Re: parts for natural horns and trumpets
I'm trying to understand your problem. Is it that the horn part is currently in concert pitch and you're looking for an easy way to transpose it? Are you asking how to notate the changes? Perhaps it would help if you attached an image of what things look like now and described what you want. Alex On Tue, Mar 31, 2015 at 10:48 PM, Craig Dabelstein craig.dabelst...@gmail.com wrote: Hi Lilyponders, Does anyone have a successful way of writing parts for natural horns and trumpets that would change crooks (and therefore transpositions) several times during a part. There would be a global file holding the many key and time signature changes and then I would need the part to change from say Horn in F, to Horn in D, to Horn in Af, etc. Any help would be greatly appreciated. Craig *Craig Dabelstein* e:craig.dabelst...@gmail.com http://www.facebook.com/craig.dabelstein http://au.linkedin.com/pub/craig-dabelstein/b2/5b8/389/en ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best practice with inconsistent à 2
In my copy of Dvorak 8 the parts use a2 for isolated unison passages and double stems for passages where the voices are also split at some point. On Aug 7, 2014, at 8:49 AM, Urs Liska u...@openlilylib.org wrote: Hi folks, I have a large romantic score in front of me. In the handwritten score the \partcombine stuff is done inconsistently for unisono sections: sometimes it's written as one voice with à 2, sometimes as two voices, i.e. one notehead with stems up and down. So far I can't see any reason for this inconsistency. What would people with more experience with orchestral scores suggest: - transcribe everything as it is in the model? - make it consistent: - use à 2 always? - use voices always? Best Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notation
I got a similar problem a while back. For me it wasn't a problem with
lilypond, it's a problem with LaTeX. LaTeX relative includes seem to be
relative to where the command was run from, not from where the file is, so
cd to where the output is and try running LaTeX from there.
On Fri, Jul 18, 2014 at 9:43 PM, Раул Апонт raulapo...@bk.ru wrote:
Good evening, fellows.
At this time I will need some of your help. I’m trying to place some music
within some paragraphs in LATEX. I use the command line to invoke
lilypond-book and everything seems to be fine, but when I go to the PDF
file, I get text but no music.
I use:
lilypond-book --pdf --output=*folder* *myfile*.lytex
And it compiles fine, I guess. I see no errors in the log, I get a
successfully completed compilation according to the command line. When I
check the PDF, no music there. I open the *.tex file with TEXstudio, try
to compile it and it gives me a missing file error like this:
File `4a/lily-302d4edc-1' not found. \includegraphics{4a/lily-302d4edc-1}.
It looks for a non-extension file which is not on that folder. What can I
do? May I have a fully functional sample from you, guys? One might come
handy for me.
Thanks in advance.
--
Раул Апонт
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Re: How to avoid key change with \transpose ?
I don't know about keeping in the right key for transposition (I actually
ran into the same project today). To make the ending work, perhaps you
should do something like:
base = \relative c' { c4 c8 [ d8 ] e4 e8 [ f8 ] g4 }
violinI = \relative c' { \base e f g}
violinII = \relative c' { r2 \transpose c g {\base} d c}
Where base is the part that is identical for all four parts.
On Wed, Jul 16, 2014 at 10:05 PM, MarcM m...@mouries.net wrote:
Hi Lilyponders,
I am arranging a Bach Canon for 4 voices to 4 violins.
http://lilypond.1069038.n5.nabble.com/file/n164531/bwv1073.jpg
Bach_Canon.ly
http://lilypond.1069038.n5.nabble.com/file/n164531/Bach_Canon.ly
Bach_Canon.pdf
http://lilypond.1069038.n5.nabble.com/file/n164531/Bach_Canon.pdf
How to keep all voices in C major?
Making each voice start later 2 beats after the previous voice is easy.
What's the best way to make all voices stop on the same measure?
violinIV = \relative c' {
c4 c8 [ d8 ] e4 e8 [ f8 ] g4
}
violinIII = \relative c'' {
r2 \transpose c g \violinIV
}
\violinII = \relative c''' {
r2 r2 \transpose c d \violinIV
}
violinI = \relative c {
r2 r2 r2 \transpose c a \violinIV
}
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Sent from the User mailing list archive at Nabble.com.
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Re: Is there a translator from LilyPond to XML?
I was under the impression MuseScore had Lilypond import and XML export On May 21, 2014, at 2:18 PM, pls p.l.schm...@gmx.de wrote: On 21.05.2014, at 18:44, Dennis Clason dennis.cla...@gmail.com wrote: I have a publisher interested in some of my work, but they want it in their house style. They know about LilyPond, but it's a fringe market they are watching (their words). Their preference would be for me to submit in Finale or Sibelius, but I'm not interested in re-entering the entire score. I'm also not interested in spending way more than I'd ever make on the project to buy a copy of Finale (or Sibelius). They have said that XML would also be okay. And that's the history and reasoning for my question. My Google-fu unearthed a XML to Lilypond translator, but is there one that goes the other direction? Right now the only way to translate LilyPond files to MusicXML is to scan your PDFs (or PNGs…) with OMR software. Unfortunately these programs are also quite expensive and the resulting files need to be corrected. The extent of needed corrections depend on the complexity of your scores and the software. You could give Audiveris v4.3 (free open source) a try but your scores are bound to suffer severe losses... Thanks, Dennis ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pas de midi avec frescobladi dev
Avez-vous Timidity ? Je l'ai du installer sur mon ordinateur. On May 8, 2014 12:12 PM, Éditions IN NOMINE cont...@editionsinnomine.com wrote: Merci pour cette réponse rapide, mais hélas, j'avais déjà touché à tous les boutons avant de poster... bon ça ne fonctionne pas chez moi... Je n'ai que Midi Through Port-0 pour les ports midi... Je mets en PJ mes copies d'écran de paramétrage, au cas où... A bientôt ! --- Jean-Marc LEGRAND Éditions IN NOMINE Le , JJG a écrit : Le 08/05/2014 15:43, Éditions IN NOMINE a écrit : Bonjour à toute la troupe ! Je suis parvenu à installer la dernière frescobaldi dev, ce qui est déjà un exploit pour moi, en soi... et à ajouter python-poppler-qt4 ce qui en est un autre ! Il ne me reste plus qu'à entendre ce que je vois : quand je lance le lecteur midi intégré, le fichier midi se déroule mais pas de son et l'indication : Aucune sortie trouvée !. J'arrive à lire le fichier midi par ailleurs (vlc), mais pas au sein de ce merveilleux ide. Any idea ? yes ! Aller dans /Editions/Préférences/Réglages MIDI/rafraîchir les ports MIDI That's all falks ! (pardon... chez moi, ça marche !) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Page number padding
Page numbers are consistently too close to other content. What is the best way to force them away? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and midi files
I know Lilypond can import MusicXML files, so you could import the MIDI into something that can export Music XML (I think Sibelius might work?) and then import the XML file. I'm not sure if it's possible to go directly from MIDI to Lilypond. On Tue, Feb 4, 2014 at 7:35 AM, Claudio Garanzini claudiogaranz...@gmail.com wrote: Hi all! I'm a blind person and I'm trying using lilypond because I find it a really good way for reading good music score using a pc instead of using braille books. Here is my question for you: I have a midi file I would like to convert into lilypond notations. Is there a way for doing it? I have searched internet but didn't find an answer. I would like to convert just the notes and then write all the resto by myself. The midi file is quantized and it sounds good but how to have a good converted .ly file? I've tryed several other softwares like Braille music editor or other mainstream programs like Finale or Sibelius but have found Lilypond as the best for writting and reading music using a screen reader. I'm using windows 7 with a screen reader called NVDA. Thanks for your help. Sorry for my bad english. Bye for now. Claudio ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam height
Is there a way to make them all the same height?
On Jan 25, 2014, at 2:55 AM, Janek Warchoł janek.lilyp...@gmail.com wrote:
2014/1/25 Alex Loomis thebluemusic...@gmail.com:
Is this a bug? I would expect for the beams to all line up with the first.
They do if you take it down an octave.
\version 2.19.1
{\relative c' {\repeat unfold 4 { es16 fes ges es }}}
As Mark wrote, this is because of accidentals, but you are right that
the beam shouldn't look like this. It's a defect in beam collision
detecting algorithm.
Janek
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Beam height
Is this a bug? I would expect for the beams to all line up with the first.
They do if you take it down an octave.
\version 2.19.1
{\relative c' {\repeat unfold 4 { es16 fes ges es }}}
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Re: bar-check warning when generating rehearsal midi soprano, alto, tenor etc
Could you try to make a minimal (not) working example?
On Wed, Jan 22, 2014 at 8:45 PM, MING TSANG tsan...@rogers.com wrote:
When compile the .ly there is no warning or error in the log file:
Starting lilypond-windows.exe 2.19.0 [test-midi.ly]...
Processing `C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly'
Parsing...
Interpreting music...[8][16][24][32]
Preprocessing graphical objects...
Interpreting music...
MIDI output to `test-midi.mid'...
Finding the ideal number of pages...
Fitting music on 3 or 4 pages...
Drawing systems...
Layout output to `test-midi.ps'...
Converting to `./test-midi.pdf'...
Success: compilation successfully completed
Completed successfully in 7.4.
but when I added rehearsal midi generation, I got warning bar-check error.
The rehearsal midi is adopted (generated) from Frescobaldi v2.0.13:
Starting lilypond-windows.exe 2.19.0 [test-midi.ly]...
Processing `C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly'
Parsing...
Interpreting music...
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:27:7https://ca-mg6.mail.yahoo.com/neo/0:
warning: barcheck failed at: 7/8
r4
R1*6 %m00-06
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:28:3https://ca-mg6.mail.yahoo.com/neo/1:
warning: barcheck failed at: 3/8
R1*3 r2^\markupSoprano Solor4 g'8a'8 |%m07-10
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:28:44https://ca-mg6.mail.yahoo.com/neo/2:
warning: barcheck failed at: 7/8
R1*3 r2^\markupSoprano Solor4 g'8a'8
|%m07-10
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:29:23https://ca-mg6.mail.yahoo.com/neo/3:
warning: barcheck failed at: 5/6
b'4.d'8~d'4b'8(a'8)
| a'2r4a'8b'8 |%m11-12
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:31:16https://ca-mg6.mail.yahoo.com/neo/4:
warning: barcheck failed at: 7/8
g'2r4g'8fs'8
|%m14
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:34:19https://ca-mg6.mail.yahoo.com/neo/5:
warning: barcheck failed at: 2/3
c''4.b'8~b'4g'4
|%m17
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:35:17https://ca-mg6.mail.yahoo.com/neo/6:
warning: barcheck failed at: 7/8
a'2 r4 g'8a'8
|%m18
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:37:17https://ca-mg6.mail.yahoo.com/neo/7:
warning: barcheck failed at: 3/4
a'2 r4 a'8b'8
|%m20
MIDI output to `test-midi-sopranoVoiceI.mid'...
Interpreting music...
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:63:8https://ca-mg6.mail.yahoo.com/neo/8:
warning: barcheck failed at: 7/8
r4
R1*6 |%m00-06
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:64:3https://ca-mg6.mail.yahoo.com/neo/9:
warning: barcheck failed at: 3/8
R1*3 r2^\markupTenor Solor4g8a8 |%m07-10
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:64:39https://ca-mg6.mail.yahoo.com/neo/10:
warning: barcheck failed at: 7/8
R1*3 r2^\markupTenor Solor4g8a8
|%m07-10
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:65:15https://ca-mg6.mail.yahoo.com/neo/11:
warning: barcheck failed at: 2/3
b4.b8~b4d'4
| d'2r4c'8b8 |%m11-12
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:65:28https://ca-mg6.mail.yahoo.com/neo/12:
warning: barcheck failed at: 7/8
b4.b8~b4d'4 | d'2r4c'8b8
|%m11-12
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:67:12https://ca-mg6.mail.yahoo.com/neo/13:
warning: barcheck failed at: 3/4
b2r4b8a8
|%m14
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:70:15https://ca-mg6.mail.yahoo.com/neo/14:
warning: barcheck failed at: 1/2
a4.b8~b4c'4
|%m17
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:71:13https://ca-mg6.mail.yahoo.com/neo/15:
warning: barcheck failed at: 3/4
d'2r4g8a8
|%m18
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:72:15https://ca-mg6.mail.yahoo.com/neo/16:
warning: barcheck failed at: 5/8
b4.b8~b4d'4
|%m19
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:73:14https://ca-mg6.mail.yahoo.com/neo/17:
warning: barcheck failed at: 1/4
d'2r4c'8b8
|%m20
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:74:28https://ca-mg6.mail.yahoo.com/neo/18:
warning: barcheck failed at: 3/8
a4.a8\tuplet3/2{a4b4c'4}
|%m21
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:75:12https://ca-mg6.mail.yahoo.com/neo/19:
warning: barcheck failed at: 3/4
b2r4b8a8
|%m22
MIDI output to `test-midi-tenorVoiceI.mid'...
Interpreting music...
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:326:5https://ca-mg6.mail.yahoo.com/neo/20:
warning: cannot find Voice `sopranoVoiceII'
\rehearsalMidi sopranoVoiceII soprano sax \sopranoVoiceII
MIDI output to `test-midi-sopranoVoiceII.mid'...
Interpreting music...
