Re:Re: strange problem with instrument name
Thank you for your kind reply. So it may be a bug, since it's impossible to omit the empty grace for the correct alignment of music. Also, if you use 2.17.19 to compile, the application will abort suddenly. But when I comment out the music as instrument groups (ww+br, or Perc+Str), no error occurs. Why? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re:Re: strange problem with instrument name
Windows XP SP3. Please report this bug, because I don't subscribe to that list. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
sextuplet has no bracket, strange problem
Hello, With some adjustment, I can now make an a3 score and scale it to a4 when printing to an image. But there's one problem, in bar 8 the sextuplet always has no bracket. I put the required settings in the score file and removed the \include line, but the proeblem is still here. Is anything wrong? Regards Haipeng variation.ly Description: Binary data attachment: variation.tif___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
song problem
Hello, I just finished a song for an enterprise. But the problem is very strange even after I learned the manual. The first 16 bars has 2 verses, then there are two alternatives. At first, the words couldn't match the music, and now, after removing \autoBeamOff, I can't find any words in the pdf, and the total page changes from 1 to 2. What's wrong? Regards Haipeng song.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
problem still exists in the latest 2.15 version
Hello, I'm extremely busy, but I have to report the bad news that LP still haven't solved this problem. It's not so easy for me to reduce the file, but you'll find lp unexpectly aborts at bar 240. I remember it ever aborts at bar 160-168, due to temporarily added staves. What's the current error with it? http://www.darajan2.com/douban/Haipeng/overture.rar Regards Haipeng PS: I updated the syntax of LP to the latest version, but the version number is still old. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
re: recompilation failure
Dear David, I just came back from Osaka, Japan. I just tried the latest build with modified mydefs.ly, and there are errors on #(define-music-function... at the second half of the file. But some such functions don't generate error. Why? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
re: recompilation failure
Dear David, Thank you for the further patch. I can wait for the fix, but don't know what you mean my hiding of return in mydefs.ly. This file was created mainly from many lilyponders' macros, and my ones are only text variables such as \rit, \allegro and some contexts. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
blocked here
Hello, It's strange that Lilypond's website is blocked by our GFW. Now I can cross it, but if one day the software can't keep up with the blockade, I have to stop at that point and can't get the new version. Is there any way to prevent the web from blockade? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
suggestion for articulate
Hello, Before I make a 16 track midi to show the remaining bug on midi output in the recent devel versions, I'll suggest an improvement upon articulate.ly. I changed the following line, and the non-slurred music sounds more natural, while the slurred music still gets more smooth: #(define ac:normalFactor '(15 . 16)) Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
two-sided problem
Hello, I'm trying two sided printing. It's strange: I set inner 40\mm and outer 10. The odd pages are ok, but on even pages, the score is shifted very left, and the instr names are eaten. In my opinion, the even pages must have left margin 10 and right 40 for binding, but the right is too wide and the left is too narrow. When I set inner to 30 and outer 23, the odd pages are not so good. Why? NR says inner/outer margins will override l/r margins. Must I comment out these margins I used to produce single sided version? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi bug in 2.13.58
Hello, Lilypond 2.13.58 still has bug on mid output. Because the max number of instr is 16, and now the midi output considers every instr instead of track as an item, the result of program change still causes error. For example, I have a full orch score with 14 sounds plus perc. Then I change strings to pizz, and then violin I as solo violin, then trumpet muted. Now there are 18 instr even I revert these sounds back, and the topmost instr (picc and fl) changes to string ensemble due to wrapping. I hope that the initial instr amount is considered as basic midi instrument amount, and the subsequent created sounds within a single track is treated as common program changes. This will make it convenient to play midi files by reassigning patches in software like Synthfont. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Arpeggio collision bug
Dear Robin,
It is as if the arpeggio code doesn't notice the staff change.
Here is a workaround which doesn't prevent a collision but disguises it.
Insert a transparent breathing sign after s2 in the right hand:
\once \override BreathingSign #'transparent = ##t \breathe
Thanks, but unfortunately, this doesn't work at all. The hidden breathe sign
strangely leaves an apostrophe like sign on the score, and the collision
remains. Here's my workaround, but still hope it considered as a bug and solved
as automatically shifting the arpeggio and the notecolumn right to prevent
collision.
Haipeng
**
\version 2.13.57
\paper {
ragged-right = ##t
}
upper = \relative c'' {
\clef treble \key ees \major \time 4/4
\showStaffSwitch
s2 s8 c a e4*1/2\arpeggio r4 |
}
lower = \relative c, {
\clef bass \key ees \major \time 4/4
\times 2/3 { fis8( e' a } \change Staff = r \times 2/3 { c e a) }
\change Staff = l s8 fis, c'4*1/2\arpeggio r4 |
}
dyn = { s1\mf }
\score {
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = r { \upper }
\new Dynamics { \dyn }
\new Staff = l { \lower }
\layout {}
}
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Arpeggio collision bug
Hello,
I'm coming to the final adjustment of my overture while a bug troubles me so
much. In the below harp excerpt, the arpeggio sign collides with the a'4
natural of the treble.
Regards
Haipeng
\version 2.13.57
\paper {
ragged-right = ##t
}
upper = \relative c'' {
\clef treble \key ees \major \time 4/4
\showStaffSwitch
s2 c a e4\arpeggio r |
}
lower = \relative c, {
\clef bass \key ees \major \time 4/4
\times 2/3 { fis8( e' a } \change Staff = r \times 2/3 { c e a) } \change Staff = l fis, c'4\arpeggio r |
}
dyn = { s1\mf }
\score {
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = r { \upper }
\new Dynamics { \dyn }
\new Staff = l { \lower }
\layout {}
}
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How to thing a staff's lines
Hello, I find the culprit for my score. The staff lines are thick, and when the staff size is reduced to 10, the space between two staff lines is very few. How to make the staff lines thinner? My mother saw many Finale scores published by our People's Music Publishing are very clear, and some pocket scores have the same feature. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Extreme bad midi output in 2.13.57!!!
Lilypond 2.13.57 outputs midi in a extreme bad manner! Please compile a piece you recently wrote, and you'll collapse when listening the result. All note values are messed up, and in orchestral score, all instruments start at the beginning, like a pan of boiling water! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: How to thing a staff's lines
Thanks. But I can't find the default value in the IR. Where's it? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Extreme bad midi output in 2.13.57!!!
Calling, written in 2006.
\version 2.13.7
\header {
tagline = ##f
dedication = \markup { \bold DEDICATED TO MY CLASSMATES IN THE COLLEGE FOR ADULTS }
title = \markup { \fontsize #2 Calling }
composer = \markup { \fontsize #3 \bold Hu Haipeng }
copyright = © 2006, All Rights Reserved
}
upper = \relative c'' {
\clef treble \key fis \minor \time 2/2 \tempo 2=48
fis cis a8\(^\markup { \column { \bold \italic Andante Espressivo \bold Rubato Recitativo } } a cis, a a cis, a a cis, a a cis, a fis cis a4.\) |
fis cis a8\( a cis, a a cis, a a cis, a { b b,16 a a, } \\ { d,8 } fis b, fis4.\) |
\time 3/2 e gis, e8\( fis gis, fis fis gis, fis e gis, e e a, fis cis a fis4 a fis cis8 b fis d2\)\arpeggio |
\time 5/4 { a fis cis8\( a fis cis b e,4\arpeggio a8\arpeggio fis4. ~ fis4\) } \\ { s4 cis8\arpeggio b cis a2.\arpeggio } |
\time 2/2 fis' cis a8\( a cis, a a cis, a a cis, a a cis, a fis cis a4.\) |
fis cis a8\(^\markup { \bold \italic Stretto Appasionato } a cis, a a cis, a b cis, b { b16 a\upmordent } \\ { d, b8 } fis b, fis4.\) |
\time 5/4 { e gis, e8\( fis gis, fis fis gis, fis^\markup { \bold \italic Rit. } fis gis, fis fis16-\\arpeggio e cis8 ~ cis2\)\!\fermata } \\ { s2 ais fis2.\arpeggio\fermata } |
\time 2/2 { a fis d8\(^\markup { \bold \italic A Tempo } b fis d b fis d b fis d b16 a fis4.\) } \\ { s2 fis d } |
{ a fis cis8\(^\markup { \bold \italic Sostenuto } b fis cis b fis cis b fis cis b16-\arpeggio a fis4.\) } \\ { s2 fis d\arpeggio } |
\time 3/2 { a8-\(\\arpeggio fis4.\)\! a8\(\\arpeggio fis4. ~ fis2\)\!\fermata } \\ { cis a2\arpeggio cis a1\arpeggio } \bar |.
}
lower = \relative c {
\clef bass \key fis \minor \time 2/2
fis cis' fis8 fis cis' fis fis cis' fis fis cis' fis fis cis' fis fis cis' fis4. |
e a cis e8 e a cis e e a cis e e a cis e d fis b d2\arpeggio |
cis gis' cis8 cis gis' cis cis gis' cis cis gis' cis fis a cis fis a cis4 e a8 d fis b2\arpeggio |
cis fis a8 cis fis a cis e gis4\arpeggio fis, cis' fis2.\arpeggio |
fis' cis' fis8 fis cis' fis fis cis' fis fis cis' fis fis cis' fis fis cis' fis4. |
fis cis' fis8 fis cis' fis fis cis' fis e a cis e d fis b d2\arpeggio |
cis gis' cis8 cis gis' cis cis gis' cis cis gis' cis cis fis ais cis2.\arpeggio\fermata |
d fis b8 d fis b d fis b d fis b d fis b2 |
cis fis a8 cis fis a cis fis a cis fis a c d fis a2-\arpeggio |
fis, cis' fis2\arpeggio fis cis' fis1\arpeggio\fermata \bar |.
