RE: Sibelius conversion - sib2ly
To: lilypond-user@gnu.org Subject: Re: Sibelius conversion - sib2ly From: jvrom...@squirrel.nl Date: Thu, 26 Mar 2009 18:47:15 +0100 Johan Vromans jvrom...@squirrel.nl writes: Either approach (plugin and Rosegarden) requires quite some manual editing. I tried it on a project I was just about to start with. It turns out that (for this project at least) it was way much easier to manually add the ties and slurs, than to fix the Rosegarden \tenuto's. So thanks a lot! Bis. -- Johan Hi, sorry for quoting this message, but I thought the MusicXML is still the best way to go -- Not that I want to discourage any new projects. I really like the results from PDFtoMusic, made by Myriad Software. I have tried using pdf prints generated from Finale and Sibelius and the results are just great. It's awesome to see how much better musicxml2ly is by now. _ Reinvent how you stay in touch with the new Windows Live Messenger. http://go.microsoft.com/?linkid=9650731___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Changing alignment of lyrics at the beginning of a new system
Hello, list! I has been a long time since I posted to this list and since I
actually coded with Lilypond. But I read the mailing list almost every day :)
I like to typeset songs using this typesetting style for lyrics: syllables are
left aligned when they are the beginning of a new verse of a poem, and when the
syllable at the beginning of a new system.
I can use this shortcut: lyrL = { \once \override LyricText #'self-alignment-X
= #-1 } before the syllable which begins the new verse. But it is unpredictable
which syllable will begin a new system. So, I was wondering if Scheme could be
used to make the first syllable of a new system to be left aligned
automatically.
I hope I can make sense.
Anyone takes the challenge? Sorry but I have no Scheme knowledge. I'm trying to
get a grasp of Python first...
Eduardo Vieira
_
If you like crossword puzzles, then you'll love Flexicon, a game which combines
four overlapping crossword puzzles into one!
http://g.msn.ca/ca55/208
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Re: GDP: tutorial final draft
Citando Graham Percival [EMAIL PROTECTED]:
Hello!
I just noticed this typo in the page:
http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/Voices-and-vocals.html#Voices-and-vocals
instead of: You have already seen the \lyricsAdd{} command
it should be: You have already seen the \addlyrics{} command
Eduardo
GDP website:
http://web.uvic.ca/~gperciva/
The final draft of LM 2 Tutorial is now online. After a few days for
comments and any further fixes, we'll send it off to the translators.
Cheers,
- Graham
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Re: GDP: tutorial final draft
Citando Graham Percival [EMAIL PROTECTED]:
Hello!
I just noticed this typo in the page:
http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/Voices-and-vocals.html#Voices-and-vocals
instead of: You have already seen the \lyricsAdd{} command
it should be: You have already seen the \addlyrics{} command
Eduardo
GDP website:
http://web.uvic.ca/~gperciva/
The final draft of LM 2 Tutorial is now online. After a few days for
comments and any further fixes, we'll send it off to the translators.