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:112:8https://ca-mg6.mail.yahoo.com/neo/21:
warning: barcheck failed at: 7/8
r4
R1*6 |%m00-06
MIDI output to `test-midi-tenorVoiceII.mid'...
Interpreting music...
C:/Users/Tsang/Dropbox/CHOIR/the-rock/test-midi.ly:342:5https://ca-mg6.mail.yahoo.com/neo/22:
warning: cannot find Voice `bassVoice'
\rehearsalMidi bassVoice soprano sax \bassVoice
MIDI output to
Re: Overriding bound details of VoiceFollower line
Move it to after the e but before the change.
\voiceOne
\showStaffSwitch
cs8 a r a e' e
\once \override VoiceFollower #'(bound-details right Y) = #-2
\change Staff = Right
\voiceTwo gs fs16 e
On Mon, Jan 20, 2014 at 11:55 AM, David B. Stocker notesetters...@gmail.com
wrote:
I've followed the directions in Using the
line-spanner-interfacehttp://lilypond.org/doc/v2.16/Documentation/notation/spannersin
the manuals, trying to nudge the right end of a Voice Change line.
It isn't working.
Would someone mind taking a look at my example, and see if I'm missing
something obvious?
I'm using LilyPond 2.16.2
Thanks,
David
%%%Minimal Example%%%
\version 2.16.2
\include english.ly
\score {
\new PianoStaff
\new Staff = Right
\clef treble
\key d \major
\time 4/4
\new Voice {
\relative c'' {
\voiceOne
r8 e fs fs16 gs a8 e b b
}
}
\new Voice {
\relative c'' {
\voiceTwo
e16 a, b cs d e~ e d cs8 b16 a s4
}
}
\new Staff = Left
\clef bass
\key d \major
\time 4/4
\new Voice {
\relative c' {
\voiceOne
\showStaffSwitch
cs8 a r a e'
\once \override VoiceFollower #'(bound-details right Y) = #-2
e \change Staff = Right
\voiceTwo gs fs16 e
}
}
\new Voice {
\relative c' {
\voiceTwo
a8 a a a a gs16 d e8 d
}
}
}
%%%End Minimal Example%%%
--
David B. Stocker804-335-6042http://notesettersinc.com
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Re: multi-column markup function/macro?
With the split files there are still a ton of warnings, but it creates and
displays the pdf.
On Thu, Jan 16, 2014 at 2:55 AM, Jan-Peter Voigt jp.vo...@gmx.de wrote:
Hi Alex,
OK ... first note, I use this on my machine with Ubuntu 12.04 having
texlive(2012)-full installed and it does compile - but frescobaldi
doesn't recognize the produced PDF (it is not displayed).
I do also get a lot of Warnings from xelatex and from lilypond. The
TeX-warnings are a matter of the tex source, wich is produced inside the
markup-list-command, and lilypond complains about the EPS-files, which
are a little bit to large.
The Fontconfig warning might have to do with PATH settings. I included
export LD_LIBRARY_PATH=\\
before the command is executed, so that lilyponds libraries do not
interfere with the ones loaded by xelatex.
So my question would be: Did the compilation of this file produce a PDF,
which is simply not found by frescobaldi? Or did it actually fail?
The idea is, that guile scheme can run commands with
(system cmd)
If that command produces an EPS file, it can be included as an
eps-stencil (line 177). If it produces a PDF file, that can be split
into one EPS per page with pdftops -eps (lines 183-193).
The tex-source is wrapped and written to a file
xelatex-MMDDhhmmss.tex in lines 160-175.
Here it is split into two files, so that the example does show up in
frescobaldi. I removed the deletion of the xelatex-* working files, so
you can start xelatex without lilypond and see, if there are errors on
the shell.
Cheers, Jan-Peter
Am 16.01.2014 01:30, schrieb Alex Loomis:
I got no output and a page full of fontconfig warnings when I ran it. I
left out all but the first since there were about 100 and they're all
nearly identical.
Starting lilypond 2.19.0 [xelatex-command-list.ly
http://xelatex-command-list.ly]...
Processing `/tmp/xelatex-command-list.ly http://xelatex-command-list.ly
'
Parsing...
This is XeTeX, Version 3.1415926-2.4-0.9998 (TeX Live 2012/Debian)
restricted \write18 enabled.
entering extended mode
Fontconfig warning:
/usr/local/lilypond/usr/bin/../etc/fonts/conf.d/30-metric-aliases.conf,
line
84: Having multiple family in alias isn't supported and may not
works as expected
On Wed, Jan 15, 2014 at 4:12 PM, Jan-Peter Voigt jp.vo...@gmx.de
mailto:jp.vo...@gmx.de wrote:
Hi Kieren,
I have extracted the latex-markup commands. At the end of the file
is a
little example.
There are three ways to produce the latex source:
1. use a markup-list, which is converted with markup-tex: \xelatex
{ ... }
2. include a file with tex-content: \xelatexInclude #filename
3. use a string, probably read from a multiline-comment:
\xelatexInclude
#text-variable
The example only uses the third method, because the first seemed to
have
a bug and the second would need an extra file.
The latex code is included between \begin/\end{document}, so that the
markup command can calculate the dimensions for the resulting pdf.
The
pdf is then split into eps files for each page, which are then
included
in the markup-list.
Best, Jan-Peter
On 11.01.2014 21:19, Kieren MacMillan wrote:
Hi Jan-Peter,
I usually use [xe]latex, to produce the text needed for a preface
or
foreword. That way I can use latex input with its own commands -
in this
case: \twocolumn - and use hyphenation.
It is integrated in https://github.com/jpvoigt/lalily (latex.scm,
latex-init.scm). If you are interested, I would extract it.
YES YES YES
In other words, yes, I am interested. =)
If you want format a markup-list - this is, what you are asking
for - I
would recommend a markup-list-command. To make the
n-column-markup-list
work correctly, you have to extract the available paper-height. I
am
doing it in the mentioned xelatex-include command, but it often
warns
about overflows of a few points - I can live with that, because
the
overflow is minor, but it seems not to be trivial.
If you have the printable paper-height, you can build markups per
page.
If the [xe]latex doesn’t suit — or maybe even if it does — I’ll
try building a “native” function.
Thanks,
Kieren.
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Re: multi-column markup function/macro?
I got no output and a page full of fontconfig warnings when I ran it. I
left out all but the first since there were about 100 and they're all
nearly identical.
Starting lilypond 2.19.0 [xelatex-command-list.ly]...
Processing `/tmp/xelatex-command-list.ly'
Parsing...
This is XeTeX, Version 3.1415926-2.4-0.9998 (TeX Live 2012/Debian)
restricted \write18 enabled.
entering extended mode
Fontconfig warning:
/usr/local/lilypond/usr/bin/../etc/fonts/conf.d/30-metric-aliases.conf,
line 84: Having multiple family in alias isn't supported and may not
works as expected
On Wed, Jan 15, 2014 at 4:12 PM, Jan-Peter Voigt jp.vo...@gmx.de wrote:
Hi Kieren,
I have extracted the latex-markup commands. At the end of the file is a
little example.
There are three ways to produce the latex source:
1. use a markup-list, which is converted with markup-tex: \xelatex { ... }
2. include a file with tex-content: \xelatexInclude #filename
3. use a string, probably read from a multiline-comment: \xelatexInclude
#text-variable
The example only uses the third method, because the first seemed to have
a bug and the second would need an extra file.
The latex code is included between \begin/\end{document}, so that the
markup command can calculate the dimensions for the resulting pdf. The
pdf is then split into eps files for each page, which are then included
in the markup-list.
Best, Jan-Peter
On 11.01.2014 21:19, Kieren MacMillan wrote:
Hi Jan-Peter,
I usually use [xe]latex, to produce the text needed for a preface or
foreword. That way I can use latex input with its own commands - in this
case: \twocolumn - and use hyphenation.
It is integrated in https://github.com/jpvoigt/lalily (latex.scm,
latex-init.scm). If you are interested, I would extract it.
YES YES YES
In other words, yes, I am interested. =)
If you want format a markup-list - this is, what you are asking for - I
would recommend a markup-list-command. To make the n-column-markup-list
work correctly, you have to extract the available paper-height. I am
doing it in the mentioned xelatex-include command, but it often warns
about overflows of a few points - I can live with that, because the
overflow is minor, but it seems not to be trivial.
If you have the printable paper-height, you can build markups per page.
If the [xe]latex doesn’t suit — or maybe even if it does — I’ll try
building a “native” function.
Thanks,
Kieren.
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Re: global variables
there may be some temptation for offering a
LilyPond-native syntax for that.
Pretty please? It's the feature I've been missing the most in lilypond.
On Wed, Jan 15, 2014 at 11:48 AM, David Kastrup d...@gnu.org wrote:
Jacques Menu jacques.m...@tvtmail.ch writes:
Le 15 janv. 2014 à 17:15:53, David Kastrup d...@gnu.org a écrit :
Peter Bjuhr peterbj...@gmail.com writes:
On 01/15/2014 04:54 PM, David Kastrup wrote:
Peter Bjuhr peterbj...@gmail.com writes:
I've started using global variables more recently but can highly
recommend it!
Just don't let any programmers hear that.
David, I'm sorry; I must again ask you what you mean? Is this a joke
I'm missing like the previous time with the biblical quote?
URL:https://en.wikipedia.org/wiki/Global_variable, 2nd paragraph.
Isn’t what you call an LP global variable actually a macro, as in
LaTeX?
No. A macro is a textual replacement with parameters (in Scheme, a
macro is something entirely different but similar).
Something like
#(define-music-function ... #{ ... #})
comes close, and there may be some temptation for offering a
LilyPond-native syntax for that.
At any rate, all proper LilyPond variables are actually global
variables. When programming in Scheme, you have recourse to local
variables. LilyPond is extensible in Scheme, but it does not in itself
constitute a _programming_ language. Assignments are likely the most
programming-like constructs it offers, but it's not like you can put
them in a loop or something without reverting to Scheme.
--
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Re: how close are we to having an addAt or insertAt feature?
How much sense would it make for there to be a separate \mark-style command that functioned identically but didn't mess with the counter? On Tue, Jan 14, 2014 at 8:30 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi Werner, I suggest that such a command allows for a third, optional parameter, which makes \addAt relative to the `rehearsalMark' property. If you’re talking about \mark \default, then I could see the benefit of that. The problem is, most of us overload \mark for a bunch of non \default stuff (e.g., ‘eyeglasses’, text instructions, etc.), because there’s no other mechanism available. And I doubt it would be easy to implement your suggestion “filtered” to only the \default marks. But I’m always happy to be proven wrong! Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine and quoteDuring
In addition to the problem Mogens described, the first B is marked Solo
when \partcombine should be marking it a2.
On Mon, Jan 13, 2014 at 1:05 PM, Mogens Lemvig Hansen mog...@kayju.comwrote:
Hi,
With the first version of voiceB below I get “ warning: ignoring too many
clashing note columns”
The second version works as expected. The difference seems to be whether
the quoted music begins with a rest.
Bug?
\version 2.18.0
voiceA = \relative c'' { e4 d r b a b }
\addQuote A { \voiceA }
voiceB = \relative c'' { g a \quoteDuring #A { s2 } f4 b }
voiceB = \relative c'' { g a r \quoteDuring #A { s4 } f4 b }
\score { \partcombine \voiceA \voiceB }
Regards,
Mogens
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Re: partcombine and quoteDuring
And also, with the first version the rest disappears.
On Wed, Jan 15, 2014 at 8:11 PM, Alex Loomis thebluemusic...@gmail.comwrote:
In addition to the problem Mogens described, the first B is marked Solo
when \partcombine should be marking it a2.
On Mon, Jan 13, 2014 at 1:05 PM, Mogens Lemvig Hansen mog...@kayju.comwrote:
Hi,
With the first version of voiceB below I get “ warning: ignoring too many
clashing note columns”
The second version works as expected. The difference seems to be whether
the quoted music begins with a rest.
Bug?
\version 2.18.0
voiceA = \relative c'' { e4 d r b a b }
\addQuote A { \voiceA }
voiceB = \relative c'' { g a \quoteDuring #A { s2 } f4 b }
voiceB = \relative c'' { g a r \quoteDuring #A { s4 } f4 b }
\score { \partcombine \voiceA \voiceB }
Regards,
Mogens
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Re: v2.19 released, etc.