}
dynamics = {
s1\mf | s | s1. | s4\dim s4 s2.\!\p |
s1\mf\ | s | s2 s2.\!\f |
s1\mp | s4\ s4 s2\!\ | s2\p s1\pp |
}
\score {
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = upper \upper
\new Dynamics = dynamics \dynamics
\new Staff = lower { \lower }
\header {
piece = \markup { \bold Composed on April 26, 2006 }
}
\layout {
\context {
\Staff
\consists Span_arpeggio_engraver
}
}
}
\score {
\new PianoStaff
\new Staff = upper \upper \dynamics
\new Staff = lower \lower \dynamics
\midi { }
}
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Re: again, full score layout problem
Thanks. I don't know whether Lilypond can accomplish the result like this: http://imslp.org/wiki/6_Pieces_for_Large_Orchestra,_Op.6_(Webern,_Anton This is a real publishable layout, since there are no white spaces on the pages. I mentioned it in my post irregula French Score. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
irregular semi French score, how to accomplish?
Hello, I had my mother look at my full score of the overture, and then compared with some other published scores. She found that my French score leaves many blank spaces at the bottom of some pages, while other scores always use blank staves to fill in. For example, the following Webern piece: http://imslp.org/wiki/6_Pieces_for_Large_Orchestra,_Op.6_(Webern,_Anton) At a page, the two systems don't need strings, but the first one adds the whole string section with all resting, while the second one doesn't contain it. Also in some scores, the added staves have only blank staves plus label and key, no rests. How to do this in Lilypond? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
again, full score layout problem
Again for the full score pagination. A professor first tried to read a4 version, and he must use a magnifying glass. I then compiled the a3 version (the link below, containing all score/parts/code/midi files. He said that it's actually not the problem of paper size, since many large scores are printed in just a4 but look very clear. I'm puzzled, since Lilypond always produce the most beautiful and clear music. Please check my full score, and tell me what' wrong with the appearance. http://www.darajan2.com/douban/Haipeng/Celebration%20Overture.zip Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Critical bug of midi output
Hello, I found a problem of Midi output in 2.13.56. If you write a timpani roll like this: \repeat tremolo 4 c32\mp\ \repeat tremolo 8 c c8\!f and use unfold in midi block, The output will sound weird. The second note is already \f. This problem is very obviously when I write some long notes with a long crescendo on sustained instruments. Please compare the two midi files in this zip file, and you'll know how ugly 2.13.56 renders it. http://www.darajan2.com/douban/Haipeng/midi.zip If anyone need to observe the code, I'll send the files. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: strange instrument name bug
Ok, then please send bug reports (because I'm not a programmer, I don't subscribe to the devel and bug lists) consists of the following: 1. RhythmicStaff causes GrandStaff's instr name and brace disappear. This is important, because in my orchestral work there're large percussion sections in which one player will play several kinds of instruments and sometimes switch to other player's instruments. So it's better to use one-line stave other than five-line; 2. If there are odd-amounted inner staves, instr name of the grand staff (perhaps staff group will have the same problem I think) will collide with the name of the midst stave. I report this because my British teacher pointed out it last month, and I can't find a way to automatically solve it. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re: strange instrument name bug
Ok, but the RhythmicStaff thing must be solved. I'll search the IR to add spaces between the two levels, or perhaps add some spaces before the closing quote in the instr name field. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: strange instrument name bug
Hello Francisco,
Does this work? I can't know it from my pdf reder's txt conversion. Or must I
x-offset the instr name of grand staff to -1 or -2?
Haipeng
\version 2.13.52
\paper {
ragged-right = ##t
}
\header {
tagline = ##f
}
one = \relative c' {
\clef treble \time 4/4
c8 d e f g f e d | c d e f g f e d | \break c1 \bar ||
}
two = \relative c' {
\clef percussion \time 4/4
c4 c c c | c c c c | c1 \bar ||
}
\score {
\new StaffGroup
\new Staff {
\set Staff.instrumentName = one
\set Staff.shortInstrumentName = 1
\one
}
\new GrandStaff
\set GrandStaff.instrumentName = Two-five
\set GrandStaff.shortInstrumentName = 2-5
\new Staff {
\set Staff.instrumentName = two
\set Staff.shortInstrumentName = 2
\override InstrumentName #'x-offset = #2
\two
}
\new Staff {
\set Staff.instrumentName = three
\set Staff.shortInstrumentName = 3
\override InstrumentName #'x-offset = #2
\two
}
\new Staff {
\set Staff.instrumentName = four
\set Staff.shortInstrumentName = 4
\override InstrumentName #'x-offset = #2
\two
}
\new Staff {
\set Staff.instrumentName = six
\set Staff.shortInstrumentName = 6
\one
}
\layout { }
}
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Re:[PATCH] Re: strange instrument name bug
Thank you for the patch. I could have thought of this reason, but... Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re: strange instrument name bug
Thanks. Will the 1.5 cm margin causes binding difficulty? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strange instrument name bug
Hello,
I meant to show a bug that the instrument name in the GrandStaff collide with
the instr names in its child staves, but the following file gives no instr name
in the grand staff level, although I find the engraver is added in the
engraver-init.ly. What's wrong?
Regards
Haipeng
\version 2.13.52
\paper {
ragged-right = ##t
}
\header {
tagline = ##f
}
one = \relative c' {
\clef treble \time 4/4
c8 d e f g f e d | c d e f g f e d | c1 \bar ||
}
two = \relative c' {
\clef percussion \time 4/4
c4 c c c | c c c c | c1 \bar ||
}
\score {
\new StaffGroup
\new Staff {
\set Staff.instrumentName = one
\one
}
\new GrandStaff \with {
instrumentName = Two-five }
\new RhythmicStaff {
\set RhythmicStaff.instrumentName = two
\two
}
\new RhythmicStaff {
\set RhythmicStaff.instrumentName = three
\two
}
\new RhythmicStaff {
\set RhythmicStaff.instrumentName = four
\two
}
\new RhythmicStaff {
\set RhythmicStaff.instrumentName = five
\two
}
\new Staff {
\set Staff.instrumentName = six
\one
}
\layout { }
}
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midi problem in 2.13.54
Hello, One regression from 2.13.53 to 54 is, the program change in midi doesn't effect the following note. Thus, when you set midi instrument before a note, this note remains sounding the previous instrument. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: midi problem in 2.13.54
Thanks, I found the fix in the git dir, and will wait for the next version. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
mezzo staccato
Hello, I ever asked 3 signs, and 2 (portato and martellato) have been solved. Now I just finished my second orchestral work and am revising. The articulation makes my head big. There are many mezzo-staccatoed notes, but I just used portato. I think it's not correct, because it's just a line. In my theory book, a mezzo staccato is a line plus staccato. But I don't know whether c4-.-- does this correctly. Are these two signs work as one in this circumstance? Or are they far from each other? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: mezzo staccato
Thank you all! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Changelog
Hello, I'm wondering whether there's a complete changelog for every devel version. The reason is, when I compile my score with the very recent two versions (I have not compiled it for a little long time), I found there are two instrument names in GrandStaff. At that time, engraver-init.ly didn't contain the instrument name engraver, so I added it in my def file. Now there are two, so two are printed. But without saving the pdf as text can't I discover this problem. I don't know what has happened on other fields, so perhaps there are more non-text things changed and then duplicate and/or conflict with my defs. Also, \RemoveEmptyStaves was added without an announcement in the Changes. Can git give me any hints? I don't like to download the complete git site, since it's too big! Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
args in Scheme
Hello,
Three years ago, when I defined a function, someone told me that in Lily
Scheme can only take up to 3 arguments. I don't know whether this limitation is
eliminated now, so could you tell me whether the following prints correctly?
Haipeng
\version 2.13.50
triTempo =
#(define-music-function (parser location prependText notevaluei notevalueii
appendText) (string? string? string? string?)
#{ \tempo \markup { \line { $prependText ( \fontsize #-2 \general-align #Y
#DOWN \note #$notevaluei #1 = \general-align #Y #DOWN \note #$notevalueii #1
$appendText ) } }
#})
\score {
\new Staff {
\time 4/4
\triTempo Allegro 2 4 = 60
c'4 c' c' c'
}
\layout { }
}
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can't compile
Hello,
I'm almost near the end of my second work (still about 80-100 bars not
written). The day before yesterday, when I was at bar 362, Lily could still
compile it within 2 hours. But last night, I left my computer running it, and
it was still hanging there when I got up this morning, thus about 6 hours past!
I am still using my old machine with 768M RAM. Could anyone compile it using a
faster machine? I must ensure whether the problem is caused by the RAM or
Lilypond or my own files.
The following is the link. Simply run dance.ly. But before that, please find
and remove %{ and %} which I use to generate midi only. I included a midi file,
so you will know what I have written.
http://www.darajan2.com/douban/Haipeng/Dance%20of%20heart.zip
Regards
Haipeng
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Re:Re: can't compile
Thank you Nick and Graham! I said that you must remove %{ and %} to get the
correct frame to construct the pdf. Since the midi frame already took 1.1GB
RAM, it's obviously the score frame will cost more. FOrtunately, this is not my
problem, and I'll buy a new machine on 20th of this month, XP with 4GB RAM.
Regards
Haipeng
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Re:Re: PianoStaff can't removeEmpty
Thanks, but in my situation, both of my harp staves are empty, but the system
is always there. See
http://www.darajan2.com/douban/Haipeng/Celebration%20Overture.zip
Regards
Haipeng
-原始邮件-
发件人: Xavier Scheuer x.sche...@gmail.com
发送时间: 2011年2月9日 星期三
收件人: 胡海鹏 - Hu Haipeng hhpmu...@163.com
抄送: lilypond-user lilypond-user@gnu.org
主题: Re: PianoStaff can't removeEmpty
2011/2/9 胡海鹏 - Hu Haipeng hhpmu...@163.com:
Hello,
I suddenly discover that in all my scores, the piano staff can't remove
empty. Therefore, my harp part is always there throughout my entire piece.
How to remove it?
IIRC default settings for PianoStaff is to remove either both staves
if both are empty, either none if only one is empty (and the other one
contains notes).
