Re: Nashville notation as chord symbols
Hi David, > Pop music in the U.S.A. may be the monetary epicentre of the musical > universe, but most of LilyPond's developer base are rather removed from > there. I must disappoint you, I'm a Berlin jazz pianist that just happens to do some studio work. Since, apart from the classical scene, German-produced music has only domestic relevance, it's not necessarily where the really big bucks are. > Sentences like "I think it would be great if Lilypond could" rarely lead > anywhere in a volunteer-driven project since they imply that unnamed > others should be willing to invest more time and effort into bringing > such support into being than you yourself would, and that tends to be > not a realistic expectation. Well, I'm definitely willing to do my part. It's just that I'm not a Scheme expert and the last time I was more deeply involved in Lilypond coding was for the 1.8 version. (I wrote the original Ignatzek – who was one of my piano teachers, btw – chord naming routine.) As long as you don't mind me asking questions, especially on poorly-documented functions, I believe we can get along and get Nashville chord charts supported in a viable timeframe. Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Hi all, I hope I didn't scare everybody away with my last message containing the rhythmic specification of the Nashville Number System. That was not my intention. But I think it would be great if Lilypond could also support this kind of notation, since it is a quasi-standard for studio musicians and it would be great to manage all kinds of musical typesetting with a single piece of software. Kind regards, Amy Am 21.06.2015 um 16:51 schrieb Amelie Zapf: > Hi all, Harm, David, > > as a "roadmap" for all else that would be required to make Lilypond > support Nashville-style lead sheets please find attached a PDF including > pretty much all Nashville notation-specific symbols. The list was > compiled using Jim Riley: Song Charting Made Easy – A Play-Along Guide > To The Nashville Number System, Hal Leonard, Milwaukee 2010. > > Greetings, > > Amy -- Dr. Amelie Zapf (a...@ameliezapf.com) Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548 Caputh, Germany http://www.ameliezapf.com/ PGP public key ID: 4E0A7F00 "When the power of love overcomes the love of power, the world will know peace." - Jimi Hendrix ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Hi all, Harm, David, as a "roadmap" for all else that would be required to make Lilypond support Nashville-style lead sheets please find attached a PDF including pretty much all Nashville notation-specific symbols. The list was compiled using Jim Riley: Song Charting Made Easy – A Play-Along Guide To The Nashville Number System, Hal Leonard, Milwaukee 2010. Greetings, Amy nashvillenumbers.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Hi Thomas, > the cleanest way would be to redefine the chordNameFunction, currently > it's 'ignatzek-chord-names' > A lot of work though... > > That said, I've tried the engraver-route. > Though, I've absolutely no clue about the nashville-system, thus have > a thorough look at the output: Harmonically, this appears to be it. However the Nashville Number System also has rhythmic markings (for chord changes on odd beats of the measure, for bars with a different count than the rest, for breaks both long and short…) that still would have to be introduced in order to make it a standard-conforming Nashville System chart – the system is quite rigorously defined. In essence, we'd need to be able to underline chord symbols, to surround them with square and diamond-shaped boxes, and to decorate them with tick marks (´) and two kinds of accents (^ and >). For key changes, there'd need to be a relative modulation mark (such as "Mod +1/2"). Thanks for all your work, Amy -- Dr. Amelie Zapf (a...@ameliezapf.com) Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548 Caputh, Germany http://www.ameliezapf.com/ PGP public key ID: 4E0A7F00 "When the power of love overcomes the love of power, the world will know peace." - Jimi Hendrix ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Hi David, everybody, > Rather, you need to put your code into an engraver. You then "consist" > the engraver to a context. You can't get at it within your function. OK. I need to define an engraver, that's a statement I can live with. However, is there any documentation or definition of the make-engraver function anywhere that is readable to the "informed layperson" that has been typesetting music with Lilypond ever since 1.6.6, but doesn't know all the internals of the program? I've gleaned from a few emails that the engraver then needs "listeners" and "acknowledgers" defined. If I understand correctly, I shouldn't need any listeners, but the chord-name-interface as the acknowledger. Is that correct? And then how do I go about stuffing the function that essentially redefines the chordRootNamer in there so chord-generic-names.scm will call it? I'm sorry I'm such a dunce, but with the amount of documentation supplied, make-engraver is extremely hard to grasp. Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Hi all, > What's left now is to isolate this function and put it into the other > code we already have. I just had a go at it and am running into problems left and right. If I call (myrootpitch (ly:context-property somecontext 'tonic)) I need a context as input. The usual context names (like Staff) don't work. The original function got the context from the ly:translator-context function. This one, however, requires a translator object as input. In the documentation, I haven't found a proper explanation what exactly constitutes a translator object. So I just don't know enough about Lilypond's internals to make any headway here. Maybe somebody can elucidate? Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Dear Paul, all,
thanks for your great contribution of passing the tonic as an argument.
> It’s possible to create a custom engraver (with scheme) that can access this
> property and do something with it. (There’s not all that much documentation
> on this, but maybe look in the LSR for examples? “make-engraver” is the
> function.) I’m not sure how a custom engraver would work with chordRootNamer
> and chordNoteNamer, just because I’m unfamiliar with the chord name
> mechanisms.
In the documentation, under 1.1.4 – Note heads – Easy notation, there is
a snippet printing the scale degree inside the note head. The
make-engraver code reads out the root and calculates the scale degree.
What's left now is to isolate this function and put it into the other
code we already have. Then Nashville chord symbol support will be
harmonically complete. What's left are the rhythmic markings, but that's
a whole different matter.
Regards,
Amy
#(define Ez_numbers_engraver
(make-engraver
(acknowledgers
((note-head-interface engraver grob source-engraver)
(let* ((context (ly:translator-context engraver))
(tonic-pitch (ly:context-property context 'tonic))
(tonic-name (ly:pitch-notename tonic-pitch))
(grob-pitch
(ly:event-property (event-cause grob) 'pitch))
(grob-name (ly:pitch-notename grob-pitch))
(delta (modulo (- grob-name tonic-name) 7))
(note-names
(make-vector 7 (number->string (1+ delta)
(ly:grob-set-property! grob 'note-names note-names))
#(set-global-staff-size 26)
\layout {
ragged-right = ##t
\context {
\Voice
\consists \Ez_numbers_engraver
}
}
\relative c' {
\easyHeadsOn
c4 d e f
g4 a b c \break
\key a \major
a,4 b cis d
e4 fis gis a \break
\key d \dorian
d,4 e f g
a4 b c d
}
--
Dr. Amelie Zapf (a...@ameliezapf.com)
Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548
Caputh, Germany
http://www.ameliezapf.com/
PGP public key ID: 4E0A7F00
"When the power of love overcomes the love of power, the world will know
peace." - Jimi Hendrix
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Re: Nashville notation as chord symbols
Hi all, the remaining problem of the Scheme function is: how to access the current root of the key signature in the function definition. For even if we explicitly state the root again in the definition, it would be immensely problematic if the piece contained a key change. Since Lilypond does have an internal representation of the current key signature (it needs to, to place accidentals correctly), there must be a way to access it from within a function. Does anybody know how? Regards, Amy -- Dr. Amelie Zapf (a...@ameliezapf.com) Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548 Caputh, Germany http://www.ameliezapf.com/ PGP public key ID: 4E0A7F00 "When the power of love overcomes the love of power, the world will know peace." - Jimi Hendrix ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Dear David, > You can move MIDI playback by using \transposition This is well-known, but reintroduces the problem of double transposition. > (which only works on MIDI). I'm sorry it doesn't. It prints a clef, key and time signature, IIRC. Not what you need in a row of chord symbols. Given that all solutions are pretty much hacks, this one is definitely one of the worse alternatives. Regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nashville notation as chord symbols
Dear Klaus, Stan,
the following code moves the transposition into the
#note-name->international-markup routine, thereby eliminating MIDI
playback problems. Downside: we still cannot pass the tonic to the
routine directly, but have to state it there anew.
And, of course, the rhythmic elements of Nashville notation aren't
implemented yet.
Greetings,
Amy
\version "2.18.2"
% Chords
#(define (note-name->international-markup pitch lowercase?)
(let* (
(root (ly:make-pitch 0 1 0)) ; this defines d' as the root
; (octave 0, degree 1, alteration 0)
(diff (ly:pitch-diff pitch root))
(name (ly:pitch-notename diff))
(alt (ly:pitch-alteration diff))
(hspace (vector-ref #(0.15 0.15 0.05 0.05 0.15) (+ (* alt 2) 2)))
(raise (vector-ref #(0.6 0.6 0.65 0.8 0.7) (+ (* alt 2) 2)))
)
(make-line-markup
(list
(if (= alt 0)
;; If it's natural and not b, do nothing
(make-line-markup (list empty-markup))
;; Else add alteration
(make-line-markup
(list
(make-smaller-markup
(make-raise-markup raise
(make-musicglyph-markup (assoc-get alt
standard-alteration-glyph-name-alist ""
(make-hspace-markup hspace)
)))
(make-simple-markup
(vector-ref #("1" "2" "3" "4" "5" "6" "7") name)
)
nashvilleChords = {
\set chordRootNamer = #note-name->international-markup
\unset chordNoteNamer
}
\score {
\chords {
d1 e:m f g:maj7 gis:sus4 a:7 d
\nashvilleChords
d1 e:m f g:maj7 gis:sus4 a:7 d
}
\midi {
\tempo 4 = 180
}
\layout {
}
}
--
Dr. Amelie Zapf (a...@ameliezapf.com)
Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548
Caputh, Germany
http://www.ameliezapf.com/
PGP public key ID: 4E0A7F00
"When the power of love overcomes the love of power, the world will know
peace." - Jimi Hendrix
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Re: Nashville notation as chord symbols
Hi Stan, Klaus,
the following snippet does Nashville numbers correctly for the key of C
(except for the rhythmical symbols). In order to adapt this to other
keys we'd need to hand the routine two pitches, the chord root and the
current key, and have it compute the difference between the two, which
is the scale degree. Does anybody know how to do that?
Amy
\version "2.18.2"
% Chords
#(define (note-name->international-markup pitch lowercase?)
