#msg11900 The there provided 'setOtherParent'-function may be of some use as well. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: additional clef at start
Hi, musicus! On Thu, Jun 1, 2017 at 12:31 PM, musicus [via Lilypond] < ml+s1069038n203540...@n5.nabble.com> wrote: > forgot the attachement... > > > Dear all, > > I have a probably not so difficult question, but cannot find the solution > by myself: > > How to get a second clef at the beginning of a piece? > See attached... > > Thank you all, > musicus > > There's not a convenient way to do this, but here are a couple of workarounds to give you some options: http://lsr.di.unimi.it/LSR/Item?id=792 http://lsr.di.unimi.it/LSR/Item?id=956 Best, Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/additional-clef-at-start-tp203539p203541.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: additional clef at start
forgot the attachement... Dear all, I have a probably not so difficult question, but cannot find the solution by myself: How to get a second clef at the beginning of a piece? See attached... Thank you all, musicus<> ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
additional clef at start
Dear all, I have a probably not so difficult question, but cannot find the solution by myself: How to get a second clef at the beginning of a piece? See attached... Thank you all, musicus___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frenched score and instrumentName.
Le 01/06/2017 à 03:01, Hwaen Ch'uqi a écrit : Greetings Kieren, Yes, I had considered that but had hoped that there would be a smoother solution that would not then require me to change shortInstrumentName for each part to reflect the desired abbreviations to follow. You can type \once \set Staff.shortInstrumentName = #"Long instrument name" at the appropriate place, and even use a \tag #'FullScore to have it only appear there. Cheers, Jean-Charles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \transposition does nothing?
On Thu, Jun 01, 2017 at 07:33:33AM -0400, Kieren MacMillan wrote: > Hi all, > > > I don't really like \transposeMidi . \concertPitch might be better > > +1 > > Kieren. +1 Paul ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: certain type of vocal notation in liturgical contexts
Travelling right now I'd suspect a problem related to errorneous line breaks in
the code copied from email. If you can't find the problem I'll resend the code
as attachment later tonight.
Kind regards,
Michael
Am 1. Juni 2017 15:48:50 MESZ schrieb David Wright :
>On Thu 01 Jun 2017 at 11:52:31 (+0200), Michael Gerdau wrote:
>
>> cis \offsetChord { b b } a \breathe a d d cis \breathe \bar ""
>\break a\breve*1/4
>
>> […] zet wür -- de.
>> und je -- der -- mann
>> \once \override LyricText.self-alignment-X = #LEFT "ging, daß er
>sich"
>
>I get a programming error from somewhere within those lines:
>
>Drawing systems...
>programming error: Loose column does not have right side to attach to.
>continuing, cross fingers
>Layout output to `/tmp/lilypond-nVURRS'...
>
>And BTW that comma I mentioned, yes it does cause trouble,
>printing it as well as singing it.
>
>Cheers,
>David.
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Re: \transposition does nothing?
On Thu 01 Jun 2017 at 09:06:11 (+0200), David Kastrup wrote: > Jacques Menu Muzhic writes: > > > Hello folks, > > > > This subject comes from time to time : maybe \transposeMidi would be a > > better name? > > It doesn't actually _transpose_ a given music sequence but sets the > relation between printed and concert pitch from the moment it is > written. This relation is used in Midi generation, but it is also used > when quoting music in print. > > So I don't really like \transposeMidi . \concertPitch might be better > (though the relation to c' is not really obvious in there). Would \concertPitchMidC hint at both meanings, and explain that relationship? Cheers, David. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: certain type of vocal notation in liturgical contexts
On Thu 01 Jun 2017 at 11:52:31 (+0200), Michael Gerdau wrote:
> cis \offsetChord { b b } a \breathe a d d cis \breathe \bar "" \break
> a\breve*1/4
> […] zet wür -- de.
> und je -- der -- mann
> \once \override LyricText.self-alignment-X = #LEFT "ging, daß er sich"
I get a programming error from somewhere within those lines:
Drawing systems...
programming error: Loose column does not have right side to attach to.
continuing, cross fingers
Layout output to `/tmp/lilypond-nVURRS'...
And BTW that comma I mentioned, yes it does cause trouble,
printing it as well as singing it.
Cheers,
David.
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Re: \transposition does nothing?