If you want to remove the staves independently (if empty), try
\layout {
\context {
\Staff
\RemoveEmptyStaves
}
\context {
\PianoStaff
\remove Keep_alive_together_engraver
}
}
Cheers,
Xavier
--
Xavier Scheuer x.sche...@gmail.com
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Re:Re: Re: PianoStaff can't removeEmpty
Oh, I find the culprit! Since I used the Dynamics context, which has no remove empty setting, the harp part can't be removed. Could anyone add this into the engraver-init.ly? Otherwise I have to keep it in my own def file--I'll try to find the way now. Sorry, the zip file has the def file missing. I forgot that! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
PianoStaff can't removeEmpty
Hello, I suddenly discover that in all my scores, the piano staff can't remove empty. Therefore, my harp part is always there throughout my entire piece. How to remove it? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
can't download
Hello, When I tried to download 2.13.48, I found the linuxaudio server is down. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
2.13.48 not good IMO
Hello, I think 2.13.48 is not as good as 2.13.46. I compiled the work I'm working on, in 46, it takes 45 pages, with only a (de)crescendo too small warning; while in 48, it takes 48 pages, and gives many that warnings. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
mark line problem
Hello,
Someone (perhaps Valentin) gave me a snippet to create a context containing
only top texts such as rehearsal marks, tempo texts and metronome marks. I use
it for my work very well. All my scores are frenched scores.
%% Layout to produce MarkLine context
%% to place rehearsal marks and texts above full score
\layout {
\context {
\type Engraver_group
\name MarkLine
\consists Output_property_engraver
\consists Axis_group_engraver
\consists Mark_engraver
\consists Metronome_mark_engraver
\consists Script_engraver
\consists Text_engraver
\consists Text_spanner_engraver
\consists Font_size_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2 )
\override TextSpanner #'breakable = ##t
}
\context {
\Score
\accepts MarkLine
}
\context {
\StaffGroup
\accepts MarkLine
}
\context {
\PianoStaff
\accepts MarkLine
}
\context {
\GrandStaff
\accepts MarkLine
}
\context {
\ChoirStaff
\accepts MarkLine
}
}
(of course, you must remove rehearsal and metronome engravers out of Score)
Now I meet a new problem: at bar 201 of my piece, only harp is used for a
cadenza. It begins a new line, so all other instruments have gone. I put the
mark line to both top and before the first violin. Unfortunately, it doesn't
disappear when strings are not here. I'd like it to:
1. Keep alive when the instruments below it are used;
2. But disappear when the below staves are hidden.
Two results will happen if this is not solved:
a) When instruments before the first violin are all silent, there will be two
parallel mark lines, since the one before first violin has lower outside-staff
property;
b) When strings are silent, the second mark line is still here, which I think
is not good.
Could anyone help me?
Regards
Haipeng
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crowded page
Hello, I'm writing my second orchestral work. There's a place two systems having different height, one low and wthe other high with more instruments. Lilypond always tries to include all two on one page, and therefore generates couldn't fit music on page. I have to use manual break, but can Lilypond not do this stupid thing itself? This is the place I can find, and when making parts, I can't find anything because only one or two staves are used. How can I provide a small snippet? Using easy notes doesn't generate such issue. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
feedback on 2.13.46
Hello, Using 2.13.46 still can't automatically spread staves/systems into fittable layout, thus there are still couldn't fit music on page. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
tempo and rehearsal juxtaposition
Hello, I know how to write q=ca120, by reassigning rehearsal mark. But in my situation, there's a rehearsal 5 and I'd like to add Adagio (q=ca50). How to do that? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: tempo and rehearsal juxtaposition
Thanks. However, I said that I know this. My situation is, printing a rehearsal mark \mark \default, and then use the altered tempo marks. I learnt from the list that there can't be two \mark at the same time. So this is not fit my requirement. Regards Haipeeng -原始邮件- 发件人: Shane Brandes sh...@grayskies.net 发送时间: 2011年1月4日 星期二 收件人: 胡海鹏 - Hu Haipeng hhpmu...@163.com 抄送: 主题: Re: tempo and rehearsal juxtaposition you can try this from the snippet repository http://lsr.dsi.unimi.it/LSR/Item?id=234 Shane 2011/1/3 胡海鹏 - Hu Haipeng hhpmu...@163.com: Hello, I know how to write q=ca120, by reassigning rehearsal mark. But in my situation, there's a rehearsal 5 and I'd like to add Adagio (q=ca50). How to do that? Regards Haipeng ___ 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
spacing in 2.13.44
Hello, I used 2.13.44 to test my part making, and besides the existing couldn't fit music on page problem, the follwing warning was added: warning: couldn't fit music on page: ragged-spacing was requested, but page was compressed I still prefer the automatical function to let the non-fit stave or system jump to the next page. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
music fit on page, new item found in 2.13.42
Hello, I just downloaded 2.13.42. When making parts, I see the log file has a new thing. There are still many couldn't fit music on page if I use normal staff size, but after that, a compressing music to fit message is added. Does it mean I will be no longer worried about music fitting problem? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: music fit on page, new item found in 2.13.42
Thanks. Then, is anyone able to let Lilypond break the non-fittable line into the next page? Why it insists in putting such line on the current page? This issue of ten jars with nine lids (a Chinese idiom) must be solved, otherwise 1. every part must use different staff size; and 2. I must manually insert breaks, which I can't do visually. Regards Haipeng -原始邮件- 发件人: Carl Sorensen c_soren...@byu.edu 发送时间: 2010年12月10日 星期五 收件人: 胡海鹏 - Hu Haipeng hhpmu...@163.com 抄送: 主题: Re: music fit on page, new item found in 2.13.42 On 12/9/10 4:30 PM, 胡海鹏 - Hu Haipeng hhpmu...@163.com wrote: Hello, I just downloaded 2.13.42. When making parts, I see the log file has a new thing. There are still many couldn't fit music on page if I use normal staff size, but after that, a compressing music to fit message is added. Does it mean I will be no longer worried about music fitting problem? It means that the music will always be on the page. However, when you get the compressing music to fit message, it is possible that there will be collisions. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
articulation question
Hello, I'm wondering whether I can enter these articulations: mezzo staccato (dot and line), reversed accent sing and martellato (thick V). I don't know what a portato sign looks like, could anyone describe it? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to optimize line?/page breaking when making parts?
Hello, After many modification, my overture is about to come out as a final sets (score and parts). A friend of my teacher can manage to let it played. But when making parts, I still have problem with the latest version. No matter what staff size I set, there will be many parts not fitting music on page. I don't want some parts to have larger staves while others small. Do you have a way to gain optimized page breaking? Keep in mind that I can't see what measures are eaten by the bottom of the page, so I don't know when to break manually. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
showFirstLength problem
Hello, I'm checking the title page layout of my overture. I tried to use showFirstLength = R1 but the log says syntax error. Where must I place the string? I use 2 bookparts, in the second one there goes the music, and the first one for unnumbered 2 title pages. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi problem
Hello, I found an old problem which becomes more obvious in current version 2.13.36. If I enter a midi program change before a note, that note still uses previous sound. For example, if violin I part use string ensemble 1, and then switches to solo violin at the middle, it takes effect only at the second note after the midi instrument command. I can't change earlier, since in my orchestral midi part, I merge 5 strings into 3 staves, and when the vl1 is playing the last long note, the other string play staccatos. Is this a bug? Also, I strongly hope Lilypond can assign bank numbers. In standard gm soundfont, there are many special sets in other banks. The largest one is Crisis GM 3.01, which generates the best sounds. But I have to make many strange program changes and then use Synthfont to reassign individual change to another instrument from other bank. It takes me very long time especially there are many articulated effects. Regards haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: alternative notation for tuplets (idea)?
Hello Janek,
It's perhaps not feasible to change in my opinion. The current calculation is
very scientific. If you use c3 c c, then you'll lost the true value, since
\times 2/3 { c4 c c } equals a half, while \times 2/3 { c8 c c } equals a
quarter. It might be good to change to \tuplet 3 { c4 c c }, but have you
considered nest tuplets in a morden score? This algorism helps the program to
easily understand how much value it must fit these notes into and how much
percent the values of these notes must be compressed. E.G., \times 4/5 { c16 c
\times 6/9 { c32 c c c c c c c c } }, I think it can't easily understand what
human being think: \tuplet 5 { c16 c \tuplet 9 { c32 c c c c c c c c } }. Even
the printed version will make human think two or three seconds to begin to play
on an instrument.
Regards
Haipeng
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parts making problem
Hello, I'm producing parts for my overture, while finding a very frustrating visual problem. I'd like Lilypond to auto resize staves to pages, but I know the staff size must be set manually. Therefore, even a single line score causes all pages to have staves running out of. When I tried to set a small size, some were solved while other become more serious. I can't use layout-set-staff-size, because it doesn't change distance between staff lines. Could anyone point out a way to do that? I'm using 2.13.35. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
instrument names for grandstaves
Hello,
I'd like to engrave some percussion sections for separate players. The groups
have their name for player numbers, and the individual rhythmic staves indicate
names of instruments. However, even though I include the engraver, the file
attached doesn't generate group names into the pdf. I know this because I
converted the pdf into text. Could anyone point out what's wrong?
Regards
Haipeng
\version 2.13.35
\score {
\new StaffGroup
\new GrandStaff = group I\with { \consists Instrument_name_engraver }
\set GrandStaff.instrumentName = group 1
\set GrandStaff.shortInstrumentName = g1
\new RhythmicStaff = test I {
\set RhythmicStaff.instrumentName = test 1
\set RhythmicStaff.shortInstrumentName = t1
c4 c c c | \break c c c c
}
\new RhythmicStaff = test II {
\set RhythmicStaff.instrumentName = test 2
\set RhythmicStaff.shortInstrumentName = t2
c4 c c c | \break c c c c
}
\new GrandStaff = group II \with { \consists Instrument_name_engraver }
\set GrandStaff.instrumentName = group 2
\set GrandStaff.shortInstrumentName = g2
\new RhythmicStaff = test III {
\set RhythmicStaff.instrumentName = test 3
\set RhythmicStaff.shortInstrumentName = t3
c4 c c c | \break c c c c
}
\new RhythmicStaff = test IV {
\set RhythmicStaff.instrumentName = test 4
\set RhythmicStaff.shortInstrumentName = t4
c4 c c c | \break c c c c
}
\layout { }
}
i.pdf
Description: Adobe PDF document
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bad cross-staff slurs
Hello,
A person reported that in the following harp passage of mine, the slurs are
blurred with the notes. He read the score generated by 2.13.24, so: Is it still
wrong in 2.13.35? How to solve the issue?