(let* (
(name (ly:pitch-notename pitch))
(alt (ly:pitch-alteration pitch))
(hspace (vector-ref #(0.15 0.15 0.05 0.05 0.15) (+ (* alt 2) 2)))
(raise (vector-ref #(0.6 0.6 0.65 0.8 0.7) (+ (* alt 2) 2)))
)
(make-line-markup
(list
(if (= alt 0)
;; If it's natural and not b, do nothing
(make-line-markup (list empty-markup))
;; Else add alteration
(make-line-markup
(list
(make-smaller-markup
(make-raise-markup raise
(make-musicglyph-markup (assoc-get alt
standard-alteration-glyph-name-alist ""
(make-hspace-markup hspace)
)))
(make-simple-markup
(vector-ref #("1" "2" "3" "4" "5" "6" "7") name)
)
nashvilleChords = {
\set chordRootNamer = #note-name->international-markup
\unset chordNoteNamer
}
\chords {
c1 d:m es f:maj7 fis:sus4 g:7 c
\nashvilleChords
c1 d:m es f:maj7 fis:sus4 g:7 c
}
%
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Re: Nashville notation as chord symbols
Hello Stan, all, I second the motion to introduce the (incredibly practical key-independent) Nashville Number System to Lilypond. > ♭7⁷ or 7♭⁷. ♭7⁷ is the "official" notation. Plus the NNS has a number of other symbols for denoting breaks (long and short), anticipations, key and meter changes, multiple chords per bar and the like. Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord names broken since 2.16
Dear Elaine, > In terms of the latter musical context, the add9 is ambiguous, since it > leaves open the question of whether the chord functions as a dominant or > not. Yes, we all understand that when you write add9 you don't want to > hear a 7th. But that does not mean that in the tonal musical context > the 7th somehow disappears. If a melodic player wanted to play a 7th > while this chord occurs, even as a passing tone, which one would he or > she choose? This is why "add9" chords are virtually nonexistent in Jazz > charts, since they do not supply musicians what they need to know to do > their job. I beg to disagree. I don't think the reason add9 chords aren't very common in jazz is because the symbol doesn't supply enough information. Improvisers at any level should be able to infer where the 4th, 6th and 7th should be placed and play accordingly. I think the main reason is that the major 9th is the chord addition that least discolors a major or minor chord. Any add9 functions in the same way as a regular major or minor, without any addition, it just sounds fuller and more "interesting". This is why on piano, you encounter it frequently in pop music and modern gospel, on guitar in rock (Jimi Hendrix's ballad style!) or country music (think: open string voicings). > The "X" note is not so much a part of the "chord" proper, but an > artifact of the melody. I agree that add9 has no bearing on the chord's function, but do insist it adds a specific, unique and readily recognizable sound. So there must be a way to specify that sound if it's a crucial element of the composition. Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord names broken since 2.16
Dear lilypond-user team, problem solved: \set Score.additionalPitchPrefix = "add" does the trick. However, this should be default behavior, because C9 and Cadd9 are just not the same thing, but describe chords with vastly different harmonic function. Regards, Amy -- Dr. Amelie Zapf (a...@ameliezapf.com) Pianist, Bassist, Guitarist, Composer, Friedrich-Ebert-Str. 25, 14548 Caputh, Germany http://www.ameliezapf.com/ PGP public key ID: 4E0A7F00 "When the power of love overcomes the love of power, the world will know peace." - Jimi Hendrix ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Chord names broken since 2.16
Dear lilypond-user team, starting with LilyPond 2.16, and on into 2.18, the chord naming algorithm does not distinguish between a chord and in relative notation. Both are named "C9". This is wrong, since functionally, the former is a dominant, the latter a tonic, so there must be a distinction between the two. The behavior up until 2.14 (which I used until recently) was correct, in which the former was called "C9", the latter "Cadd9". Is there a script file I can modify so I can get the system to behave correctly? Kind regards, Amy ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
A question regarding staff crossing
Dear Lilypond folks,
after a long period of "not having any questions" and happily using 2.0, I've
now upgraded to 2.6.5, due to Linux distribution upgrade. Now here's what I'd
like to do:
I have a score with the format attached below. Now I would like to use manual
staff switches in the piano, while still keeping layout and content nicely
separated, i.e. I'd like to retain the four piano voices as separate units,
but each one in one piece, and insert them into the PianoStaff later on. Is
there any way to do that?
Regards,
Amy
%%% The Score
#(set-default-paper-size "a4")
#(set-global-staff-size 16)
\include "english.ly"
Keys'n'thangs %
global = { \time 4/4 }
Key = { \key c \major }
% Chords ###
harmony = \chordmode { \jzchords c1 }
% VOICES
voc = \relative c' { \Key c1}
text = \lyricmode { note }
flt = \relative c'' { \Key }
rhUpper = \relative c''' { \voiceOne \Key c1 }
rhLower = \relative c'' { \voiceTwo \Key c1 }
lhUpper = \relative c' { \voiceOne \Key c1 \change Staff = up c'1 }
lhLower = \relative c' { \voiceTwo \Key c1 }
Bass = \transpose c c' \relative c, { \Key c1 }
drumset = \drummode { bd4 }
% PRE-PROCESSING THE VOICES %%
%% - Chords -
rsharmony = \harmony
% tenorharmony = \transpose c' d \harmony
%% - Instruments -
vocal = {
\global
\set Staff.instrument = #"Mezzo-Soprano"
\set Staff.instr = #"msop"
\set Staff.midiInstrument = "violin"
\clef treble
\context Voice = theVoice \voc
}
flute = {
\global
\set Staff.instrument = #"Flute"
\set Staff.instr = #"fl"
\set Staff.midiInstrument = "flute"
\clef treble
\context Staff \flt
}
piano = {
\context PianoStaff <<
\set PianoStaff.instrument = #"Piano "
\set PianoStaff.instr = #"p "
\context Staff = up {
\clef treble
\global
\set Staff.midiInstrument = "acoustic grand"
<< \new Voice \rhUpper \new Voice \rhLower >>
}
\context Staff = down {
\clef bass
\global
\set Staff.midiInstrument = "acoustic grand"
<< \new Voice \lhUpper \new Voice \lhLower >>
}
>>
}
bass = {
\global
\set Staff.instrument = #"Bass"
\set Staff.instr = #"b"
\set Staff.midiInstrument = "contrabass"
\clef bass
\context Staff \Bass
}
drumContents = {
\global
<<
\set DrumStaff.instrument = #"Drums"
\set DrumStaff.instr = #"dr"
\new DrumVoice \drumset
>>
}
% It All Goes Together Here %%
\score {
<<
\new Staff \vocal
\lyricsto "theVoice" \new Lyrics \text
\new Staff \flute
\new ChordNames \rsharmony
\new PianoStaff \piano
\new Staff \bass
\new DrumStaff { \drumContents }
>>
\layout {
indent = 1.5 \cm
raggedlast = ##t
\context { \RemoveEmptyStaffContext }
\context {
\Score
\override BarNumber #'padding = #3
\override RehearsalMark #'padding = #2
skipBars = ##t
}
}
\midi { \tempo 4 = 80 }
}
\paper {
% vsize = 29.7 \cm
% hsize = 21.0 \cm
linewidth = 17.0 \cm
topmargin = 2.0 \cm
bottommargin = 2.0 \cm
leftmargin = 2.0 \cm
betweensystempadding = #1
raggedbottom=##f
raggedlastbottom=##f
% systemSeparatorMarkup=\slashSeparator
}
--
Amelie Zapf ([EMAIL PROTECTED])
Jazz Pianist, Bassist, Composer, Berlin, Germany
Don't forget to check out http://www.ameliezapf.com/
"When the power of love overcomes the love of power, the world will know
peace." - Jimi Hendrix
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Re: How to add Jazz alt chords
Hi Stephan, all, > I'm using lilypond to lay out a Jazz piece. I'm stuck with a chord > "Bb7alt" which the composer specifies. How can I add this chord (as > text) to the score? I hope you're using Lily 1.6.7 or higher with the corrected jazz code... I know of the problem... many jazzers write alt chords, which is not a real chord designation, but just instructs the player to throw in "some altered additional tones", whatever they may be. In any case, it's something I don't use, because I could just as well write "arb", for arbitrary. But it's common practice... so I agree a way should be created to typeset this symbol. However, it doesn't align with the Lilypond chord handling system at all. Maybe our Lily internals experts can give a hint? Making it possible to append text to a chord symbol should solve the problem, I guess. Take care, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Relative mode
Hi David, Rune, Mats, all, > I think it would be better to be able to leave and reenter > relative pitch with a colon: > > a:,, b c d e a:,, b c d e > > The colon would anchor the note in the designated octave and then > relative pitch (to it) would resume on the next note. This could be > especially useful in copying measures for example. It's really strange > when two measures that are actually identical don't look identical. I totally second that proposition. Relative mode (as it was) is actually very nice to type quickly (in fact, the only mistakes I still tend to make while typing fast are tritones). But David's feature would be BRILLIANT when it comes to start new sections or copy-and-paste. Regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Tenor, tuba
Dear Oddmund, > Is it (yet) possible to write "Rezitationstöne" (tuba, tenor) -- I > don't know the word for it in English -- that is e.g. a breve with more > text under one note? I write much church music where I often need to > have a lot of text on one note or one chord. I know that Lilypond can > handle more notes to one syllable, but this is the other way round. Off the top of my head, quoting the text should work: Re -- qui -- "em ae - ter - nam do - na" e -- is Untested though. Albest, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Two Lilies on one box?