Cheers,
- Graham
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Re: sunday school music
Citando Tim Litwiller [EMAIL PROTECTED]: Thanks, with your help I'm getting there! I had figured out having a second DevNull voice to space the repeating last night. I'm not sure I understand the second snippet tho. also I'm sure that there is some kind of \markup that I can use to vertically center the soprano lyrics section where all voices sing the same works together, but I can't seem to find it in the manual. Hello, I want to share my experiences with hymns and songs, too. Actually, once you get the hang of it, Lilypond is perfectly suited for your needs Tim. There is a good workaround for typing the four voices separately, and combining them *without* using \partcombine. I found this trick quite useful and you can follow this topic and link: Re: partcombine not giving joy for hymns http://www.nabble.com/Re%3A-partcombine-not-giving-joy-for-hymns-tf2277997.html#a6326758 By the way, using devnull is not the ideal solution if you want the lyrics center aligned, as far as I know. I haven't practiced Lilypond for a while, but I imagine the link and the solution is still valid. You'll probably will even recognize the example song... ___ Para fazer uma ligação DDD pra perto ou pra longe, faz um 21. A Embratel tem tarifas muito baratas esperando por você. Aproveite! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Introduction to Lilypond in Portuguese
Citando Hugo Ribeiro [EMAIL PROTECTED]: For those about to rock, ops, sorry... For those who don't read english, I wrote an introduction to Lilypond in Portuguese. It is a step-by-step manual to help the real beginners understand its sintax. There are few simple examples with helpful comments. I know that it is useless for you all, but maybe you have a brazillian friend that says that does not use Lilypond because he (or she) does not read in english. Now, there is no more excuse... After this brief intro, there is a good site about Lilypond in portuguese as well, written by Erasmo Fernandes, that is very good. Here are the links for both sites: http://www.hugoribeiro.com.br/lytex.html http://www.hugoribeiro.com.br/ooolilypond.html http://erasmo.info/lilypond/tutorial/ The next step is to write an introduction to lytex... Hugo Ribeiro ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Obrigado (Thank you), Hugo! I am a Brazilian user too. Lately the busyness of life has prevented me to contribute more to the Lilypond documentation, even in a translation. Good job! I hope some day I can do more for these brilliant piece of software. Eduardo Vieira ___ Para fazer uma ligação DDD pra perto ou pra longe, faz um 21. A Embratel tem tarifas muito baratas esperando por você. Aproveite! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SVG output sponsorship
Citando Vivian Barty-Taylor [EMAIL PROTECTED]: I'm using various bits of graphics in this piece which aren't natively supported by Lilypond. Although I could add them all as EPS markups, the amount of time I would spend adjusting the positions of them makes it a lot easier to do it this way. Have you ever tried importing your ps file into Scribus? You could import and ungroup all the objects of your score, then you can adjust, move, or insert whatever object you want. Eduardo ___ Para fazer uma ligação DDD pra perto ou pra longe, faz um 21. A Embratel tem tarifas muito baratas esperando por você. Aproveite! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PSPad: a Lily-friendly editor for Windows
Citando madhg [EMAIL PROTECTED]: I used to use Crimson for writing lilypond. Excellent for small projects, less convenient for a large project with one main file to be compiled and several other files contaning the music for individual staves. I can now recommend another editor, PSPad, which like Crimson is a general programmer's editor and useful for Lilypond. * freeware * supports compilation, viewing compiler output, and parsing the output to jump to a line in the source file which produces an error or warning * [This is what made me move from Crimson to PSPad] supports projects in which you can specify a Main file, so that when you press the button to compile, lilypond is run on the main file that you have specified, even if you are currently working on a different file (for instance, if you have the music for different staves held in individual files) * support for UTF-8, so accented characters are handled easily * syntax highlighting; I attach a PSPad highlighter file for lilypond * configurable keyboard shortcuts, so you can set up keys for compiling, and for viewing the result in GSView or other viewers. PSPad is Windows only, available from http://www.pspad.com/ There are many editors, and I don't want to start an argument about whether X is better than Y. Just to point interested users to one that has a broadly similar style to Crimson but has an extra feature that saves me a lot of trouble. And is freeware. David Griffel http://www.nabble.com/file/p11462658/Lilypond.INI Lilypond.INI -- View this message in context: http://www.nabble.com/PSPad%3A-a-Lily-friendly-editor-for-Windows-tf4034990.html#a11462658 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. Hello! I've downloaded it. What else do I need to do after installing the program and copying the Lilypond.ini to the folder syntax, so it can start working, that is, using syntax highlighting? Can you use point-and-click features with this editor? Eduardo Have a good day! ___ Para fazer uma ligação DDD pra perto ou pra longe, faz um 21. A Embratel tem tarifas muito baratas esperando por você. Aproveite! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ly2xml?