The repository packages are updated rarely, the lilypond website's packages are updated pretty much day of. On Sat, Jan 11, 2014 at 8:41 PM, Philip Rhoades p...@pricom.com.au wrote: People, On 2014-01-12 06:57, Kieren MacMillan wrote: Hello all, Thanks for v2.19! Great work. For anyone out there who wants a list of the changes, check here: http://code.google.com/p/lilypond/issues/list?can=1q= label%3AFixed_2_19_0colspec=ID+Type+Status+Stars+Owner+ Patch+Needs+Summaryx=typecells=tiles For devs: would it be possible to automatically include such a link on all release news items? e.g., We are happy to announce the release of LilyPond 2.19.0. This release includes a number of enhancements (http://code.google.com/…)” I am relatively new here but installed the version from the website because the standard Fedora package was too old - how long does it usually take to update the packages here: http://www.lilypond.org/unix.html Thanks for some really great software! I love it! Regards, Phil. -- Philip Rhoades GPO Box 3411 Sydney NSW 2001 Australia E-mail: p...@pricom.com.au ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overlap
To change the padding, use \once \override Staff.Hairpin.outside-staff-padding = #'0 but depending on what's going on you might also have to manually set the space between the staffs. On Sat, Jan 11, 2014 at 3:54 PM, Shane Brandes sh...@grayskies.net wrote: O.k. that was a terrible question, after further working it is the padding (is this the correct terminology?) that I want to get rid of. For some reason the addition of a hairpin increases the space between staves, which is probably admirable and useful behavior most of the time. That is in this instance not desired. For once we want a happy collision. Shane On Sat, Jan 11, 2014 at 3:36 PM, Shane Brandes sh...@grayskies.net wrote: Hi all, New question. I wish to force a hairpin to overlap note stems. How do we do it? Shane ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: v2.19 released, etc.
http://www.lilypond.org/development.html On Sat, Jan 11, 2014 at 8:59 PM, Philip Rhoades p...@pricom.com.au wrote: Alex, They are still showing: LilyPond 2.18.0-1 Regards, Phil. On 2014-01-12 12:55, Alex Loomis wrote: The repository packages are updated rarely, the lilypond website's packages are updated pretty much day of. On Sat, Jan 11, 2014 at 8:41 PM, Philip Rhoades p...@pricom.com.au wrote: People, On 2014-01-12 06:57, Kieren MacMillan wrote: Hello all, Thanks for v2.19! Great work. For anyone out there who wants a list of the changes, check here: http://code.google.com/p/lilypond/issues/list?can=1q= label%3AFixed_2_19_0colspec=ID+Type+Status+Stars+Owner+ Patch+Needs+Summaryx=typecells=tiles [1] For devs: would it be possible to automatically include such a link on all release news items? e.g., We are happy to announce the release of LilyPond 2.19.0. This release includes a number of enhancements (http://code.google.com/ [2]…)” I am relatively new here but installed the version from the website because the standard Fedora package was too old - how long does it usually take to update the packages here: http://www.lilypond.org/unix.html [3] Thanks for some really great software! I love it! Regards, Phil. -- Philip Rhoades GPO Box 3411 Sydney NSW 2001 Australia E-mail: p...@pricom.com.au ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user [4] Links: -- [1] http://code.google.com/p/lilypond/issues/list?can=1; amp;q=label%3AFixed_2_19_0amp;colspec=ID+Type+Status+ Stars+Owner+Patch+Needs+Summaryamp;x=typeamp;cells=tileshttp://code.google.com/p/lilypond/issues/list?can=1q=label%3AFixed_2_19_0colspec=ID+Type+Status+Stars+Owner+Patch+Needs+Summaryx=typecells=tiles [2] http://code.google.com/ [3] http://www.lilypond.org/unix.html [4] https://lists.gnu.org/mailman/listinfo/lilypond-user -- Philip Rhoades GPO Box 3411 Sydney NSW 2001 Australia E-mail: p...@pricom.com.au ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Engraving challenges
Another vote for this. It would also make logistics easier. On Jan 8, 2014, at 6:48 AM, Simon Bailey si...@bailey.at wrote: On Wed, Jan 8, 2014 at 12:42 PM, Phil Holmes m...@philholmes.net wrote: It might actually be interesting _not_ to collaborate, and see what differences occur. This might also be true for Lilypond. I was thinking something similar. It might be interesting to see how different people interpret or beautify the given examples. i'd be willing to create a no-frills default lilypond version. and then a tweaked one in my house style. However, I would also find it interesting how other experienced lily users approach the task differently -- there's always more than one way to do things... ;) regards, sb -- Do not meddle in the affairs of trombonists, for they are subtle and quick to anger. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fwd: Start creating with Finale 2014 today
I am throwing together a response to the article someone linked to in this thread, would anyone like to fact-check it when I am through? On Tue, Jan 7, 2014 at 1:05 PM, Shane Brandes sh...@grayskies.net wrote: The universe refuses write access to anything but the future. Excellent observation. Had me laughing. Advertising is really an unpleasant science or dark art if you prefer. The really clever outfits get that stuff right. And the rest at best they are amusing. My all time favorite is the Akron airports A better way to go. That aside it was interesting to see the improvements that were being touted. I thought the most interesting was the keyless instrument issue. How many years that program has been in development and they just now fixed that? Shane On Tue, Jan 7, 2014 at 11:12 AM, David Kastrup d...@gnu.org wrote: Francois Planiol alicuota...@gmail.com writes: Own the future engraving music... who will believe this crap? I don't see that it's inaccurate even though somewhat self-evident. At least for me, the universe refuses write access to anything but the future. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Position of text and symbol above note
a4.^\markup{To Coda\musicglyph #scripts.coda}
On Tue, Jan 7, 2014 at 8:34 PM, muggle rauy...@aucklanduni.ac.nz wrote:
I want to postion To Coda and the coda symbol on a single line above a
note
like this
http://tomrudolph.berkleemusicblogs.com/files/2012/12/Wayfaringall1.png
a4.^To Coda\coda
prints the text and symbol on separate lines. Is there a quick and easy way
to modify this?
(I'm currently using version 2.16.2 - I'll upgrade to 2.18 when I've
finished this little project :) )
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Re: Engraving challenges
I'm interested and have access to both LillyPond (of course) and Sibelius. On Tue, Jan 7, 2014 at 11:15 AM, Urs Liska u...@openlilylib.org wrote: Hi all, recently we discussed about comparing LilyPond's performance with that of competing programs (http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00323.html), and I've finally managed to set something up. It's a Github repository along with a kind of Contributor's Guide: https://github.com/openlilylib/engraving-challenges I've prepared a first challenge, a page of late romantic piano music, but will keep it secret until we'll actually have participants. Questions: a) Who would be interested in participating by giving it a try with another program? As discussed sufficient proficiency with the tool and a current version is required. b) Who would be interested in participating with LilyPond? Of course with LilyPond it'll be easy to do it collaboratively, while I don't really see how Finale users should do the same. c) Who is registered in forums or mailing lists of other programs and could pass the link to the repo there in order to attract participants from there? As also discussed we don't organize this as a contest but as an opportunity for mutual analysis. Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: adding extra spacing ABOVE a context
Could you give an example? On Tue, Jan 7, 2014 at 8:29 AM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all, I’ve got a text-only context (TextLine) which contains script information (dialogue, stage directions, etc.) in my music dramas. This context is the uppermost context in most of my scores. I would like to add a little padding ABOVE this context in all systems — but NOT add padding for systems which don’t contain any TextLine content. Is there a way to adjust my TextLine context globally? Or do I have to add padding to the markup within it [manually]? Thanks, Kieren. p.s. More generally: is there a spacing parameter for “above-“ spacing? As far as I can tell, all parameters affect “below-“ space only. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Position of text and symbol above note
This should do the trick.
a4.^\markup{\vcenter To Coda\musicglyph #scripts.coda}
On Tue, Jan 7, 2014 at 8:59 PM, muggle rauy...@aucklanduni.ac.nz wrote:
This works, but is there a way to vertically align the coda symbol so that
it
looks nicer?
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Re: snippet: standard staff sizes
Or from the computer-based point of view: Is anything wrong with choosing a staff size of 19.1? From the computer-based view, no. From the typography-based view, yes. Something as small as that won't likely make a difference, but the further from its intended size you force a glyph the worse it looks. On Tue, Jan 7, 2014 at 3:53 PM, Noeck noeck.marb...@gmx.de wrote: Hi all, I try to answer my own mail after having searched the internet for answers: 1. Is there a world wide standard for staff sizes? No. 2. Are Rastral Staff Sizes always the same? I once found a different list of rastral sizes. The differences are on the level of 2%, but I wonder if there is some official reference. No. The idea is always the same but there are several different values around. Some agree and differ only because they are rounded differently to fractions of mm or inches. A comparison will follow from my side. 3. Why does LilyPond suggest other staff sizes? http://lilypond.org/doc/v2.16/Documentation/notation/setting-the-staff-size.html Where do they come from? They follow a logarithmic/exponential law: size(n) = 10 pt * 2^(n/6) Where pt is the TeX-pt 1/72 inch = 25.4 / 72 mm. The Feta font names are rounded except for the 25.2 which is rounded up to 26 (probably to make clear, that the interval does not get smaller again). 4. Are Rastral Staff Sizes just a result of the fact that the tools for hand-engraved music can not scale arbitrarily? Or from the computer-based point of view: Is anything wrong with choosing a staff size of 19.1? I suppose the staff sizes can be chosen freely. It is advisable to chose from a suggested range. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Center Lyric Syllables (ignoring punctuation)
Shouldn't this be the default output? Looking at hand-engraved examples, such as this liedhttp://javanese.imslp.info/files/imglnks/usimg/1/18/IMSLP16170-SchubertD489_Der_Wanderer_1st_version_called_Der_Ungluckliche.pdf, words tend to be centered ignoring punctuation (measures 8 and 14), or further right than they would be if centered (measure 10). Currently the default seems to be the reverse. On Tue, Jan 7, 2014 at 9:10 AM, Alexander Kobel n...@a-kobel.de wrote: Hi, I just recognized that this snippet does not work as-is in 2.18.0 (and 2.17.x for x large enough), but gives -inf.0 as X-offsets if no punctuation prefixes a syllable. IIUC empty text-markups now return empty instead of point stencils these days, and the width computation for the punctuation prefixes barfs out. Maybe a side effect from the refined skyline computation? Anyway, attached is a modified version which works on 2.17.x and 2.18. Could you update the LSR snippet? I'm not allowed to. Thanks! Best, Alexander On 09/30/2013 10:29 PM, Thomas Morley wrote: 2013/9/30 Phil Holmes em...@philholmes.net: - Original Message - From: Thomas Morley thomasmorle...@gmail.com I agree, although I don't expect Guile problems for anything but plain ASCII prime and double prime, but I might be wrong. It's easy to tweak for people who want to use it, anyway; those were just the glyphs for which I assume that everybody agrees they should be in there. YMMV, though. Well, I could add a comment about how to extend the 'space-set' with other characters. Additionally it might be a thought to tag it docs. @Phil: What do you think? Cheers, Harm Not sure what you're asking my opinion about. Sorry not been clear enough. As to whether to tag is as docs? If we do that, it will automatically appear in the Snippets documentation (http://lilypond.org/doc/v2.17/Documentation/snippets/index.html). It will become available for documentation authors to add to other documents. So the judgement call is simply - do I think this is of sufficient use to be part of the LilyPond documentation set. If so, tag it. -- Phil Holmes If I understand correctly, it's up to _me_ to decide whether I should tag it doc or not. So I'll add some more description/comments and do the doc-tag. Thanks, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new and context
It depends. It can be easier to read when they are all below the staff. On Tue, Jan 7, 2014 at 12:12 PM, Noeck noeck.marb...@gmx.de wrote: Figured bass can be displayed using the FiguredBass context, or in most staff contexts. Hi Simon, thanks for the explanation! This means bass figures should be associated to the staff this way to enhance the flexibility? I take this as such. Cheers, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TextLine help needed
How likely is the content to change? You could make that in LaTeX and
include it in LaTeX from an eps file, but even as I'm typing it that seems
like a very clunky way of doing things to me... I'll sleep on it and see if
I can come up with anything.
On Sat, Jan 4, 2014 at 2:54 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hello all,
Please consider the snippet included below this email.
1. Is there a better way to “hang indent” the stage-direction, so that the
left parenthesis sits a little to the left of the “left margin” of the
text? I played around with \halign and \hspace until I was blue in the face…
2. What would be the best way to get all the texts on a single system to
be top aligned?
3. Is there a[n easy] way to make this whole (e.g.) three-column blob a
spanner that would automatically sit “centered” over (e.g.) two measures,
without affecting the underlying “note spacing”? I would love a function
where I could specify a number of measures — which might or might not be
only rests (like these) — and have the block of text columns place itself
accordingly.
Thanks!
Kieren.
__
SNIPPET BEGINS
\version 2.17.97
\language english
\layout {
\context {
\type Engraver_group
\name TextLine
\consists Axis_group_engraver
\consists Text_spanner_engraver
\consists Text_engraver
\override TextScript.baseline-skip = #2.25
\override TextScript.self-alignment-Y = #UP
\textLengthOn
\override VerticalAxisGroup.staff-affinity = #DOWN
\override VerticalAxisGroup.remove-empty = ##t
\override VerticalAxisGroup.remove-first = ##t
\override VerticalAxisGroup.nonstaff-nonstaff-spacing =
#'((basic-distance . 4) (minimum-distance . 2) (padding . 2)
(stretchability . 0.5))
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 4) (minimum-distance . 2) (padding . 2)
(stretchability . 0.5))
keepAliveInterfaces = #'( text-interface )
}
\context {
\Score
\accepts TextLine
}
}
#(define-markup-command (mm-feed layout props amount) (number?)
(let ((o-s (ly:output-def-lookup layout 'output-scale)))
(ly:make-stencil '(0 . 0) (cons 0 (abs (/ amount o-s))
#(define-markup-command (put-mm layout props dir amount arg)
(ly:dir? number? markup?) (interpret-markup layout props
(markup #:put-adjacent Y dir arg #:mm-feed amount)))
#(define-markup-command (dialogue layout props charname text) (markup?
markup-list?)