Hi everybody, For "production" reasons, I haven't upgraded from Lily 1.6.10 yet. However, I'm excited about Lilypond 2.0 and would love to try it out. Is there a way to install two versions of Lilypond on one computer (Linux, preferably system-wide), without running into problems? I tend to think that fonts, and generally the whole LaTeX interaction could be a problem. Is that so? Albest, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Fwd: Re: inversions in lilypond 1.8.2
-- Weitergeleitete Nachricht -- Subject: Re: inversions in lilypond 1.8.2 Date: Fri, 19 Sep 2003 10:12:41 +0200 From: Amelie Zapf <[EMAIL PROTECTED]> To: Ray Brohinsky <[EMAIL PROTECTED]> Hi all, as with all discussions about chords, let me throw in my 2¢... Voice leading is NOT an option. Voice leading is a MUST. But with chord name notation, it is usually left up to the player. Only if the lowest voice _in_the_entire_ensemble_, meaning usually the bass player, is to play a specific note is this expressly denoted with a slash: F/A. Voice leading in the middle voices is strictly up to the player. I might caution you against inversion support. Especially when you get to chords with an upper structure beyond the 7th, you cannot speak of "inversion" anymore, there's just "voicings" in which some notes are left out, and the rest is usually spaced at distances between thirds and fifths, with fourths sounding the smoothest. How should these inversions come out on the paper, anyway? Albest, Amy --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Short codae and ragged-right alignment
Hi folks, after a long time, I'm coming up with a question again: I have a short coda (2 bars). Before the coda, obviously I have to create a linebreak. Now the line containing the coda is unnaturally stretched, as it gets aligned flush left and right. Is there a way to align this line (and only this line) ragged-right? I'm using 1.6.7 (have to update sometime). Regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Centering Piano Staff Name
Hi Rick, > This is a very minor quibble, but I was wondering if there is a way to > center the staff name on a piano staff so that it appears centered > between the two staves. done in the last version of the template I posted. Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Jazz Group Template, was: Re: Problem with Chord Names
Hi Han-Wen, Rick, all,
This is a thoroughly cleaned-up version (FYE, for your edification):
\version "1.6.6"
\header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
tagline = "Lilypond example file by Amelie Zapf, Berlin 07/07/2003"
}
\include "paper16.ly"
\include "english.ly"
Some macros %%%
sl = {
\property Voice.NoteHead \override #'style = #'slash
\property Voice.Stem \override #'length = #0 }
nsl = {
\property Voice.NoteHead \revert #'style
\property Voice.Stem \revert #'length }
cr = \property Voice.NoteHead \override #'style = #'cross
ncr = \property Voice.NoteHead \revert #'style
jzchords = \property ChordNames.ChordName \override #'style = #'jazz
Keys'n'thangs %
global = \notes {
\time 4/4
}
Key = \notes \key c \major
% Horns
% -- Trumpet --
trpt = \notes \transpose d' \relative c'' {
\Key
c1 c c
}
trpharmony = \chords \transpose d { \jzchords }
trumpet = {
\global
\property Staff.instrument = #"Trumpet"
\clef treble
\context Staff <
\trpt
>
}
% -- Alto Saxophone --
alto = \notes \transpose a' \relative c' {
\Key
c1 c c
}
altoharmony = \chords \transpose a { \jzchords }
altosax = {
\global
\property Staff.instrument = #"Alto Sax"
\clef treble
\context Staff <
\alto
>
}
% -- Baritone Saxophone --
bari = \notes \transpose a'' \relative c {
\Key
c1 c \sl d4^"Solo" d d d \nsl
}
bariharmony = \chords \transpose a { \jzchords s1 s d2:maj e:m.7 }
barisax = {
\global
\property Staff.instrument = #"Bari Sax"
\clef treble
\context Staff <
\bari
>
}
% -- Trombone --
tbone = \notes \relative c {
\Key
c1 c c
}
tboneharmony = \chords { \jzchords }
trombone = {
\global
\property Staff.instrument = #"Trombone"
\clef bass
\context Staff <
\tbone
>
}
% Rhythm Section #
% -- Guitar --
gtr = \notes \relative c'' {
\Key
c1 \sl b4 b b b \nsl c1
}
gtrharmony = \chords { \jzchords
s1 c2:min.7+ d2:maj.9
}
guitar = {
\global
\property Staff.instrument = #"Guitar"
\clef treble
\context Staff <
\gtr
>
}
%% -- Piano --
rhUpper = \notes \relative c'' {
\voiceOne
\Key
c1 c c
}
rhLower = \notes \relative c' {
\voiceTwo
\Key
e1 e e
}
lhUpper = \notes \relative c' {
\voiceOne
\Key
g1 g g
}
lhLower = \notes \relative c {
\voiceTwo
\Key
c1 c c
}
PianoRH = {
\clef treble
\global
\property Staff.midiInstrument = "acoustic grand"
\context Staff <
\context Voice = one \rhUpper
\context Voice = two \rhLower
>
}
PianoLH = {
\clef bass
\global
\property Staff.midiInstrument = "acoustic grand"
\context Staff <
\context Voice = one \lhUpper
\context Voice = two \lhLower
>
}
piano = {
\context PianoStaff <
\property PianoStaff.instrument = #"Piano"
\context Staff = upper \PianoRH
\context Staff = lower \PianoLH
>
}
% -- Bass Guitar --
bass = \notes \relative c {
\Key
c1 c c
}
bass = {
\global
\property Staff.instrument = #"Bass"
\clef bass
\context Staff <
\bass
>
}
% -- Drums --
\include "drumpitch-init.ly"
up = \notes {
hh4 hh4 hh4 hh4
hh4 hh4
}
down = \notes {
bd4 s bd s bd s bd s bd s bd s
}
drums = {
\global
\property Staff.instrument = #"Drums"
\clef percussion
\context Staff <
\context Voice = first { \voiceOne \up }
\context Voice = second { \voiceTwo \down }
>
}
% It All Goes Together Here %%
\score {
<
\context StaffGroup = horns <
\context Staff = trumpet \trumpet
\context Staff = altosax \altosax
\context ChordNames = barichords \bariharmony
\context Staff = barisax \bari
Re: Problem with Chord Names
Hi Han-Wen, all, (re back to list) > It would be cool to put it in lilypond as a template file, but for > consistency either the \key should go, or the \transpose should be > added, right? I'll make you a good, consistent one. Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Fwd: Re: Problem with Chord Names
-- Weitergeleitete Nachricht -- Subject: Re: Problem with Chord Names Date: Mon, 7 Jul 2003 11:15:23 +0200 From: Amelie Zapf <[EMAIL PROTECTED]> To: [EMAIL PROTECTED] Hi Han-Wen, Rick, all, > doesn't this template miss a few \transposes? yes. I just gave that as an additional suggestion. I was too lazy to put that in as well. Amy --- ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with Chord Names
Hi Rick, all,
> I'm not sure I follow this (I have only been playing around with
> lilypond for a few weeks), does this put the chord names over all of the
> staves, or can it put chord names over just certain staffs and the only
> in sections where I want to have chord names.
What I gave you puts the chords above everything, which is what I use for my
scores. It's most convenient if you're directing.
For the part extractions, I include the chords in every part, as it gives the
players a solid sense of where they are.
But you can choose to do it differently.
I would also encourage you to use "relative octave mode" (see the manual, it
saves you all that octave ' and , typing), as well as transposition, so you
can enter all the horn parts the way they sound, not having to transpose in
your head.
That's why I never got far on the tenor saxophone... I can't stand thinking
"C" and hearing "Bb".
This score does all the required stuff and then some:
\version "1.6.6"
\header {
title = "Song"
subtitle = "(tune)"
composer = "Me"
meter = "moderato"
piece = "Swing"
}
\include "paper16.ly"
\include "english.ly"
Some macros %%%
sl = {
\property Voice.NoteHead \override #'style = #'slash
\property Voice.Stem \override #'length = #0 }
nsl = {
\property Voice.NoteHead \revert #'style
\property Voice.Stem \revert #'length }
cr = \property Voice.NoteHead \override #'style = #'cross
ncr = \property Voice.NoteHead \revert #'style
Keys'n'thangs %
global = \notes {
\time 4/4
}
Concert = \notes \key c \major
Bb = \notes \key d \major
Eb = \notes \key a \major
% Horns
% -- Trumpet --
trpt = \notes {
c''1 c'' c''
}
trumpet = {
\global
\property Staff.instrument = #"Trumpet"
\clef treble
\Bb
\context Staff <
\trpt
>
}
% -- Alto Saxophone --
alto = \notes {
c''1 c'' c''
}
altosax = {
\global
\property Staff.instrument = #"Alto Sax"
\clef treble
\Eb
\context Staff <
\alto
>
}
% -- Baritone Saxophone --
bari = \notes {
c''1 c'' \sl b'4^"Solo" b' b' b' \nsl
}
bariharmony = \chords { s1 s d2:maj e:m.7 }
barisax = {
\global
\property Staff.instrument = #"Bari Sax"
\clef treble
\Eb
\context Staff <
\bari
>
}
% -- Trombone --
tbone = \notes {
c1 c c
}
trombone = {
\global
\property Staff.instrument = #"Trombone"
\clef bass
\Concert
\context Staff <
\tbone
>
}
% Rhythm Section #
% -- Guitar --
gtr = \notes {
c''1 \sl b'4 b' b' b' \nsl c''1
}
gtrharmony = \chords {
s1 c2:min.7+ d2:maj.9
}
guitar = {
\global
\property Staff.instrument = #"Guitar"
\clef treble
\Concert
\context Staff <
\gtr
>
}
%% -- Piano --
rhUpper = \notes {
\voiceOne
c''1 c'' c''
}
rhLower = \notes {
\voiceTwo
e'1 e' e'
}
PianoRH = {
\clef treble
\Concert
\global
\property Staff.instrument = #"Piano"
\property Staff.instr = #"Piano"
\property Staff.midiInstrument = "acoustic grand"
\context Staff <
\context Voice = one \rhUpper
\context Voice = two \rhLower
>
}
lhUpper = \notes {
\voiceOne
g1 g g
}
lhLower = \notes {
\voiceTwo
c1 c c
}
PianoLH = {
\clef bass
\Concert
\global
\property Staff.midiInstrument = "acoustic grand"
\context Staff <
\context Voice = one \lhUpper
\context Voice = two \lhLower
>
}
% -- Bass Guitar --
bass = \notes {
c1 c c
}
bass = {
\global
\property Staff.instrument = #"Bass"
\clef bass
\Concert
\context Staff <
\bass
>
}
% -- Drums --
\include "drumpitch-init.ly"
up = \notes {
hh4 hh4 hh4 hh4
hh4 hh4
}
down = \notes {
bd4 s bd s bd s bd s bd s bd s
}
drums = {
\global
\property Staff.instrument = #"Drums"
\clef percussion
\context Staff <
\context Voice = first { \voiceOne \up }
\context Voice = second { \voiceTwo \down }
>
}
% It All Goes Together Here %%
\score {
<
\context StaffGroup = horns <
\context Staff = trumpet \trumpet
\context Staff = altosax \altosax
\context ChordNames = barichords \bariharmony
\context Staff = barisax \barisax
\context Staff = trombone \
Fwd: Re: slash noteheads for rhythm parts
-- Forwarded Message --
Subject: Re: slash noteheads for rhythm parts
Date: Sun, 6 Jul 2003 22:00:49 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: Rick Sutphin <[EMAIL PROTECTED]>
Hi Rick,
insert this portion into your .ly file:
sl = {
\property Voice.NoteHead \override #'style = #'slash
\property Voice.Stem \override #'length = #0 }
nsl = {
\property Voice.NoteHead \revert #'style
\property Voice.Stem \revert #'length }
cr = \property Voice.NoteHead \override #'style = #'cross
ncr = \property Voice.NoteHead \revert #'style
and you can switch to slashes by just writing \sl into your notes. \nsl
switches back.
