Re: Re: LilyPondTool on Linux
Bertalan wrote: What if you set the gs command to the full path of gs, and the python respectively? This does not help. Mats wrote: I guess this should rather be: /usr/local/bin/ This did help for lilypond. For convert-ly I now get an Error running external command. But it works from console, so it's not a real problem. Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Loop-the-Loop Ties
Good morning list. Apologies for the cryptic subject header, but what I need to do is difficult to express in words. In short, I need to show two notes tied, where the tie forms a circle in the middle, performing a 'loop the loop' before ending at the second note. I realise that this probably makes no sense whatsoever, but such a tie can be seen in bar 4 and also in the final bar of the following link: http://www.abdn.ac.uk/scottskinner/collectiondisplay.php? pageNum_collection=4totalRows_collection=13Record_Type=ECtitle=The% 20Elgin%20Collectionlink=other.shtml%23ec This mark itself is fairly common in Scottish fiddle music and is used to indicate that the notes, though tied, should be emphasized separately by the bow, so that the two notes can be heard separately by the listener. I am not a great expert on bezier curves and was wondering if it is possible to use 'control-points' to do this, or would it have to be a new feature request? Would be grateful for any help, as I don't know of any other way to represent this bowing. - David _ Get up to 33% off Norton Security only from Tiscali - http://www.tiscali.co.uk/securepc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Loop-the-Loop Ties
That's exactly the result I was looking for and demonstrates just how
versatile Lilypond can be with the necessary know-how.
Although this certainly serves as a work-around, I'd still be
interested in sponsoring a solution where Lilypond can work out the
control points itself. The mark is quite common in the music I use
Lilypond for, and I have several (hundred) short pieces in separate
files which I include in layout files to make 'sets.' Often a piece can
be included in more than one set. As I use 'minimal page-turning' to
shrink the pieces to one page, I'd rather not have to hand-tune the
coordinates each time Lilypond decides to fit the piece to, say, three
lines instead of four, depending on the other pieces in the set. The
time spent hand-tuning the ties could better be spent practising
playing the pieces instead :)
Off topic - would be interested in reading your bezier documentation -
I have another un-lilypond-related reason for wanting to understand
them.
Original Message
From: [EMAIL PROTECTED]
Date: 01/08/2008 21:55
To: David Pounder[EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Subj: Re: Loop-the-Loop Ties
More complicated shapes would normally be implemented as
two cubic Bézier curves spliced together. This would work
quite well for the shape you want. Here's a lash-up using
three spacer notes in parallel to carry two slurs, just to show
what could be achieved (this is hardly a practical technique
for real music, although if there are only one or two such
slurs and it is important enough, maybe it could serve.)
The 8 values are to be determined by trial and error.
\relative c' {
{ e4 e }
{
\override Slur #'control-points =
#'((0.75 . -3.5) (1.75 . -5) (2.75 . -3.5) (2.0 . -3.5))
s8(
\override Slur #'control-points =
#'((-1.0 . -3.5) (-1.75 . -3.5) (-0.75 . -5) (0.25 . -3.5))
s)( s)
}
}
The algorithm to work out 8 possible control points would not
be too difficult, and the routines to draw Bézier curves are
already available in LilyPond, but I don't know how difficult it
would be to select an optimum curve given the surrounding
environment. In any case this would need to be done by one
of the code writers (I'm not one), so that's as far as I can take
it, I'm afraid. I've only pursued it this far because I shall
shortly be documenting Bézier curves and their control-points
and I needed to understand them better. Thanks for the
incentive :)
Trevor
- Original Message -
From: David Pounder [EMAIL PROTECTED]
To: Trevor Daniels [EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Sent: Friday, August 01, 2008 7:27 PM
Subject: Re: Loop-the-Loop Ties
Thanks for the response, but as you say, the overall shape of the tie
gets
lost with the loop.
Would this be horrendous to implement as a new feature, and if it is
feasible, how would I go about sponsoring?
David.
--- Original Message ---
From: Trevor Daniels [EMAIL PROTECTED]
To: [EMAIL PROTECTED], lilypond-user@gnu.org
Sent: 1.8.08, 18:59:54
Subject: Re: Loop-the-Loop Ties
You -can- make a cubic Bézier loop-the-loop by crossing over the
two
intermediate points, but then there is not enough control left to
achieve
a nice downward shape on the two halves. Also you would need to tune
every such slur manually, which is quite tedious.
Here's an example which shows what might be achieved:
\relative {
\override Slur #'control-points =
#'((1 . -3.5) (6 . -2) (-1 . -2) (4 . -3.5))
e( e)
}
Trevor
- Original Message -
From: [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Friday, August 01, 2008 10:23 AM
Subject: Loop-the-Loop Ties
Good morning list.
Apologies for the cryptic subject header, but what I need to do is
difficult to express in words.
In short, I need to show two notes tied, where the tie forms a
circle
in the middle, performing a 'loop the loop' before ending at the
second
note. I realise that this probably makes no sense whatsoever, but
such
a tie can be seen in bar 4 and also in the final bar of the
following
link: http://www.abdn.ac.uk/scottskinner/collectiondisplay.php?
pageNum_collection=4totalRows_collection=13Record_Type=ECtitle=The%
20Elgin%20Collectionlink=other.shtml%23ec
This mark itself is fairly common in Scottish fiddle music and is
used
to indicate that the notes, though tied, should be emphasized
separately by the bow, so that the two notes can be heard
separately by
the listener.
I am not a great expert on bezier curves and was wondering if it is
possible to use 'control-points' to do this, or would it have to be
a
new feature request?
Would be grateful for any help, as I don't know of any other way to
represent this bowing.
- David
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Re: defining custom note heads
Hello Brian,
There are two things you need to do to create arbitrary noteheads from
within lilypond:
1. change the NoteHead stencil to the text interface:
\once \override NoteHead #'stencil = #ly:text-interface::print
2. define the text attribute of the NoteHead. you can put any markup
command you want. The easiest thing to do is to simply call a
musicglyph, as in the example below. With musicglyph you can use any
of the feta font glyphs:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/The-Feta-font#The-Feta-font
But you can also draw lines, circles, etc. basically anything you can
do in a markup. See
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Text-markup-commands#Text-markup-commands
% START %
\version 2.11.45
headCircle = {\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup
#:musicglyph scripts.flageolet ) }
headPlus= {\once \override NoteHead #'stencil =
#ly:text-interface::print
\once \override NoteHead #'text = #(markup #:musicglyph
scripts.stopped)}
{
\headCircle
c'4
\headPlus
d'4
% normal
e'4
}
% END %
You can also import eps files...
headEPS = \once \override NoteHead #'text = #(markup #:epsfile 2 1.3
image_dir/image.eps)
but this is not very efficient as the resulting PDF may grow very
large. Also, compilation takes long, don't know why.
hope this is useful,
Victor.
On 5/23/08, Brian Kidd [EMAIL PROTECTED] wrote:
is there a way to define or import custom note heads? i'm interested
in using specific symbols to indicate rhythmic notation in hand
drumming. a picture of the symbols that i'd like to use for note
heads is attached. sadly this image wasn't created in lilypond, but i
figure it ought to be possible.
thanks,
-brian
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Re: TupletNumber with tuplet-number::calc-fraction-text and \note
hello Jose,
I believe this is what you want. It's a bit of a hack because you need
to specify the tuplet ratio twice, in the \times command and in the
actual markup. You could define your own function that takes two
numbers (n and d) and wraps both the \times n/d and the TupletNumber
#'text override.
START
\version 2.11.45
{
\override TupletNumber #'text = #(markup #:italic 3:2 #:fontsize
-5 #:note 4 1)
\times 2/3 {c'4 c' c'}
\times 2/3 {c' c' c'} \break
\override TupletNumber #'text = #(markup #:italic 3:2 #:fontsize
-5 #:note 8 1)
\times 2/3 {c'8 c' c'}
\times 2/3 {c' c' c'}
\times 2/3 {c' c' c'}
\times 2/3 {c' c' c'}
}
END
hope this helps,
Victor Adan.
On Thu, May 29, 2008 at 8:14 PM, padovani [EMAIL PROTECTED] wrote:
Hi...
I would like to append to
\once \override TupletNumber #'text = #tuplet-number::calc-fraction-text
a \note markup to show which rhythm figure am I dealing with...
How to do it?
Thanks for any help
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Re: defining custom note heads
Hello Valentin, Thanks Victor (nice to see you again :-) you too! I have added your example to the LSR: http://lsr.dsi.unimi.it/LSR/Item?id=475 excellent! Your workaround with the tuplets (on the other thread) is really nice, feel free to add it to the LSR if you want (I'd have done it myself but I'm still looking for a way to make your implementation easier to use). Yes. I think defining a method is the way to go. I'll try to make one, but if you come up with a good solution please post it in the tuplet thread. thanks, Victor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
AW: Error when trying to install LilyPond under kubuntu
Thank you very much Two of your advice were necessary: First I didn't replace X.Y.Z by the version-numer, second I tried to execute the installation in an other folder than the installation file was placed. have a nice evening Silvan Ursprüngliche Nachricht Von: [EMAIL PROTECTED] Datum: 19.05.2008 21:37 An: lilypond-user@gnu.org Betreff: Error when trying to install LilyPond under kubuntu Hi @ all I tried to install LilyPond using the command sh lilypond-X.Y.Z.linux-x86.sh. Unfortunately i get the reply sh: Can't open lilypond-X.Y.Z.linux-x86.sh. Executing the command as root doesn't change anything. My OS is kubuntu 8.04. Can you help me? Thanks in advance Silvan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beaming patterns
hello Irenicus,
You can get A LOT of beaming flexibility with the \set stemRightBeamCount
and \set stemLeftBeamCount commands:
See 1.2.4.3 Manual Beams in the docs:
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Manual-beams#Manual-beams
The example below does exactly what (I think) you want.
See attached image.
% BEGIN EXAMPLE
\version 2.11.33
\new Score{
\new Voice {
\time 6/8
c'16[
c'8
\set stemRightBeamCount = #2
\set stemLeftBeamCount = #1
c'16
\set stemLeftBeamCount = #2
c'16
c'16]
c'4.