Citando Peter Mogensen [EMAIL PROTECTED]: Anyway.. I assume such does not exists. I was wondering if I could implement one my self with out knowing too much of Lilypond internals and without writing an entire parser for the Lilypond file format (which often changes). So, i see that there's a file in the Lilypond Git, which seem to hold code to export the parse tree of a Lilypond document to XML. I wuold guess that could be used to make an Lilypond-MusicXML XSLT. Is it complete? How do I invoke it? Peter Hello Peter! Lilypond can export to a format called music streams, which is intended to make the music representation easier for conversion programs. I reckon that would be easier than the lilypond format itself. I don't have the link about the music streams stuff, but if you search especially the devel list you'll find some hints. On the other hand, there is a commercial software that has some very outstanding results in converting the pdf output from lilypond into Musicxml, among other formats: PDFtoMusic. It does an amazing good job for lilypond scores. The unregistered version allows you to save only the first page or a pdf of one page. There´s no expiring date for the trial, and if you buy the product (199 USD) all the updates(upgrades) are free. The success of the conversion is that it checks the font and vector information of the score. There's one version of the software that works fine but musicxml export isn't included. But if you have their notation program Harmony Assistant (70USD), then you could export to musicxml from there. Now, our musicxml really needs some improvement, it cannot even handle chords. So it would be nice to find volunteers for that as well. Regards, Eduardo ___ Neste Carnaval, aproveite as tarifas muito baratas da Embratel. Depois da folia, você faz um 21, liga para quem você gosta e ainda economiza. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyric-notehead alignment problem
Citando Illtud Daniel [EMAIL PROTECTED]: So there's no way to achieve what I want? Ie, manually beamed notes with a syllable per note within a beam aligned normally under the note? Yes, there is just use this property: \set ignoreMelismata = ##t Ar8 ddydd Sul aeth Dic yn ben -- noeth16 mewn Eduardo P.S. Taken from Lyrics to multiple notes of a melisma Have a good day! ___ Nas suas férias, de um telefone fixo ou do celular, faz um 21. A Embratel tem tarifas muito baratas para você ligar para quem você gosta, contar como estão as férias e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
PDFtoMusic
Hello, users! Read this first: Did you ever suffer for not being able to simply hear a PDF score you downloaded on the Internet? Did you, at least once, give up from using the score file sent by a friend, because his music program wasn't compatible with yours? If you changed your score editor in the past, did you ever lose some music pieces you entered in the old one, because there was no easy way to convert them into a format that could be read by the new program? PDFtoMusic is tailored for you! Open a PDF document, and after a few seconds, you'll just have to click an icon to hear the score playing, and even the lyrics be sung! PDFtoMusic gives you full access at last to the huge PDF music score collection available on the Internet. If you wish to go further, with Melody Assistant or Harmony Assistant, you'll be able to alter the score, remove parts, transpose them, or completely rearrange the whole piece. For the most demanding users, the Pro version of PDFtoMusic also enables to export the result in MusicXML format, which is managed by most of the professional score editors, as well as tune up finely the calculation settings. Considering that creating a PDF file from any program (even old or discontinued products) is a breeze, PDFtoMusic Pro then becomes the ideal bridge between your miscellaneous score editors. So don't hesitate longer, download PDFtoMusic or PDFtoMusic Pro, and give it a try. You'll be amazed of how it will broaden your musical outlook. For more information about PDFtoMusic, click here : http://www.myriad-online.com/en/products/pdftomusic.htm For more information about PDFtoMusic Pro, click here : http://www.myriad-online.com/en/products/pdftomusicpro.html ### This products read very well pdf files produced by lilypond and others. The normal version saves as an Harmony Assistant file, and this program, in turn, can also import/export to musicxml and abc. The pro version cost 199 USD. The other only 40 USD. Adding 70 for Harmony Assistant one has a very good deal. Harmony Assistant is a very outsdanding music software, with rich sound and capabilities. For Windows and Mac, maybe Wine, I don`t know Regards, Eduardo Have a good day! ___ Nas suas férias, de um telefone fixo ou do celular, faz um 21. A Embratel tem tarifas muito baratas para você ligar para quem você gosta, contar como estão as férias e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics Problem
Citando 9-bert [EMAIL PROTECTED]:
Hello!
I got a problem adding lyrics to a piece for four brass instruments.
Although I already searched the net and some forums I didn't get any
furhter, but I hope you can help me.
That's what I've got:
...