Same for cross heads for accents & hits.
Regards,
Amy
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Fwd: Re: Problem with Chord Names
-- Forwarded Message --
Subject: Re: Problem with Chord Names
Date: Sun, 6 Jul 2003 22:07:55 +0200
From: Amelie Zapf <[EMAIL PROTECTED]>
To: Rick Sutphin <[EMAIL PROTECTED]>
Hi Rick,
> I would like to be able to print chord names above the rhythm guitar
> part, and the piano part with slash notation indicating what rhythm to
> play. I would also like to be able to print chords above solo sections
> of any other instrument.
Make the chords available outside of staff contexts. Like, say, this (just a
random example I have lying around).
Regards,
Amy
\score {
<
\context ChordNames {
\property ChordNames.ChordName
\override #'style = #'jazz \sequence}
\context ChoirStaff \notes <
<
\context Staff = "Guitar" <
\property Staff.instrument = "Guitar"
\property Staff.instr = ""
\time 4/4
\clef "G_8"
\key bf \major
\context Voice \guitar
<
\context Staff = "Keyboards" <
\property Staff.instrument = "Keyboards"
\property Staff.instr = ""
\time 4/4
\key bf \major
\clef treble
\context Voice \keys
<
\context Staff = "Bass/Drums" <
\property Staff.instrument = "Bass/Drums"
\property Staff.instr = ""
\time 4/4
\key bf \major
\clef bass
\context Voice = drumVoice { \voiceOne \drums
}
\context Voice = bassVoice { \voiceTwo \bass
}
\midi { \tempo 8=108}
\paper {
linewidth = 15.0 \cm
\translator {
\StaffContext
\consists Instrument_name_engraver
}
\translator {
\ScoreContext
BarNumber \override #'padding = #3
RehearsalMark \override #'padding = #2
skipBars = ##t
}
\translator { \HaraKiriStaffContext }
}
}
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Re: lyrics entry help!!!-was hebrew lily
Hi Ferenc, Aaron, all, > > Most elegant, but more time-consuming to do. > > But has the potential to do other useful things (eg. > underlining) without messing up the alignment. If you > promise that what you insert does not change the width of > the text (much). It may even be useful for the present > problem (or not, if it is coincidentally just right now). > So it would be a useful feature IMHO. One day, perhaps... Truly so. It is the most sensible thing to handle things like that within Lilypond. But I'm a Scheme dunce, not even that, a decimal, at least when it comes to regexp handling. And it _would_ be useful for the problem at hand. Regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics entry help!!!-was hebrew lily
Hi Aaron,
> I have been using your script and it really works.
good.
> I have one question, when I want to add -- or ___ between lyrics they
> don't show up in the final ps or pdf (see attached) notice to notes with
> no lyrics that is because in the song there are a few places with a few
> notes per one sylable.
This is strange, because this section of my code:
if ($line[$j] ne "--" && $line[$j] ne "__") {
$line[$j]="\"R{$line[$j]}\"";
}
means: If a syllable (meaning one "word" surrounded by spaces) is not "--" or
"__", revert it. They should not be handled using the \\R{--} syntax, or?
Can you send me your mahyedid.out.29 and mahyedid.lyr.29? I'll see what I can
do.
> Also notice in the exampe that the lyrics in the first measure are not
> aligned right.
I see that the first syllable is too far to the right and there is no space
between the first two syllables? This sounds more like a problem for a
TeXnician. I'm only a plain LaTeX user, not an expert. I'm good at Perl and
C.
But we'll see when you send the .lyr and .out files.
All the best,
Amy
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Re: lyrics entry help!!!-was hebrew lily
Hi Joseph, > Amelie Zapf wrote: > > This is an ex -- am -- ple of how ly -- rics should be enter -- ed. > > Should -- n't it be "en -- tered" ? You're en -- tire -- ly right. ;-) Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics entry help!!!-was hebrew lily
Hi Aaron, > Hi all what is sly??? > and where can I get it??? sly enables you to enter the parts side-by-side, measure-by-measure. Much better for error tracking. David Raleigh Arnold developed it, it is to be found on his website. All the best, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics entry help!!!-was hebrew lily
Hi Aaron,
> and wow but I am not sure if the lyrics files should just be the hebrew
> text or should it be the complete lyrics section???
Just plain text.
and, using the example Ferenc got to work:
\score {
\addlyrics
\notes {
\clef "bass"
\key d \major
\time 3/4
d4. a8 g4
}
\context Lyrics \lyrics {
\include "mahyedid.out.29" %this line counts
}
\paper {
papersize = "a4"
indent = 0.0\cm
}
}
> A question about the lyrics should I put measure lines in them or just a
> string of syllables?? how does it know where to split syllables??
> I entered them with spaces and --.
This is an ex -- am -- ple of how ly -- rics should be enter -- ed.
> ok-mahyedid.lyr.29
>
> > # 2. Insert "\include ".out.";
>
> mahyedid.lyr.29?? what is .out. ???
If your lyrics file is called mahyedid.lyr.29, then you write in the lilypond
file: \include "mahyedid.out.29". This is the file the script creates, with
the desired reversion.
Then you run
revertlyrics.pl mahyedid
or
revertlyrics.pl mahyedid.ly
then
ly2dvi -P mahyedid.ly
and you should be set.
Schalom,
Amy
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Re: lyrics entry help!!!-was hebrew lily
Hi Han-Wen, all, > Even when it is only a one-liner, it has to be documented, it must > comply to GNU coding standards, our coding standards (which forbid > Perl and sed), be generally useful, and regularly QA'd. If that is so, the Perl script I sent to the list (I wonder why it hasn't arrived on there yet, are mails containing #!/usr/bin/perl automatically censored?) is out. > If it's not integrated in the Lilypond system, then it will not be > maintained by the development team, and should therefore not be > integrated in the tarball. okay. Good point. However, what I'm missing on the Lilypond page are links to helper applications such as the one I sent, or sly, or... I had to learn about sly on dis here mailing list. That script could have saved me gazillions of working hours in the past, had I only known it existed. Regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics entry help!!!-was hebrew lily
Hi Aaron, all,
The following script should do the job:
Cheers, Amy
#!/usr/bin/perl
# revertlyrics.pl v0.1
# Script to print right-to-left languages backwards
# in Lilypond
# (c) Amelie Zapf 2003
# Licensed under the GNU GPL v2
# Usage: revertlyrics.pl
# 1. Name each lyric file .lyr.
# 2. Insert "\include ".out.";
# at the appropriate positions in your lilypond file
# 3. Run script
use warnings;
use strict;
# which files to process
my $file=$ARGV[0];
$file=~s/\.ly//;
my @files=glob("$file.lyr.*");
foreach (@files) {
# read
open FILE, $_;
my @content=;
close FILE;
# process
for (my $i=0; $i$newfile";
for (my $i=0; $ihttp://mail.gnu.org/mailman/listinfo/lilypond-user
Re: lyrics entry help!!!-was hebrew lily
Hi Aaron, all, > 1. A shell/perl/whaterver script to search a txt file with the hebrew > lyrics and add the hebrew encoding then insert this all into the lyrics > section of an already created lilypond file. the "quick and dirty" fix. Easy to do. Maybe something like this could be bundled with lilypond? > 2. scheme hacking to make it possible to input hebrew and have lilypond > insert the hebrew stuff. Most elegant, but more time-consuming to do. > 3. Something within vi to do the same. I wouldn't go for that. What about emacs users and other editors. Regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: so close but so far
Hi Aaron, > How can I tell lilypond-book to load etex instead of tex??? very quick guess: edit the lilypond-book python script. Search for tex and replace with etex. lilypond-book is not that awfully long, it might just work. Define a variable tex_prog and set it to etex. Replace all current tex calls with the variable. Unsure, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: missing measues was two measures
Hi Aaron, the answer is easy: > %5 a'4 b'4 a'4 | The percent sign introduces a comment. Anything from the percent sign to the end of the line is ignored. If you want to mark up the bar numbers in your input, do it the reverse way around: a'4 b' a' | %5 that works. All the best, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Augmented chord, was: Re: excessive chord
Hi Jan,
> If I write f.e. c:7.5+ I now get "C7+", but that was not ment; this chord
> should be called "C7#5" as it was called before.
Yeah, the 5th gets post-fixed. Sorry, I did not think of that.
> Is it also possible to get the augmented chord as a "single chord", so that
> the other one is not modified in layout.
Let me look into the code... put it in the exception list:
Go to line 643 of chord-name.scm (within the set! chord::names-alist-jazz
block), which should read:
(((0 . 0) (2 . -1) (4 . -1) (6 . -2)) . ("" (super "o")))
and add after this, on a new line:
(((0 . 0) (2 . 0) (4 . 1)) . ("+"))
That should do the trick. I believe ;-) However, I can imagine a pitfall: that
your 7th chord comes out as C+7, then. Also not desirable.
If that doesn't do it, I have to say you're on your own. I tried to use a
pretty systematic naming scheme, with as few exceptions as possible. That's
why the augmented 5 always gets post-fixed. But anyone with a knowledge of
Scheme can create their own naming system.