}
}
% END EXAMPLE
On Wed, Mar 12, 2008 at 6:55 PM, irenicus [EMAIL PROTECTED] wrote:
Hi,
I have a question regarding beam behavior: With 6/8 rhythm, I have the
following pattern:
1. 2. 3. 4. 5.
x16 x8 x16 x16 x16, usually this pattern starts or finishes one beat(ie.
there's x4. before or after it).
Now I want all five notes tied in one group, but also 3,4,5 tied in a
triplet. What Lilypond does on default is that it ties 4. and 5. into a
pair
and lefts 3. alone.
This cannot be handled with mere x16 [x8] x16 [x16 x16] as this
disconnects
the notes into two groups.
Is there any way to handle such pattern? I saw something on automatic beam
behavior in the documentation, but I just don't understand it.
Hope I made myself clear with my sloppy music-related english.
Thanks.
--
View this message in context:
http://www.nabble.com/beaming-patterns-tp16015068p16015068.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Defining an Ossia context
Afternoon.
I have been tidying up my lilypond source files and decided to try to
be clever and define an 'ossia' context in one of my layout template
files. I started to regret the decision when I realised I had to list
every single engraver I would need to use (I thought that \alias Staff
would do that - but was wrong.)
What I have done seems to work except for two things. 1) I can't get
the slurs to display. 2) The layout engine does not allocate any
vertical space to the Ossia and allows beams from the staff above and
below to collide. I included the Vertically_spaced_contexts_engraver
and Vertical_align_engraver in a fit of guess-work, but it didn't solve
the problem.
Is there a simple solution,other than manually tweaking the system
positions?
Regards - Dave P.
Example below:
\version 2.11.41
\include English.ly
\layout {
% Define a context for ossia sections
\context {
\name Ossia
\alias Staff
\consists Note_heads_engraver
\consists Text_engraver
\consists Stem_engraver
\consists Accidental_engraver
\consists Staff_symbol_engraver
\consists Rest_engraver
\consists Slur_engraver
\consists Spacing_engraver
\consists Bar_engraver
\consists Script_engraver
\consists Font_size_engraver
\consists Auto_beam_engraver
\consists Key_engraver
\consists Vertical_align_engraver
\consists Vertically_spaced_contexts_engraver
\type Engraver_group
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\override KeySignature #'stencil = ##f
}
\context {
\Score
\accepts Ossia
}
}
Notes = \relative c'' {
% snip
% Bar 13
cs8. d16 e8 cs a4 e8 a |
d,8. e16 fs8 a d4 cs8 d |
e4 e, e'8. cs16 b8 cs |
{ a4 a8. b16 a4 s }
\new Ossia \with { alignAboveContext = Main }
\relative c'' {
\key a \major
a8^\markup \tiny \bold Last Time
b16 ( cs ) d e fs gs ( a-. ) r r8 s4 \bar |.
}
}
\score {
\new Staff = Main { \clef treble \key a \major \time 4/4 \Notes }
\layout { }
}
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Re: Tuplet line-breaking
hello Trevor,
try adding
\remove Forbid_line_break_engraver
to your context(s).
You may want to add this as a default for all you're voices in
\layout{
\context{\Voice
\remove Forbid_line_break_engraver
}
}
read
11.6.5 Proportional Notation
in the manual.
best,
Victor.
On 10/27/07, Trevor Daniels [EMAIL PROTECTED] wrote:
I've been unable to discover how to permit line-breaking
when there is a long sequence of tuplets which cross
barlines. Beams and Glissandos subscribe to the
unbreakable-spanner-interface, so line-breaking when these
cross barlines may be permitted by setting #'breakable =
##t. But TupletBracket and TupletNumber do not support this
interface, so this override does not work for them.
Is there any other way, or should I add a caveat to the
section of the manual which deals with tuplets?
Trevor D
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Re: Straight-Slurs
Sorry - probably didn't explain very clearly. I couldn't get your code
snippet to work - the slurs don't seem to print at all. When I was
playing around with it, however, I found something in the reference and
managed to get what I wanted with:
% Scottish Bowing - use for straight slurs, hack bowing etc.
StraightSlur = { \once \override Slur #'height-limit = #0 }
\score { \new Staff \relative c'' { \time 2/4 a8. c16 \StraightSlur d-
. ( f8.-. ) } }
Original Message
From: [EMAIL PROTECTED]
Date: 15/10/2007 0:44
To: [EMAIL PROTECTED][EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Subj: Re: Straight-Slurs
[EMAIL PROTECTED] skrev:
Thanks for the suggestion, but glissandi go between the two notes,
whereas I'm needing the line to be above or below - exactly where
a
slur would be.
I find it a bit difficult to understand what you want. Is it
something
like this?
%%% BEGIN %%%
\new Staff \with {
\override Slur #'stencil = #ly:line-spanner::print
\override Slur #'style = #'line
}
{
c'-( b'-) c''-( b''-)
}
%%% END %%%
-Rune
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Re: Straight-Slurs
Thanks for the suggestion, but glissandi go between the two notes, whereas I'm needing the line to be above or below - exactly where a slur would be. Is there a way to control the curvature of a slur? Original Message From: [EMAIL PROTECTED] Date: 12/10/2007 18:49 To: [EMAIL PROTECTED][EMAIL PROTECTED] Cc: lilypond-user@gnu.org Subj: Re: Straight-Slurs [EMAIL PROTECTED] wrote: Hi, Is there a way to slur two notes with a straight line, as is often seen in Scottish fiddle music? I can make them go up, go down, even go dotted - but can't see how to get a straight slur. Would be grateful for any pointers to the part of the manual I've missed. Try section 6.6.6 Glissandos. Maybe that's what you're after. -David __ Exclusive discounts on Norton Security from Tiscali http://www.tiscali.co.uk/products/securepc/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
ClusterSpanner #'style.
Hi,
I'm wanting to go back and forth between different ClusterSpanner #'style
(s) in the middle of a score, but Lilypond seem to ignore all but the first
style setting.
Is it not possible to change the style once it's been set? Am I doing
something wrong?
Here's an example of what I'm trying to do:
START %
\version 2.11.33
{
\override ClusterSpanner #'style = #'leftsided-stairs
\makeClusters{c' g'8 c' d'8}
\override ClusterSpanner #'style = #'ramp
% HERE I EXPECT THE FOLLOWING TO BE RAMP CLUSTERS, BUT THEY ARE STILL
LEFTSIDED-STAIRS.
\makeClusters{c' g'8 c' d'8}
}
END %
I also tried putting the override inside the \makeClusters, but it makes no
difference:
START %
\version 2.11.33
{
\makeClusters{ \override ClusterSpanner #'style = #'leftsided-stairs
c' g'8 c' d'8
\override ClusterSpanner #'style = #'ramp
% HERE I EXPECT THE FOLLOWING TO BE RAMP CLUSTERS, BUT THEY ARE STILL
LEFTSIDED-STAIRS.
c' g'8 c' d'8
}
}
END %
Thanks,
Victor.
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Straight-Slurs
Hi, Is there a way to slur two notes with a straight line, as is often seen in Scottish fiddle music? I can make them go up, go down, even go dotted - but can't see how to get a straight slur. Would be grateful for any pointers to the part of the manual I've missed. - Dave P. __ Exclusive discounts on Norton Security from Tiscali http://www.tiscali.co.uk/products/securepc/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book macros/variables
hello Mats,
thanks for your reply. I didn't know about m4 or cpp. Will take a look.
victor.
On 8/29/07, Mats Bengtsson [EMAIL PROTECTED] wrote:
In any text editor, it's trivial to automatically replace all occurences
of
something like
\lilystart
by
\begin[staffsize=12]{lilypond}
\include bookstyle.ly http://bookstyle.ly
or whatever, so I have personally not seen any need for this feature.
Of course it's very clever to do what you did, namely to include a
separate .ly file that contains all the necessary settings.
If you have a large number of short snippets, I see that your solution
might be
convenient. Did you consider using a standard preprocessor like CPP or M4
(search the mailing list archives for preprocessor for some related
discussions
on the use of preprocessors in pure .ly files)?
/Mats
v!ictor [EMAIL PROTECTED] wrote:
hello lilyponders,
I've been using lilypond-book for the first time. love it!
There's one thing that I'd like to have though. I'd love to be able to
define macros in a similar way as in latex. Is this possible?
From what I've read in the documentation, lilypond-book only knows to
look for \begin{lilypond} and \lilypond{ }, so no macros can be
defined *for lilypond-book* inside the latex file. If you try to do
this, lilypond-book ignores them and then latex tries to interpret
them and fails.
So i wrote a little parser that looks for a lilypond delimiter,
specifically \lily{ [music] } and replaces that for whatever i define
in my parser, for example
\begin[staffsize=12]{lilypond}
\include bookstyle.ly http://bookstyle.ly
[music]
\end{lilypond}
Now compiling a lilypond-book becomes a three step process:
1. parse book.tex to find \lily{ } and replace with arbitrary lilypond
stuff
2. run lilypond-book on book.tex
3. run latex on book.tex
So if there is no way of doing this in lilypond-book, would anyone
else be interested in integrating something like this in the core
lilypond-book code? would it be useful for others?
best,
victor
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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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lilypond-book macros/variables
hello lilyponders,
I've been using lilypond-book for the first time. love it!
There's one thing that I'd like to have though. I'd love to be able to
define macros in a similar way as in latex. Is this possible?
From what I've read in the documentation, lilypond-book only knows to look
for \begin{lilypond} and \lilypond{ }, so no macros can be defined *for
lilypond-book* inside the latex file. If you try to do this, lilypond-book
ignores them and then latex tries to interpret them and fails.