#:properties ((column-width 24)
(bline-skip 2.375)
(char-skip 2.5)
(f-size 10.5))
(interpret-markup layout props
#{ \markup
\abs-fontsize #f-size
\override #`(baseline-skip . ,bline-skip)
\line {
\bold \concat { #charname : }
\hspace #1
\override #`(line-width . ,column-width)
\put-mm #DOWN #char-skip \wordwrap #text } #}))
#(define-markup-command (stage-direction layout props text) (markup-list?)
#:properties ((column-width 24)
(bline-skip 2.375)
(char-skip 2.5)
(f-size 10.5))
(interpret-markup layout props
#{ \markup
\abs-fontsize #f-size
\override #`(baseline-skip . ,bline-skip)
\override #`(line-width . ,column-width)
\put-mm #DOWN #char-skip
\translate #'(1 . 0) \wordwrap { \halign #1.5 ( \hspace #-0.4
\italic #text \hspace #-0.5 ) } #}))
FTE_FairyTaleEnding_global = {
%% intro
R1 \break
\repeat volta 1 { R1 \noBreak R1 }
}
FTE_FairyTaleEnding_script = {
%% intro
s1^\markup \italic { Lights up on JILL. }
s2^\markup \column {
\dialogue COP { Number one, step forward and state your name. }
\dialogue WOLF { Harry James Furble. }
}
s2^\markup \column {
\dialogue COP { Harry Furble, a.k.a. ‘Wolf’, a.k.a. ‘Big Bad
Wolf’, a.k.a. ‘Grandma’… Turn to your right. }
}
s1^\markup \column {
\stage-direction { The BIG BAD WOLF turns to the right. }
\dialogue COP { Step back. }
\override #'(column-width . 34) \stage-direction { The BIG BAD
WOLF steps back into the line-up. }
}
}
\score {
\new TextLine \FTE_FairyTaleEnding_global
\FTE_FairyTaleEnding_script
\new Staff \FTE_FairyTaleEnding_global
}
SNIPPET ENDS
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Professional Engraving
This isn't directly related to LilyPond, but I have a question for people on the mailing list. it seems like several people on this mailing list get payed to engrave music. How did you get started with those jobs? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Open string tunings for guitar
The Frescobaldi website says to post feature requests here.
https://github.com/wbsoft/frescobaldi/issues
On Sun, Jan 5, 2014 at 2:12 PM, Fulvio Turra fulvio.tu...@gmail.com wrote:
Federico hit the point. I forgot to mention in my first message that
Frescobaldi is the editor I use and a custom tuning generator would be a
very nice addition!
Regards.
Fulvio
2014/1/5 Federico Bruni fedel...@gmail.com
2014/1/5 David Kastrup d...@gnu.org
I think that extending the tunings for unorthodox tunings is pretty
pointless since that makes finding the needed information harder, and
since it results in basically random selection of predefined tunings.
The point here is more that it is _trivial_ to do your own tuning, by
writing something like
\new TabStaff \with { stringTunings = \stringTuning c, g, d g b d' }
{ ... }
It is much faster to write this down rather than searching through
preexisting tuning tables to find a particular unorthodox tuning.
I agree.
But a custom tuning generator in Frescobaldi wizard would be nice:
https://github.com/wbsoft/frescobaldi/issues/342
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Re: Is it possible to invert the two-sided option?
In books, recto (odd) pages have larger left margin and versos have larger
right margins. Does anyone know why LilyPond reverses it?
On Sat, Jan 4, 2014 at 1:23 PM, Carl Peterson carlopeter...@gmail.comwrote:
On Sat, Jan 4, 2014 at 12:52 PM, Speldosa l4rs...@gmail.com wrote:
I would like to use \paper{two-sided = ##t} in order to have different
margins for even and odd pages. However, when activating this option, odd
pages get larger right margins and even pages get larger left margins.
I'd
like to have it the other way around, so that odd pages get larger left
margins and even pages larger right margins. Is this possible to achieve?
See
http://lilypond.org/doc/v2.18/Documentation/notation/horizontal-spacing-paper-variables#paper-variables-for-two_002dsided-mode
for the parameters you need to add to your \paper block.
Cheers,
Carl P.
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Re: Survey: Git (G)UIs
I mostly use the command line. As far as the basics go I know what I'm doing, but branches still don't fully make sense to me. On Jan 6, 2014, at 7:53 AM, Urs Liska u...@openlilylib.org wrote: Hi all Git users, I'd like to make a survey on how you are working with Git. Do you use the command line exclusively, or a GUI (which one(s))? Or a GUI for certain tasks and the command line for others? I'd be particularly interested in reports of successful or failed attempts to learn Git by starting with a GUI tool. I have a strong opinion that one should use the command line until one has a good understanding of the concepts, but I'd be interested in any differing experiences. Urs ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: svg output differs from pdf output
There also seems to be something wring with the ledger lines in the pdf. On Jan 4, 2014, at 5:50 PM, bart deruyter bart.deruy...@gmail.com wrote: Hi all, I ran a little test, because I often use svg as output to manipulate afterwards. I noticed there seems to be a difference between the pdf and svg output. To illustrate it, I've made a screenshot. Lilypond 2.18.0 was used, frescobaldi 2.0.12 on Ubuntustudio 13.10 and on KDE. Look at the metronome mark, there is a collision of the fingering notation and the metronome mark, which is much lower then in the pdf output. (above pdf view, below, svg view) I've opened it in inkscape, the difference is not caused by the frescobaldi svg viewer, the metronome mark is off in inkscape too, so I guess this must be a bug. I thought I'd better check on the mailing list first, to see if others have the same issue. So far it seems to be only the metronome mark that is off, but having a difference does mean I'd have to check the entire score for more inconsistencies if I want to use the svg-file. grtz, Bart http://www.bartart3d.be/ On facebook On Twitter On Identi.ca On Google+ snapshot1.jpg ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly on Windows
Have you tried upgrading to 2.18? It's possible that if the issue is with
musicxml2ly that it has been fixed.
On Jan 5, 2014, at 4:42 PM, TaoCG tao_lilypondu...@gmx.net wrote:
TaoCG wrote
Phil Holmes-2 wrote
- Original Message -
From: TaoCG lt;
tao_lilyponduser@
gt;
To: lt;
lilypond-user@
gt;
Sent: Sunday, January 05, 2014 3:32 PM
Subject: Re: musicxml2ly on Windows
Phil Holmes-2 wrote
- Original Message -
From: TaoCG lt;
tao_lilyponduser@
gt;
To: lt;
lilypond-user@
gt;
Sent: Sunday, January 05, 2014 2:40 PM
Subject: musicxml2ly on Windows
Dear all,
what would be the best way to invoke musicxml2ly on Windows when there
is
also a Python 3 installation.
When I try to run it with the python that comes with lilypond like
this
python.exe musicxml2ly.py test.xml
I get this error:
Could not find platform independent libraries
prefix
Could not find platform dependent libraries
exec_prefix
Consider setting $PYTHONHOME to
prefix
[:
exec_prefix
]
'import site' failed; use -v for traceback
Traceback (most recent call last):
File musicxml2ly.py, line 3, in ?
import optparse
ImportError: No module named optparse
This is with Lilypond 2.16
Regards,
Tao
What directory are you running the command from? What does your PATH
statement look like?
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I ran it from C:\Program Files (x86)\Lilypond\usr\bin
and my Path is:
C:\Python33\;%SystemRoot%\system32;%SystemRoot%;%SystemRoot%\System32\Wbem;%SYSTEMROOT%\System32\WindowsPowerShell\v1.0\;C:\Program
Files (x86)\QT Lite\QTSystem
OK. What does python -V give you?
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From lilypond\usr\bin
Python 2.4.5
from everywhere else
Python 3.3.2
Hmm... I tried replacing the python3-directory with the lily\usr\bin\ and
now I get this error:
File C:\Program Files (x86)\LilyPond\usr\bin\musicxml2ly.py, line 2105
if current_staff and staff current_staff and not
n.get_maybe_exist_named_child ('chord'):
^
SyntaxError: invalid syntax
These brackets sure look strange. Is this an error in musicxml2ly?
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Re: Learning LilyPond, comments invited
From what I've seen, \cadenzaOn seems to be the preferred way of writing unmeasured music. On Jan 3, 2014, at 3:14 AM, Colin Tennyson colintenny...@outlook.com wrote: Carl Sorensen-3 wrote Your music has some durations that cross bar lines. These durations mess up the bar checks. Is there a reason you don't separate them into tied groups so there are bar line breaks? Ah, let me explain. The composer, Philippe Verdelot, lived somewhere around 1500, and back then they didn't use bar lines yet. Please consult the following entry from the LilyPond documentation: http://www.lilypond.org/doc/v2.17/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions#mensurstriche-layout It's a compromise. The ancient notation isn't copied, but some characteristics are allowed to shine through, particularly the fact that renaissance music has no concept of measures. That poses a challenge, of course. Can the music typesetting software handle that requirement? It may be, I don't know, that graphically oriented software is rigidly dependent on bar checks at _every_ bar. The LilyPond developers are aware of all this, of course. LilyPond must be able to reproduce a wide range of typesetting styles. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Learning-LilyPond-comments-invited-tp156969p157002.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \include *.ly for only part of a score
In general it's best practice to keep includes at the top of the file, so I
would do it like this:
%file custom.ly
varA = %letter paper; can't check syntax on my ipod so not going to try
varB = %ragged right
%your file
\version 2.18.0
\include custom.ly
\paper{ \varB }
etc.
On Jan 2, 2014, at 9:11 PM, Jay Anderson horndud...@gmail.com wrote:
On Thu, Jan 2, 2014 at 6:55 PM, guocuozuoduo brian777...@hotmail.com wrote:
I would like to know how to use the \include command for only part of a
score.
It is not described in the manual.
sectionA.ily:
\relative c' {\time 4/4 c1 |}
sectionB.ily:
\relative c' {e1 |}
score.ly:
\score {
\new Staff {
\include sectionA.ily
\include sectionB.ily
}
}
(I haven't tested the above, but this shows the idea.)
Alternatively you could assign the sections to variables and use those
instead of using \include directly:
sectionA.ily:
sectionA = \relative c' {\time 4/4 c1 |}
sectionB.ily:
sectionB = \relative c' {e1 |}
score.ly:
\include sectionA.ily
\include sectionB.ily
\score {
\new Staff {
\sectionA
\sectionB
}
}
-Jay
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Re: Multiple scores on same page
Just put each in a separate \score block. Lilypond will automatically put a line break between each score. On Wed, Jan 1, 2014 at 10:16 PM, Ed Faulk efa...@faswebdesign.com wrote: I have three related scores, each scored for piano and each requiring two systems. I'd like to be able to put all three on a single page. While it looks like I can do that with \markup, I can't seem to figure out exactly how to use that, the two staff lines (left and right hands) and a line for chords plus lyrics. Is there a good example somewhere for doing this? I searched the documentation and, while I'm sure the information is in there, the lack of relevant material in context makes it a guessing game -- and so far I've been guessing wrong... Thanks, Ed --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF portfolio of 2.18.0 docs
You need to open the portfolio in Adobe Reader 9 or later to use it as intended Make that to use it at all. Using anything else all you get is a page with the message For the best experience, open this PDF portfolio in Acrobat 9 or Adobe Reader 9, or later. Could you also post them as individual pdf files? On Mon, Dec 30, 2013 at 3:09 PM, Nick Payne nick.pa...@internode.on.netwrote: On 31/12/13 07:06, Nick Payne wrote: I have created a fully indexed and searchable PDF portfolio of the 2.18 PDF docs for Learning, Notation, Usage, Snippets, Web, Extending, and Internals. The portfolio can be downloaded from https://www.dropbox.com/s/6mrdnashy3zxgq2/lilydoc-2.18.0.pdf (55Mb). p.s. I forgot to add - you need to open the portfolio in Adobe Reader 9 or later to use it as intended. I'm not aware of any third party PDF readers that support portfolios properly. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF portfolio of 2.18.0 docs
Update for those of us who use open-source viewers: If you open up the file with evince (haven't tested it with anything else and don't plan to), open the side panel, and have it display attachments then you can see the files and open or save them from there. On Mon, Dec 30, 2013 at 11:10 PM, Alex Loomis thebluemusic...@gmail.comwrote: You need to open the portfolio in Adobe Reader 9 or later to use it as intended Make that to use it at all. Using anything else all you get is a page with the message For the best experience, open this PDF portfolio in Acrobat 9 or Adobe Reader 9, or later. Could you also post them as individual pdf files? On Mon, Dec 30, 2013 at 3:09 PM, Nick Payne nick.pa...@internode.on.netwrote: On 31/12/13 07:06, Nick Payne wrote: I have created a fully indexed and searchable PDF portfolio of the 2.18 PDF docs for Learning, Notation, Usage, Snippets, Web, Extending, and Internals. The portfolio can be downloaded from https://www.dropbox.com/s/6mrdnashy3zxgq2/lilydoc-2.18.0.pdf (55Mb). p.s. I forgot to add - you need to open the portfolio in Adobe Reader 9 or later to use it as intended. I'm not aware of any third party PDF readers that support portfolios properly. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: arrrgh. manuals download link hard to find...