It's not that hard, maybe you give it a go and post it here?
All the best,
Amy
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Re: riff notation
Hi Jan,
this is explained in detail in the Tutorial. Look there.
Basically:
riff = { here go the notes }
guitarVoice = \notes { \riff \riff \riff }
Alternative: \repeat "unfold" 200 { here go the notes } within the voice.
If you have a one or two bar riff, \repeat "percent" 200 { here go the notes } is
even easier to read.
Regards,
Amy
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OT: directions, was: Re: hebrew lyrics
Hi Aaron, this is a question that intrigues me (you might call it a typical goy question): If Hebrew writing runs right to left, and music runs left to right, how exactly are the syllables aligned with the music? Just curious, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Dr. Nienhuys! :-)
Hi Han-Wen, > Han-Wen was defending his doctoral thesis earlier today, so maybe that from > now on, we should take the habit of using `Dr.' when addressing him! :-) > > Congratulations, Dr. Nienhuys! :-) Of course, also congratulations from me. That still lies ahead of me, and I'm not quite prepared yet... All the best anyway, Dr. Nienhuys! Take care, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Fwd: Re: swing eighth notes in sound output?
Hi David, all > A separate midi version may be the only way right now. > You could use \time 33/32 a8 \time 31/32 a8 (experiment) or use > very large time values with ties for the long notes. I doubt that it's necessary. The sound generated by Lilypond sounds pretty machine-like, as it is. Jazz phrasing won't make it more humane. > You will find that jazz 8ths are much closer to straight 8ths > than they are to a triplet, or even to a 3:2 quintuplet. I > imagined that the latter would do it until I tried it. DaveA That depends on the tempo. The faster you play, the straighter they are. On slow blues, I even sometimes find myself exaggerating the triplet. On M.M. 250 or 300 however, it's almost entirely straight. Cheers, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Call me stupid -- Emacs mode
Hi Aaron, >> I want to make the Lilypond Emacs mode globally available. Therefore, I stuck >> lilypond-init.el into /etc/emacs/site-start.d/ and the other .el files into >> /usr/share/emacs/site-lisp/. However, no Lilypond emacs mode when I open a .ly file. >> >> My question: what smells wrong here? Oh yes, I'm using Lily 1.6.6 (home-compiled & >> scheme-patched by me, works fine) on a pristine install of SuSE 8.1. >> you checked the permissions?? >Aaron I got 644 on all. Should actually do the job. A test by putting them on 755 didn't make the situation any better. All the best, thanks anyway, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Chord symbol spacing question
Hi folks, this question is probably related to the "Shifting text markup... " thread. So here it goes: Is there a possibility to insure that the chord symbols are properly spaced? When a line in the score gets crammed, something saying: F+5/B Bbmaj7 easily mutates to: F+5/BBbmaj7 which is ugly to read. Is there a way to _ensure_ that some spacing is provided between two chord symbols (maybe also a padding or extra-offset property)? Kind regards, Amy -- Amelie Zapf Louey & Amy P.A. & Entertainment Service GbR Weichselstr. 17, 12045 Berlin http://www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Is Lilypond right for me?
Hi Alex,
> I have tried incorporating music into my TeX documents by using MusiXTeX,
> but so far unsuccessfully -- I've been having troubles installing MusiXTeX
> correctly. In an attempt to find perhaps a better solution, I discovered
> the Lilypond website and became curious.
MusiXTeX is quite a painful path. Unless you're masochistically inclined, I
wouldn't recommend it.
> I'm wondering -- will Lilypond allow me to combine math and music
> typesetting into a single document? Can I install and use it on my Mac
> (again, running OS X)? Do I need a different TeX implementation?
Yes, read the manual section about the nifty little script "lilypond-book".
That does just that.
You write mixed Lilypond/LaTeX code in a file with the extension ".tex",
then run:
lilypond-book myfile.tex
latex myfile.latex
and you're done.
I've attached an example (.ps.gz) generated in this manner from the following
mixed code:
\documentclass[12pt,a4paper]{article}
\usepackage[T1]{fontenc}
\usepackage[latin1]{inputenc}
\begin{document}
\title{Example}
\author{Amy Zapf}
\maketitle
\section{The formula:}
\[
E=m\cdot c^{2}\]
\section{The music:}
\begin[16pt]{lilypond}
\include "english.ly"
MellowD = \notes \relative c' {
\partial 8*3
f8 a c
ef4 r r2
d4 bf8 a g4 df' c2 f,4 g a bf8 a g4. f8 f2 r
f8 ( g a f g a bf g a bf c4~c bf8 a ) g2 f-\fermata \bar "|."
}
Werdz = \lyrics {
And Ein -- stein said:
En -- er -- gy e -- quals mass times the square of the speed of light.
A -- men.
}
global = {
\time 4/4
}
Key = \notes \key f \major
\score {
\context Staff = test <
\property Staff.automaticMelismata = ##t
\Key
\clef treble
\addlyrics
\context Voice \MellowD
\context Lyrics = bottom \Werdz
>
\midi {
\tempo 4=110
}
\paper {
linewidth = 12.0\cm
\translator {
\ScoreContext
BarNumber \override #'padding = #3
skipBars = ##t
}
}
}
\end{lilypond}
\end{document}
All the best and may you always rest on a bed of Lilies!
Amy
--
Amelie Zapf
Louey & Amy P.A. & Entertainment Service GbR
Weichselstr. 17, 12045 Berlin
http://www.loueymoss.com
example_mathnmusic.ps.gz
Description: GNU Zip compressed data
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Re: GrandStaff questions
Hi Fulko,
[snip]
>At the moment I want to set a piece of music that has four melody
>lines on two beams (treble and bass). The first melody (also on top),
>is also the melody of the lyrics. I want the lyrics between the two
>beams.
You probably mean "staves" not "beams".
>The problem I have is that the placement of the lyrics reacts to
>melody One and Two on the treble-beam. I want the lyrics only react on
>melody One. Can that be done?
The answer is the command \addlyrics. This command takes 2 args, a Voice context and
a Lyrics context and aligns the Lyrics context with the Voice context. I explained
this today in my message "Re: general questions" (28.02.2003 - 10:27:01) and gave an
example. I would like to ask you to look at that example, if you want it complete
>How do I make TextA follow melodyA?
\addlyrics
\context Voice = soprano {\voiceOne \sopranoVoice}
\context Lyrics = bottom \sopranoLyrics
Note "bottom" as the keyword to typeset the lyric beneath the staff.
>Is it possible to do the same with a TextB and melodyB?
analogous.
>Is it possible to set (parts) of the lyrics in boldface?
never tried.
###ATTENTION: left comments in code!
[ all actual melodies and lyrics ]
\score {
\context GrandStaff \notes %you'd probably want a ChoirStaff here.
<
\simultaneous { %\spurious ;-)
\addlyrics %wrongly placed, goes directly before voice! Remove here.
\context Staff =upper
<
\clef treble
%\addlyrics
\context Voice=one {\voiceOne \melodyA}
%\context Lyrics=TextA \textA
\context Voice=two {\voiceTwo \melodyB}
>
\context Lyrics=TextA %remove
< %all
\textA %this
> %stuff
\context Staff =lower
<
\clef bass
\context Voice=three {\voiceOne \melodyC}
\context Voice=four {\voiceTwo \melodyD}
>
}
>
}
>Thank a lot,
You're welcome.
Amy
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Re: general questions
Hi Chet,
> 1) I get beams on notes that I do not want to have beamed.
Use manual beaming by enclosing the notes you want beamed in square brackets,
e.g.:
[c8 d] e f [g a] b c
> 2) I have two cords that I want to slur. I can get a bottom slur or a top
> slur but I can not see how to place a top and bottom slur on a chord.
Slurs only come single, by default. What you probably mean is the tie. Ties
connect notes that are held over (and thus can come in hordes for chords).
Slurs indicate a stream of notes that is to be played legato, and thus come
only as single items.
> 3) I
> have a two cleft piece (treble and bass) with lyrics. The lyrics are placed
> at the bottom of the bass cleft. I would like them in the center of the
> clefts.
>
> The piece I am writing is a hymn and that is what I would like it to
> resemble.
It's not by chance "Rock of Ages, cleft for me", is it (the opening symbol of
a musical line is called a clef)?
This is my score block for the purpose (with the lyrics attached to the alto,
in this case):
\score {
\context ChoirStaff = chorus <
\context Staff = women <
\property Staff.instrument = "Soprano/Alto"
\property Staff.instr = "S/A"
\property Staff.automaticMelismata = ##t
\Key
\clef treble
\context Voice = soprano {\voiceOne \sopranoVoice}
\addlyrics
\context Voice = alto {\voiceTwo \altoVoice}
\context Lyrics = bottom \choirLyrics
>
\context Staff = men <
\property Staff.instrument = "Tenor/Bass"
\property Staff.instr = "T/B"
\Key
\clef bass
\context Voice = tenor {\voiceOne \tenorVoice}
\context Voice = bass {\voiceTwo \bassVoice}
>
>
\midi {
\tempo 4=90
}
\paper {
linewidth = 15.0\cm
\translator { \HaraKiriStaffContext }
\translator {
\ScoreContext
BarNumber \override #'padding = #3
skipBars = ##t
}
}
}
Kind regards,
Amy
--
Amelie Zapf
Louey & Amy P.A. & Entertainment Service GbR
Weichselstr. 17, 12045 Berlin
http://www.loueymoss.com
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Re: Two questions (probably easy: Chords and rit.)