So i wrote a little parser that looks for a lilypond delimiter, specifically
\lily{ [music] } and replaces that for whatever i define in my parser, for
example
\begin[staffsize=12]{lilypond}
\include bookstyle.ly
[music]
\end{lilypond}
Now compiling a lilypond-book becomes a three step process:
1. parse book.tex to find \lily{ } and replace with arbitrary lilypond stuff
2. run lilypond-book on book.tex
3. run latex on book.tex
So if there is no way of doing this in lilypond-book, would anyone else be
interested in integrating something like this in the core lilypond-book
code? would it be useful for others?
best,
victor
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hyphen, slur vs. lyrics
Hi allz,
I've a problem with the attached pics/souces.
Tried to find solving in the archive but couldn't find the exact
problem's solve.
notes:
#
| { e4( d~ d8) } \\ { g,2~ g8 } r8 r4 | r4 a\p- |
lyrics
#1 http://koboldnet.hu/~pasic/lyrics_01.png
Play | on, Hal -- lelu
#2 http://koboldnet.hu/~pasic/lyrics_02.png
Play | on, Hal -- le -- lu
how can i solve it?
thanks,
--
Üdv: [EMAIL PROTECTED]
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Re: How to make some staff lines thicker than others?
hello Laura,
you can change the number of lines in the Staff so that some of them appear
to be thicker. You do this by modifying the *line-positions* property of the
Staff's StaffSymbol layout object.
For example, if you want to make the middle line appear to be thicker you
can make a 7 line staff with the inner 3 lines very very close to each other
like so:
%%%
\version 2.11.22
\score {
\new Staff{
\override Staff.StaffSymbol #'line-positions =#'(-4 -2 -0.2 0 0.2 2 4 )
d'4 e' f' g'
}
}
%%%
Notice that the position of the ornamental staff lines are 0.2 units away
from the middle line (0), while the rest of the lines are 2 units apart, as
is normally the case.
Attached is an images of the result.
You can play around with the number of lines and their distances till you
get what you want.
Hope this helps,
Victor.
On 5/31/07, Laura Conrad [EMAIL PROTECTED] wrote:
I'm discussing a project with a friend. He would like to make some
pedagogical material on reading different clefs. His idea is that if
he had a Grand Staff with 11 lines (the four for the bass and treble
clefs, plus the one for Middle C in between them), and if he could
make any set of 5 of them darker, then he could show how the same
notes print in treble clef, bass clef, and various C, G, and F clefs.
I have found in the documentation how to modify the number of lines on
the staff, and the thickness of ledger lines. There is obviously a
way to make all the staff lines a different color, e.g., red. But is
there a way to make some staff lines a different color (or thickness,
or shade of grey) from others?
Or should one fiddle with having several staves only one staff space
away from each other?
--
Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ )
(617) 661-8097 fax: (501) 641-5011
233 Broadway, Cambridge, MA 02139
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Two stanzas, different syllable count.
I am a clarinetist. I have just been taken out of the choir here and made full time instrumental. This has meant writing a lot of tunes in a hurry. Our National Anthem "Advance Australia Fair" has two verses with an extra syllable included in the second. St 1: ... let every stage Advance Australia Fair. St. 2: ... let us all combine To Advance... When adding lyrics, I "chickened out " and wrote "t'Advance" to keep the count the same. What is the correct solution? Doug. -- There is no duty we so much underrate as the duty of being happy. - R.L. Stevenson. ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Melisma error.
Further to this, I now have a perfect score. The double underscore is not necessary. If it is there, it prints. If it is not there, it doesn't print, but the melisma is still honored. To my mind, that looks better, but I have seen plenty of scores with the underscores printed. I no longer need to have the lyrics with unconventional line breaks. I haven't yet included a \score section. All that I need it to do is increase the margins. I am using A4 paper, but that causes no difficulty. Hopefully my general settings take care of that. I imported the notes directly from the file Noteedit produced, and with some trepidation, the whole Noteedit beginning. I am beginning to suspect that the problems were caused by non-printing characters. This sounds very much "not by the book," but it works. Doug. On Thursday 05 April 2007 14:33, Doug Laidlaw wrote: Within the small sample file, everything was then O.K., but if I then import the passage directly into the original, the mistake returns. The original was created with Noteedit. Although there are no obvious differences, I am starting again with Lilypond 2.10.20 and one of the templates from the Tutorial. Doug. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Melisma error.
Well, the line worked perfectly until I put Line 2 in. Now I am back where I
was. There were a couple of instances of two spaces where there should have
been 1, but I corrected those.
I installed the latest version of Lilypond, but it made no difference.
I can't create a self-contained extract, but here is Mats' file and its
continuation:
\version "2.10.0"
\relative c'{\time 3/4 a d, b' | a2 d,4 | e2. ~ | e |fis | fis2 fis4 |
gis!2 a4 | b2 d4 |}
\addlyrics
{Let it be -- gin with me __ Let there be peace on earth, The}
When it prints out, the melisma is ignored, and there is a single underscore
after "me".
Doug.
On Tuesday 03 April 2007 10:59, [EMAIL PROTECTED] wrote:
Thanks. That worked perfectly. I thought that I had the spacing right, but
must not have.
Using version 2.6.3 here as provided by Mandriva.
Doug.
On Monday 02 April 2007 23:16, Mats Bengtsson wrote:
What is the problem? It's much easier if you send a complete (but small)
example
that can be ran directly through LilyPond. Also, please always tell what
LilyPond
version you are using. Based on your example, i made
the following complete example which seems to work well:
\version "2.10.0"
\relative c'{\time 3/4 a d, b' | a2 d,4 | e2. ~ | e |}
\addlyrics
{Let it be -- gin with me __ }
Be careful about the syntax. If you want an extender line, use a double
underline separated from the previous syllable by a space. Similarly, I
recommend to use a -- to get a hyphen that's typeset centered between
the syllables.
/Mats
[EMAIL PROTECTED] wrote:
Here is a typical example. This pattern occurs repeatedly throughout
this
song:
a d, b' | a2 d,4 | e2. ~ | e |
Let it be- gin with me__
Doug.
On Monday 02 April 2007 02:56, Dominic Neumann wrote:
Please provide us an example code to play with it.
Dominic
2007/4/1, [EMAIL PROTECTED] [EMAIL PROTECTED]:
I am trying to add lyrics to a tune which has a note tied across
two measures. The usual method of adding a double underscore
after
the word
doesn't work. Since all the examples given happen entirely within
one measure, perhaps the command doesn't apply here. I tried
using
\melisma
and \melismaEnd, but got syntax errors.
What is the correct method, please?
Doug.
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--
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Experience is simply the name we give our mistakes.
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Re: non adjacent glissando: state of the art?
Hello Andrea,
The example I gave is the simplest I could think of and, since the middle
note falls exactly in between the other two, you don't have to consider the
horizontal spacing. In the general case you definitely have to consider it.
I have to say that I've been assuming proportional notation all the time
since I use it always (8.4.3 in manual). Sorry for not specifying this.
Using proportional notation you can safely assume (most of the time) that
the spacing between notes will be equal to their duration, so this way you
can compute the Y-offset of middle headless notes given the duration of the
notes involved. If you are not using or do not want to use proportional
notation, then I guess method 2 is not a good option. Unless, as you
suggested before, one could implement a function or macro in scheme
accessing the graphical X position of notes.
If you come up with other ideas please let us know.
best,
Victor.
On 4/4/07, Andrea Valle [EMAIL PROTECTED] wrote:
Thanks Victor,
yes, I implemented the method 2, this time not in Python but in
SuperCollider.
Just a note. If I understood the method, it works pretty well in the case
in which
the notes are equally spaced. Otherwise one should take into account
horizontal pace, which is internal to lily. This is the case where you have
more than two notes connected via a unique glissando.
Two examples, obtained implementing the method 2.
The first is good, the second is acceptable.
I'm not obtaining the perfect examples: so maybe there's something
imprecise in my implementation (even if I prefer the not touching stem). But
I think that the argument should be valid in any case.
Best
-a-
On 3 Apr 2007, at 02:58, v!ctor [EMAIL PROTECTED] wrote:
Hello Andrea,
This may be possible, but I'm affraid I'm pretty much a Scheme illiterate
myself. I'd suggest you doing it in python (which is a language you seem to
know well). This is what i do.
best,
Victor.
On 4/1/07, Andrea Valle [EMAIL PROTECTED] wrote:
Thanks a lot Victor,
I'm working with your method 2. Really nice, to be included in docs.
I was thinking. Premise: I know nothing of lily's internals and about
scheme.
But:
As all the trick is to exactly calculate the offset of the noteheads,
wouldn't be possible to add such a calculation as a a sort of macro so to
implement \startgliss \stopgliss?
Best
-a-
On 31 Mar 2007, at 00:11, Trevor Bača wrote:
On 3/30/07, v!ctor [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
Hello Trevor, Andrea, all,
Back when I suggested the inclusion of this feature in Lilypond Han-Wen
gave
me a brief explanation of why this was complicated to implement. Didn't
fully understand, but in general this seems to require a major rewrite
of
the way glissandi (and probably line spanners in general) operate, which
is
not trivial and would be expensive.
Since then I've found that this feature is not really necessary if you
are
willing to do some Lilypond bending. First of all, what's wrong with
Lilypond's glissandi? Why add this as a new feature?
Lilypond's requires you to beak a long glissando into short ones, which
is
not a problem per se. The problem is that, since notes fall on a
quantized
grid of lines and spaces, the long glissando line looks crooked or
jagged.
No mortal sin, but it's *very* annoying. See attached figure
bad_gliss.png
There are 2 ways of doing straight lined glissandi.
Method 1 involves using two voices. It looks great on page, but if you
do it
this way you will find unpleasant Lilypond behavior, in addition to
constant
warnings (no harm) of clashing note columns. One of the main problems is
that using this method you are bound to have long glissandi that extend
beyond the system and Lilypond (at least till version 2.9.x) didn't know
how
to handle these automatically). So you are forced to break the glissando
at
least at system breaks anyway.
The second method I've found to be much more elegant. It uses less code
and
stick to the current Lilypond assumption of always connecting contiguous
notes. In addition, the stem always ends exactly at the glissando line.