Those are links to the online versions, it sounded like he was looking for the PDFs. On Mon, Dec 30, 2013 at 8:06 PM, SoundsFromSound soundsfromso...@gmail.comwrote: Tom Cloyd-2 wrote Updating everything, due to new release of Ly, I'm trying to get the new manuals. Running into an old problem: On the homepage, on the right, in the Quick Links columns, there's a software download link, and link to the manuals. I always assume the manual link will lead also to a download, which it does not. It merely duplicates the link already in the menu at the top of the page. Why give me what I already have? Well, ok - convenience. But... browsing to the manuals page lt;http://lilypond.org/manuals.htmlgt;, OR the downloads page lt;http://lilypond.org/download.htmlgt;, my search for a /clearly labeled manuals download link/ yields absolutely nothing. Not helpful. Not all the world lives eternally in connection with the Internet. Some of us NEED to have local versions of everything on our box so we can always work, regardless of situation. WE need a full manual download. If only it could be found Well, it DOES exist, if you are persistent enough in looking: on the manual page, in the Other material section, click the all link. PLEASE - could we not make the manuals download page location a LOT more obvious than this? Just a thought. Tom -- ~~~ Tom Cloyd, MS MA (LMHC, WA State) Cedar City / St. George, UT, U.S.A: (435) 272-3332 * tc@ (email) TomCloyd.com (website) * Sleight of Mind blog: Sleightmind.com (mental health issues) * Trauma Psych blog: http://thetraumapsych.wordpress.com * Trauma! A PTSD blog: http://www.healthyplace.com/blogs/traumaptsdblog/ * Founder: Google+ Trauma and Dissociation Education and Advocacy community ~~~ ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Hi, I'm confused. There are links to all manuals, directly on the manuals page. See image below. Is that what you mean? http://lilypond.1069038.n5.nabble.com/file/n156749/manuals.jpg - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/arrrgh-manuals-download-link-hard-to-find-tp156710p156749.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: frescobaldi ERROR
Have you checked under frescobaldi's preferences to see what command it's
running when you tell it to engrave?
On Dec 29, 2013, at 5:38 AM, Martin Tarenskeen m.tarensk...@zonnet.nl wrote:
On Sun, 29 Dec 2013, Federico Bruni wrote:
But I still can't compile *any* lilypond file, not even a
minimal example like
{c' d' e' f'}
Starting lilypond 2.17.26 [minimal-example.ly]...
ERROR: In procedure primitive-load-path:
ERROR: Unable to find file lily.scm in load path
Exited with return code 1.
have you searched the archives? for example:
http://lists.gnu.org/archive/html/lilypond-user/2011-12/msg00169.html
Thanks for the suggestion. This might be related to my issue, but I have not
figured out yet how this can help to fix my problem: Lilypond already works
normally, except when I use frescobaldi. I will keep searching and trying.
But still, when using official packages from Fedora it should work
out-of-the-box, without needing additional workarounds. I want to find out if
I should report the problem to the Fedora packagers and/or the Lilypond
developers, and/or the Frescobaldi developer(s), and/or am I doing something
wrong myself?
--
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Re: chart alignment
The documentation for chords is here: http://lilypond.org/doc/v2.16/Documentation/notation/displaying-chords On Dec 28, 2013, at 6:22 AM, Phil Holmes m...@philholmes.net wrote: - Original Message - From: Bric b...@flight.us To: lilypond-user lilypond-user@gnu.org Sent: Saturday, December 28, 2013 6:51 AM Subject: chart alignment How can I avoid the following glitch: http://www.flight.us/misc/chart_glitch.png (the final fret chart is misaligned, rising above the adjacent one, instead of vertically aligning with the one on its left.) also struggling with labelling the chords with the chord letters (A, C#m, etc.), but that's kind of a separate issue TIA Without a tiny example of the offending code it's difficult to be sure, but I'd think something like textLengthOn might help? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using latex @ packages within \markup
Have you looked at lilypond-book?
On Dec 27, 2013, at 9:12 AM, Francois Planiol alicuota...@gmail.com wrote:
hello,
I dont know how is developping for Riemann symbols right know.
I developped this in LaTeX and this works ok for me.
The question is how to pack it in a \markup block, using LaTeX and two
packages.
Some idea?
Thanks in advance,
Francois
\documentclass{article}
\usepackage{amsmath}
\usepackage{cancel}
\begin{document}
\[ \overset{8}{\underset{3}{\cancel Dp \: }}
\overset{9}{\overset{7}{\overset{6}{}}} \]
\end{document}
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Re: [Feature Request] \compressFullBarRests improvement(s)
How would it behave if \draftSkip were, instead of being changed, tagged, and
you ran lilypond with exclude-tag #draft? (I can't remember the syntax off the
top of my head, but I think that's reasonably close.)
On Dec 27, 2013, at 1:38 AM, Keith OHara k-ohara5...@oco.net wrote:
On Thu, 26 Dec 2013 18:44:56 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I look forward to stress-testing this in the very near future.
One missing feature is that \mergeSkips doesn't look inside {...} to see if
they are empty. I often set breaks for proofreading and then remove them by
defining them as an empty {}
draftBreak = {} %% \pageBreak
conductor = { s1*5 \draftBreak s1*3 }
I could make \mergeSkips {s1*5 {} s1*3} check if the {..} is completely empty
and output s1*8, but if it gets too complicated for my sake its behavior will
confuse and maybe frustrate somebody else.
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Re: improving LilyPond useability
I can proofread the English version. On Dec 27, 2013, at 4:08 AM, Daniel Rosen drose...@gmail.com wrote: -Original Message- From: Janek Warchoł [mailto:janek.lilyp...@gmail.com] Sent: Thursday, December 05, 2013 12:58 PM To: Daniel Rosen Cc: LilyPond Users; Jan Nieuwenhuizen; David Kastrup; Urs Liska; Noeck; Kieren MacMillan; Joseph Wakeling; Benjamin CL; Richard Shann Subject: Re: improving LilyPond useability Hi Daniel, (sorry for delayed reply - so many emails flying around...) 2013/12/2 Daniel Rosen drose...@gmail.com: -Original Message- From: Janek Warchoł [mailto:janek.lilyp...@gmail.com] I've created a Quick-start tutorial some time ago - my choir colleagues used it when crowd-typesetting Dixit Dominus. It's only 6 pages long and covers nearly all basic notation elements than a beginner would need - but it's not just a cheat-sheet: it introduces and teaches how to use Lily. Add to that 3 pages explaining how to write basic structure and we'd have something that gives an easy (but complete enough) introduction to LilyPond in half an hour (as opposed to 2 days of reading and heavy thinking for the Learning manual). Sounds awesome. I'd be more than happy to share this tutorial and translate it, but i don't have time to lead an effort to incorporate it in our docs. So, if someone wants to take responsibility for this, i'll help, but without support this will not work out! I would definitely be willing to help with this, but I’m afraid that my skill set may be too limited to take the lead--in particular, I don't speak any languages well enough to translate them into English without resorting to Google. That's not a problem at all! I would translate my materials to English; as for translating them back to other languages we have people who'd take care of that. What you'd have to do is to turn my materials into proper documentation: find a place for it, fix wording (my translation probably won't be perfect), incorporate comments from other developers, etc. In other words, i'd be glad to make the translation but i want to be sure that my work will actually be used, and that someone will shepherd it through our contributing process so that it ends up in the official documentation (i don't have time to this management myself). Of course if you run into *any* technichal difficulty (like how do i add a new section to the documentation?), i'll try to help. But i need someone that will take responsibility for getting it done. Quite frankly, i think this would be an excellent project to get started in contributing to LilyPond. It doesn't require programming expertise or any particular knowledge - you just have to put some effort in. best, Janek Janek, I think I'm about ready to take a swing at this. Shall I email you about it directly, or keep the discussion here on the list? DR ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 2.0.12
Does anyone know why the version in the ubiuntu repos is always so out of date? On Thu, Dec 26, 2013 at 3:34 PM, SoundsFromSound soundsfromso...@gmail.comwrote: Johan Vromans wrote Wilbert Berendsen lt; wbsoft@ gt; writes: Enjoy, and please report bugs as usual! Oh, how wonderful it would have been if a download link had been included :) -- Johan ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user http://www.frescobaldi.org/download Great bunch of new features! - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/ANN-Frescobaldi-2-0-12-tp156533p156542.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: note / rest clash
Change the fourth line to
{ \voiceTwo b,2 b4\rest } \\ { \voiceFour g'4 g g } \\ { \voiceOne d'2
d4\rest } | \break
The odd numbered voices will always have stems up and even voices will
always have down stems. I don't remember where it was but I remember
reading the numbering of voices should go from outside in; top and bottom
are one and two, the middle two are three and four.
On Thu, Dec 26, 2013 at 10:39 PM, pabuhr pab...@fastmail.fm wrote:
How do I move the rests further to the right to avoid the clashing note
columns?
\version 2.16.0
melody = \relative c' {
\time 3/4
{ \stemDown b,2 b4\rest } \\ { g'4 g g } \\ { \stemUp d'2
d4\rest } | \break
}
\score {
\context Voice {
\clef treble_8
\melody
}
} % score
% Local Variables: %
% tab-width: 4 %
% compile-command: lilypond --ps test1.ly %
% End: %
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Re: 3x repeats
I'm surprised you can't do it with a spanner. Why don't we have something
like:
\override TextSpanner #'(center-text text) = \markup { \small Play three
times }
On Tue, Dec 24, 2013 at 4:12 PM, David Nalesnik david.nales...@gmail.comwrote:
Hi Janek,
On Tue, Dec 24, 2013 at 2:45 PM, Janek Warchoł
janek.lilyp...@gmail.comwrote:
2013/12/23 Xavier Noria f...@hashref.com:
On Sun, Dec 22, 2013 at 12:36 PM, Phil Holmes m...@philholmes.net
wrote:
The only guidance in Gould is where she writes Repeat 3 times in a
horizontal bracket.
How do you produce that? I have looked at the documentation but didn't
figure it out.
https://github.com/openlilylib/snippets/tree/master/specific-solutions/bracket-repeats
This was a quick hack. It needs to be worked on so it can span multiple
bars (and as it stands, the symbol doesn't mean anything--it's just a
bracket with text).
--David
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Re: New user frustration, pedal and alternative endings, roman numerals
There is a way to make roman numerals here. http://lsr.dsi.unimi.it/LSR/Item?id=710 Click on the image, save the wall of text you see as roman.ly, and add the line \include roman.ly after the version line. As for the rest, I would have to see your code to see why it was acting strange. On Mon, Dec 23, 2013 at 5:15 PM, Tim Ringenbach tim.ringenb...@gmail.comwrote: I decided I wanted to mess with some music in svg format. I decided to use lilypond, and to typeset something from my beginner's piano book to play around with. I was mainly using lilypond 2.17.91, although I also had a copy of 2.16.2. You can see the page I was trying to duplicate on amazon's preview, it's page 116, Why Am I Blue?. http://www.amazon.com/Adult-All-In-One-Course-Lesson-Theory-Technic- Level/dp/0882848186/ref=sr_1_2? I was not trying to duplicate any of the red text, only the normal notation. (I was doing this for personal use and to learn lilypond, I know I can't distribute someone else's copyrighted stuff) After googling and reading various pages of the manual, I decided to use the parallel mode. Things were going well until I got to the first and second endings. Wrapping everything in \repeat worked, but everything blew up when I tried add \alternative. At one point I got it to compile, but it duplicated the staffs. I thought maybe it was broken in the 2.17 version, so I tried 2.16, and \repeat didn't work at all in that. Eventually, after many wasted hours, I redid it without parallel mode and that worked well. (I get the impression that parallel mode just doesn't work in certain situations, and I wish that the manual hadn't suggested that I use it.) But, I still wasn't able to get the pedal in the second ending to start out open. It always gave me a warning that the \sustainOff didn't have a matching \sustainOn for the last measure. It worked in the first ending though, which I thought was a little odd since they were both in the \alternative tag. Eventually I gave up on that and let the pedal start on the first node of the last measure, and end on the first rest. Finally, I got to the roman numerals, and from what I could find, there's not really a way to do that. That I also found surprising, because lilypond seems to support so much obscure stuff, I thought for sure it would support anything in a beginner's book. Anyway, I don't really have any questions. I just wanted to relay my experience in case it's helpful to the developers. Thanks, Tim ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 3x repeats
Slash repeats are never used with certain instruments and only rarely seen outside handwritten scores. Even Ravel's Bolero doesn't use them in the score, where the snare drum plays the same pair of bars for 65 pages (though it does obviously use them in the part). On Dec 23, 2013, at 8:26 PM, Vaughan McAlley vaug...@mcalley.net.au wrote: On 24 December 2013 11:39, Mark Stephen Mrotek carsonm...@ca.rr.com wrote: Mr. Kastrup, Please help me with my understanding of this issue. Why is http://www.lilypond.org/doc/v2.16/Documentation/notation/short-repeats not an acceptable solution? Mark I’ve seen pieces where a bar or two might be played 5 times, then the next bar played 11 times etc. It would save a lot of space. Vaughan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Feature Request] \compressFullBarRests improvement(s)
That could be a useful feature but should not me the default. Perhaps an override such as \override MultimeasureRest #'condense-all = ##t would be helpful. That way the default would still be the intuitive way (2+2 gives two separate groups) whereas the other is still an option for those who want it. On Dec 22, 2013, at 6:44 AM, Werner LEMBERG w...@gnu.org wrote: I think one of the things that bothers me about this thread is that I don't understand why, if you want a four measure rest you would write 2+2. For the vast majority of cases, if there are 48 bars between two rehearsal marks I'm happy to see |=48=| between them. So, why write anything but R1*48 in the part in question? If there *is* a reason then the input can be something different, say R1*32 R1*16 to produce |=32=| |=16=|. As told earlier: The input of a score should not force the appearance of the output. For example, I like to write one bar per line in the input files, interspersed with comments to structure them in five-bars blocks. Writing e.g. `R1*47' heavily disturbs this structure, making corrections after inputting the data *much* more time consuming since it takes longer to identify the right spot (yes, I'm a die-hard user which uses a plain text editor for input). In this case, it would be great if multi-measure rests written as % 15 R1*5 | % 20 R1*5 | ... could be merged properly. Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: calling all opera/musical engravers
Would you mind explaining that code? My scheme is, alas, nearly nonexistent, and I have a project where I would like to change what is page one. On Dec 21, 2013, at 7:23 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi Jean-Charles, Thanks for the response. Have you looked at Nicolas Sceaux's works (http://nicolas.sceaux.free.fr/)? Yes… but I’ll do so again. Lily took care of everything. That’s good to know — Lily’s all I’ve been using to date (except for the odd “academic” paper). For Bach, thanks to David Nalesnik and Thomas Morley, a function to center an unique note and align it with R1\fermataMarkup (like in old scores). Nice! Is that part of the regular distro now? 3. What pitfalls are to be watched for (and hopefully avoided)? Part combining needs sometime to use tags in order to be correctly presented to the conductor. I’m going to start a whole new \partcombine thread/discussion, to see if we can knock that whole workflow out of the park. 4. What limitations cannot [currently] be overcome? Resetting the page number at the beginning of the musical material (after preface and libretto). Do you know about bookpart-page-number? #(define-markup-command (bookpart-page-number layout props) () (let ((first-page-number (ly:output-def-lookup layout 'first-page-number)) (page-number (chain-assoc-get 'page:page-number props 0))) (interpret-markup layout props (format ~a (1+ (- page-number first-page-number)) Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternative notation for guitar 7th chords
I'm not sure what it does, like I said I just upgraded it to be compatible with 2.17.95. Given your error I assume you're using 2.16.x, before a certain change in syntax became usable, so changing it to \override ChordName #'extra-spacing-width = #'(-1.25 . 1.25) should work. If it displays well with it commented out though I don't see any reason to leave it in. On Sun, Dec 22, 2013 at 9:48 AM, Marten Visser msvis...@planet.nl wrote: Marten Visser msvisser at planet.nl writes: Follow-up: if I leave out \override ChordName.extra-spacing-width = #'(-1.25 . 1.25) it works, and indeed the seventh is displayed the way I'd like. What is the \override good for? From the name I gather it adds some extra spacing somewhere, but where is it intended to go? Thanks, Marten ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Feature Request] \compressFullBarRests improvement(s)
I don't see what's wrong with the output, that's exactly what I would
expect it to be.