Regards
Haipeng
\version 2.13.35
headsOn = \sequential {
\override Dots #'transparent = ##t
\override Stem #'transparent = ##t
\override Beam #'transparent = ##t
}
headsOff = \sequential {
\revert Dots #'transparent
\revert Stem #'transparent
\revert Beam #'transparent
}
str = \change Staff = rh
stl = \change Staff = lh
harprh = \relative c'' {
\clef treble \key ees \major \time 4/4
\showStaffSwitch
% rehearsal 6, bars 83-99
s1*6 |
s2 c a e4\arpeggio r |
s1*8 |
bes aes f d2\arpeggio r_\markup { \harp-pedal #--^|^--^ } |
r \stl \headsOn bes,,8\glissando \str f''\glissando \stl bes,4\glissando |
% rehearsal 7, bars 100-108
\str \headsOff bes'''4 r r2 |
}
harplh = \relative c {
\clef bass \key ees \major
% rehearsal 6, bars 83-99
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { ges([ des' ges] \str bes[ des ees] bes'[ ges ees] \stl des[
bes ges)] } |
\times 2/3 { f,([ des' f] \str bes[ des f] des'[ bes f] \stl bes,[ f bes,)]
} |
\times 2/3 { a([ e' a] \str cis[ e fis] cis'[ a fis] \stl e[ cis a)] } |
\times 2/3 { gis,([ e' gis] \str cis[ e gis] e'[ cis gis] \stl e[ b e,)] } |
\times 2/3 { a,([ e' a] \str c[ e a] c[ a e] \stl c[ a e)] } |
\times 2/3 { g,([ e' a] \str c[ e a] c[ a e] \stl c[ a e)] } |
\times 2/3 { fis,([ e' a] \str c[ e a)] } \stl fis, c'4\arpeggio f,4 |
\times 2/3 { e8([ b' e] \str a[ b e)] \stl e,([ b' e] \str gis[ b e)] } |
\stl \times 2/3 { g,,,([ d' g] \str b[ d e] b'[ g e] \stl d[ b g)] } |
\times 2/3 { fis,([ d' fis] \str ces'[ d fis] d'[ ces fis,] \stl ces[ fis,
ces)] } |
\times 2/3 { bes([ f' bes] \str d[ f g] d'[ bes g] \stl f[ d bes)] } |
\times 2/3 { a,([ f' a] \str d[ f a] f'[ d a] \stl f[ c f,)] } |
\times 2/3 { bes,([ f' bes] \str des[ f bes)] \stl a,,([ f' bes] \str des[
f bes)] } |
\stl \times 2/3 { aes,,([ f' bes] \str des[ f bes)] \stl g,,([ f' bes] \str
des[ f bes)] } |
\stl \times 2/3 { ges,,([ f' bes] \str des[ f bes)] \stl f,,([ des' bes']
\str des[ f bes)] } |
\stl e, aes bes2\arpeggi r |
r s |
% rehearsal 7, bars 100-108
R1 |
}
dynamics = {
% rehearsal 6, bars 83-99
s1*2 | s\ | s\!\mf\ | s1\!\f\ | s2 s\!\mp |
s1*2 | s\ | s\!\mf\ | s2 s\!\ | s1\!\mp | s2 s\f |
% rehearsal 7, bars 100-108
s1 |
}
\score {
\new PianoStaff = harp
\set PianoStaff.instrumentName = Harp
\set PianoStaff.shortInstrumentName = Hrp.
\set PianoStaff.connectArpeggios = ##t
\new Staff = rh { \harprh }
\new Dynamics { \dynamics }
\new Staff = lh { \harplh }
\layout { }
}
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feedback on 2.13.35
Hello, Thanks for releasing 2.13.35, the spacing problem in 2.13.34 has been solved, and I'm 99% satisfied with it, except that the overture still compiles out 4 pages more than 2.13.24. However, I'll jump to this version before 2.14's out. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: feedback on 2.13.34
Thanks! My Filezilla can't connect to my own ftp site, and Filesonic is running abnormal this month. The other 2 sites you pointed out are either blocked by gfw or redirected to another site. So I have to upload it to RS, and you hacan only have 10 chances to download it. The zip file contains no pdf, and I'd like you to see what's wrong with the pdf output. But since the file is very big, I don't think anyone can find the problem quickly. But I don't know where to cut, and what page causes the warnings. http://rapidshare.com/files/421205725/overture.zip Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
visual problem on two triplets in 4/4 time
Hello,
My mother found a problem when I write continuous triplets. For example,
\time 4/4 c'4 c' \times 2/3 { c'8 d' e' } \times 2/3 { f' g' a' }
The two triplets are grouped like one sextupplet, but with two 3's. What's the
problem? Is it a wrong practice in notation convention? Is it controlled by
beam settings?
Regards
Haipeng
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Re:Re: visual problem on two triplets in 4/4 time
Sorry for the noise, it's my fault of not setting tupplet spanner duration in a continuous triplets, not my example here. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
feedback on 2.13.34
Hello, I'm very glad that 2.13.34 is much better than previous devel versions since 2.13.24. The only shortcoming is, however, still spacing. In my case, the overture uses 35 pages in 2.13.24, while 37 in 2.13.34, with one couldn't fit music on page: warning in the middle. I don't know which page it belongs to (please add an indication for easier reference). I'd like it go closer to 2.13.24's excellent spacing. The overture is too big, so I can't include it here. But I don't know how to demonstrate the somewhat frustrating spacing. Could anyone point out a way for you to examine the problem? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
drawing an arrow
Hello,
I'm writing an indication for bell tree to gliss upwards. So I need an arrow
pointing right-up. However, the following markup only produces an rotated
triangle. Must I add a line before the arrow? Could you help me visually to
create one?
Regards
Haipeng
\relative c, {
r2 c\mp^\markup { \rotate #30 \arrow-head #X #RIGHT ##t } ~ |
c4 r r2 |
}
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re-learning markup sections
Hello,
I am re,reading the sections in NR about markups. The following confuses me,
because I can't find any wrong points in the last one. The madual says it has
no anchor point, so can't be moved. Can you give me any clues?
Also, I can't distinguish xx-align and xx-column. I think \left-align { abc
def ghi jkl } will be the same when using \left-column. What's the
difference? Could anyone give a plain text demo formatted with spaces?
Regards
Haipeng
-- begin quote --
The following example demonstrates these two possibilities; the last markup in
this example has no anchor point, and therefore is not moved.
d2^\markup {
Acte I
\raise #2 { Scène 1 }
}
a'
g_\markup {
\null
\lower #4 \bold { Très modéré }
}
a
d,^\markup {
\raise #4 \italic { Une forêt. }
}
a'4 a g2 a
-- end quote --
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column-lines not shifted right
Hello,
I am editing the back of the title page, where are some notes to perc
players. In the following block, I used hspace, but a sighted person told me
that the 5 lines are not shifted right. I then used 6 spaces before every P,
but the problem persists. How can I do?
Regards
Haipeng
\markuplines { \vspace #1 \fill-line { Notes to Percussionists } \vspace #3
\paragraph {
The percussion section in this piece requires 5 players. They are
arranged as follows:
}
\vspace #1 \hspace #4
\column-lines {
Player I: triangle, aall cymbals and bell tree. Switches to
tambourine at rehearsal 14;
Player II: tambourine, switches to tom-toms from rehearsal 12 on;
Player III: snare drum;
Player IV: bass drum;
Player V: glockenspiel.
}
}
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Re:Re: column-lines not shifted right
Thanks Phil. I believe that \paragraph isn't a standard part of LilyPond notation Yeah, it's not included in the default scm file. But I just want some word-wrapped lines and other kinds of formatted texts in case they have bad indentations and run off the page. This is very useful when I write large section of introductory texts before the music. I don't want to use Latex, which I must learn much again (am I lazy?). Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re:Re: column-lines not shifted right
The \paragraph is taken from the manual, but I don't know where it is now. #(define-markup-list-command (paragraph layout props args) (markup-list?) (let ((indent (chain-assoc-get 'par-indent props 2))) (interpret-markup-list layout props (make-justified-lines-markup-list (cons (make-hspace-markup indent) args) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Two questions regarding page numbers
Hello,
I have two questions about title pages and prefaced pages. Perhaps they are
in the manuals, but I can't find them at this time.
1. Title pages: If I want to set page number to -1 to start the music at the
second piece of paper, how can I force the number 0 to hide at the back of
title page? I tried
\paper {
print-page-number = ##f
}
at first, then after the small intro text on the back, added another paper
block to turn on page numbering before the music. But this results the same as
if no previous setting was used. How can I do?
2. How can I make the preface Roman page numbered? And then how can I reset
the beginning of music page 1 (Arabic)?
Regards
Haipeng
PS. I'm totally frustrated with the latest versions of devel, whose spacing is
becoming stranger and stranger. My overture got 34 pages on 2.13.24, and then
38 on 2.13.31, and at last 50 on 2.13.33! Also, my drums can't go into midi
now, even rolling back to 2.13.24. I'll try more to solve it.