Its
only drawback is that you need to do some calculation of where exactly
in
the Y axis the inner headless notes should
fall. To do this you simply
interpolate between the extreme notes of the glissando and find the
correct
Y values for the inner notes, then change NoteHead #'Y-offset for these
inner notes. Remember that this Y-offset is relative to the center line
of
the staff, so you need to add or subtract the distance between the
innermost
note and the staff's center line from your calculation. Of course you
also
have to hide the heads.
See attachment good_gliss.png for example of both methods.
Here's the code for the two methods:
%%
\version 2.11.20
\layout{
ragged-last = ##t
\context{\Score
\override Glissando #'bound-details #'right
Re: Melisma error.
I don't know what is going on. To get Mats' sample working, I had to observe
a couple of extra rules:
This error occurs at the end of a line of the lyrics. The next syllable must
be typed on the same line. A new line is enough to cause the problem. Where
there are no further lyrics (at the end of the stanza) it is O.K as the first
tests indicate.
Secondly, there must be no extra spaces. For example, the extra space between
the first two notes in the sample is interpreted as a string, and creates a
syntax error. Similarly, an extra space between two words in the lyrics is
interpreted as an extra syllable. At one stage during debugging, this was
happening under the tied note, making the lyrics miss it completely and
resume afterward.
(I had tried it both with the space after the brace and without.)
Within the small sample file, everything was then O.K., but if I then import
the passage directly into the original, the mistake returns. The original
was created with Noteedit (Lp 2.4.2.) Although there are no obvious differences, I am
starting again with Lilypond 2.10.20 and one of the templates from the
Tutorial, building on the working file.
Doug.
On Wednesday 04 April 2007 17:18, Brett Duncan wrote:
[EMAIL PROTECTED] wrote:
Well, the line worked perfectly until I put Line 2 in. Now I am back
where I
was. There were a couple of instances of two spaces where there should
have
been 1, but I corrected those.
I installed the latest version of Lilypond, but it made no difference.
I can't create a self-contained extract, but here is Mats' file and its
continuation:
\version "2.10.0"
\relative c'{\time 3/4 a d, b' | a2 d,4 | e2. ~ | e |fis | fis2 fis4
| gis!2 a4 | b2 d4 |}
\addlyrics
{Let it be -- gin with me __ Let there be peace on earth, The}
When it prints out, the melisma is ignored, and there is a single
underscore
after "me".
Doug.
What appears above worked fine for me once I put a space before the
final brace.
Brett
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Re: Melisma error.
Here is a typical example. This pattern occurs repeatedly throughout this song: a d, b' | a2 d,4 | e2. ~ | e | Let it be- gin with me__ Doug. On Monday 02 April 2007 02:56, Dominic Neumann wrote: Please provide us an example code to play with it. Dominic 2007/4/1, [EMAIL PROTECTED] [EMAIL PROTECTED]: I am trying to add lyrics to a tune which has a note tied across two measures. The usual method of adding a double underscore after the word doesn't work. Since all the examples given happen entirely within one measure, perhaps the command doesn't apply here. I tried using \melisma and \melismaEnd, but got syntax errors. What is the correct method, please? Doug. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: non adjacent glissando: state of the art?
Hello Andrea,
This may be possible, but I'm affraid I'm pretty much a Scheme illiterate
myself. I'd suggest you doing it in python (which is a language you seem to
know well). This is what i do.
best,
Victor.
On 4/1/07, Andrea Valle [EMAIL PROTECTED] wrote:
Thanks a lot Victor,
I'm working with your method 2. Really nice, to be included in docs.
I was thinking. Premise: I know nothing of lily's internals and about
scheme.
But:
As all the trick is to exactly calculate the offset of the noteheads,
wouldn't be possible to add such a calculation as a a sort of macro so to
implement \startgliss \stopgliss?
Best
-a-
On 31 Mar 2007, at 00:11, Trevor Bača wrote:
On 3/30/07, v!ctor [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
Hello Trevor, Andrea, all,
Back when I suggested the inclusion of this feature in Lilypond Han-Wen
gave
me a brief explanation of why this was complicated to implement. Didn't
fully understand, but in general this seems to require a major rewrite of
the way glissandi (and probably line spanners in general) operate, which
is
not trivial and would be expensive.
Since then I've found that this feature is not really necessary if you
are
willing to do some Lilypond bending. First of all, what's wrong with
Lilypond's glissandi? Why add this as a new feature?
Lilypond's requires you to beak a long glissando into short ones, which is
not a problem per se. The problem is that, since notes fall on a quantized
grid of lines and spaces, the long glissando line looks crooked or jagged.
No mortal sin, but it's *very* annoying. See attached figure
bad_gliss.png
There are 2 ways of doing straight lined glissandi.
Method 1 involves using two voices. It looks great on page, but if you do
it
this way you will find unpleasant Lilypond behavior, in addition to
constant
warnings (no harm) of clashing note columns. One of the main problems is
that using this method you are bound to have long glissandi that extend
beyond the system and Lilypond (at least till version 2.9.x) didn't know
how
to handle these automatically). So you are forced to break the glissando
at
least at system breaks anyway.
The second method I've found to be much more elegant. It uses less code
and
stick to the current Lilypond assumption of always connecting contiguous
notes. In addition, the stem always ends exactly at the glissando line.
Its
only drawback is that you need to do some calculation of where exactly in
the Y axis the inner headless notes should fall. To do this you simply
interpolate between the extreme notes of the glissando and find the
correct
Y values for the inner notes, then change NoteHead #'Y-offset for these
inner notes. Remember that this Y-offset is relative to the center line of
the staff, so you need to add or subtract the distance between the
innermost
note and the staff's center line from your calculation. Of course you
also
have to hide the heads.
See attachment good_gliss.png for example of both methods.
Here's the code for the two methods:
%%
\version 2.11.20
\layout{
ragged-last = ##t
\context{\Score
\override Glissando #'bound-details #'right #'padding = #0.0
\override Glissando #'bound-details #'left #'padding = #0.0
}
}
%
-
% normal Lilypond glissando
\new Staff=staff0{
\new Voice=one{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
f'8\glissando a'8]
}
}
%
-
% method 1: use two voices. one for note heads and durations, the other
for
glissando line.
% with this method you will get -- waring: ignoring too many clashing
note
columns.
\new Staff=staff1{
\new Voice=one{
c'8[
\once \override Voice.NoteHead #'transparent =##t
f'8 a'8]
}
\new Voice=two{
%\override Voice.Beam #'transparent =##t
\override Voice.Stem #'transparent =##t
\override Voice.Dots #'transparent =##t
\override Voice.NoteHead #'transparent =##t
%\override LedgerLineSpanner #'transparent = ##t
c'8*2[\glissando a'8]
}
}
%
-
% method 2: use only one voice. simply hide the head of the inner note(s)
and shift Y position to the exact place.
% a) Distance form c' to a' in staff lines is a'-c' = 2.5.
% b) Since f' is exactly between c' and a', f' = 2.5/2 = 1.25 above c'.
% c) Since a' is 0.5 lines away from the staff's center line, f' should
be
Y-offset by 1.25+0.5 down. i.e. -1.75
% This gives exact placement of f'.
\new Staff=staff2{
\new Voice=one{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
\once \override
Re: Melisma error.
Thanks. That worked perfectly. I thought that I had the spacing right, but
must not have.
Using version 2.6.3 here as provided by Mandriva.
Doug.
On Monday 02 April 2007 23:16, Mats Bengtsson wrote:
What is the problem? It's much easier if you send a complete (but small)
example
that can be ran directly through LilyPond. Also, please always tell what
LilyPond
version you are using. Based on your example, i made
the following complete example which seems to work well:
\version "2.10.0"
\relative c'{\time 3/4 a d, b' | a2 d,4 | e2. ~ | e |}
\addlyrics
{Let it be -- gin with me __ }
Be careful about the syntax. If you want an extender line, use a double
underline separated from the previous syllable by a space. Similarly, I
recommend to use a -- to get a hyphen that's typeset centered between the
syllables.
/Mats
[EMAIL PROTECTED] wrote:
Here is a typical example. This pattern occurs repeatedly throughout
this
song:
a d, b' | a2 d,4 | e2. ~ | e |
Let it be- gin with me__
Doug.
On Monday 02 April 2007 02:56, Dominic Neumann wrote:
Please provide us an example code to play with it.
Dominic
2007/4/1, [EMAIL PROTECTED] [EMAIL PROTECTED]:
I am trying to add lyrics to a tune which has a note tied across two
measures. The usual method of adding a double underscore after
the word
doesn't work. Since all the examples given happen entirely within
one measure, perhaps the command doesn't apply here. I tried using
\melisma
and \melismaEnd, but got syntax errors.
What is the correct method, please?
Doug.
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Melisma error.
I am trying to add lyrics to a tune which has a note tied across two measures. The usual method of adding a double underscore after the word doesn't work. Since all the examples given happen entirely within one measure, perhaps the command doesn't apply here. I tried using \melisma and \melismaEnd, but got syntax errors. What is the correct method, please? Doug. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: non adjacent glissando: state of the art?
Hello Trevor, Andrea, all,
Back when I suggested the inclusion of this feature in Lilypond Han-Wen gave
me a brief explanation of why this was complicated to implement. Didn't
fully understand, but in general this seems to require a major rewrite of
the way glissandi (and probably line spanners in general) operate, which is
not trivial and would be expensive.
Since then I've found that this feature is not really necessary if you are
willing to do some Lilypond bending. First of all, what's wrong with
Lilypond's glissandi? Why add this as a new feature?
Lilypond's requires you to beak a long glissando into short ones, which is
not a problem per se. The problem is that, since notes fall on a quantized
grid of lines and spaces, the long glissando line looks crooked or jagged.
No mortal sin, but it's *very* annoying. See attached figure bad_gliss.png
There are 2 ways of doing straight lined glissandi.
Method 1 involves using two voices. It looks great on page, but if you do it
this way you will find unpleasant Lilypond behavior, in addition to constant
warnings (no harm) of clashing note columns. One of the main problems is
that using this method you are bound to have long glissandi that extend
beyond the system and Lilypond (at least till version 2.9.x) didn't know how
to handle these automatically). So you are forced to break the glissando at
least at system breaks anyway.