On Sat, Dec 21, 2013 at 4:09 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hello all,
Consider this snippet:
\version 2.17.97
theMusic = {
\compressFullBarRests
R1*2
R1*2
}
\score {
\theMusic
}
Here’s my request: I would love it if \compressFullBarRests actually did
what it says it does… ;)
See http://lists.gnu.org/archive/html/lilypond-user/2013-10/msg00517.html
for more discussion on this request.
Despite David K’s suggestions that it might be difficult to work out what
the user wants/means or what the output “should be”, I believe we can come
up with a pretty simple single rule which covers 90% of the cases
perfectly. As a first attempt, I would suggest the following:
\compressFullBarRests will combine any contiguous block of
multi-measure rests (within the same context*) which is uninterrupted by
any notation item”** other than a barline***.
Notes:
* This may be up for discussion — though, again, it will more than suffice
for 90% of use cases.
** This wording sucks; needs “official” wording.
*** There may be other items I’m not thinking of which are “outputtable
grobs which nevertheless should *not* split a compressed block of MMRs.
Having just engraved nearly 25 minutes of music resulting in 57 different
individual parts, I can tell you that this issue inspired quite a bit of
reduced efficiency, increased hackery, and even some loud swearing. =)
Thoughts?
Thanks,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)
Two separate ones. As an orchestral performer those breaks are often used to signify the beginnings of sections to make counting easier, so if I'm resting and there are 8 bars of one theme followed by 8 of another, I find it much easier to keep my place when it's 8 and 8 instead of 16. Alex On Sat, Dec 21, 2013 at 5:07 PM, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hi Alex, I don't see what's wrong with the output, that's exactly what I would expect it to be. Does your output show a single four-measure MMR (which I would both want and expect it to be), or two two-measure MMRs (which is undesirable, primarily because it's distracting to the performer)? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Feature Request] \compressFullBarRests improvement(s)
I agree that in that case it should be fully compressed, but not in the
first example.
On Sat, Dec 21, 2013 at 5:39 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Alex,
Two separate ones. As an orchestral performer those breaks are often
used to signify the beginnings of sections to make counting easier, so if
I'm resting and there are 8 bars of one theme followed by 8 of another, I
find it much easier to keep my place when it's 8 and 8 instead of 16.
That’s exactly why there are rehearsal marks, markup, cues, spanners,
etc.: you [can] use them to break up the uninterrupted stretches of
multi-measure rests — I don’t want to stop that from happening, of course.
I’m simply trying to avoid problems like the one evident in the following
snippet (where the second score should contain a three-measure MMR):
\version 2.17.97
theGlobal = {
\compressFullBarRests
s1
s1-\tag #'(foo) -\markup Foo only
s1
}
theMusic = {
R1*3
}
\score {
\new Staff \keepWithTag #'(foo) \theGlobal \theMusic
}
\score {
\new Staff \removeWithTag #'(foo) \theGlobal \theMusic
}
Cheers,
Kieren.
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Re: [Feature Request] \compressFullBarRests improvement(s)
I agree entirely with James that the input looks good as is. Only
tangentially related, does the placement of the first mark bother anyone
else? I feel like it would look better after rather than over the clef.
On Sat, Dec 21, 2013 at 9:42 PM, James Harkins jamshar...@gmail.com wrote:
James Harkins jamshark70 at gmail.com writes:
FWIW, I agree with Kieren. If I saw a part with some multimeasure rests
broken for no obvious reason, e.g.
{ \compressFullBarRests \mark \default R1*2 R1*2 \mark \default R1*2 }
I would think the publisher was insane or incompetent. I'm surprised
this is
LP's default behavior.
Hm, no, that example looks OK because of the older-style rest format.
*This* looks nuts to me, and I don't recall every seeing anything like this
in any part that I played from in wind bands in high school and college...
why not just |--- 4 ---|?
{ \compressFullBarRests \override MultiMeasureRest #'expand-limit = #1
\mark
\default R1*2 R1*2 \mark \default R1*2 }
hjh
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Re: 3x repeats
In many contexts it's preferable to write it out instead of using percent repeats. If it's a long passage then it's frequently written pretty much like you had it except with the x3 at the repeat sign. On Sat, Dec 21, 2013 at 9:31 PM, Mark Stephen Mrotek carsonm...@ca.rr.comwrote: Xavier Noria, Look at http://www.lilypond.org/doc/v2.16/Documentation/notation/short-repeats Mark *From:* lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto: lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf Of *Xavier Noria *Sent:* Saturday, December 21, 2013 6:25 PM *To:* lilypond-user *Subject:* 3x repeats Is this idiomatic notation for repeating those two bars three times? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternative notation for guitar 7th chords
I didn't see it in the LSR and the version of pop-chord.ly I found was
written for 2.11.52, so it might not work perfectly. Give me a moment and
I'll attach one that works with 2.17.95
On Sat, Dec 21, 2013 at 10:06 PM, Tim McNamara tim...@bitstream.net wrote:
The easiest thing is using the pop-chords.ly alternatives to the default
chordname style, using \include. I think it is available in the snippet
repository. Or you can write your own chordname exceptions, the procedure
for which should be in the Notation reference.
On Dec 21, 2013, at 8:46 PM, Marten Visser msvis...@planet.nl wrote:
Hi Lilyponders,
Typesetting my masterpiece is drawing to completion, and one fine point
of
typesetting remains.
\chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know how
the 7 can be typeset on the baseline, like the m of a minor chord. I
couldn't find any tweak that does that for me.
Regards,
Marten
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Re: Alternative notation for guitar 7th chords
Here is the file. Convert-ly upgraded the syntax but something happened in
an internal fine that made a large part of it that changed the way
accidentals look not work, so I commented that part out. I'm not familiar
with pop notation, so if there's anything that needs to change let me know.
On Sun, Dec 22, 2013 at 12:03 AM, Alex Loomis thebluemusic...@gmail.comwrote:
I didn't see it in the LSR and the version of pop-chord.ly I found was
written for 2.11.52, so it might not work perfectly. Give me a moment and
I'll attach one that works with 2.17.95
On Sat, Dec 21, 2013 at 10:06 PM, Tim McNamara tim...@bitstream.netwrote:
The easiest thing is using the pop-chords.ly alternatives to the default
chordname style, using \include. I think it is available in the snippet
repository. Or you can write your own chordname exceptions, the procedure
for which should be in the Notation reference.
On Dec 21, 2013, at 8:46 PM, Marten Visser msvis...@planet.nl wrote:
Hi Lilyponders,
Typesetting my masterpiece is drawing to completion, and one fine point
of
typesetting remains.
\chordmode { c1:7 } typesets the 7 as a superscript. I'd like to know
how
the 7 can be typeset on the baseline, like the m of a minor chord. I
couldn't find any tweak that does that for me.
Regards,
Marten
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% Pop chords as used in English/American popular music
% by James L. Hammons
% Written against \version 2.17.29
chordFlat = \markup { \hspace #0.2 \tiny \raise #1.0 \flat }
chordSharp = \markup { \hspace #0.1 \teeny \raise #1.0 \sharp }
popChordsMusic =
{
% Triads
c g-\markup { 5 }
c d g-\markup { 2 }
% c d g-\markup { sus2 }
c f g-\markup { sus }
% c f g-\markup { sus4 }
% c ees ges-\markup { \small \raise #1.0 o }
c ees ges-\markup { \raise #0.8 o }
% c ees ges-\markup { dim }
% c e gis-\markup { aug }
% or +
% Sixths
c e g a-\markup { 6 }
c ees g a-\markup { m6 }
% Sevenths (including altered)
c e g bes-\markup { 7 }
c ees g bes-\markup { m7 }
c e g b-\markup { maj7 }
c f g bes-\markup { 7sus4 }
c d g bes-\markup { 7sus2 }
c e ges bes-\markup { 7 \chordFlat 5 }
c e gis bes-\markup { 7 \chordSharp 5 }
% c e gis bes-\markup { aug7 }
% or +7
c ees g b-\markup { m(maj7) }
% c ees ges beses-\markup { \small \raise #1.0 { o } 7 }
c ees ges beses-\markup { \raise #0.8 { o } 7 }
% c ees ges beses-\markup { dim7 }
% c ees ges bes-\markup { \small \raise #1.0 { $(ly:wide- char-utf-8 #x00f8) } 7 } % c ees ges bes-\markup { \raise #0.8 { $(ly:wide-char- utf-8 #x00f8) } 7 }
c ees ges bes-\markup { m7 \chordFlat 5 }
c e ges b-\markup { maj7 \chordFlat 5 }
c e gis b-\markup { maj7 \chordSharp 5 }
% Ninths (including altered--incomplete)
c e g bes d'-\markup { 9 }
c ees g bes d'-\markup { m9 }
c e g b d'-\markup { maj9 }
c e g d'-\markup { add9 }
c e g a d'-\markup { 6/9 }
c ees g a d'-\markup { m6/9 }
c ees g b d'-\markup { m(maj9) }
c e g bes des'-\markup { 7 \chordFlat 9 }
c e g bes dis'-\markup { 7 \chordSharp 9 }
%dim7add9, dim7b9, dim7#9, 9#5, 9b5, maj9#5, maj9b5, 9sus4, 9sus2
% Elevenths (incomplete)
c e g bes d' f'-\markup { 11 }
c ees g bes d' f'-\markup { m11 }
c e g b d' f'-\markup { maj11 }
c e g f'-\markup { add11 }
c ees g f'-\markup { m add11 }
c ees g bes f'-\markup { m7add11 }
% Thirteenths (incomplete)
c e g bes d' a'-\markup { 13 }
c ees g bes d' a'-\markup { m13 }
c e g b d' a'-\markup { maj13 }
c e g a'-\markup { add13 }
% Misc add chords
c e g bes des' aes'-\markup { 7 \chordFlat 9 \chordFlat 13 }
c e gis bes des'-\markup { 7 \chordSharp 5 \chordFlat 9 }
c e g b d' fis'-\markup { maj9 \chordSharp 11 }
c e g bes d' fis'-\markup { 9 \chordSharp 11 }
}
% Add to existing exceptions
popChordsAdd = #(append
(sequential-music-to-chord-exceptions popChordsMusic #t)
ignatzekExceptions)
% Bah, can't we set this globally? YES! See below...