\new PianoStaff
\new Staff {
\clef treble \key f \major
\trumpetone \\ \trumpettwo
}
\new Staff {
\clef bass \key f \major
\tromboneone \\ \trombonetwo
}
So far that's ok, the notes are printed exactly as I want them to be. Now I
want to add lyrics above the staffs. The lyrics belong to the first trumpet
(/trumpetone). I tried something with /addlyrics but that does not work in
polyphony and /lyricsto but I only got errors or weired output.
I hope you can give me a hint how to handle this.
Possibly the variable \trupetone contains constructs like this: \\
If you substitute those with \new Voice {\voiceOne } \new Voice {\voiceTwo }
it may solve your problem.
Remember that lyricsto needs to find a voice for the lyrics, as well.
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Technique for aligning lyrics with voices in different staves --HOWTO
Dear list,
Sometimes the alignment of lyrics and notes can be very tricky for _any_ music
software.
Lilypond does a good job in solving the problem below. I'd like to hear comments
from users. For I know that there are different solutions.
Problem: How to cause the lyrics that belong to the tenor be in the same line as
the lyrics for the soprano?
One solution, that I've seen people do with programs like Finale is this:
- Create invible notes for the soprano staff and then assign the lyrics to it.
But, then the sound output can be affected. This aproach can be used in
Lilypond, too.
Another solution, which seems to be ideal to me, is shown is this example:
%%%Begin Code %%%
\version 2.11.13
melody = \relative c' {
a4 b c d g1
}
tenbass = \relative {
a4 b c d \new Voice = bs { e4 e d e }
}
text = \lyricmode {
Aaa Bee Cee Dee Ear
}
texalt = \lyricmode {
\skip 1 good point here
}
\score {
\new Staff
\new Voice = one { \melody }
\new Staff = bass
\clef bass
\new Voice = two { \tenbass }
\new Lyrics = firstline \with { alignAboveContext = bass } \lyricsto
one
\text
\context Lyrics = firstline \lyricsto bs \texalt
}
%%%End code
This solution looks simpler, but in version 2.10.2, the lyrics for the tenor
become leftaligned (a bug?):
%%Code
\version 2.7.32
melody = \relative c' {
a4 b c d g1
}
tenbass = \relative {
a4 b c d \new Voice = bs {\voiceTwo e4 e d e }
}
text = \lyricmode {
Aaa Bee Cee Dee Eee
}
texalt = \lyricmode { \skip 1 good point here }
\score{
\new Staff
\new Voice = one {
\melody
}
\new Lyrics = firstline \lyricsto one \text
\new Staff
\clef bass
\new Voice = two {
\tenbass
}
\context Lyrics = firstline \lyricsto bs \texalt
}
%%End
Interestingly, as I run the snippet above, I don't get from jEdit`s lilypond
console this full warning message:
[...]
Layout output to `C:silverg.ps'...
Converting to `C:silverg.pdf'...
`gs -q -dDEVICEWIDTHPOINTS#595.28 -dDEVICEHEIGHTPOINTS#841.89
-dCompatibilityLevel#1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE#pdfwrite
-sOutputFile#C:silverg.pdf -c .setpdfwrite -f C:silverg.ps' failed (1)
C:/Program Files/LilyPond/usr/bin/../share/lilypond/current/ly/init.ly:37:1:
error: GUILE signaled an error for the expression beginning here
#
(if (or (pair? toplevel-scores) output-empty-score-list)
C:/Program Files/LilyPond/usr/bin/../share/lilypond/current/ly/init.ly:37:5:
error: syntax error, unexpected '(', expecting '='
#(if
(or (pair? toplevel-scores) output-empty-score-list)
programming error: Parsed object should be dead: static scm_unused_struct*
Prob::mark_smob(scm_unused_struct*)
continuing, cross fingers
programming error: Parsed object should be dead: static scm_unused_struct*
Context_def::mark_smob(scm_unused_struct*)
continuing, cross fingers
programming error: Parsed object should be dead: static scm_unused_struct*
Grob::mark_smob(scm_unused_struct*)
continuing, cross fingers
error: failed files: C:\\silverg\\leftedlyr2staves.ly
%%
Have a good day!
Eduardo Vieira
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Macros for typesetting chords and polyphony
Hello users!
Using Autohotkey (www.autohotkey.com), I created 2 macros that intend to speed
up the typing of chords. Here is what they do:
First macro:
-- Press q, thenis written.