The second method I've found to be much more elegant. It uses less code and
stick to the current Lilypond assumption of always connecting contiguous
notes. In addition, the stem always ends exactly at the glissando line. Its
only drawback is that you need to do some calculation of where exactly in
the Y axis the inner headless notes should fall. To do this you simply
interpolate between the extreme notes of the glissando and find the correct
Y values for the inner notes, then change NoteHead #'Y-offset for these
inner notes. Remember that this Y-offset is relative to the center line of
the staff, so you need to add or subtract the distance between the innermost
note and the staff's center line from your calculation. Of course you also
have to hide the heads.
See attachment good_gliss.png for example of both methods.
Here's the code for the two methods:
%%
\version 2.11.20
\layout{
ragged-last = ##t
\context{\Score
\override Glissando #'bound-details #'right #'padding = #0.0
\override Glissando #'bound-details #'left #'padding = #0.0
}
}
%
-
% normal Lilypond glissando
\new Staff=staff0{
\new Voice=one{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
f'8\glissando a'8]
}
}
%
-
% method 1: use two voices. one for note heads and durations, the other for
glissando line.
% with this method you will get -- waring: ignoring too many clashing note
columns.
\new Staff=staff1{
\new Voice=one{
c'8[
\once \override Voice.NoteHead #'transparent =##t
f'8 a'8]
}
\new Voice=two{
%\override Voice.Beam #'transparent =##t
\override Voice.Stem #'transparent =##t
\override Voice.Dots #'transparent =##t
\override Voice.NoteHead #'transparent =##t
%\override LedgerLineSpanner #'transparent = ##t
c'8*2[\glissando a'8]
}
}
%
-
% method 2: use only one voice. simply hide the head of the inner note(s)
and shift Y position to the exact place.
% a) Distance form c' to a' in staff lines is a'-c' = 2.5.
% b) Since f' is exactly between c' and a', f' = 2.5/2 = 1.25 above c'.
% c) Since a' is 0.5 lines away from the staff's center line, f' should be
Y-offset by 1.25+0.5 down. i.e. -1.75
% This gives exact placement of f'.
\new Staff=staff2{
\new Voice=one{
c'8[\glissando
\once \override Voice.NoteHead #'transparent =##t
\once \override Voice.NoteHead #'Y-offset =#-1.75
f'8\glissando a'8]
}
}
%%
best
Victor.
On 3/29/07, Trevor Bača [EMAIL PROTECTED] wrote:
On 3/29/07, Andrea Valle [EMAIL PROTECTED] wrote:
Thanks Mats.
here's the mail starting the thread I'm referring to, and pointing to a
previous and related one:
http://lists.gnu.org/archive/html/lilypond-user/2006-08/msg00271.html
Best
-a-
On 29 Mar 2007, at 09:16, Mats Bengtsson wrote:
It would be much easier to realize exactly what you want to achieve if
you
included an example of the LilyPond code you use today (or at least
provide
an exact reference to some of the earlier emails you mention).
/Mats
Andrea Valle wrote:
Hi to all,
I'm experimenting what seems to be a common problem. I have to use
glissandos
unicode character problems
Hello.
I am having trouble using certain unicode characters, namely up and down
arrows, in
my lilypond files. If these arrows are in my ly's, they don't compile
correctly.
When I open the resultant ps file with ghostview
I get an error message (lots of --nostringval --nostringval)
and there are notes and sometimes whole pages missing from the ps.
The same stuff is missing if I try to print a hard copy, so it's not gv.
Just yesterday I was using 2.10.20 and having no problem using these arrows.
Today I'm using 2.10.20-1 and having problems. I *don't have the same problem
with other
unicode characters, like versicles and responses, just these arrows.
I am entering them in vim (on linux) like this:
ctrl-v u2191 (uparrow)
ctrl-v u2193 (downarrow)
The encoding is set to utf-8.
I've also tried some other arrows and gotten similarly bad results.
Here's an example of what I'm up to. The markup represents a drone and
the arrow tells you in which direction you are to change this drone.
\version 2.10.20-1
\score { \relative c''
{ a b c^\markup{ â A} d e }
}
Many thanks.
Fr. P
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Ossia measures at the start of a system
Hello to everybody!
I'm typesetting a Mozart's aria with a preceding recitativo and I would like
to add some ossia measures to suggest appoggiature. Most of these measures
are actually only bits of a measure (such as the first two quaters).
I've followed the manual suggestion about ossia measures ( I'm using version
2.10.16) and I've almost obtained my goal. I've found only a problem: when
an ossia measure appears at the very start of a system, it is connected to
the other staves by the start delimiter. Is there a way to avoid this and let
the ossia measure (and its invisible ossia staff) alone as it is, for
instance, in the middle of a system?
This is a bit snippet to explain the situation I'm trying to modify:
SNIPPET BEGINS %
\version 2.10
\score {
\new Staff = ossia \with {
\remove Time_signature_engraver
\remove Clef_engraver
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override BarLine #'transparent = ##t
firstClef = ##f
} \relative c'' { \autoBeamOff \stopStaff s1*4 \break
| \startStaff c8 b \stopStaff s2. | s1*4 }
\new Staff \relative c'' { \autoBeamOff r4 r8 g g g a b | c4 r r2 | R1*2
| b8 b d b c4 r | R1*4 }
}
% SNIPPET ENDS %%
In the resulting pdf, at the start of the second system, there's an ossia
measure connected with the other staff as if it were a normal staff. Is there
a way to avoid this?
Thank you all for your kindness!
Gianluca D'Orazio
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Re: Lyrics Problem
Hello!First of all thanks for your help. I already looked
at that section of the manual, but somehow I didn't got it to work. With
your help it now compiles without errors and warnings, but there is one
thing I want to change:Now the lyrics are beneath the staffs, but
I want them to be above (because they belong to the first trumpet). If I
try something like:\new PianoStaff \new
Lyrics \lyricsto trumpetI \text \new Staff { \clef
treble \key f \major \new Voice = trumpetI {
\voiceOne \trumpetone } \\ \trumpettwo } \new
Staff { \clef bass \key f \major
\tromboneone \\ \trombonetwo } I get the error that Voice trumpetI is not known. That's because the
voice is declared after \new Lyrics ... - Any idea how to solve this?GreetsRobert
-Original Message-
Date: Thu, 01 Feb 2007 13:44:44 +0100
Subject: Re: Lyrics Problem
From: Mats Bengtsson [EMAIL PROTECTED]
To: 9-bert [EMAIL PROTECTED]
Basically, what you have to do is to provide a name to the
corresponding
voice of music and then refer to that with \lyricsto, see the sections
on
lyrics in the manual. In your example, it would look something like
mylyrics = \lyricmode{ Hi, here's some ly -- rics }
\score{
\new PianoStaff
\new Staff {
\clef treble \key f \major
\new Voice = trumpetI {\voiceOne \trumpetone} \\
\trumpettwo
}
\new Staff {
\clef bass \key f \major
\tromboneone \\ \trombonetwo
}
\new Lyrics \lyricsto trumpetI \myLyrics
}
/Mats
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Re: proposal: second style for quartertone accidentals
I agree %100 with the addition of accidentals with arrows. However, I also think that both, the standard 1/4 and 3/4 tone signs Lilypond already has and the new ones should both be accessible, and, ideally, within the same notehead-style. Otherwise combining them in a single score would require one to be changing styles inside the score, which would not be ideal in that case. Since we are into adding new accidental signs, I would also actually like the inclusion of arrows (up and down) not only the stadard accidentals Orm suggests, but also on the 1/4 and 3/4 sharp and flat signs lilypond already has. This would allow for a finer pitch resolution. Here's a png of what i'm thinking. Pay no attention to the style though; this is secondary. .. ideas? Victor On 1/27/07, Trevor Bača [EMAIL PROTECTED] wrote: On 1/27/07, Orm Finnendahl [EMAIL PROTECTED] wrote: Am 27. Januar 2007, 12:06 Uhr (-0600) schrieb Trevor Bača: Question: would it be possible to have access to *both* sets of glyphs? It seems to me that I've seen both types of glyphs mixed together in single scores; usually the existing quartertone glyphs show exact quartertone alterations while the arrowed glyphs show approximate alterations. Well, my proposal meant to be completely backwards compatible. I thought about something similar to the notehead-style property like saying \override #'accidental-style = arrowed for getting the arrowed accidentals and \revert #'accidental-style for switching back. Ah, OK. I very much vote yes. I've wanted the arrowed glyphs for quite some time and would like to see them as part of the standard distribution. -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user accidentals.png Description: PNG image ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: White diamond, black diamond, and possible small sponsorship?
Trevor,
I suppose you thought of just changing the size of the black diamond, like
this:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\override NoteHead #'font-size = #6
\once \set shapeNoteStyles = ##(mi mi mi mi mi mi mi)
c'4
}
%%% END %%%
Obviously, the shape is still not the same although the sizes now match. You
can also try something like this, although it might seem a bit too hacky:
%%% BEGIN %%%
%\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\once \override NoteHead #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup #:combine #:musicglyph
noteheads.s0harmonic #:fontsize 2 #:musicglyph noteheads.s2neomensural)
c'4
}
%%% END %%%
Notice how, while the diamonds are now identical in shape, the stem of the
black diamond does not reach its correct position. Not sure exactly why, but
I guess you would have to make a \once tweak of this too.
Let me know if you find a better way.
Victor.
On 1/19/07, Trevor Bača [EMAIL PROTECTED] wrote:
Hi,
The black diamond shape notehead carries a different shape than the
white diamond harmonic notehead.
%%% BEGIN %%%
\version 2.11.7
\layout { ragged-right = ##t }
\new Staff {
\override NoteHead #'font-size = #3
\once \override NoteHead #'style = #'harmonic
c'4
\once \set shapeNoteStyles = ##(mi mi mi mi mi mi mi)
c'4
}
%%% END %%%
Does anyone know a way to get a black diamond notehead that carries
exactly the same shape as the white diamond harmonic (a filled
harmonic, in other words)?