% \set chordNameExceptions = #popChords
% Bah, this doesn't work either...
% #(set chordNameExceptions popChords)
% Let's try fixing the accidentals with some Scheme...
%It breaks the file, let's not.
%{
#(define (chord-name-pop-markup pitch
Re: Cannot Find Voice?
Could you give us a minimal example? You said you're new, so in case you don't know that's an example with as few things as possible to make your point. On Fri, Dec 20, 2013 at 9:40 PM, James Dorfer jdnanik...@gmail.com wrote: Hello All, I am getting a very persistent Cannot Find Voice: Tenor error when compiling my code. I attempted to construct my code almost identically to the second example in the Learning Manual 3.2.3 Voices and Vocals (here: http://www.lilypond.org/doc/v2.16/Documentation/learning/voices-and-vocals ). I am very inexperienced and very confused, any help would be greatly appreciated! I will respond to this post with the code once it is archived; I had trouble with the top-posting filter when attempting to post this earlier. Cheers, J.D. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is there a best practise for 3 voices one hand piano?
This would be more normal (I also cleaned up the code to make it easier to
read).
\version 2.16.1
voicetop = \relative c {
\voiceOne
\clef bass
\key c \major
\time 3/4
c8 a bes g a fis | bes a c bes d e |
f ges f es d c |
fis e fis d e fis |
s2. \bar |.
}
voicebot = \relative c {
\voiceTwo
c, fis2.
e d'2.
gis d'2.
bes a'2.
e a c2.
}
\score {
\new Staff
\new Voice {\voicetop}
\new Voice {\voicebot}
}
On Thu, Dec 19, 2013 at 11:50 AM, i...@soundand.com wrote:
Hi-
here's what I've got but I'm not sure it's best practise. Thanks for
feedback in advance
Jay
\version 2.16.1
\header {
title = 19 Dec for left hand #2
composer = Jay Hamilton
copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
\center-column
{ CC lic 2.5 some rights reserved Jay Hamilton 2013
see http://creativecommons.org/licenses/by-nd/2.5/;
} }
}
#(ly:set-option 'delete-intermediate-files #t)
#(set-default-paper-size letter 'landscape)
#(set-global-staff-size 22)
% #(set! paper-alist (cons '(my size . (cons (* 5 in) (* 3 in)))
paper-alist))
\paper
{ % #(set-paper-size my size)
indent = 30
short-indent = 15
right-margin = 30
top-margin = 15
bottom-margin = 15
}
melody = \relative c
{
\clef bass
\key c \major
\time 3/4
\override Staff.TimeSignature #' style = #' ()
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\override BreathingSign #'font-size = #5
\accidentalStyle forget
\set Staff.pedalSustainStyle = #'bracket
{\stemDown
\override TieColumn #'tie-configuration =
#'((-9.0 . -1))
c, fis2 ~ c4
\override TieColumn #'tie-configuration =
#'((-7.0 . -1))
e d'2 ~ e4
\override TieColumn #'tie-configuration =
#'((-5.0 . -1))
gis d'4 ~ gis2 bes a'2.
e a c2.}\\
{\stemUp c8 a bes g a fis bes a c bes d e f ges f es d
c fis e fis d e fis
}
\bar |.
}
\score {
\new Staff \melody
\layout {
\context {
\Staff \RemoveEmptyStaves
}
}
\midi { }
}
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Re: delayed turn
Using \override Fingering #'avoid-slur = #'inside (with no \once) and
tweaking the offset seemed sufficient. The attached file looked fine to me.
On Thu, Dec 19, 2013 at 7:27 PM, Eluze elu...@gmail.com wrote:
Mark Stephen Mrotek wrote
As an example of the inconsistency, one measure was repeated 9 times -
see
turn.ly and turn.pdf. The turn should be between the c8. and the d16 .
All
turns should be under the slur.
What should I change?
please always reduce your code to minimal!
the following code should help to get the expected result:
\new Staff {
\time 2/4
\relative c'' {
\override Fingering #'avoid-slur = #'inside
\override Fingering #'outside-staff-priority = #16
\override Slur #'outside-staff-priority = #666
\override TextScript #'avoid-slur = #'inside
\override TextScript #'outside-staff-priority = #15
\repeat unfold 9 {
c8. ( ^hello -3
d16-2 es f g es-2 )
}
}
}
sometimes it's not enough to say /#'avoid-slur = #'inside/ because other
items have a higher or lower priority and can interfere!
Eluze
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\version 2.17.95
\relative c'' {
\key c \major
\numericTimeSignature
\time 2/4
\repeat unfold 10 {
\once \override TextScript #'extra-offset = #'(-0.5 . -1.5)
\once \override TextScript #'avoid-slur = #'inside
\once \override TextScript #'outside-staff-priority = ##f
\override Fingering #'avoid-slur = #'inside
c8.-3 ( ^\markup \tiny \override #'(baseline-skip . 1) {
\halign #-4
\center-column {
\musicglyph #scripts.turn \natural } }
d16-2 ees f g ees-2 ) |
}
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Re: Gregorian chant bug?
It displays correctly in 2.17.95 On Thu, Dec 19, 2013 at 5:57 PM, k...@aspodata.se wrote: David: ... http://www.lilypond.org/doc/v2.16/Documentation/notation/typesetting-gregorian-chant ... At the second '\divisioMinima' (the whole line reads: c' \divisioMinima \break) the anomaly occurs. I see it. It do seem to work with version 2.17.25. Hälsningar, /Karl Hammar --- Aspö Data Lilla Aspö 148 S-742 94 Östhammar Sverige 0173 140 57 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RehearsalMark and MetronomeMark together…again…
This is for a rehearsal mark with text, I'm not sure what Paul was looking for, but I was asking is there is a way to type something like \tempo Andante 4=90 avec douleur On Thu, Dec 19, 2013 at 3:24 PM, Ed Gordijn ed.klari...@gmail.com wrote: Hi all, Please note that this is't the last message in this thread. See: http://article.gmane.org/gmane.comp.gnu.lilypond.general/63383/match=rehearsal I'll try my desktop tonight to find the correct link . And the correct link is: http://article.gmane.org/gmane.comp.gnu.lilypond.general/63700 Included is the Lilypond code for the latest development version. As you can see you can write: \RehearsalMarkWithText #Theme from 007 #-0.83 The value -0.83 will be calculated for you, but I didn't find a way to use it in the function itself. Greetings, Ed ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two column verses below music?
Why dis you drop \column?
On Dec 18, 2013, at 12:23 AM, bombcar lilyp...@bombcar.com wrote:
In the multiple verses under the music example in
http://www.lilypond.org/doc/v2.16/Documentation/notation/stanzas#printing-stanzas-at-the-end-in-multiple-columns
is it possible to replace the verses in the markup with some sort of
reference?
Instead of
\line { \bold 2.
\column {
This is verse two.
It has two lines.
}
}
I'd like to have something like:
\line { \bold 2.
\stanzaII
}
But that doesn't work, at least when I define stanzaII as follows:
stanzaIV = \markup {
This is verse two.
It has two lines.
}
And I can't figure out how to define the variable otherwise.
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Re: guitar position indication
You could define a function that formats its argument the way you want it to look. On Dec 18, 2013, at 9:21 AM, bart deruyter bart.deruy...@gmail.com wrote: Hi all, I'm working on a piece for guitar here where in some parts I want to show the position it is played in (e.g. IV, forth position) . I know I have to use textspanners for this, but this is intended for 'spanning over a melody'. What should be used if there is only one note? Instinctivly I thought I should use text marks, but those result in differently formatted text (size, italic, weight, etc.. ) I can of course try and tweak the formatting of these text marks, but isn't there consistent way of indicating a position, without having to rely on spanners? grtz, Bart http://www.bartart3d.be/ On facebook On Twitter On Identi.ca On Google+ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Invisible Measures?
The documentation seems to be silent on the topic http://www.lilypond.org/doc/v2.17/Documentation/notation/contemporary-scoring-techniques On Dec 17, 2013, at 9:18 PM, SoundsFromSound soundsfromso...@gmail.com wrote: James Dorfer wrote Hello all! Is is possible in LilyPond to create a score where empty measures are invisible? I'm looking for something similar to Crumb's score for Vox Balaenae (seen here: http://www.youtube.com/watch? v=D8zxHNG1dWo). Any help is greatly appreciated! Cheers, J.D. ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Hi James, Welcome to LilyPond! Are you talking about the cutaway score layout? - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/Invisible-Measures-tp156072p156073.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RehearsalMark and MetronomeMark together…again…
I ran into the same problem earlier. It should be much easier to write, i.e., Allegro 4=130 doucement avec expression. On Dec 18, 2013, at 10:49 AM, Paul Scott waterho...@ultrasw.com wrote: On Sun, Dec 01, 2013 at 10:57:25AM -0500, Kieren MacMillan wrote: Follow-up… Cancel the bounty call for now: I’ve hacked my way through the problem manually. My hack has been to add the tempo markings etc. to a manual generation of the Rehearsal Mark. Do you have time to tell me what your hack is? Now that the semester is over maybe I can write scheme code to incorporate Lily's automatic rehearsal mark incrementing and make my hack easier. Paul I’ll post a feature request (and new bounty offer) some time next month. Thanks, Kieren. On 2013-Dec-1, at 09:46, Kieren MacMillan kieren_macmil...@sympatico.ca wrote: Hello all, This is *killing* my productivity on my current [extremely-high-pressure, past-due] project… For one example (hardly the worst), here’s Lilypond’s default output from one section of my bass part: Screen Shot 2013-12-01 at 09.43.13.png Can someone please whip me up a helper function which does the following: 1. automatically offsets MetronomeMarks to the right enough to slide down next to a concurrent RehearsalMark; and 2. automatically stretches a MultiMeasureRest under a MetronomeMark such that it is sufficiently wide to incorporate the entire MetronomeMark. I am, of course, willing to pay a small bounty — bigger, if it’s a fix that can easily be incorporated into the main codebase. Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: mid-measure key change
I thought that the time change might force it to align correctly, but when you have it in 2/2 and use \bar the exact same problem appears. Doing what Keith suggested (and what I originally tried, but I couldn't remember how to make the SpanBar transparent) should work the best. On Mon, Dec 16, 2013 at 4:01 AM, David Kastrup d...@gnu.org wrote: Mark Stephen Mrotek carsonm...@ca.rr.com writes: Mr. O'Hara, Thank you for your replay and instructions - similar to that of Mr. Loomis. I shall try them in context today. Possibly \bar \nobreak would do what you want here. While it will disrupt the spacing, the bar numbers will stay correct and there should (I think) be no break, and the key change is disrupting spacing anyway. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: barline troubles
I don't see the change in the list. On Mon, Dec 16, 2013 at 5:40 PM, Werner mey@web.de wrote: Hello Federico, this has changed to \bar :|. thank you very much! Werner ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternate endings with chord names above (or below) them look bad
I suspect you could get it to work by messing with
outside-staff-priority instead
of removing the engraver, but I can't test that right away since this
computer doesn't have lilypond.
On Sun, Dec 15, 2013 at 12:03 PM, Sam Whited s...@samwhited.com wrote:
Hi all,
I recently asked this question over on Music.SE [1], but as they don't
have a huge LilyPond user base I thought I'd ask here as well (see the
question there for rendered examples).
I'm working on a score (in LilyPond 9.17.97) that contains some volta
repeats with alternate endings. It also has chords printed above the
staff. By default, the chords are printed below the alternate ending
brackets, which I think looks bad, so I've moved the chords above the
alternate endings by removing the `Volta_engraver' from the score context:
\layout {
\context {
\Score
\remove Volta_engraver
}
}
and adding it to the staff that contains the alternate endings:
\new Staff = melody \with {
\consists Volta_engraver
}{
...
}
This works alright, but now the chords that aren't above the alternate
ending marks end up way above the staff with tons of whitespace below
them, which looks equally bad.
I've been digging through my sheet music collection, but haven't found
anything with both alternate endings and chord names to look at; what's
the usual way of engraving this? Would one simply move the chords that
aren't above an alternate ending down closer to the staff? It seems like
this would make the chords hard to read (since they'd be at different
levels). If this is how it's normally done, how can I achieve that
effect in LP?
Thanks,
Sam
[1]:
http://music.stackexchange.com/questions/14143/lilypond-vertical-spacing-alternate-endings-and-chords
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Re: stylesheet file structure
If they were to use the keys like Urs suggested then internal sort order wouldn't matter, so, to the user, it would seem like it is user-determined. On Sun, Dec 15, 2013 at 10:42 AM, PMA peterarmstr...@aya.yale.edu wrote: Urs Liska wrote: Am 15.12.2013 15:19, schrieb Kieren MacMillan: Exactly the other way around. Barenreiter_organ_classical_part_landscape_legal.ly Barenreiter is most significant, e.g. for sorting. Actually, for me “organ” is the most significant for sorting! =) But I appreciate your point. Would it make sense to have the _user_ determine sort order (and the program then to concoct matching filename stumps)? Pete ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternate endings with chord names above (or below) them look bad
If you want them above the bracket, the following code works:
\version 2.17.95
\chords {
c2 g:sus4
\override Score.ChordName #'Y-offset = #'2
f e
g c
\override Score.ChordName #'Y-offset = #'0
c/g c
}
\relative c'' {
\override Score.VoltaBracketSpanner #'Y-offset = #'1
\repeat volta 2 { a4 e c8 e r4}
\alternative {{ b2 c4( d) }
{ b8 r d4 c2 }}
c1
}
On Sun, Dec 15, 2013 at 3:09 PM, Jim Long lilyp...@umpquanet.com wrote:
I don't have a solution to your Lilypond input structuring
question, but I can answer:
On Sun, Dec 15, 2013 at 12:03:19PM -0500, Sam Whited wrote:
I've been digging through my sheet music collection, but haven't found
anything with both alternate endings and chord names to look at; what's
the usual way of engraving this?