Hi Erwin, >1) How get I a "rit." (for ritardando) in my score? Is there a standard >way or do I have to use "rit." on some note? on a quarter note of C: c4-"rit." >2) Is it possible to get Chords in Jaz mode with a different bass >note (like C7/G or G/B)? I coudn't find it in the documentation? c:7/+g or g/+b search the docu for "bass and inversion", that should yield results. Don't use the "inversion" function in jazz mode, i.e c:7/g or g/b, that delivers chord symbols where the bass note is explicitly negated in the symbol, e.g G5/B. That's not desirable. All the best, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: chord names
Hi Rafael, chord names have been fixed by me for 1.6.7. This code has been ported to 1.7, cleaned up and expanded furthermore by Han-Wen and Jan. > I've just started using Lilypond (1.6.6) and I can't get chord names to > work. I found some messages in the archives about this, so it seems it > is really a problem with Lilypond rather than me. I wonder if there is > a solution for this already. I've tried to upgrade to more recent > version of Lilypond, but there are lots of other packages I would have > to upgrade too (I'm using Red Hat 7.3). All the best, Amy -- Amelie Zapf Louey & Amy P.A. & Entertainment Service GbR Weichselstr. 17, 12045 Berlin http://www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: repeat "percent" and Score.skipBars
Am Montag, 10. Februar 2003 09:39 schrieben Sie: > Does it make sense that the following example (using GNU LilyPond 1.6.6) > creates one set of notes and omits the double percent repeat but works > correctly when skipBars = ##f ? It doesn't and it's an age-old problem that I'm having as well. Unfortunately, I don't have a solution right now. All the best, (that wasn't too helpful) Amy -- Louey & Amy - Soul, Jazz & Gospel from Berlin Wir sind umgezogen! www.louey-amy.de ist jetzt www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
again: visibility-lambda
Hi again, I'm sorry, this question has been posed by Paul Scott already. However, it has not been answered. Amy -- Louey & Amy - Soul, Jazz & Gospel from Berlin Wir sind umgezogen! www.louey-amy.de ist jetzt www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
visibility-lambda
Hi all, I'm using Lilypond 1.6.6. It used to be that one could put segnos at the end of the line by using \property Score.RehearsalMark \override #'visibility-lambda = #begin-of-line-invisible How come this does not work in 1.6.6 any more? Has the syntax been updated? Kind regards, Amy -- Louey & Amy - Soul, Jazz & Gospel from Berlin Wir sind umgezogen! www.louey-amy.de ist jetzt www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Latex errors on upgrade 1.4.9->1.6.6
Hi folks, now I finally did the version jump and moved from 1.4.9 from 1.6.6. I'm not upgrading often, because I use Lilypond a lot as working environment for my job, so it _has_ to be working for me. After the upgrade, Lily works fine, but LaTeX doesn't seem to cooperate any more. I removed the old fonts and ran a texhash, so that can't be it. My OS is SuSE 7.3. This is the output I get: **start quote** amelie@amy:~/music/gospelchor/new_lily> ly2dvi we_shall_overcome.ly Running LilyPond... GNU LilyPond 1.6.6 Now processing: `we_shall_overcome.ly' Parsing... Interpreting music... MIDI output to `we_shall_overcome.midi'... Track ... warning: no such instrument: `soprano/alto' warning: no such instrument: `tenor/bass' Interpreting music...[8][16] Preprocessing elements... Calculating column positions... [3][6][9][12][15][16] paper output to `we_shall_overcome.tex'... writing header field `title' to `we_shall_overcome.title'... writing header field `composer' to `we_shall_overcome.composer'... writing header field `arranger' to `we_shall_overcome.arranger'... writing header field `meter' to `we_shall_overcome.meter'... Analyzing we_shall_overcome.tex... Running LaTeX... ly2dvi:error: LaTeX failed on the output file. ly2dvi:error: The error log is as follows: ! Undefined control sequence. l.36 \outputscale = \lilypondpaperoutputscale\lilypondpaperunit The control sequence at the end of the top line of your error message was never \def'ed Traceback (most recent call last): File "/usr/local/bin/ly2dvi", line 1040, in ? run_latex (files, outbase, extra_init) File "/usr/local/bin/ly2dvi", line 744, in run_latex raise 'LaTeX error' LaTeX error LATEX output to `we_shall_overcome.latex'... MIDI output to `we_shall_overcome.midi'... TEX output to `we_shall_overcome.tex'... **end quote** Anybody knows this or has any help? Best wishes to you all, Amy -- Louey & Amy - Soul, Jazz & Gospel from Berlin Wir sind umgezogen! www.louey-amy.de ist jetzt www.loueymoss.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Artificial string harmonics question
Am Freitag 22 Februar 2002 00:18 schrieb Graham Percival: > It looks as though "artificial harmonics" means something different for > guitars. I don't know if the cello-artificial harmonics are possible > to do on a guitar; if not, that would explain the difference. :) True indeed. On the guitar, the artificial harmonic is created by touching the string in the middle (an octave higher than stopped) with the right hand and plucking simultaneously. Touching a fourth higher makes no sense on the guitar, because the resulting sound would be too soft and quaint, as it's a plucked and not a bowed instrument. Now here's a mean one that throws me off completely: How do you notate the sound often heard by a jazz guitarist that sounds like the basic fretted note and the artificial harmonic together? It is created by striking the note very hard with a pick held between thumb and 1st finger of the right hand and at the same time, touching the string extremely lightly at 1/4 of its way from the bridge with the 3rd finger (takes a lot of balance). Regards, Amy -- Louey & Amy Soul, Jazz & Gospel from Berlin www.louey-amy.de ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Not quite on topic: Shape notes again
Hi folks, please excuse the comments I made yesterday about shape notes. I thought it was another one of these oddities in books like "How to Learn the Guitar in Six Days without even really learning Notes". I did not know they had historic significance. Regards, Amy -- Louey & Amy Soul, Jazz & Gospel from Berlin www.louey-amy.de ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Percent repeats (was: Food for thought)
Hi Han-Wen, > > - Percent repeats for 4 bars? > what do these look like? There was a discussion once about this topic on gnu-music-discuss. I think an agreement was reached then to do the following: 1 bar ./. 2 bars .//. (3bars .///. ) 4 bars .. anything higher:eg. 8 .//.(of course, number centered over barline). So, every symbol except for the 1 bar symbol _visually_ takes up two bars, although it may last longer in duration. Kind regards, Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Food for Thought (was: Shape notes, EZ play notation)
Hi folks, sorry that I have not been an active poster lately, but my schedule was so full. But the discussion about "shape notation" here got to me. I don't intend to hurt anybody's feelings here, but wouldn't it be better to address the following problems before supporting yet another kind of "easy notation"? - Fully configurable bar line shapes linebreaks (end AND beginning of line)? - Rehearsal marks (esp. segnos/codas (o.k. codas are almost never in a first line)) collide with heading if occuring in first line of song? - An easy-to-tweak chord symbol algorithm? - An easier way to write drum notation (not fussing with Threads all the time)? - Percent repeats for 4 bars? The current opinion may have changed, but I've learned the piano with plain old round noteheads and I cannot say I've suffered because of that. Not meaning any harm, Amy -- Louey & Amy Soul, Jazz & Gospel from Berlin www.louey-amy.de ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Raised eleventh [Lilypod]
Hi John,
the chord algorithm of Lilypond, concerning jazz chords, is very rudimentary.
I once wrote a patch that didn't make it into the distro, because it was very
inelegant. At the moment I'm just adding to the
/usr/local/share/lilypond/scm/chord-name.scm file.
Please find enclosed my momentary chord-name.scm. Here you'll find what you
need and, additionally, you can add your chord definitions near
;; Amy rolls her own
Hope that's any help and please let me know if you arrive at a better
solution.
Regards, Amy
--
Louey & Amy
Soul, Jazz & Gospel from Berlin
www.louey-amy.de
;;;
;;; chord-name.scm -- Compile chord name
;;;
;;; source file of the GNU LilyPond music typesetter
;;;
;;; (c) 2000--2001 Jan Nieuwenhuizen <[EMAIL PROTECTED]>
;;;
(use-modules
(ice-9 debug)
(ice-9 format)
(ice-9 regex)
(ice-9 string-fun)
)
;; pitch = (octave notename accidental)
;;
;; note = (notename . accidental)
;;
;; text = scm markup text -- see font.scm and input/test/markup.ly
;; TODO
;;
;; * easier tweakability:
;;- split chord::names-alists up into logical bits,
;; such as chord::exceptions-delta, exceptions-oslash
;;- iso just the 'style parameter, use a list, eg:
;; \property ChordNames.ChordName \set
;;#'style = #'(jazz delta oslash german-tonic german-Bb)
;;
;; * fix FIXMEs
;;
;; * clean split/merge of bass/banter/american stuff
;;
;; * doc strings
(define chord::names-alist-banter '())
(set! chord::names-alist-banter
(append
'(
; C iso C.no3.no5
(((0 . 0)) . #f)
; C iso C.no5
(((0 . 0) (2 . 0)) . #f)
; Cm iso Cm.no5
(((0 . 0) (2 . -1)) . ("m"))
; C2 iso C2.no3
(((0 . 0) (1 . 0) (4 . 0)) . ("" (super "2") " "))
; C4 iso C4.no3
(((0 . 0) (3 . 0) (4 . 0)) . ("" (super "4") " " ))
;; Cdim iso Cm5-
(((0 . 0) (2 . -1) (4 . -1)) . ("dim"))
; URG: Simply C:m5-/maj7 iso Cdim maj7
(((0 . 0) (2 . -1) (4 . -1) (6 . 0)) . ("m" (super "5-/maj7" " ")))
; URG: Simply C:m5-/7 iso Cdim7
(((0 . 0) (2 . -1) (4 . -1) (6 . -1)) . ("m" (super "5-/7" " ")))
; Co iso C:m5-/7-
(((0 . 0) (2 . -1) (4 . -1) (6 . -2)) . ("" (super "o") " "))
; Cdim9
(((0 . 0) (2 . -1) (4 . -1) (6 . -2) (1 . -1)) . ("dim" (super "9") " "))
(((0 . 0) (2 . -1) (4 . -1) (6 . -2) (1 . -1) (3 . -1)) . ("dim" (super "11")
" "))
)
chord::names-alist-banter))
;;
(define simple-super
;; duh, no docstrings for
;; "No real superscript, just raised and small"
'((raise . 1) (font-relative-size . -2)))
(define (accidental->textp acc pos)
(if (= acc 0)
'()
(list '(music (font-relative-size . -2))
(list pos (string-append "accidentals-" (number->string acc))
(define (accidental->text acc) (accidental->textp acc 'columns))
(define (accidental->text-super acc) (accidental->textp acc 'simple-super))
(define (accidental->text-sub acc) (accidental->textp acc 'sub))
(define (pitch->note-name pitch)
(cons (cadr pitch) (caddr pitch)))
(define (pitch->text pitch)
(text-append
(list
'(font-relative-size . 2)
(make-string 1 (integer->char (+ (modulo (+ (cadr pitch) 2) 7) 65
(accidental->text-super (caddr pitch
;;; Hooks to override chord names and note names,
;;; see input/tricks/german-chords.ly
(define (pitch->text-banter pitch)
(pitch->text pitch))
;; We need also steps, to allow for Cc name override,
;; see input/test/Cc-chords.ly
(define (pitch->chord-name-text-banter pitch steps)
(pitch->text-banter pitch))
(define (pitch->note-name-text-banter pitch)
(pitch->text-banter pitch))
(define (step->text pitch)
(list (string-append
(number->string (+ (cadr pitch) (if (= (car pitch) 0) 1 8)))
(case (caddr pitch)
((-2) "--")
((-1) "-")
((0) "")
((1) "+")
((2) "++")
(define (step->text-banter pitch)
(if (= (cadr pitch) 6)
(case (caddr pitch)
((-2) '("7-"))
((-1) '("7"))
((0) '("maj7"))
((1) '("7+"))
((2) '("7+")))
(step->text pitch)))
(define pitch::semitone-vec (list->vector '(0 2 4 5 7 9 11)))
(define (pitch::semitone pitch)
(+ (* (car pitch) 12)
(vector-ref pitch::semitone-vec (modulo (cadr pitch) 7))
(caddr pitch)))
(define (pitch::< l r)
(< (pitch::semitone l) (pitch::semitone r)))
(define (pitch::transpose pitch delta)
(let ((simple-octave (+ (car pitch) (car delta)))
(simple-notename (+ (cadr pitch) (cadr delta
(let ((octave (+ simple-octave (quotient simple-notename 7)))
(notename (modulo simple-notename 7)))
(let ((accidental (- (+ (pitch::semitone pitch) (pitch::semitone delta))
(pitch::semitone `(,octave ,notename 0)
`(,octave ,notename ,accidental)
(define (pitch::diff pitch tonic)
(let ((simple-octave (- (car pitch) (car tonic)
Re: (no subject)
Am Mittwoch 26 Dezember 2001 09:41 schrieben Sie:
> Dear sir,
>
> what's wrong with this file? Why doesn't it work?