I've poked around and don't believe this is currently possible.
If I'm correct and it is, in fact, not currently possible, would
anyone be interested in creating such a notehead? I'd be willing to
put a small bounty of some euros on it. (Seems like making this filled
harmonic glyph might be a fun side project for somebody who's been
looking for an excuse to dive in and modify the source, and therefore
might not distract Han-Wen, which is another bonus.)
If interested, please let me know ...
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Re: uniform-stretching
hello Orm, Trevor...
Sorry I have not been helping here. I had not checked my lilypond mail
for weeks! Thankfully we have Trevor, the sponsor of proportional
notation!
So, coincidentally, I just finished a piece for flute where I do
*exactly* the same thing Orm is trying to do: align a lilypond score
with some other graph above. My alignment came out almost perfect. There
are a couple of places where the score is just slightly off and I'm not
sure why this is, but you can barely notice it.
Trevor has pointed out the main elements to adjust for strict
proportional notation:
1. \set proportionalNotationDuration = #(ly:make-moment n d) (in the
Score)
2. \override SpacingSpanner #'uniform-stretching = ##t (in the Score)
3. \override PaperColumn #'used = ##t (in the Score)
4. \remove Separating_line_group_engraver (in the Staff)
5. \override SpacingSpanner #'strict-note-spacing = ##t (in the Score)
Out of these I only used no. 1,2 and 5.
Staffs in my score do have Separating_line_group_engraver, and I didn't
know about PaperColumn.
So are these two strictly necessary? In what cases would they be? Could
removing Separating_line_group_engraver have unwanted secondary
consequences... this creates the StaffSpacing grob correct?
Not sure I understand what PaperColumn #'used does...
I will try applying numbers 3 and 4 to my score and see what happens.
(and will be checking my email more often :| )
Trevor, I'm happy to help put together a tutorial on proportional
notation and temporal spacing issues in general.
Victor.
On Tue, 5 Dec 2006 09:44:15 -0600, Trevor Ba#269;a
[EMAIL PROTECTED] said:
On 12/5/06, Han-Wen Nienhuys [EMAIL PROTECTED] wrote:
Trevor Ba#269;a escreveu:
\relative c' {
\override Score.SpacingSpanner #'uniform-stretching = ##t
\set Score.proportionalNotationDuration = #(ly:make-moment 8 50)
\override Score.PaperColumn #'used = ##t
\time 4/4 r1 % BUG? Measure is way too short, apparently
because of following music
\time 3/8 r4.
\time 5/4 r1 r4
\time 5/16 r4 r16
\time 5/8 s2 s8
\time 5/8 r2 r8
}
}
}
So what's going on here? Why does more music on the line in example 1
score 1 cause Lily to scrunch up the very first measure??
The measure length bounds the spacing (think of what would happen for a
R1*33 without this).
However, the length used was the 3/8 rather than 4/4. Fixed in GIT.
Awesome.
Note to Orm then that we should remember to try the sample score
example on 2.11.2 when it releases.
--
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bash: lilypond: command not found
sorry for such a trivial question: if i tape /home/silvio/bin/lilypond the shell answers: GNU LilyPond 2.10.0 Usage: lilypond [OPTION]... FILE... Typeset music and/or produce MIDI from FILE. LilyPond produces beautiful music notation. For more information, see http://lilypond.org (...) so I though my installation was ok... but with: lilypond test.ly bash: lilypond: command not found Sorry, nor the archivs neither google helped me... I'm under Ubuntu thanx for any hints s -- Passa a Infostrada. ADSL e Telefono senza limiti e senza canone Telecom http://click.libero.it/infostrada17nov06 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vim question
Hi, The information in the manual should be all you need. Just make sure the runtimepath variable is set to the correct directory. What operating system are you using? In windows XP I have it set to : set runtimepath+=/cygdrive/c/Program\ Files/LilyPond/usr/share/lilypond/current/vim/ because I run vim from cygwin... hope this helps. V!ictor On Sun, Aug 27, 2006 at 05:47:03PM -0300, Allan Spagnol Comar wrote: Hi list, and sorry about this answer, I am trying to make vim works with lilypond highlight syntax and commands, I followed the instructions on http://www.lilypond.org/doc/v2.9/Documentation/user/lilypond/source/Documentation/topdocs/INSTALL.html#Top and could not make highlight syntax to work, I was wondering were can I find more information about how to make this works, and where I can find the new vim commands to run lilypond commands ? Thanks for attention and sorry about lousy english. Allan -- An application asked: Requires Windows 9x, NT4 or better, so I?ve installed Linux ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando between non-adjacent notes
Thanks Han-Wen and Trevor for your responses. On Tue, Aug 22, 2006 at 10:25:05PM -0500, Trevor Ba?a wrote: On 8/21/06, Han-Wen Nienhuys [EMAIL PROTECTED] wrote: V!ctor [EMAIL PROTECTED] wrote: Currently, Lily assumes a glissando will always connect adjacent notes. (The sintax works like ties in Lily, where one puts the tie command ~ after the first note) But many times one needs the glissando to span a duration that cannot be expressed with a single note, e.g. 1 + 1/4. I've attached a PDF with 2 examples of this (taken from one of my own scores), together with a proposed syntax for the implementation. Essentially, these glissandi would work exactly like slurs in Lily, using one command to start a gliss and another to end it. e.g. c4\glissStart c16 f8\glissEnd I have the feeling that this should already more-or-less be possible with current support for clusters: use a cluster for the line, and blanked note heads to get the stems. Or put the blanked notes in a different voice. Haven't tried with clusters, but I have been able to get the glissandi working nicely using 2 voices, one for the lines, another for the durations. I've automated the generation of my lilypond files with python, which makes the production of the glissandi quite painless. My only complain 'till now is that its a lot more stuff going on --essentially twice the amount of lilypond code + a lot of warnings about clashing notes-- when it could be very simple (in principle). Doing real timed glissandos does raise some questions: should the gliss always be a straight line, or should it just follow a melodic contour? If the latter, what happens with 'trilled' glissandi. The way I see it they don't have to be straight lines. In fact I would love to also have splines for glissandi!! (see box 3 in my attached PDF). But glissandi shouldn't just follow a melodic contour. Glissandi are tricky. In principle one should not need to intersect a glissando line with durations --notes with invisible heads--. But there are two problems with just connecting lines between all adjacent notes: 1. Pitch quantization. 2. The staff is not a linear pitch space, but a warped space designed to linearly distribute a diatonic (asymmetric) scale. In the attached PDF, box 1, you see the following nubmers: 1. what I'd like to have in lilypond. 2. what the desired continuous line would look like if it where to be visually (linearly) quantized to the nearest space/line in the staff. No noteheads. 3. same as 2 but with noteheads. 4. The closest diatonic pitch quantization (to a quarter tone) of the glissando. i.e. warping into the diatonic scale. Clearly, 2 and 3 are not useful since they misrepresent the idea of a glissando with constant velocity. No. 4 could be a reasonable approximation, but still not good enough because: 1. It's still not accurate enough. What to do in example 2 of the PDF? 2. It makes a simple gesture look more complex. If the former, then this will have nasty interactions with beams: beam directions are determined by stem directions, but in the case of a glissando stem, the pitch of the stem is determined after spacing and line breaking, which happens after determining directions. In this case, it's still possible to do, but we would have to rewire the logic for stem and beam direction code for this special case. This is tricky, so it would take a couple of 100 euro. I'm not sure I understand your explanation, but I see that the implementation seems to be more complex than what I thought... hmm. Victor Han-Wen, If we can figure out a good way to implement these durated glissandi (or noncontiguous glissandi) then I'm willing to help sponsor. Where Han-Wen writes ... Another option would be to forfeit beams on glissando stems, and/or require them to have preset directions. ... I think that having stems invovled in a durated glissando having a preset direction would be fine ... at least it seems. Victor - is there ever a case where the stems in a durated glissando should point different directions? Well, yes, as you can see in box 1. The last two 1/4 notes would logically point up. *But* in the case of beamed notes, you would not want the beam to cross the glissando line, so in this case you would definitely want to keep stem directions constant. Let's think more about this. As we have verified already, it is possible to implement the non-contiguous note glissandi in Lilypond as it stands today. It's just not very elegant. Forgetting about this problem for a while, it would be cool to have splines for glissandi (between contiguous notes is OK). I'm going to look at the code and see if I can implement it myself! How much would this cost Han-Wen anyway? Victor. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strict-note-spacing BUG in v.2.9.14 ?
hi all,
I've been using Lilypond's proportional notation since the beginning and never
had problems until I downloaded v.2.9.14 (windows XP). Now, Lilypond crashes
almost always immediately after saying Calculating line breaks... in the
compilation process.
The simple snippet below crashes.
\version 2.9.14
#(set-default-paper-size letter 'landscape)
\layout{
%indent =#0
%ragged-last = ##t
\context {\Score
% proportional notation --
proportionalNotationDuration = #(ly:make-moment 1 16)
\override SpacingSpanner #'strict-note-spacing = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
\score{
{ c4 c c c c c c4 }
}
If I comment out the line:
\override SpacingSpanner #'strict-note-spacing = ##t
then it runs ok. (but then i don't have strict-note-spacing!). So I think
there's definitely something wrong here.
Hope someone can figure out what's wrong.
V!ictor Adan
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fingerings collide with beams
Hi,
I have a problem with fingerings colliding with beams.
I searched the mailing lists for some solution and found these two posts
with the same problem:
http://www.nabble.com/Fingering-should-be-above-the-beam-automatically-tf453985.html#a1239094
http://www.nabble.com/Some-more-bug-reports-tf81770.html#a256088
The posts are over a year old and apparently the problem was reported as
a bug... so is the bug still there for v.2.9.7?
Here is my example:
\version 2.9.7
\new Staff{
{
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
}
}
Thanks,
Victor.