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Re:Re: two problems regarding harp part
Dear Phil: I can confirm that compiling this music produces a number of errors... the score is too complex to have any chance of working out whether this is a bug or expected behaviour owing to errors in the music. I tried commenting out parts of the music but with no success. Yeah, when I deleted music before rehearsal 6, all errors except couldn't fit music on page go away. But the previous music has no problem when the other half is deleted. Thus, Lilypond is playing Hide-And-See with me!!! Which expert can fix it? I think it's the strangest thing I have met in my life :-) Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Soundfonts
I have figured out how to achieve, but... but you must do a complete different score for midi. If the two sounds within a line uses different soundfont, you must divide it into two lines. Also, please map the midi instrument to the correct presets of your soundfont, thus, 001 is not always piano! You can use Synthfont to assign different soundfonts within one midi file. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
two problems regarding harp part
Hello,
I reported this problem earlier, and stopped when my teacher said nothing was
wrong on the score. But with 2.13.30 the portion has more such reports. Here's
the music. When I comment out music before rehearsal 6 (sorry, mark line not
included, see the comment line), no problem is found:
programming error: no note heads for the line spanner on neighbor line?
Confused.
continuing, cross fingers
And also, couldn't fit music on page.
\version 2.13.30
str = \change Staff = rh
stl = \change Staff = lh
headsOn = \sequential {
\override Dots #'transparent = ##t
\override Stem #'transparent = ##t
\override Beam #'transparent = ##t
}
headsOff = \sequential {
\revert Dots #'transparent
\revert Stem #'transparent
\revert Beam #'transparent
}
harprh = \relative c' {
\clef treble \key c \major \time 4/4
\showStaffSwitch
% introduction
% initial, bars 1-6
R1 | \time 5/4 R1*5/4 |
\time 4/4 R1 |
\time 5/4 R1*5/4*3 |
% part 1
% rehearsal 1, bars 7-20
\time 9/8 R1*9/8*3 | \time 5/4 R1*5/4*5 |
\time 9/8 R1*9/8*3 | \time 5/4 R1*5/4 | R1*5/4 | R1*5/4^\fermataMarkup \bar
||
% rehearsal 2, bars 21-37
R1*5/4*8 |
R1*5/4_\markup { \harp-pedal #^^-|-^-- } |
s1*5/4 |
R1*5/4*7_\markup { \harp-pedal #vv-|-vv- } |
% rehearsal 3, bars 38-51
\time 3/4
R2.*7 |
r4 r8 \autoBeamOff b32[\mf\ cis dis e fis gis a32*6]\glissando |
\time 5/4
\autoBeamOn dis'4\!\f r r r2 |
R1*5/4*5_\markup { \harp-pedal #---|^--^ } |
% rehearsal 4, bars 52-65
\time 9/8
R1*9/8*11 |
\time 5/4
g,, b,2.\laissezVibrer r2 |
R1*5/4^\markup { B \smaller \flat } | R1*5/4^\fermataMarkup \bar ||
% part 2
% rehearsal 5, bars 66-82
\key ees \major \time 4/4
g ees c bes1\arpeggio | R1 |
f c aes\arpeggio |
aes ees c\arpeggio |
g f ees\arpeggio |
aes f ees c\arpeggio |
a f ees c\arpeggio |
bes f d\arpeggio |
r4 bes, ees bes f bes, |
r g bes, f bes, ees bes |
r c ees c f c |
r f aes, ees aes, des aes |
r f aes, ees aes, des aes |
r f bes f g ees |
r f aes, r f aes, |
r aes des, aes f des aes2 |
r4 f ees bes d,2 |
% rehearsal 6, bars 83-108
s1*6 |
s2 c a e4\arpeggio r4 |
s1*8 |
bes aes f d2\arpeggio r_\markup { \harp-pedal #--^|^--^ } |
r \stl \headsOn bes,,8\glissando \str f''\glissando \stl bes,4\glissando |
\str \headsOff bes'''4 r r2 |
R1*8_\markup { \harp-pedal #---| } |
% rehearsal 7, bars 109-120
R1*3 |
g,,4\p^\flageolet r r2 |
R1 | R1^\fermataMarkup |
R1*3 |
g'4^\flageolet r r2 |
r2 \times 2/3 { g8- g,4 } r4 |
\times 2/3 { g'8-\ g,4 } r4 \times 2/3 { g'8-\!\pp g,4 } r4\fermata \bar
||
% part 3
% rehearsal 8, bars 121-130
\key c \major \time 3/4
R2.*4 |
\time 4/4
R1 | R1 |
\time 3/4
R2. | R2. |
\time 5/4
R1*5/4 | R1*5/4 |
% rehearsal 9, bars 131-146
\time 9/8 R1*9/8*3 |
\time 5/4 R1*5/4*5 |
\time 9/8 R1*9/8*3 |
\time 5/4 R1*5/4*5 |
% rehearsal 10, bars 147-167
R1*5/4*21 \bar ||
% coda
% rehearsal 11, bars 168-188
\time 3/4 R2.*21 |
% rehearsal 12, bars 189-202
R2.*6 |
\time 4/4
R1*8 |
% rehearsal 13, bars 203-238
\time 2/2
R1 |
\stl \headsOn g,,4\glissando \str d''\glissando \stl g,2\glissando |
\str \headsOff g'''4 r r2 | R1*32 |
r2 \stl g\glissando |
% finale
% rehearsal 14, bars 239-248
\time 4/4
\str g4 r r2 |
R1*3 |
\time 3/4
R2.*4 |
\time 4/4
R1 | R1 \bar |.
}
harplh = \relative c {
\clef bass \key c \major
\showStaffSwitch
% introduction
% initial, bars 1-6
R1 | R1*5/4 | R1 | R1*5/4*3 |
% part 1
% rehearsal 1, bars 7-20
R1*9/8*3 | R1*5/4*5 |
R1*9/8*3 | R1*5/4 | R1*5/4 | R1*5/4^\fermataMarkup \bar ||
% rehearsal 2, bars 21-37
R1*5/4*9 |
a32\mf\^gliss. b ces des e fes g a32*13\glissando \str \headsOn
b'''8*4\!\\glissando \stl a8\! \headsOff |
R1*5/4*7 |
% rehearsal 3, bars 38-51
R2.*8 | R1*5/4*6 |
% rehearsal 4, bars 52-65
R1*9/8*11 |
g d'2.\laissezVibrer r2 |
R1*5/4 | R1*5/4^\fermataMarkup \bar ||
% part 2
% rehearsal 5, bars 66-82
\key ees \major
ees bes' ees g1\arpeggio | R1 |
f c' f\arpeggio |
aes ees' aes\arpeggio |
c g'\arpeggio |
aes ees' aes\arpeggio |
f c' f\arpeggio |
bes f' bes2.\arpeggio bes, bes'4 |
ees8 bes' g' bes, g' bes, g' bes, |
ees, bes' g' bes, g' bes, g' bes, |
f c' aes' c, aes' c, aes' c, |
des, aes' f' aes, f' aes, f' aes, |
f des' f des f des f des |
c, g'' c g c g c g |
f, c' f c ees, c' f c |
des, aes' f' aes, f'2 |
bes,8 f' bes f bes f aes, f' |
% rehearsal 6, bars 83-108
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { ges,([ des' ges] \str bes[ des ees] bes'[ ges ees] \stl des[
bes ges)] } |
\times 2/3 { f,([ des' f] \str bes[ des f] des'[ bes f] \stl bes,[ f
Re:Re: single part spacing problem
Thanks. But when I used 30, my full score was fattened from 34 pages to 38, and there are many warnings saying (de)crescendo too small, in fact they are not small; and a programming error in harp part in 2.13.24 increased to several: no note heads for the line spanner on neighbor line? Confused. Anyway, I'll try the single part now. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
single part spacing problem
Hello,
When I extract the timpani part from my overture (I have not made cues), a
fatal problem comes--spacing issues. No matter what staff size I set, the
warning couldn't fit music on page always appears. How to sove it?