>
> Kind Regards,
>
> Martijn P. Vromans
Happy Christmas, Martijn,
the file should be modified like that:
stemOne = \notes \relative c' {
\stemDown g'8.b,16 s2
}
stemTwo = \notes \relative c' {
s4 \stemUp g8. b,16 c8 r
}
stemThree = \notes \relative c' {
c4 g8. b,16 \autochange Staff {c8 c' c, c'}
}
\score {
\context PianoStaff \notes <
\context Staff = up < \time 2/2
\context Voice=one \stemOne
\context Voice=two \stemTwo
>
\context Staff = down < \time 2/2 \clef bass
\context Voice \stemThree
>
>
\paper { }
}
meaning:
a) no numeric characters in voice names,
b) context declarations must be contained in some sort of bracketed block.
(at least that is the method that works for me).
The result is ugly, but it works. Hope this helps,
Amy
I'm enclosing a file that shows you what you can do.
Content-Type: text/html; charset="iso-8859-1"; name="Anhang: 1"
Content-Transfer-Encoding: quoted-printable
Content-Description:
Content-Type: application/octet-stream; charset="iso-8859-1"; name="test.ly"
Content-Transfer-Encoding: 7bit
Content-Description:
--
The New Testament offers the basis for modern computer coding theory,
in the form of an affirmation of the binary number system.
But let your communication be Yea, yea; nay, nay: for
whatsoever is more than these cometh of evil.
-- Matthew 5:37
\version "1.4.1"
\header {
title = "O Mensch, bewein' dein' Sünde groß"
subtitle = "a 2 Clav. e Pedale"
composer = "J.S. Bach"
tagline = "O Mensch, bewein' dein' Sünde groß (Bach)"
meter = "Adagio assai"
}
\include "paper16.ly"
\include "english.ly"
#(set! point-and-click line-column-location)
endMark = \property Score.RehearsalMark \override #'visibility-lambda =
#begin-of-line-invisible
beginMark = \property Score.RehearsalMark \revert #'visibility-lambda
cue = {
\property Voice.NoteHead \override #'font-relative-size = #-2
\property Voice.Stem \override #'font-relative-size = #-2
\property Voice.Beam \override #'font-relative-size = #-2
\property Voice.Slur \override #'font-relative-size = #-2
\property Voice.Accidentals \override #'font-relative-size = #-2
}
unCue = {
\property Voice.NoteHead \revert #'font-relative-size
\property Voice.Stem \revert #'font-relative-size
\property Voice.Beam \revert #'font-relative-size
\property Voice.Slur \revert #'font-relative-size
\property Voice.Accidentals \revert #'font-relative-size
}
stemDown = {
\property Voice.Stem \set #'direction = #-1
\property Voice.Slur \set #'direction = #-1
\property Voice.Tie \set #'direction = #-1
}
stemUp = {
\property Voice.Stem \set #'direction = #1
\property Voice.Slur \set #'direction = #1
\property Voice.Tie \set #'direction = #1
}
stemBoth = {
\property Voice.Stem \set #'direction = #0
\property Voice.Slur \set #'direction = #0
\property Voice.Tie \set #'direction = #0
}
noSlash = \property Grace.Stem \override #'flag-style = #'()
slHd = {
\property Voice.NoteHead \override #'style = #'slash
\property Voice.Stem \override #'length = #0 }
nslHd = {
\property Voice.NoteHead \revert #'style
\property Voice.Stem \revert #'length }
crHd = \property Voice.NoteHead \override #'style = #'cross
ncrHd = \property Voice.NoteHead \revert #'style
sopranoVoice = \notes \relative c' {
\partial 4 ef4
ef8^\mordent ~ef32 f ef f f8.^\prallprall ef32 f g16 af g f32 ef ef8 g16 f |
\stemUp g8~g32 a g a a8.^\prallprall g32 a bf4^\fermata bf8 df16 c |
af4^\trill g f16 g32 af g16 f ef f32 d ef16. f32 |
g16 af32 f g16. a32 a8.^\trill bf16 bf4^\fermata c16 ef df c32^\prall bf |
bf8~bf32 af32 g af af8.^\prall g32 af \grace { \noSlash af16 } g4 af16 g32 f
g16.^\mordent af32 |
\grace {\noSlash g16 } f16. g32 af bf c bf \grace {\noSlash af16 } g8()f16^\trill
ef32 f ef4^\fermata ef ef r16 f af32 g16 af32 g8. f16 ef d ef g32 f |
g32 f ef d ef f g a a8.^\prall bf16 bf4^\fermata bf |
af16^\prall c bf af g af32 bf af16^\prall g f af g af32 f ef bf c d ef d ef f |
g d ef f g f g a a8.^\prallprall g32 a bf4^\fermata c16. d32 ef d ef f |
bf,8.^\mordent c16 bf8()af16^\prall g32 af g4 r16 g af c32 bf |
c16 d d ef af,8 g16^\prall f32 ef ef4^\fermata ef'^\mordent |
ef16 d c ef32 d ef8. f16 d8.^\prall c32 bf bf8. c32 df |
c4~c16 d32 c b c b c g4^\fermata~g32 g a b c16 ef32 d |
ef8. f32 g \grace {\noSlash f16 } ef8.^\prallprall d32 ef ef16 d c^\prall bf bf4~ |
bf16 g'32 a, bf16.^\mordent ef!32 d8()c16^\prall bf bf4
Repost: Terminating syllable extenders?
I'm reposting this, maybe someone has some time for it this time around. This time with legend. > Hi folks, > > is it possible to automatically terminate a syllable extender where there > is > a rest? I want this look: note note note 1/4rest note > || | \ | > || | / | > || | \ | > O| O|O| C O| >\/ slur > Ly - ric__new |end of extender > > Thankful for any response, > > Amy -- The New Testament offers the basis for modern computer coding theory, in the form of an affirmation of the binary number system. But let your communication be Yea, yea; nay, nay: for whatsoever is more than these cometh of evil. -- Matthew 5:37 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Terminating syllable extenders?
Hi folks, is it possible to automatically terminate a syllable extender where there is a rest? I want this look: || | \ | || | / | || | \ | O| O|O| C O| \/ Ly - ric__new Thankful for any response, Amy -- The New Testament offers the basis for modern computer coding theory, in the form of an affirmation of the binary number system. But let your communication be Yea, yea; nay, nay: for whatsoever is more than these cometh of evil. -- Matthew 5:37 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
double bar lines and repeats
Hi,
I'm using lily 1.4.3 and am wondering why the following:
a4 b c d | d8 c b a g4 g \bar "||" \break
\repeat "volta" 2 { d4 d8 e fis4 d | g g8 a b4 g }
produces:
music | music |
||: moremusic | moremusic :||
instead of:
music | music ||
||: moremusic | moremusic :||
In other words, the \bar "||" request gets junked.
This would be very necessary for visual clarity of the different parts of the
tune.
Amy
--
The New Testament offers the basis for modern computer coding theory,
in the form of an affirmation of the binary number system.
But let your communication be Yea, yea; nay, nay: for
whatsoever is more than these cometh of evil.
-- Matthew 5:37
___
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Re: simple change moves lyrics???
Hi Brian,
concerning your compile problem: can you send a piece of code to reproduce
the error on?
This staff thing is pretty straightforward.
- a staff is a line of music not bracketed with anything.
- a choir staff is several lines bracketed together with
a [ style bracket, but with the bar lines not intercon-
nected between lines.
- a staff group is just like choir staff, except the bar
lines are connected.
- a piano staff is two lines connected with a curly {
bracket. Switching between lines is easy, bar lines run
through.