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Re: fingerings collide with beams
Hello Markus,
thanks for your reply. Indeed, the sideways numbering works well, but if you
want the numbers to be above the beams, it seems to me that Lilypond should be
able to do this automatically. After all it is an engraving problem and I would
think a frequent situation.
Your final solution (using the \tweak #'padding ...) works for the particular
example, but if the stems flip upwards, then you end up with a big space
between the noteheads and the numbers.
e.g.:
% PUT THIS AT THE END OF PREVIOUS EXAMPLE
a,-\tweak #'padding #4 -1 c'''-1 32
a,-\tweak #'padding #4 -2 c'''-2 32
a,-\tweak #'padding #4 -1 c'''-1 32
a,-\tweak #'padding #4 -2 c'''-2 32
%%
I do think this is something one shouldn't have to tweak.
In the mean time, your first solution works best for me...
thanks again,
Victor.
On Thu, Jul 20, 2006 at 12:34:17AM +0200, Markus Schneider wrote:
Hi again, Victor!
Maybe the last part is the solution?
\version 2.9.7
\score {
{
\new Staff {
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
\set fingeringOrientations = #'(up left)
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
\set fingeringOrientations = #'(up right)
a-1 c'''-1 32
a-2 c'''-2 32
a-1 c'''-1 32
a-2 c'''-2 32
\unset fingeringOrientations
a-\tweak #'padding #4 -1 c'''-1 32
a-\tweak #'padding #4 -2 c'''-2 32
a-\tweak #'padding #4 -1 c'''-1 32
a-\tweak #'padding #4 -2 c'''-2 32
}
}
}
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Re: proportional grace notes
Hi Eduardo,
I think you're right. This may by the way to change the spacing, but I'm not
sure how to use this. I'll experiment with it a bit. If i find something I'll
let you know.
Thanks,
victor.
On Fri, Jun 23, 2006 at 08:56:56PM -0300, Eduardo Vieira wrote:
Content-Description: Mail message body
Hi! I may be giving you the wrong information, but in the Program reference
(Scheme Functions) about ly:make moment it reads:
Function: ly:make-moment n d gn gd
Create the rational number with main timing n/d, and optional grace
timin gn/gd.
Moment is a point in musical time. It is consists of a pair of rationals
(m, g), where m is the timing for the main notes, and g the timing for grace
notes. In absence of grace notes, g is zero.
I never tested nor dealt with this, but the solution my have to do with it.
Regards,
Eduardo
- Original Message -
From: V!ctor [EMAIL PROTECTED] [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Thursday, June 22, 2006 8:02 PM
Subject: proportional grace notes
Hi,
I would like to have grace notes spaced proportionally to their
durations, like this:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotesB.pdf
I thought that using proportionalNotationDuration would do it, but it
only affects the real notes. Here's what I get:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotes.pdf
with the following code:
%
*
\version 2.9.7
\include english.ly
\layout{
\context{ \Score
% proportional notation --
proportionalNotationDuration = #(ly:make-moment 1 32)
\override SpacingSpanner #'strict-note-spacing = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
% THIS ...
\new Voice{\afterGrace c''2. { c''32 c''8 c''32 c''16} c''4 c''2 c''2}
% OR ...
\new Voice{ c''2. \grace{ c''32 c''8 c''32 c''16} c''4 c''2 c''2}
%
*
From looking at 6.5.7 in the manual (2.9), I can see it should be
possible, maybe somehow changing the 'grace note timing', but I can't
figure out how.
How could I do this? Is there an easier way?
Thanks,
Victor.
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Re: proportional grace notes
On Fri, Jun 23, 2006 at 02:16:40PM -0500, Trevor Ba?a wrote:
On 6/23/06, V!ictor [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
On Thu, Jun 22, 2006 at 10:47:02PM -0500, Trevor Ba?a wrote:
On 6/22/06, V!ctor [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
Hi,
I would like to have grace notes spaced proportionally to their
durations, like this:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotesB.pdf
I thought that using proportionalNotationDuration would do it, but it
only affects the real notes. Here's what I get:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotes.pdf
with the following code:
%
*
\version 2.9.7
\include english.ly
\layout{
\context{ \Score
% proportional notation --
proportionalNotationDuration = #(ly:make-moment 1 32)
\override SpacingSpanner #'strict-note-spacing = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
% THIS ...
\new Voice{\afterGrace c''2. { c''32 c''8 c''32 c''16} c''4 c''2 c''2}
% OR ...
\new Voice{ c''2. \grace{ c''32 c''8 c''32 c''16} c''4 c''2 c''2}
%
*
From looking at 6.5.7 in the manual (2.9), I can see it should be
possible, maybe somehow changing the 'grace note timing', but I can't
figure out how.
How could I do this? Is there an easier way?
Hi Victor,
I know grace notes have all sorts of interesting properties in
LilyPond, but I haven't played around with them yet myself.
Would it be possible to put the grace notes in their own voice and
simply shrink the #'size attributes of the notes, stems, flags, etc,
in that separate grace voice?
That way the notes would *space* exactly like normal notes and you
could manually reduce the graphic *size* of the notes.
Would that work?
--
Trevor Ba??a
[EMAIL PROTECTED]
Hi Trevor,
That works, and that's what I did to get this:
http://music.columbia.edu/~vadan/proportional_gracenotesB.pdf
but I was hoping there was an easier way... having two voices to represent
one complicates things a bit. For example, if you want to connect notes
with a glissando, like this:
http://music.columbia.edu/~vadan/proportional_gracenotes2.pdf
How do you connect to notes from different voices with the gliss?
Ah, good point.
Here's another idea to keep it all in one voice:
% ***
\version 2.9.7
\include english.ly
\new Voice{c''2.*2/3 {\autoBeamOff \set fontSize =#-3 c''32 c''8 c''32
c''16}\set fontSize=#1 c''4 c''2 c''2}
% ***
Any other ideas?
This is exactly what I would do: manually control the graphic
appearance of the grace figures. The only thing I don't like about
that is having to use the scalar against the first (dotted) half-note.
Just seems a little hacky.
Yes it does.
Of course there's always the sponsorship route to just directly
request that -- when some flag or something is set, like
proportionalGraceSpacing = ##t -- that grace notes space exactly like
normal notes *backwards* from the note they immediately precede.
yes, this is what seems would be the ideal solution... my guess is it should
not be difficult. notice how in 6.5.7, fourth example, how the grace notes
*are* proportionally spaced when two voices running together have them in the
same time interval.
Actually, how would that work? Let's say we have two short notes with
graces in between:
\new Voice{c''16 {\autoBeamOff \set fontSize =#-3 c''32 c''8 c''32
c''16}\set fontSize=#1 c''16}
In that case what should happen? Should the intervening graces cause
either of the normal notes to move? Or what? Or does it not matter
because we would never notate such a thing?
hmm, i would assume this would be wrong and that lily would give an error. the
condition for this to work would be that the sum of all the grace notes be
strictly smaller than that of the real note preceding them.
victor.
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new lilypond user.
Hello All, I am a new and very grateful lilypond user. Just wanted to introduce myself and share my (short) lilypond discovery story: I have been working with computers for some years now, doing mostly high level music structure (score-level data) processing. Very early on I realized that, because a good percentage of my musical data was already in the computer, it made no sense to read the data as numbers and put it back manually with a WYSIWYG music notation software such as Finale or Sibelius. Encoding the musical data in some format X (such as MusicXML) and importing it into one of these programs was not a solution, mainly because many of my musical ideas could not be completely notated with them. This took me to search for other alternatives: i looked at Score (which is, I believe, the standard tool for most professional music editors), worked a bit with MusiXTEX, PMX, but they all had limitations (some of very different type) that were not going to take me far. So I gave up on my search and decided to write my own music notation/engraver software. I worked on this project for about 4 months and got a primitive but working alpha version in December 2005. I was happy with it because, while the engraver still had no intelligence (no fancy spacing algorithms, collision detection, etc.) I could get it to do what I needed much better than with the popular commercial software. I had not talked with my good friend Trevor Baca for some time, and since we had talked about having alternative notation tools in the past, I told him about this project I was working on. Then he told me something like -this is great, *but*, you should check out this new tool I'm using called Lilypond. Given my experience with the programs mentioned before, I was very skeptical. So, I gave him a series of challenges to solve with Lilypond that I knew were impossible or very convolved to solve in other notation/engraver tools. To my surprise, they were not only solvable in lily, but also trivial. I was immediately impressed. I studied the documentation for some days and the next thing that stroke me was the cleanness and clarity of the organization and structure of the program. After that, realizing Lily's versatility (almost everything is tweakable) made me a convert. I'm a bit sad that my own engraver code will have an early retirement, but given that Lily has the TeX paradigm of separating content from form (in this case, notation from engraving) I can still keep the notation-related part of my code :). So, thanks and congratulations to Han-Wen and Jan for this *fantastic* piece of software. You will be getting questions from me soon. Sincerely, V!ctor Adan. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
proportional grace notes
Hi,
I would like to have grace notes spaced proportionally to their
durations, like this:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotesB.pdf
I thought that using proportionalNotationDuration would do it, but it
only affects the real notes. Here's what I get:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotes.pdf
with the following code:
%
*
\version 2.9.7
\include english.ly
\layout{
\context{ \Score
% proportional notation --
proportionalNotationDuration = #(ly:make-moment 1 32)
\override SpacingSpanner #'strict-note-spacing = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
% THIS ...
\new Voice{\afterGrace c''2. { c''32 c''8 c''32 c''16} c''4 c''2 c''2}
% OR ...
\new Voice{ c''2. \grace{ c''32 c''8 c''32 c''16} c''4 c''2 c''2}
%
*
From looking at 6.5.7 in the manual (2.9), I can see it should be
possible, maybe somehow changing the 'grace note timing', but I can't
figure out how.
How could I do this? Is there an easier way?
Thanks,
Victor.