Regards
Haipeng
a simplified version (without rehearsal and top texts)
\version 2.13.24
crpap = {
\set crescendoText = \markup { \italic Cresc. poco a poco }
\set crescendoSpanner = #'text
\override DynamicTextSpanner #'style = #'dotted-line
}
offCr = {
\unset crescendoText
\unset crescendoSpanner
\revert DynamicTextSpanner #'style
}
timpani = \relative c {
\clef bass \key c \major \time 4/4
% introduction
% initial, bars 1-6
R1^3 in G, C E |
\time 5/4
r8 \repeat tremolo 12 c32\mp\ \repeat tremolo 12 c c8\!\f r4 |
\time 4/4
R1 |
\time 5/4
r8 \repeat tremolo 12 e32\mp\ \repeat tremolo 12 e e8\!\f r4 |
\repeat tremolo 24 g,32\p\ \repeat tremolo 16 g |
c8-\!\f r^E to D r4 r r2 |
% part 1
% rehearsal 1, bars 7-20
\time 9/8 R1*9/8*3 |
\time 5/4 R1*5/4*3 |
g4.\mf d'4 g,4. d'4 |
g,8\mp\ d' g, d' g, d' g, d' g, g- |
\time 9/8
c4.-\!\sf^D to F g4\f g16 g g g c8 g- |
c4.- g4 c16 c c c g8 g- |
c4.- g4 \repeat tremolo 4 c32\p\ \repeat tremolo 12 c |
\time 5/4
f8-\!\sf^C to D r r4 r8 \repeat tremolo 8 f32\mp\ f8\!\f r4 |
r \repeat tremolo 8 f32\mp\ f8\!\f r r2 |
r2 d16\mf d d8 d16\f d d8-\sf r4\fermata \bar ||
% rehearsal 2, bars 21-37
R1*5/4*9^G to A, F to E |
\repeat tremolo 12 a32\mf e'4 a,4. a4 |
d4. a4\ d4. d4\!\p |
R1*5/4*6^A to Bb, D to B, F to Eb |
% rehearsal 3, bars 38-51
\time 3/4
R2.*7 |
r2 r8 b\f |
\time 5/4
ees4. bes4\mf ees4. bes4 |
ees4.\ bes4 ees4. bes4 |
ees4.\!\f bes4 ees4.^to E b4 |
e4. b4 e4.\ e4\! |
R1*5/4^Bb to G, E to D |
d4\mf\ d8 d d d4 d8 d d |
% rehearsal 4, bars 52-65
\time 9/8
g,4.\!\f d'4 d16 d d d g,8 d'- |
g,4.- d'4 g,16 g g g d'8 d- |
g,4. d'4 d16 d d d g,8 d'- |
g,4.- d'4 g,16 g g g d'8 d- |
g,16 g g g g8 d'16 d d d d8 g,16 g g g g8 |
d'4 d8 g,4 d'8 d4 d8 |
\repeat tremolo 24 g,32\ \repeat tremolo 12 g |
\repeat tremolo 24 g \repeat tremolo 12 g |
\repeat tremolo 24 g \repeat tremolo 12 g |
\repeat tremolo 24 g\!\p \repeat tremolo 12 g |
g8 r r r4 r8 r4 r8 |
\time 5/4
g16 g g8 g g g g16 g g8 g g g |
g16\ g g8 g g g g r2 |
g4\!\pp^B to Bb, D to Eb r r r2\fermata \bar ||
% part 2
% rehearsal 5, bars 66-82
\key ees \major \time 4/4
R1*17 |
% rehearsal 6, bars 83-108
R1*15 |
\repeat tremolo 24 ees'32\p\ ees8- ees-\! |
\tag #'score { { \repeat tremolo 32 bes32 } \\ { s8\f s\mp\ s2 s4\! }
| }
\tag #'midi { { \repeat tremolo 64 bes64 } \\ { s8\f s\mp\ s2 s4\! }
| }
ees4\f r r2 | R1*7 |
\tag #'score { { \repeat tremolo 32 g,32- } \\ { s2.\mf\ s4\p } | }
\tag #'midi { { \repeat tremolo 64 g64- } \\ { s2.\mf\ s4\p } | }
% rehearsal 7, bars 109-120
R1*5^Bb to C, Eb to D | R1^\fermataMarkup |
R1*3 |
\tag #'score { \repeat tremolo 32 g32-\p |
\repeat tremolo 32 g\ |
\repeat tremolo 32 g\fermata\!\pp \bar || }
\tag #'midi { \repeat tremolo 64 g64-\p |
\repeat tremolo 64 g\ |
\repeat tremolo 64 g\fermata\!\pp \bar || }
% part 3
% rehearsal 8, bars 121-130
\key c \major \time 3/4
\repeat tremolo 24 g32 |
\repeat tremolo 24 g |
\repeat tremolo 24 g |
\repeat tremolo 24 g |
\time 4/4
\repeat tremolo 32 g\cresc |
\repeat tremolo 32 g |
\time 3/4
\repeat tremolo 24 g |
\repeat tremolo 24 g |
\time 5/4
\repeat tremolo 24 g-\f\ \repeat tremolo 16 g |
c8-\!\sf r r4 r r2 |
% rehearsal 9, bars 131-146
\time 9/8 R1*9/8*3 |
\time 5/4 R1*5/4*3 |
g4.\mf d'4 g,4. d'4 |
g,8\mp\ d' g, d' g, d' g, d' g, g- |
\time 9/8
c4.-\!\sf^D to F g4\f g16 g g g c8 g- |
c4.- g4 c16 c c c g8 g- |
c4.- g4 \repeat tremolo 4 c32\p\ \repeat tremolo 12 c |
\time 5/4
f8-\!\sf r r4 r8 \repeat tremolo 8 f32\mp\ f8\!\f r4 |
r \repeat tremolo 8 f32\mp\ f8\!\f r r4 r8 \repeat tremolo 4 c32\mp\ |
\repeat tremolo 4 c c8\!\f r4 r \repeat tremolo 8 c32\mp\ c8\!\f r |
r2 r4 r8 g16\mf g g8 g16\f g |
g8-\sf r r4 r r2 |
% rehearsal 10, bars 147-167
R1*5/4*8 |
f'4.\mf c4 f4. c4 |
R1*5/4 | R1*5/4 |
c4. g4 c4. g4 |
R1*5/4 | R1*5/4 |
f'4.\mp\cresc c4 f4.^to D c4 |
d4. d4 g,8\!\f d'\mf\ d d g, |
c4\!\f r r r2 | R1*5/4 |
g4.\mp\cresc g4 c4. c4 |
c4. c4 d4 d8- d- d- |
\tag #'score { \repeat tremolo 24 g,32\!\sf\ \repeat tremolo 16 g \bar
|| }
\tag #'midi { \repeat unfold 10 g\!\sf\ \repeat unfold 10 g \repeat unfold
10 g \repeat unfold 10 g \bar || }
% coda
% rehearsal 11, bars 168-188
\time 3/4
\repeat tremolo 24 g\!\pp |
\repeat tremolo 24 g |
\repeat tremolo 24 g |
\repeat tremolo 24 g |
\repeat tremolo 24
taggin problem
Hello, In NR, I discovered a problem concerning tagging. If I remove multiple tags, it will wolk perfectly; however, the opposite way is not available (at the very bottom of the tagging section). I'd like to make parts for my overture, which already contains many midi tags. I want to nest tags to differ score and parts. But Lilypond will report error if I use \keepWithTag #'score #'part (the #'score is used to differ #'midi, and the opposite way of #'part is #'full); and when I use \keepWithTag #'score \keepWithTag #'part, the output is messed up. How can I do? Must I make another copy of the score and remove all tags except those for making parts? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Soundfonts
Hello, Does anyone have experience with various soundfonts? I think Lilypond'smidi is only suitable for GM soundfonts. I just purchased Orchestral Collection Bundle from Digital SOund Factory, and found it is divided into separated sections. Is anyone familiar with this kind of soundfonts? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
fermata not shown at playing parts
Hello,
I encount a serious problem. My teacher found that my fermatas are only on
the silent parts. When I gave him the following snippet, the problem persisted.
Is it a bug? Must I use \fermata instead of ^\fermataMarkup?
Regards
Haipeng
\version 2.13.24
\layout {
\context {
\StaffGroup
\name Orchestra
\remove Span_bar_engraver
}
\context {
\Score
\accepts Orchestra
}
\context {
\StaffGroup
\name SquareStaff
systemStartDelimiter = #'SystemStartSquare
}
\context {
\Orchestra
\accepts SquareStaff
}
\context {
\StaffGroup
\accepts SquareStaff
}
}
\header { tagline = ##f }
one = \relative c' {
\clef treble \time 4/4
c4 e g c^\fermataMarkup | c g e c^\fermataMarkup \bar ||
}
two = \relative c' {
\clef treble \time 4/4
c4 e g r^\fermataMarkup | c g e r^\fermataMarkup \bar ||
}
three = \relative c' {
\clef treble \time 4/4
c4 e g c^\fermataMarkup ~ | c1^\fermataMarkup \bar ||
}
four = \relative c'' {
\clef treble \time 4/4
R1^\fermataMarkup | c g e c^\fermataMarkup \bar ||
}
five = \relative c' {
\clef treble \time 4/4
c1^\fermataMarkup | R1^\fermataMarkup \bar ||
}
\score {
\new Orchestra
\new SquareStaff
\new Staff { \one }
\new Staff { \two }
\new Staff { \three }
\new Staff { \four }
\new Staff { \five }
\layout { }
}
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: fermata not shown at playing parts
Then you should add this to the doc in case of confusion to other people. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: fermata not shown at playing parts
Carl, Yes, I found these sections. The two have confused me for over two years. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
large source occupying on myfinal composition
Hello, I finally finish my concert overture, which has just 250 measures, 34 pages. The compiling is a nightmare! When I used normal way, the computer turned into a circumstance like it was about to crash. Then I used Process Tamer, a small util program to reduce source wasting. At first, it's ok to do anything while compiling, but after 5 minutes, the computer again became very slow. Then I went away to listen to The Firebird. After its 45 minutes' music, Lilypond was still compiling. I checked the task manager, and found it first used around 120M of RAM, but then continuous ascend to over 520M, and then fall to 330M, and up to 472... After another about 50 minutes, The score was at last ready. The whole process took about 110 minutes!!! I'd like to know why Lilypond should use such a large memory, since cpu is not taken too much (but instead, system idle process.exe took very large percent (up to 94%) of cpu). I think I must buy a Win7 machine with 4 core cpu and 8gb RAM, otherwise I can't write a piece like The Firebird, which will burn my current machine into dust :-) Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:strange programming error
Thanks, but... commenting \showStaffSwitch in the staff harprh stops this warning/error - could this be a starting point to track the error? I'm confused. Because all my code seems to be right, and if no \showStaffSwitch, the change staff can't work. But please tell me whether the pdf output is ok? If ok, I'll ignore this warning. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strange programming error
Hello,
I encounter a strange problem on my harp part. THe message is:
programming error: no note heads for the line spanner on neighbor line?
Confused.
It is very strange because, although it seems to be the problem of the last
glissando, when I commented out all previous music, it has no problem, and if I
comment out the glissando, the previous music is also ok. It means that these
two portions can either exist, but not both. Could anyone point out what's
wrong? Sorry, I can't provide a shorter example, because the problem is caused
by the whole part.