The usual way is to put the chord symbols below the volta
bracket, as Lilypond does by default. I looked at several
publishers and also hand-drawn Real Book charts and could not
find any examples that were otherwise.
If your local library has sheet music or songbooks available for
loan, perhaps you can find some examples there. Any of the
prevalent real book/fake books that are out there will also
show examples of the standard practice for chord changes in volta
endings.
Perhaps you can share a *small, cropped* mini-image of a section
where Lilypond's default looks unappealing to you?
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Re: Slurs
Oops, yes. Now attached.
On Sun, Dec 15, 2013 at 7:31 AM, Urs Liska u...@openlilylib.org wrote:
Am 14.12.2013 05:28, schrieb Alex Loomis:
To test out the new slurs I typeset this monstrosity:
http://leadingtone.tumblr.com/post/69867321191/adventures-
in-engraving-vaughan-williams-the
The code isn't pretty, but lilypond will do it just fine. In fact, between
dashed slurs and moving the hairpin above the staff, it's actually more
readable than the example.
Hi Alex,
was this intended to have an attachment?
Urs
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\version 2.17.95
#(ly:set-option 'clip-systems)
\layout {
clip-regions = #(list
(cons
(make-rhythmic-location 2 0 1)
(make-rhythmic-location 4 0 1))
)
}
\new PianoStaff
\new Staff = up
\new Voice {
\relative c {
\clef bass
\time 3/4
a~ e'~ f~2.
\phrasingSlurUp
\shape #'((0.8 . -0.5) (3 . -0.5) (0 . -6.3) (-0.4 . -8.5)) PhrasingSlur
\shape #'((0 . 0) (0 . 0) (-1 . 1) (-1 . 1)) Slur
\shape #'((0 . 9.2) (-1 . 5) (0 . 10) (0 . 2)) Tie
\once \override
Slur.dash-definition = #'((0 0.3 1 1)
(0.3 0.65 0.4 0.75)
(0.65 1.0 1 1))
a e'~ f2.(\( |
\change Staff = down
q)\)
}
}
\new Voice { \override Hairpin #'staff-padding = #0.0
\override Hairpin #'extra-offset = #'(0 . -3)
s2.^\ s2. s8 s s s s s\! }
\new Staff = down
\override Score.StaffSymbol.layer = #4
\new Voice {
\relative c, {
\clef bass
\voiceOne
s2.
\shape #'((0.2 . -1.6) (2 . 4) (-1 . 2.5) (-0.5 . -0.2)) PhrasingSlur
f8\( ais c
\shape #'((0.3 . -2) (4 . -0.5) (-10 . -14) (-0.8 . -4)) Slur
\slurDashed
e( f ais |
\change Staff = up
\override Staff.Clef.layer = #3
\once \override Staff.Clef.whiteout = ##t
\clef treble
\oneVoice
c e f ais c e)\)
c1
}
}
\new Voice {
\relative c, {
\voiceTwo
f~ c~2.
\shape #'((0.6 . 0) (0 . 0) (0 . 0) (-0.4 . 0)) Tie
f~ c~2. |
q
\clef treble
c
}
}
\new Voice {
\relative c, {
c4\sustainOn s s |
s2. |
s8 s s s s s\sustainOff
}
}
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Re: What is it called and can I do it?
You mean like this? http://www.lilypond.org/doc/v2.16/Documentation/notation/inside-the-staff#parentheses On Sun, Dec 15, 2013 at 7:51 PM, Guy Stalnaker jimmyg...@gmail.com wrote: I have a composition with a d-sharp followed in the next measure by an e-flat. I have seen scores in which the measure with the d-sharp also has an e-flat in parentheses to show that it is the same pitch. Is it possible to create such a parenthetical 'reminder' in lilypond? Searching parenthecial pitch parenthetical note and enharmonic reminder yield nothing useful in the lilypond docs/forums/snippets. Thanks. Guy Stalnaker jimmyg...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alternate endings with chord names above (or below) them look bad
You can also set the chords' outside-staff-priority to 601 - the volta bar's is 600 - but that looks bad if you have a chord anywhere other than the downbeat of the first bar. On Sun, Dec 15, 2013 at 7:32 PM, Sam Whited s...@samwhited.com wrote: On 12/15/2013 03:09 PM, Jim Long wrote: Perhaps you can share a *small, cropped* mini-image of a section where Lilypond's default looks unappealing to you? These two images [1, 2] should illustrate it nicely. Thanks for the info; maybe I'll move them back in my score and try to find a better way to make the alternate ending signs look better. On 12/15/2013 03:40 PM, Alex Loomis wrote: If you want them above the bracket, the following code works: Thanks, that's a much better way than I'm doing it now, I'll swap over to that until I figure out what I think the best looking way is. Thanks all! —Sam [1]: http://i.stack.imgur.com/fjL1S.png [2]: http://i.stack.imgur.com/bRocw.png -- Sam Whited pub 4096R/EC2C9934 https://samwhited.com/contact ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What is it called and can I do it?
The following works, but it doesn't exactly look nice. I'll play around
with it a little to see if I can clean it up.
\version 2.17.29
{dis' \grace{ \parenthesize es'8 }}
On Sun, Dec 15, 2013 at 8:39 PM, Nick Baskin amphio...@gmail.com wrote:
On Sun, Dec 15, 2013 at 8:35 PM, Guy Stalnaker jimmyg...@gmail.comwrote:
No. It is the notational equivalent of:
ds (ef) | ef
The (ef) would be transparent to midi and lyrics.
--
There is only love, and then oblivion. Love is all we have
to set against hatred. (paraphrased) Ian McEwan
Guy Stalnaker
jimmyg...@gmail.com
On Dec 15, 2013, at 7:30 PM, Alex Loomis thebluemusic...@gmail.com
wrote:
You mean like this?
http://www.lilypond.org/doc/v2.16/Documentation/notation/inside-the-staff#parentheses
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If you override the trill stencil to be transparent or nonexistent, it's
possible the pitched trill interface (
http://www.lilypond.org/doc/v2.16/Documentation/notation/expressive-marks-as-lines#trills)
will do what you need?
HTH
Nick
--
And she forgot the stars, the moon, and sun,
And she forgot the blue above the trees,
And she forgot the dells where waters run,
And she forgot the chilly autumn breeze...
— Keats, Isabella, or the Pot of Basil
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Re: What is it called and can I do it?
Disclaimer: the override inside of the relative block comes from this
threadhttp://code.google.com/p/lilypond/issues/detail?id=155,
I have no idea how it works.
\version 2.17.29
reminder =
#(define-music-function
(parser location note)
(ly:music?)
#{
\once \override ParenthesesItem #'font-size = #3
\once \override NoteColumn #'X-offset = #1
\grace { \parenthesize $note }
\once \override NoteColumn #'X-offset = #1
#}
)
\relative c' {
\override ParenthesesItem #'stencil = #(lambda (grob)
(let* ((acc (ly:grob-object (ly:grob-parent grob Y) 'accidental-grob))
(dot (ly:grob-object (ly:grob-parent grob Y) 'dot)))
(if (not (null? acc)) (ly:pointer-group-interface::add-grob grob 'elements
acc))
(if (not (null? dot)) (ly:pointer-group-interface::add-grob grob 'elements
dot))
(parentheses-item::print grob)))
dis \reminder e! f
}
On Sun, Dec 15, 2013 at 8:47 PM, Alex Loomis thebluemusic...@gmail.comwrote:
The following works, but it doesn't exactly look nice. I'll play around
with it a little to see if I can clean it up.
\version 2.17.29
{dis' \grace{ \parenthesize es'8 }}
On Sun, Dec 15, 2013 at 8:39 PM, Nick Baskin amphio...@gmail.com wrote:
On Sun, Dec 15, 2013 at 8:35 PM, Guy Stalnaker jimmyg...@gmail.comwrote:
No. It is the notational equivalent of:
ds (ef) | ef
The (ef) would be transparent to midi and lyrics.
--
There is only love, and then oblivion. Love is all we have
to set against hatred. (paraphrased) Ian McEwan
Guy Stalnaker
jimmyg...@gmail.com
On Dec 15, 2013, at 7:30 PM, Alex Loomis thebluemusic...@gmail.com
wrote:
You mean like this?
http://www.lilypond.org/doc/v2.16/Documentation/notation/inside-the-staff#parentheses
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If you override the trill stencil to be transparent or nonexistent, it's
possible the pitched trill interface (
http://www.lilypond.org/doc/v2.16/Documentation/notation/expressive-marks-as-lines#trills)
will do what you need?
HTH
Nick
--
And she forgot the stars, the moon, and sun,
And she forgot the blue above the trees,
And she forgot the dells where waters run,
And she forgot the chilly autumn breeze...
— Keats, Isabella, or the Pot of Basil
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Re: mid-measure key change
If this is something you're composing, general practice would suggest you
move it to the beginning or end of the bar. That said, you could make time
signatures and bar lines temporarily invisible and represent that
internally as two bars of 2/2.
\version 2.16.2
global = {
\key c \major
\numericTimeSignature
\time 4/2
\hideNotes \grace g
\unHideNotes
\once \override Score.TimeSignature #'transparent = ##t
\time 2/2
\override TupletBracket #'bracket-visibility = ##f
\override TupletNumber #'stencil = ##f
}
rightOne = \relative c'' {
\global
g1 \key ges \major c,1\fz
}
rightTwo = \relative c'' {
\global
\times 2/3 {
r8 g, bes d bes g bes g bes d bes g
\once \override Score.BarLine #'color = #white
\bar '
\change Staff = left \stemUp
aes\rest c, ges' beses ges c, ges' c, ges' beses ges c, }
}
left = \relative c' {
\global
bes,,1 ( \key ges \major eeses )
}
\score {
\new PianoStaff
\new Staff = right \rightOne \\ \rightTwo
\new Staff = left { \clef bass \left }
\layout { }
}
On Sun, Dec 15, 2013 at 9:50 PM, Mark Stephen Mrotek
carsonm...@ca.rr.comwrote:
Hello,
The key change in the upper staff can be properly aligned (after the “g”)
if I use \bar '' '' and \break. This disrupts Lilypond’s auto-spacing.
Is another solution possible?
Thank you.
Mark
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Re: showing MultiRests when both instruments have rests in Frenched score
Could you include a minimal example? On Sat, Dec 14, 2013 at 4:58 PM, Paul Scott waterho...@ultrasw.com wrote: On Sat, Dec 14, 2013 at 04:00:13PM -0500, Kieren MacMillan wrote: Hi Paul, If the following is the solution where can I put showMultiRests so that it doesn't override RemoveEmptyStaves and show staves whether they are both empty or not? http://lsr.dsi.unimi.it/LSR/Item?id=312 That’s the hack I use… You just put \showMultiRests in the part/music at the moment where you want to “temporarily disable \RemoveEmptyStaves”. If you’re having difficulty, repost with a minimal example, so we can show you what you’re doing wrong. Oops! I was fooled because it is overriding \override VerticalAxisGroup #'remove-first = ##t So it's partly working in that it is displaying the multi-rests where it wasn't before but it's showing both staves for the first system which I don't want. Any ideas on that? Thank you, Paul Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Doubling at the octave
Could someone explain why this doesn't work?
\version 2.16.2
octava =
#(define-music-function
(parser location music-input)
(ly:music?)
#{
\partcombine #music-input \transpose c c' #music-input
#})
\octava { c' d' e' }
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Re: Doubling at the octave
Thanks, that worked. I ended up going with the following since it allows
you to use it inside a \relative section, but I'm confused as to why I
needed to use \transpose c c'' instead of \transpose c c' for it to work
correctly. Could you explain why?
\version 2.17.95 %version change since I switched computers
octava =
#(define-music-function
(parser location music-input)
(ly:music?)
#{
\new Voice $music-input \transpose c c'' $music-input
#})
\relative c' {
\octava { c d e f }
}
On Sat, Dec 14, 2013 at 8:41 PM, Paul Morris p...@paulwmorris.com wrote:
Alex Loomis wrote
Could someone explain why this doesn't work?
I think you need to use $music-input instead of #music-input:
\version 2.16.1
octava =
#(define-music-function
(parser location music-input)
(ly:music?)
#{
\partcombine $music-input \transpose c c' $music-input
#})
\octava { c' d' e' }
(Note I don't have 2.16.2 installed, so I changed it to 2.16.1 but I don't
think that should make a difference here.)
HTH,
-Paul
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Slurs
To test out the new slurs I typeset this monstrosity: http://leadingtone.tumblr.com/post/69867321191/adventures-in-engraving-vaughan-williams-the The code isn't pretty, but lilypond will do it just fine. In fact, between dashed slurs and moving the hairpin above the staff, it's actually more readable than the example. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