--
V!ctor [EMAIL PROTECTED]
[EMAIL PROTECTED]
--
http://www.fastmail.fm - Access your email from home and the web
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grace notes not engraved
I am using lily 2.4.5 on Debian. For some unknown reason grace notes specified with \appoggiatura or \acciaccatura do not show up in the .ps file where only a short vertical bar is visible instead. Do you have any suggestion about what to do to identify the cause of this malfunctioning? Thank you for you help, Antonio 6X velocizzare la tua navigazione a 56k? 6X Web Accelerator di Libero! Scaricalo su INTERNET GRATIS 6X http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Preprocessing ly files
Is there a simple way to filter a lilypond file trough a preprocessor so that some lilypond instructions are executed or not according to some general directive? For example, if I have lilypond source written for F horn and wont to run it for Eb horn also I would like to have a macro directive like (C preprocessor idiom) #ifdef EB_HORN \transpose c d #endif Is there something like this already available or can it be easyly implemented? Thank you for your help, Antonio Palamà Navighi a 4 MEGA e i primi 3 mesi sono GRATIS. Scegli Libero Adsl Flat senza limiti su http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text font problems with 2.4.5
As far as I can search there is no ec-fonts-mftraced package in sarge nor is there a dependency of lilypond from this package. Did I miss something? Tanks, Antonio -- Initial Header --- From : D Josiah Boothby [EMAIL PROTECTED] To : Antonio PALAMA' [EMAIL PROTECTED] Cc : lilypond-user@gnu.org Date : Thu, 12 May 2005 19:52:23 -0700 (PDT) Subject : Re: Text font problems with 2.4.5 I think that has something to do with the config file that the sid version of ec-fonts-mftraced has. Try downgrading to the version that is in sarge (which, I believe is the same version but with the right config file). Josiah On Thu, 12 May 2005, Antonio PALAMA' wrote: After upgrading from 2.2.x to 2.4.5 on my Debian sid system, all the text (title, composer, rehearsal marks, markups etc.) is typeset using a strange font which resmbles Courier. I tried to reinstall ec-fonts-mftraced 1.0.10a-1 but the problem is still there. Do people have any idea about how to solve the problem? Thanks for your help, Antonio Palama' ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Navighi a 4 MEGA e i primi 3 mesi sono GRATIS. Scegli Libero Adsl Flat senza limiti su http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi2ly
I essentially agree with you in the fact that a printed score is a more synthetic representation of the musician's intention than a midifile or a recording of an actual performance. Nevertheless the process of converting a particular rendering to a printed score is possible; it is an art itself and is called transcription. There are also cases in which the author himself published both a printed score and a midi rendering of the music. This is the case of Gershwin's Rapsody in Blue which was published both as a printed score and as a piano roll (the midi file of that time); the piano roll was cut and edited by the author. There is no doubt that Gershwin tryed to convey his musical intent through both media but he had to use different languages (the printed symbols in the first case, note numbers, times and velocities in the second). Thanks for the intersting discussion. Antonio Palamà -- Initial Header --- From : François Pinard [EMAIL PROTECTED] To : Antonio PALAMA' [EMAIL PROTECTED] Cc : [EMAIL PROTECTED],Mats Bengtsson [EMAIL PROTECTED],lilypond-user@gnu.org Date : Tue, 12 Apr 2005 18:37:22 -0400 Subject : Re: midi2ly [Antonio PALAMA'] [...] a properly encoded midifile contains more information than a printed score. A printed score contains all the information necessary to a musician to play the music. A midi file contains the actual performance of the musician. A score encodes a musical intent, while a MIDI file encodes a performance. The author intent, expressed in a score, is a precious source of indications, out of which musicians may deliver myriads of different _and_ interesting renderings. This is extremely rich. No doubt that a particular performance may contain a lot of information. You may go way further than MIDI, which is so fuzzy if you consider all MIDI synthesizers around, and encode 44100 positions of the speaker membrane for each second of the play. But then, we are far away from the author intent, and in fact, one may not fully recover nor induce the original author intent from a particular rendering. The amount of raw information does not matter so much here. But the amount of genuine musical information does. And going from a score to MIDI, we surely gain a lot of raw information, but on average, we loose part of that genuine musical information designed by the composer. P.S. - I also agree that some musicians prefer to perform (or improvise) than to formalize their intent, or just do not have enough courage or introspection abilities to do such formalization. They might produce quite interesting music nevertheless. In such cases, granted, MIDI is better than nothing at all. -- François Pinard http://pinard.progiciels-bpi.ca Navighi a 4 MEGA e i primi 3 mesi sono GRATIS. Scegli Libero Adsl Flat senza limiti su http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI plugins?
-- Initial Header --- From : [EMAIL PROTECTED] To : Mardi Girard [EMAIL PROTECTED] Cc : lilypond-user@gnu.org Date : Mon, 14 Mar 2005 15:03:02 -0500 Subject : Re: MIDI plugins? MG == Mardi Girard [EMAIL PROTECTED] writes: MGI love your program! But I can't get midi2ly to work (I'm using MGWindows XP home edition). Do you know of any other plugins that can MGconvert MIDIs to .ly? When you say it doesn't work, do you mean it gives you error messages instead of .ly files, or just that the .ly files aren't very good descriptions of the notation you expect to see? If the former, you should send the error messages. If the latter, you can try playing with the midi2ly options like -d, -s, -t, and -k and see if it helps. But it's actually often true that it's easier to just type lily than to try to get midi2ly to do it for you. Another possibility is to install the abcMIDI programs and use midi2abc and abc2ly, but that's unlikely to do much better than midi2ly. -- Laura (mailto:[EMAIL PROTECTED] , http://www.laymusic.org/ ) (617) 661-8097fax: (501) 641-5011 233 Broadway, Cambridge, MA 02139 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user You might try mi2ly (www.nongnu.org/mi2ly) which is written in ANSI C. For the kind of music it was designed for (single voice per track/channel) I find it much esier to use than midi2ly. Let me know if you need help using it. Ciao, Antonio Palamà 6X velocizzare la tua navigazione a 56k? 6X Web Accelerator di Libero! Scaricalo su INTERNET GRATIS 6X http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
accents in midi out
Is there any workaround to get accents rendered in MIDI out? Thanks in advance for help. Roberto 6X velocizzare la tua navigazione a 56k? 6X Web Accelerator di Libero! Scaricalo su INTERNET GRATIS 6X http://www.libero.it ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Octavabassa notation
Hi, I'm just getting into lilypond, and need to know more about octavia notation. The command #(set-octavation 1) ... #(set-octavation 0) gives the 8va bracket on top of the notes, as 8va--, | o| Is there any way to get this to print under the notes so that it means octavia bassa, as in | o| 8va---' I know the command #(set-octavation -1) ... gives the 8va bassa notation, but it is still printed on top of the note. I want it printed under the note. Hope this is clear enough. Samuel Weston [EMAIL PROTECTED] ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond - Unsuccessful install on Windows 2K
Installed as directed with no problems. When Adobe Reader 6.0 trys to open the file, it reports it can't located the file. Test.log is attached. Sincerly, M. C. Kane mail2web - Check your email from the web at http://mail2web.com/ . ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
problem in loading midi python module
Hi, I have a problem . I have installed a precompiled lilypond rmp on a Mandrake Linux 9.1 . I was running midi2ly and I got the following message : Traceback (most recent call last): File /usr/bin/midi2ly, line 43, in ? import midi ImportError: No module named midi It seems that the midi module can not nbe loaded . Into the file midi2ly there are some paths to some libraries and I do not have them. The program is installed under /usr/share/lilypond/version and I do not have any /usr/lib/lilypond directory. I have changed the path into the midi2ly , but nothing changed. Do you have any idea how to fix this problem , thanks Riccardo ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Entschuldigen Sie bitte die Störung!
groupements, criminelle/ponctuel idéologique Energei dehors, , terroriser ou schickanieren, et ce.Une manipulation de groupe cible par des masse-médias être la manipulation quotidienne qui peut extraire mansich, plus ou moins. Le droit à la vie privée est-il miné, ramment, tiefenpsychologisch, par des envois, comme, par exemple des Big brother? Avec un les Angemailten si un certain savoir devait exister sur le thème, je serais heureux sur des indications sur le thème.Sur la recherche des réponses à mes questions je différentes adresses maile d'Internet dessus, et espère réponses et critiques aufkonstruktive. Sur une visite du côté http://hometown.aol.de/reinerhohn38259/homepage/index.html je me réjouirais. Si vous deviez avoir été écrit à différentes reprises par moi, je vous demande de m'excuser cela qui n'était pas envisagé. Puisque je travaille depuis plus longtemps avec ausschlusslisten,il ne peut pas normalement être, qu'un Mailadresse devient double angemailt. La raison de mon anonymat est le fait qu'avec telle des Fragenstellerei, l'appel devient ce qui est bien compréhensible, rapidement bruyant après le Psychatrie. Ce que la méthode a également (ist). Si vous deviez ressentir les Mail comme un ennui, je voudrais m'excuser par ceci pour cela! Spam l'hystérie artificielle peut,on utilise,pour empêcher la possibilité,en cas de violation des droits de l'homme,public créer? Internet devient imperméable à l'eau??? Big brother is watching you? Könnte mir jemand bei der korrekten Überstzung helfen? Could someone help me with the correct translation? Quelqu'un pourrait-il m'aider lors du Ueberstzung correct? ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Conference calls/best quality/$.18 per minute!
Title: Take Control Of Your Conference Calls Long Distance ConferencingOnly 18 Cents Per Minute Connects Up To 100 Participants! No setup fees No contracts or monthly fees Call anytime, from anywhere, to anywhere International Dial In 18 cents per minute Simplicity in set up and administration Operator Help available 24/7 Get the best quality, the easiest to use, and lowest rate in the industry. If you like saving money, fill out the form below and one of our consultants will contact you. Required Input Field* Name* Web Address* Company Name* State* Business Phone* Home Phone Email Address* Type of Business This ad is being sent in compliance with Senate Bill 1618, Title 3, Section 301. You have recently visited our web site, referral or affiliate sites which indicated you were interested in communication services. If this email is reaching you in error and you feel that you have not contacted us, Click here. We sincerely apologize, and assure you will be removed from our distribution list. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