Regards
Haipeng
\version 2.13.24
headsOn = \sequential {
\override Dots #'transparent = ##t
\override Stem #'transparent = ##t
\override Beam #'transparent = ##t
}
headsOff = \sequential {
\revert Dots #'transparent
\revert Stem #'transparent
\revert Beam #'transparent
}
str = \change Staff = rh
stl = \change Staff = lh
harprh = \relative c' {
\clef treble \key c \major \time 3/4
\showStaffSwitch
R2.*6 |
\time 5/4 R1*5/4 | R1*5/4 |
\time 9/8 R1*9/8*3 | \time 5/4 R1*5/4*5 |
\time 9/8 R1*9/8*3 | \time 5/4 R1*5/4 | R1*5/4 | R1*5/4^\fermataMarkup \bar ||
R1*5/4*8 |
R1*5/4_\markup { \harp-pedal #^^-|-^-- } |
s1*5/4 |
R1*5/4*7_\markup { \harp-pedal #vv-|-vv- } |
\time 3/4
R2.*7 |
r4 r8 \tag #'score { \autoBeamOff b32[\mf\ cis dis e fis gis a32*6]\glissando |
\time 5/4
\autoBeamOn dis'4\!\f r r r2 | }
\tag #'midi { \times 12/16 { b,,32\mf\ cis dis e fis gis a b cis dis e fis gis a b cis } |
\time 5/4
dis4\!\f r r r2 | }
R1*5/4*5_\markup { \harp-pedal #---|^--^ } |
\time 9/8
R1*9/8*11 |
\time 5/4
g,, b,2.\laissezVibrer r2 |
R1*5/4^\markup { B \smaller \flat } | R1*5/4^\fermataMarkup \bar ||
\key ees \major \time 4/4
\tag #'score { g ees bes g1\arpeggio | R1 |
f c aes\arpeggio |
aes ees c\arpeggio |
g ees c\arpeggio |
aes f ees c\arpeggio |
a f ees c\arpeggio |
bes f d\arpeggio | }
\tag #'midi { r16 g,64 bes ees g ~ g8 ~ g2. | R1 |
r16 \times 2/3 { aes,32 c f ~ } f8 ~ f2. |
r16 \times 2/3 { c32 ees aes ~ } aes8 ~ aes2. |
r16 \times 2/3 { c,32 ees g ~ } g8 ~ g2. |
r16 c,64 ees f aes ~ aes8 ~ aes2. |
r16 c,64 ees f a ~ a8 ~ a2. |
r16 \times 2/3 { d,32 f bes ~ } bes8 ~ bes2. | }
r4 bes, ees bes f bes, |
r g bes, f bes, ees bes |
r c ees c f c |
r f aes, ees aes, des aes |
r f aes, ees aes, des aes |
r f bes f g ees |
r f aes, r f aes, |
r aes des, aes f des aes2 |
r4 f ees bes d,2 |
s1*6 |
s2 \tag #'score { c a e4\arpeggio }
\tag #'midi { r16 \times 2/3 { e,32 a c ~ } c8 } r4 |
s1*8 |
\tag #'score { bes aes f d2\arpeggio }
\tag #'midi { r16 d,64 f aes bes ~ bes4. }
r2_\markup { \harp-pedal #--^|^--^ } |
r \stl \tag #'score { \headsOn bes,,8\glissando \str f''\glissando \stl bes,4\glissando | }
\tag #'midi { \times 8/15 { bes,32 c d ees f g aes bes c d ees f ees d c } \times 16/21 { bes64 c d ees f g aes bes c d ees f g aes bes c d ees f g aes } | }
\str \headsOff bes4 r r2 | R1*8 |
R1*3_\markup { \harp-pedal #---| } |
g,,4\p^\flageolet r r2 |
R1 | R1^\fermataMarkup |
R1*3 |
g'4^\flageolet r r2 |
r2 \times 2/3 { g8- g,4 } r4 |
\times 2/3 { g'8-\ g,4 } r4 \times 2/3 { g'8-\!\pp g,4 } r4^\fermataMarkup \bar ||
\key c \major \time 3/4
R2.*4 |
\time 4/4
R1 | R1 |
\time 3/4
R2. | R2. |
\time 5/4
R1*5/4 | R1*5/4 |
\time 9/8 R1*9/8*3 |
\time 5/4 R1*5/4*5 |
\time 9/8 R1*9/8*3 |
\time 5/4
R1*5/4*5 |
R1*5/4*21 \bar ||
\time 3/4
R2.*21 |
R2.*6 |
\time 4/4
R1*8 |
\time 2/2
R1 |
\stl \tag #'score { \headsOn g,,4\glissando \str d''\glissando \stl g,2\glissando | }
\tag #'midi { \times 8/15 { g,16 a b c d e f g a b c d c b a } \times 16/21 { g32 a b c d e f g a b c d e f g a b c d e f } | }
\str \headsOff g4 r r2 | R1*15 |
}
harplh = \relative c {
\clef bass \key c \major
\showStaffSwitch
R2.*6 | R1*5/4 | R1*5/4 |
R1*9/8*3 | R1*5/4*5 |
R1*9/8*3 | R1*5/4 | R1*5/4 | R1*5/4^\fermataMarkup \bar ||
R1*5/4*9 |
\tag #'score { a32\mf\^gliss. b ces des e fes g a32*13\glissando \str \headsOn b'''8*4\!\\glissando \stl a8\! \headsOff | }
\tag #'midi { \times 20/30 { a16\mf\ b32 b cis e e g a b b cis e e g a b b cis e e g a b b cis e e g a }
\times 16/25 { b\!\f\ a g e e cis b b a g e e cis b b a g e e cis b b a g e } e64 cis b b a16\!\mf | }
R1*5/4*7 |
R2.*8 | R1*5/4*6 |
R1*9/8*11 |
g d'2.\laissezVibrer r2 |
R1*5/4 | R1*5/4^\fermataMarkup \bar ||
\key ees \major
\tag #'score { ees bes' ees1\arpeggio | R1 |
f c' f\arpeggio |
aes ees' aes\arpeggio |
c g' c\arpeggio |
aes ees' aes\arpeggio |
f c' f\arpeggio |
bes f' bes2.\arpeggio bes, bes'4 | }
\tag #'midi {
Special tempo indication in new version of lilypond
Hello, I know how to write special tempo indication like 4= ca120 in old versions of lilypond. But since the new ones have included \tempo text + tempo function, I don't know how to adjust it. Moreover, the indication is quite different from the snippet. At the end of my overture, there are both 9/8 and 4/4, so I must add something like this: Presto q=160 (q.=120) so that the conductor can correctly handle the meter changes. How to do that? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Bug? a minimal example to show going back in midi time
Thanks Carl, I have solved the problem last night by adding midi tags to all the problematic instruments (bassoons, trumpet I, cello and bass). I don't know how Lilypond calculates music values, but I've never heard such issue in other musical notation softwares. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Bug? a minimal example to show going back in midi time
Dear All,
After reading the messages about going back in midi time, I realized that
the main problem of my overture's midi output is not totally because of
articulate. Here's the small intro containing just 8 bars, and the problem is
at bar 7. Please run it, and you'll see these warnings. I add many c's in harp
part, and you will hear bad time delay in other instruments at the beginning of
bar 8. Serious bug, and if you acknowledge, I'll forward it to bug list. Or,
must I change all graces into tuplets or vice versa in the tag midi parts?
Regards
Haipeng
\version 2.13.24
\paper {
ragged-bottom = ##t
left-margin = 20\mm
% two-sided = ##t
}
modern =
#`(Staff ,(make-accidental-rule 'same-octave 0)
,(make-accidental-rule 'any-octave 0)
,(make-accidental-rule 'same-octave 1))
\layout {
\context {
\Score
autoAccidentals = #modern
autoCautionaries = #modern
}
\context {
\RemoveEmptyStaffContext
}
\context {
\RemoveEmptyRhythmicStaffContext
}
\context {
\Dynamics
\override TextSpanner #'breakable = ##t
\override DynamicLineSpanner #'breakable = ##t
\override DynamicTextSpanner #'breakable = ##t
\override Hairpin #'to-barline = ##f
}
\context {
\Voice
\override Hairpin #'to-barline = ##f
\override Glissando #'breakable = ##t
\override TextSpanner #'breakable = ##t
\override DynamicLineSpanner #'breakable = ##t
\override DynamicTextSpanner #'breakable = ##t
\override TrillSpanner #'breakable = ##t
}
\context {
\StaffGroup
\name Orchestra
\remove Span_bar_engraver
}
\context {
\Score
\accepts Orchestra
}
\context {
\StaffGroup
\name SquareStaff
systemStartDelimiter = #'SystemStartSquare
}
\context {
\Orchestra
\accepts SquareStaff
}
\context {
\StaffGroup
\accepts SquareStaff
}
\context {
\type Engraver_group
\name MarkLine
\consists Output_property_engraver
\consists Axis_group_engraver
\consists Mark_engraver
\consists Metronome_mark_engraver
\consists Script_engraver
\consists Text_engraver
\consists Text_spanner_engraver
\consists Font_size_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2 )
\override TextSpanner #'breakable = ##t
}
\context {
\Score
\accepts MarkLine
}
\context {
\Orchestra
\accepts MarkLine
}
\context {
\StaffGroup
\accepts MarkLine
}
\context {
\MarkLine
\name SmallMarkLine
\override MetronomeMark #'outside-staff-priority = #800
\override RehearsalMark #'outside-staff-priority = #1200
}
\context {
\Score
\accepts SmallMarkLine
}
\context {
\Orchestra
\accepts SmallMarkLine
}
\context {
\StaffGroup
\accepts SmallMarkLine
}
}
\header {
tagline = ##f
title = \markup { \bold \fontsize #4 Harmonious }
subtitle = \markup { \bold \fontsize #2 Concert Overture }
composer = \markup { \bold \fontsize #3 Hu Haipeng }
copyright = \markup { \center-column { \line { Copyright \char ##x00A9 2009-2010 by Hu Haipeng. } All Rights Reserved. } }
}
marks = {
\set markFormatter = #format-mark-box-numbers
\tempo \markup { \bold \italic Allegro } 4=120
s2.*6 | s1*5/4*2 |
}
piccolo = \relative c {
\clef treble \key c \major \time 3/4
\transposition c''
R2.*6 |
\time 5/4
\tag #'score { r2 r8 g\mf\\startTrillSpan ~ g2\stopTrillSpan |
\grace { g16([ a b] } c8-.-)\!\sf r r4 r r2 | }
\tag #'midi { r2 r8 \repeat unfold 9 { g32\mf\ a } \times 2/3 { g a b } |
c8-.-\!\sf r r4 r r2 | }
}
flutes = \relative c''' {
\clef treble \key c \major \time 3/4
R2. | R2. |
r8 g c,16\f\ a e c g e a, g c,8-.-\!\ff r r |
R2. | R2. |
r8 gis, cis,16\f\ b e, cis gis e b gis b,8-.-\!\ff r r |
\time 5/4
\tag #'score { { g2.\p\\startTrillSpan ~ g2\stopTrillSpan |
\grace { g16([ a b] } c8-.-)\!\sf } \\
{ dis,2. ~ dis2 |
e8-.- } r r4 r r2 | }
\tag #'midi { { \repeat unfold 19 { g32\p\ a } \times 2/3 { g a b } |
c8-.-\!\sf } \\
{ dis,2. ~ dis2 |
e8-.- } r r4 r r2 | }
}
oboes = \relative c''' {
\clef treble \key c \major \time 3/4
R2.*6 |
\time 5/4
\tag #'score { { g2.\p\\startTrillSpan ~ g2\stopTrillSpan |
\grace { g16([ a b] } c8-.-)\!\sf } \\
{ b,2. ~ b2 |
\grace { b16([ c d] } e8-.-) } r r4 r r2 | }
\tag #'midi { { \repeat unfold 19 { g32\p\ a } \times 2/3 { g a b } |
c8-.-\!\sf } \\
{ b,2. ~ b4.. \times 2/3 { b32 c d } |
e8-.- } r r4 r r2 | }
}
clarinets = \relative c' {
\clef treble \key d \major \time 3/4
\transposition bes
R2. |
r4 r8 { a16\mf b d fis a\ b |
d fis a, b d fis a8-.-\!\ff } \\
{ r4 d,,16 fis |
a b d, fis a b d8-.- } r r |
R2. |
r4 r8 { ais,16\mf cis dis fis ais\ cis |
dis fis ais, cis dis fis ais8-.-\!\ff } \\
Re:Re: what staff size should I use?