Hi all, > I don't really like \transposeMidi . \concertPitch might be better +1 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: RE;re; beaming with cadenzaOn
- Original Message -
From: "Sam Frybyte"
To: "lilypond user group" ;
Sent: Thursday, June 01, 2017 11:47 AM
Subject: RE;re; beaming with cadenzaOn
Date: Wed, 31 May 2017 18:29:51 +0100
From: Brian Barker
To: lilypond user group
Cc: Sam Frybyte
Subject: Re: beaming with cadenzaOn
Message-ID: <58f7952b048a4...@rgout06.bt.lon5.cpcloud.co.uk> (added by
postmas...@btinternet.com)
Content-Type: text/plain; charset="us-ascii"; format=flowed
At 10:16 31/05/2017 -0700, Sam Frybyte wrote:
If there is a time signature the beaming of 8th notes with
acciaccaturas between them is created as I expect.
in version. 2.18.2
with \cadenzaOn
\stemUp\acciaccatura c'8 \stemNeutral a8
\stemUp\acciaccatura b8 \stemNeutral ges8
\times 2/3 {f16 [des des]} des4
I have not been able to figure out or find a way for the 8ths to be
beamed.
Just as you would beam any other notes: follow the a8 with a >>left
bracket "a8[" and the ges8 with a right bracket "ges8]".
If you wrote your triplet as { f16[ des des] } you might see more
readily how the notation works: the brackets do not enclose >>anything
but separately follow the notes to which they apply.
I trust this helps.
Brian Barker
Mr. Barker
It doesn't work. I tried this and at least in version 2.18.2 nothing
happens- Unless you mean I must include the quotation marks? and if
you do where is this information in the manual? Otherwise without the
marks nothing happens.
Thank you
It does work:
{ \cadenzaOn \acciaccatura c'8 a8[
\acciaccatura b8 ges8]
\times 2/3 {f16[ des des]} des4
}
--
Phil Holmes
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RE;re; beaming with cadenzaOn
Date: Wed, 31 May 2017 18:29:51 +0100
From: Brian Barker
To: lilypond user group
Cc: Sam Frybyte
Subject: Re: beaming with cadenzaOn
Message-ID: <58f7952b048a4...@rgout06.bt.lon5.cpcloud.co.uk> (added by
postmas...@btinternet.com)
Content-Type: text/plain; charset="us-ascii"; format=flowed
At 10:16 31/05/2017 -0700, Sam Frybyte wrote:
>If there is a time signature the beaming of 8th notes with
>acciaccaturas between them is created as I expect.
>in version. 2.18.2
>with \cadenzaOn
>\stemUp\acciaccatura c'8 \stemNeutral a8
> \stemUp\acciaccatura b8 \stemNeutral ges8
> \times 2/3 {f16 [des des]} des4
>
>I have not been able to figure out or find a way for the 8ths to be beamed.
>>Just as you would beam any other notes: follow the a8 with a >>left
>>bracket "a8[" and the ges8 with a right bracket "ges8]".
>>If you wrote your triplet as { f16[ des des] } you might see more
>>readily how the notation works: the brackets do not enclose >>anything
>>but separately follow the notes to which they apply.
>>I trust this helps.
>>Brian Barker
Mr. Barker
It doesn't work. I tried this and at least in version 2.18.2 nothing
happens- Unless you mean I must include the quotation marks? and if
you do where is this information in the manual? Otherwise without the
marks nothing happens.
Thank you
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Re: certain type of vocal notation in liturgical contexts
Hallo Jonathan,
>
> I would like to typeset a certain type of notation, which can be found
> in liturgical context. I have an example image attached. (Ignore the
> lyrics written in Fraktur). I have two questions:
>
>1. How is this notation called?
>2. How can I (easily) reproduce it with LP? - a question which might
> break apart into:
> 2a) how do I typeset those "double-quarter" notes?
> 2b) how do I manage the alignment of lyrics conveniently? (NB
> that several times there happen to be multiple syllables on one
> note).
>
quite some time ago Thomas Morley kindly provided a very helpful function
\offsetChord which is rather helpful to deal with these melismata. Find below
an engraving of the image you mailed:
%---
\version "2.19.59"
\include "gregorian.ly"
\paper {
indent = 0
ragged-last = ##t
}
offsetChord =
#(define-music-function (music)(ly:music?)
"Return an event-chord with offsetted NoteHeads.