Here's score instructions from one of my files. Note how the first staff gets
the tag \context Lyrics = bottom. That means, below the first staff. Top
would do the opposite. All the other staffs get a tag \context Lyrics =
. That causes lyrics to be printed under the mentioned staff with
the time bookkeeping taken from the \addlyrics assignment. Even the
pathological is possible. Maybe you can take it from there:
Key = \notes \key f \major
\score {
\context ChoirStaff = chorus <
\context Staff = highTenors <
\property Staff.instrument = "Tenor I"
\property Staff.instr = "T I"
\property Staff.midiInstrument = "alto sax"
\property Staff.automaticMelismata = ##t
\Key
\clef "G_8"
\addlyrics
\context Voice = tenorOne {\voiceOne \tenorOneVoice}
\context Lyrics = bottom \tenorTwoLyrics
\context Voice = tenorTwo {\voiceTwo \tenorTwoVoice}
>
\context Staff = lowTenors <
\property Staff.instrument = "Tenor II"
\property Staff.instr = "T II"
\property Staff.automaticMelismata = ##t
\property Staff.midiInstrument = "tenor sax"
\Key
\clef "G_8"
\addlyrics
\context Voice = tenorThree \tenorThreeVoice
\context Lyrics = lowTenors \tenorThreeLyrics
>
\context Staff = baritones <
\property Staff.instrument = "Baritone"
\property Staff.instr = "Bar."
\property Staff.automaticMelismata = ##t
\property Staff.midiInstrument = "tenor sax"
\Key
\clef bass
\context Voice = baritoneOne {\voiceOne \baritoneOneVoice}
\addlyrics
\context Voice = baritoneTwo {\voiceTwo \baritoneTwoVoice}
\context Lyrics = baritones \baritoneTwoLyrics
>
\context Staff = basses <
\property Staff.instrument = "Bass"
\property Staff.instr = "Bass"
\property Staff.midiInstrument = "baritone sax"
\property Staff.automaticMelismata = ##t
\Key
\clef bass
\addlyrics
\context Voice = bass \bassVoice
\context Lyrics = basses \bassLyrics
>
>
\midi {
\tempo 4=124
}
\paper {
linewidth = 15.0\cm
\translator {
\ScoreContext
BarNumber \override #'padding = #3
skipBars = ##t
}
}
}
Am Samstag 27 Oktober 2001 07:04 schrieben Sie:
> Here are two bits of lilypond input. The first
> version
> does what I want it to do - it prints the two top
> voices on the top staff, the words in the middle and
> the two lower voices on the lower staff. (Lily version
> is 1.4.7)
>
> \score {
><
>
> \context Staff = upper
> <
> \addlyrics
> \context Voice=sop {\global \voiceOne \sop}
> \Words
> \context Voice=alto {\global \voiceTwo \alto}
>
>
> \context Staff = lower { \clef bass
> <
> \context Voice=tenor {\global \voiceOne \tenor}
> \context Voice=bass { \global \voiceTwo \bass}
>
> }
>
> }
>
> My second example is EXACTLY the same except that I
> put in another level of hierarchy to put in the
> (redundant) information that the first Staff has
> a treble clef on it.
>
> \score {
><
>
> \context Staff = upper { \clef treble
> <
> \addlyrics
> \context Voice=sop {\global \voiceOne \sop}
> \Words
> \context Voice=alto {\global \voiceTwo \alto}
> >
> }
> \context Staff = lower { \clef bass
> <
> \context Voice=tenor {\global \voiceOne \tenor}
> \context Voice=bass { \global \voiceTwo \bass}
> >
> }
>
> }
>
> This time, lilypond puts the two staffs together and
> then puts the lyrics below them both. I've always
> been
> puzzled about the exact use of Staffs and ChoirStaffs
> and such, but this one makes me realize that I really
> don't understand what they mean and
Re^2: Font problem, Xdvi, quite urgent.
Mats wrote: > Do you use the environment variable settings in > lilypond-1.x.xx/buildscripts/out/lilypond-profile > (installed in /etc/profile.d/ if you install the Lilypond RPM)? > I myself use the alternative described in > http://lilypond.org/wiki/?LilyPondFaqs to link the Lilypond > MF directory to the local texmf tree, > /usr/share/texmf.local/fonts/source/lilypond. I use lilypond-profile.sh, but the other method doesn't work, either. > If you get it right, you should be able to run e.g. > lilypond myfile.ly > tex myfile.tex > xdvi myfile.dvi > dvips myfile.dvi That is the problem, I don't get it right. And even if I kill off all the .tfm and pk's on my machine, I still have the same problem. Something always hangs around. Is there a way to _completely_ start over with the fonts? I'd gladly do that, I have to get some work done. > An alternative for dvips is to use the Type1 fonts and say > dvips -Ppdf -ulilypond.map > If you make PDF files, that's the preferred option, but of course > you should have a working font setup anyway. >/Mats everything tried, nothing works. I'd be glad to know a bit more about Lilypond's font handling, (read: what goes where at what time). Amy -- The New Testament offers the basis for modern computer coding theory, in the form of an affirmation of the binary number system. But let your communication be Yea, yea; nay, nay: for whatsoever is more than these cometh of evil. -- Matthew 5:37 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Font problem, Xdvi, quite urgent.
Hi Jan and all, now I typeset a couple LaTeX documents with dvips -Ppdf, and now I can't make any more Lilypond pdfs (if I do, I get no noteheads). I get the following messages: amelie@amy:~/music/gospelchor > dvips -Ppdf charleston_alley.dvi This is dvips(k) 5.86 Copyright 1999 Radical Eye Software (www.radicaleye.com) ' TeX output 2001.10.14:2329' -> charleston_alley.ps kpathsea: Running mktexpk --mfmode canonbjc --bdpi 8000 --mag 1+0/8000 --dpi 8000 feta16 mktexpk: Mismatched mode canonbjc and resolution 8000; ignoring mode. mktexpk: Can't guess mode for 8000 dpi devices. mktexpk: Use a config file, or update me. kpathsea: Appending font creation commands to missfont.log. dvips: Font feta16 not found, characters will be left blank. dvips: Can't open font metric file feta16.tfm dvips: I will use cmr10.tfm instead, so expect bad output. dvips: Checksum mismatch in feta16 dvips: Design size mismatch in feta16.tfm kpathsea: Running mktexpk --mfmode canonbjc --bdpi 8000 --mag 1+0/8000 --dpi 8000 feta-din12 mktexpk: Mismatched mode canonbjc and resolution 8000; ignoring mode. mktexpk: Can't guess mode for 8000 dpi devices. mktexpk: Use a config file, or update me. dvips: Font feta-din12 not found, characters will be left blank. dvips: Can't open font metric file feta-din12.tfm dvips: I will use cmr10.tfm instead, so expect bad output. dvips: Checksum mismatch in feta-din12 dvips: Design size mismatch in feta-din12.tfm . [1] [2] [3] [4] [5] [6] [7] [8] It seems like something was wrong with my fonts right from the start, and what I had up to now was sort of metastable. I reinstalled Lily, did clean-fonts.sh, to no avail. Might have something to do with the Xdvi problem (compiled with --enable-ps-gs), see below. > strace xdvi foo.dvi 2>&1 | less delivers endless looking for fonts, for hours on end. Anybody got a clue? Amy ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: [LU] Xdvi / dynamic font size
Am Don, 11 Okt 2001 schrieben Sie: > It's very probably looking up the necessary fonts. Try running it > under strace and see what it is doing. I'm not such a qualified TeXnician. How do I do that? > How long is `ever', what happens if you let it sit for 10 minutes or > so? Incubation under ambient pressure and temperature for 30 minutes didn't do the trick. Amelie ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: [LU] Xdvi / dynamic font size
I did that (the option is --enable-ps-gs), reinstalled, and now, when I call xdvi, I get a popup window saying "Scanning page 1/1" that won't go out, ever. If I click in the preview window, I get the same sight of no beams and slurs. I even stated the path to gs upon compilation, and it didn't help. Any clues? Amy Am Mittwoch 10 Oktober 2001 08:58 schrieben Sie: > Amelie Zapf <[EMAIL PROTECTED]> writes: > > Hi folks, > > > > since I installed the recommended xdvi instead of xdvik, I keep having > > problems. This xdvi does not show graphical elements that span multiple > > notes, i.e. slurs, ties, connected flags in 8th (or shorter) notes (what > > are they called in English again?). Is there a remedy? > > I think you should configure with option --enable-ps-through-gs or > something like that. -- The New Testament offers the basis for modern computer coding theory, in the form of an affirmation of the binary number system. But let your communication be Yea, yea; nay, nay: for whatsoever is more than these cometh of evil. -- Matthew 5:37 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Drums track/notes
Hi Joerg,
I frequently have to write drum parts. That works, except for the midi
playback. I define a macro:
cr = {
\property Voice.NoteHead \override #'style = #'cross
}
and
ncr = {
\property Voice.NoteHead \revert #'style
}
That gives me a very convenient way of switching between crossed and normal
heads. Crosses with circle are, AFAIK, not supported, but the normal crossed
half-note doesn't look bad.
Amelie
Am Mit, 10 Okt 2001 schrieben Sie:
> Hello!
>
> Some weeks ago there was a discussion about MIDI channel
> definition in LilyPond. If I noticed this right, nobody
> answered. (?) The channel is important for drum track
> definition, because the drum track is on MIDI channel 10
> on most soundcards.
>
> BTW: Does LilyPond offer drum notes ? (note body as cross
> and note body as cross with circle around and so on ...)
>
> --
> J.Anders, Chemnitz, GERMANY ([EMAIL PROTECTED])
>
>
> ___
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[LU] Xdvi / dynamic font size
Hi folks, since I installed the recommended xdvi instead of xdvik, I keep having problems. This xdvi does not show graphical elements that span multiple notes, i.e. slurs, ties, connected flags in 8th (or shorter) notes (what are they called in English again?). Is there a remedy? BTW, please leave the default size of the dynamic marks as it is. As far as I'm concerned, dynamic marks cannot be too big, so your average musician that is to play the music cannot HELP but read (read: HEED) them! Amy > > > yes, but the reason i wanted to define some is because i find that the > > > default font-size for all dynamics is too big (matter of taste i guess) -- The New Testament offers the basis for modern computer coding theory, in the form of an affirmation of the binary number system. But let your communication be Yea, yea; nay, nay: for whatsoever is more than these cometh of evil. -- Matthew 5:37 ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