Thanks, but I have used many new features only available in 2.13. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
bad spacing and paginationin 2.13.26
Hello, I downloaded 2.13.26 to compile my overture. The result is bad, because it not only uses more pages, but also reported a (de)crescendo too small warning. I reinstalled 2.13.24-2, then the warning disappeared, and the page amount is back to normal. Are there any spacing changes in 26? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:re:midi channel problem
In the MIDI version of your score, you can try to include several voices in the same Staff,... Thanks, I know it. The issue came when I used instrument changes such as pizz and mute, which create more sounds. Brett pointed out in yesterday's email that Finale and Sibelius uses different devices at one time. But I ever met a beta version of Braille Music Editor (incomplete non-published version), in which more than 16 can be used, while it only uses basic GM, not softsynth or other vst plugins. So I'm totally confused. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: re:midi channel problem
I did put in a bit of a suggestion to tackle precisely this challenge. ... I think this feature needs someone to add many C++ codes in the source, but it seems that most of the improvement were done out of (I mean by not largely modifying) the core (I guess). Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
re: midi channel problem
Sorry, I misunderstood NR. But I still need more than 16 sounds. I don't know the difference between channel and track. Finale and Sibelius can have more than 32 instruments at once, so I don't know whether Lilypond can reach this feature. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
re: Lilypond to Finale :-(
Hello Urs, I'd like to tell you that I wanted Lilypond to export Musicxml to fit my usage (as a blind), but no one is able to do this. This issue and related talks is in the Google Code. By the way, Musescore has removed Lilypond import already. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi channel problem
Hello, I'm working on my overture. NR says by moving Staff_performer to Voice and creating more than one voice in a staff, more than 16 kinds of instruments can be used in midi output. But I failed, resulting many warnings saying there are more than 16 tracks. One thing I can tell is, I still have the performer in Staff, and add one in Voice. Must I first remove it from Staff to get the Voice one to work? Regards Haipeng . ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
can't find libgs.exe.so.8.70
Hello, As a person reported earlier, 2.13.24 can't create pdf. My error is not the same as his. The program aborts at the end, saying can't find libgs.exe.so.8.70. It's strange that the file it's finding is not a standard file, because there are many other things after the regular exe extension. I can't speak a word! Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
show-break-places, a fantasy
Hello, Here's another serious problem (only with blind). Sighted people can check whether the page turn is disturbing the flowing music and troubling the players, but for me, I have to ask an assistant for help, since Lilypond can't export Musicxml, or Musescore can't open Lilypond file. Furthermore, if I'm asking an orchestra to play from a middle position other than rehearsal mark, they will search bor bar numbers, because I can't tell them which page and which system to begin. Then I'm thinking of an option for accessibility, thus writing out number of the bar at the beginning of every line as a line, then giving a new line for a new page. For example: #(ly:set-option show-break-places) Then in log file: drawing systems: (becauie I think the result only comes after generating graphics) [1][5][10][16][19][24] [28][34][41][45][50][60] ... Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Percussion stick signs
Hello, Today I get a score from my composition teacher. The piece is for orchestra with various instruments. In the perc part, he uses some stick signs such as hard xylophone stick, soft timpani stick. I don't know how these sticks look like, but hope Lilypond can do them. I don't know whether they are in the Gigsaw, but the Gigsaw is perhaps only for Linux. Any advice? If you want to see the sticks, please search on Rapidshare or 4shared for orchestration. There's a book by Samuel Adler, in which he listed out various sticks. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
question about making parts
Hello, I find I'm facing a problem I didn't pay attention to--making parts. I have read the NR, and know how to add cues. But here's a problem: how can I use the same source to extract every parts with different cues? Thus, if I add \cueDuring to every part, the full score will also contain cues. If I remove them, I have to paste all the parts to another file and add cues to make parts. It seems that mutopia scores are all without cues. How can I ease the process? Kieren (I know you are a active composer), can you provide an example via private email? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: question about making parts
Thanks.
No, not if you use \killCues in your full score.
I know it, but the example puts it inside the music expression, so I guess it
can't be used as:
piccolo = \relative c,, { }
\new Staff = piccolo { \killCues \piccolo }
Am I wrong?
Regards
Haipeng
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3 part fugue
Hello,
I'm learning counterpoint. The 3 part fugue below is on 2 staves. I used both
and new voice, but my teacher still said the result is not good. Why?
Regards
Haipeng
\version 2.13.21
% automatically converted from 2.xml
str = \change Staff = rh
stl = \change Staff = lh
\header {
encodingsoftware = Sibelius 6.1
tagline = Sibelius 6.1
encodingdate = 2010-05-14
}
#(set-global-staff-size 19.9169291339)
\paper {
paper-width = 21.0\cm
paper-height = 29.7\cm
top-margin = 1.27\cm
botton-margin = 1.27\cm
left-margin = 1.27\cm
right-margin = 1.27\cm
between-system-space = 1.62\cm
page-top-space = 1.27\cm
}
one = \relative c'' {
\clef treble \key bes \major \time 2/2 | % 1
R1*9^\markup{ \bold {Allegro moderato} } -A |
g2 d' | bes4 g ees2\trill |
d8( e fis g a c) bes a | g4 s2. \bar ||
\key d \major
R1*10^\markup{ \bold {Andante grazioso} } -B |
d2 g ~ | g4 a8( g) fis4 b |
e,2 a | d, g |
cis,4 fis2 e4 | d s2. \bar ||
}
two = \relative c' {
R1*3 |
d2 g | f4 d bes2\trill |
a8( b cis d e g) f e |
d4 e8 f g2 ~ | g8 c, d ees! f2 ~ |
f8 bes,( ees d c bes a4) |
bes8 a bes c d4 g ~ |
g8 d( ees d) c4 d8 c |
bes4 a8( bes c4) \stl fis, ~ |
fis8 g s2. \bar || \break
\str R1*5 |
a2 d ~ | d4 e8( d) cis4 fis |
b,2 e | a, d |
g,4 cis2 b4 |
a b8 a b4 d | e2 ~ e8 cis( d b) |
gis4 a8 b cis4 a8 g | fis4 g8 a b4 g8 fis |
e8( g a b) cis2 | d4 s2. \bar |.
}
three = \relative g {
\clef bass \key bes \major \time 2/2 | % 1
g2 d'2 | % 2
bes4 g4 es2 \trill | % 3
d8 ( e8 fis8 g8 a8 c8 ) bes8 a8 | % 4
bes4 g8 a bes4 d ~ |
d8 a( bes a) g4 a8 g |
f4( e8 f g4) cis, |
d4 r r8 bes' c bes |
a4 r r8 a bes a |
g4 c, d e8 fis |
g4 e fis bes8 a |
g2 a4 fis | g ees2 d4 |
ees s2. \bar ||
\break | % 5
\key d \major | % 5
d2 g2 ~ | % 6
g4 a8 ( g8 ) fis4 b4 | % 7
e,2 a2 | % 8
d,2 g2 | % 9
cis,4 fis2 e4 |
d4 fis8 e fis4 a |
b2 ~ b8 gis( a fis) |
dis4 e8 fis g!4 e8 d |
cis4 d8 e fis4 d8 c |
b( d e fis) g2 |
fis8 e fis4 g b, | e cis d2 ~ |
d8 b( cis b) a4 cis |
c8 a( b a) g4 b |
cis4. b8 a( gis a ais) | b4 s2. \bar |.
}
% The score definition
\score {
\new PianoStaff
\new Staff = rh
\new Voice = I { \one }
\new Voice = II { \two }
\new Staff = lh { \three }
\layout { }
\midi { }
}
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Re:Re: articulate and tie playback above 2.13.8
Excellent! Thank you! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
download site down?
Hello, I find Lilypond 2.13.16 is available, but I can't download it. The linuxaudio.org is unavailable. When I enter the address manually, google comes up to try to search the address. I use the antiblockade software to skip the G FW, but the result is the same. Is the site down? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: articulate and tie playback above 2.13.8
Yes, if not use articulate, the ties play correctly. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
articulate and tie playback above 2.13.8
Hello, I find the problem concerning ties playback since 2.13.8. When I use articulate script, the ties are broken in midi. Please try yourself to find where the bug is. Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