Articulations are printed with respect to their corresponding NoteHeads "
(let* ((ev-notes (event-chord-notes music)))
(make-event-chord
(map
(lambda (ecn which val)
(let ((arts (ly:music-property ecn 'articulations)))
;; set 'articulations of 'NoteEvent
(ly:music-set-property! ecn 'articulations
(if (not (null? arts))
(map
(lambda (a)
;; set a new parent for 'ArticulationEvent
(if (music-is-of-type? a 'articulation-event)
#{
\tweak after-line-breaking
#(lambda (grob)
(let* ((note-head (ly:grob-parent grob X))
(nc (ly:grob-parent note-head X))
(nh
(ly:grob-array->list
(ly:grob-object nc 'note-heads
(set!
(ly:grob-parent grob X)
(list-ref nh which
$a
#}
a))
arts)
'()))
;; apply 'X-offset-tweak to every NoteHead
#{ \tweak X-offset $val $ecn #}))
ev-notes
(iota (length ev-notes))
(iota (length ev-notes) 0 1.48)
\layout {
\omit Stem
\context {
\Score
defaultBarType = #""
\omit TimeSignature
% reenable the following line to prevent "open ended" Akkolada
%\override SpacingSpanner.base-shortest-duration = #(ly:make-moment 1/16)
%\remove "Bar_number_engraver"
}
\context {
\Lyrics
\override LyricText.X-align-on-main-noteheads = ##f
%\override LyricText.font-size = #-1
}
}
chant = \relative a' {
\key d \major
a4 a \breathe a \offsetChord { b d } b b a \offsetChord { b b }
cis \offsetChord { b b } a \breathe a d d cis \breathe \bar "" \break
a\breve*1/4
d4 d a a \breathe a d d cis cis b b \offsetChord { a a } \divisioMaior
e e\breve*1/4 \offsetChord { a4 a } e e
}
verba = \lyricmode {
aus -- ging, daß al -- le Welt ge -- schät -- zet wür -- de.
und je -- der -- mann
\once \override LyricText.self-alignment-X = #LEFT "ging, daß er sich"
schät -- zen lie -- ße,
ein jeg -- li -- cher in sei -- ne Stadt.
Da \once \override LyricText.self-alignment-X = #LEFT "machte sich auch auf"
Jo -- seph aus
}
\score {
<<
\new Voice = "melody" \chant
\new Lyrics \lyricsto "melody" \verba
>>
}
%-
Kind regards,
Michael
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Re: Multiple voices and rest position
On Wed, 31 May 2017 23:31:53 +0200, Robert Blackstone wrote: > write b8 \rest instead of r b8. Nifty... Thanks Robert and Trevor. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \transposition does nothing?
On Thu, Jun 01, 2017 at 07:50:28AM +0200, Jacques Menu Muzhic wrote:
> Hello folks,
>
> This subject comes from time to time : maybe \transposeMidi would be a better
> name?
No. It also set transpositions for quoteDuring and cueDuring irrelevant of
MIDI.
Paul
>
> JM
>
> > Le 31 mai 2017 à 19:18, caag...@gmail.com a écrit :
> >
> > \transposition doesn't affect the generated score, it only affects the midi
> > output. To transpose the score, do \new Staff { \transposition f \transpose
> > f c {...} }. (In your case, the << >> can replace the inner {}.)
> >
> > On 05/31/17 19:09, Jérôme Plût wrote:
> >> I am typing a horn part in F. In the attached file, \transposition
> >> does nothing. Where should I put it: at the voice, Staff, Score level?
> >> The documentation
> >> (http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#instrument-transpositions)
> >> is very unclear about this.
> >> The file itself:
> >> \version "2.19"
> >> Ig = \relative {
> >> \time 4/4 \key g \major \partial 4
> >> }
> >> IcA = \transpose c g \relative {
> >> r4 R1 r8. c'16\f c4 r2 R1 d4\f r r2 R1*2 e2\p(^"soli" d) c4 r r2 R1*2
> >> R1*5
> >> }
> >> \bookpart { \header { instrument = "Cor I (Fa)" }
> >> \score { { \new Staff { \transposition f << \Ig \transposition f \IcA >> }
> >> } }
> >> }
> >> % note that this outputs a score in g major and not, as it should,
> >> % in d major
> >> Thanks,
> >
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>
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Re: \transposition does nothing?
Jacques Menu Muzhic writes: > Hello folks, > > This subject comes from time to time : maybe \transposeMidi would be a > better name? It doesn't actually _transpose_ a given music sequence but sets the relation between printed and concert pitch from the moment it is written. This relation is used in Midi generation, but it is also used when quoting music in print. So I don't really like \transposeMidi . \concertPitch might be better (though the relation to c' is not really obvious in there). -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