-- Type the duration, e.g. 4.
As soon as you hit the space key, the caret moves back to one space
after the
first
-- Type the notes of the chord, then press q again to start the next chord, or
the key End, to continue on without chords.
Second macro:
-- Press yy, then { } \\ { } is written, and the caret moves back to one
space after the first {
System requirement: Windows XP
How to use it:
If you have installed AutoHotKey, just doubleclick the script file.
Now, it will work for any text editor.
Close the program in the Windows start bar when you no longer want the program
to remap the keys of the keyboard.
Attached is the source of the script. The compiled version is a bit over 200Kb,
so I figured it wouldn't make it to the list. AutoHotkey is very good open
source software for automating tasks too, give it a try.
Enjoy!
Eduardo
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as férias e economizar. Faz um 21 e aproveite.
lilychords.ahk
Description: Binary data
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How to use the point-and-click feature in windows?
What can I do to configure lilypond or whatever so that the point-and-click can work from Adobe Reader to, say jEdit or notepad? Note:I mentioned jEdit because the pdf viewer designed for LilypondTool doesn`t work in my machine, it must be because I only have a little over 200MB of free RAM usually from my 512MB Ram. Have a good day! ___ Nas suas férias, de um telefone fixo ou do celular, faz um 21. A Embratel tem tarifas muito baratas para você ligar para quem você gosta, contar como estão as férias e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Macros for typesetting chords and polyphony
Citando Bertalan Fodor [EMAIL PROTECTED]:
For simpler cases I'd (also) use jEdit's Abbreviation capabilities
(instead). (Perhaps along with SuperAbbrevs plugin.)
However, you examples with abbreviations are as the following.
The second is trivial with jEdit's abbreviations. You just set a new
abbreviation with these settings:
Before caret: {
After caret: } \\ { }
If you set the shortcut of Expand Abbreviation to Ctrl-Shift-Space (as I
do), you just write
yyCtrl-Shift-Space and there it is.
The second is not so simple, and is not exactly reproducible, but there
is an easy way to parametrize abbreviations:
Before caret:
After caret: $1
Then you write:
q#2#Ctrl-Shift-Space
and get:
| 2 (| is the cursor location)
Bert
Thanks Bert! I'm glad you pointed me to these capabilities of jEdit's and I will
explore them.
But, the good thing about the AutoHotkey script is that it can be used in any
text editor.
Have a good day!
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Re: Can you put dynamic marks in the lyrics?
Citando Sietse Brouwer [EMAIL PROTECTED]: Hullo Kieren, Sietse Brouwer wrote: Is it at all possible to call a dynamics mark inside \lyricmode, so I can do something like \set stanza = \f 1. ? Kieren MacMillan replied: I think \dynamics f 1. will work. Thanks; I just tried it --- it doesn't work. That is, it works in \lyricmode, but not for stanzas. You see, it has to be be enclosed in \markup. But \set stanza = requires a string as an argument. As far as I can tell, there is no way to make it accept a markup block instead. I've worked around it by attaching dynamics marks to the first two notes, and overriding their extra-offset. It's an ugly, ugly, hack, but like all good ugly hacks, it works. Regards, Sietse Sietse Brouwer Hello! Other options to try: \override StanzaNumber #'font-encoding = #'fetaDynamic \set stanza = f Or you could try: \override StanzaNumber #'font-name = #Maestro \set stanza = f If you have this Finale font installed in your system Have a good day! Eduardo ___ Nas suas férias, de um telefone fixo ou do celular, faz um 21. A Embratel tem tarifas muito baratas para você ligar para quem você gosta, contar como estão as férias e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two notes per syllable and two syllables per note
Citando Pierre Abbat [EMAIL PROTECTED]: I'm trying to write a hymn in Spanish. Sometimes there are two syllables on one note (not uncommon in hymns in Spanish, usually two vowels come together) and there are some pairs of notes which take two syllables in some verses and one in others. I tried putting numbers after the syllables, but it didn't work. How can I make it work? phma Hello Pierre, In the two syllables for one note you have 3 ways of doing it (And the manual is *very clear in the first two ones, just check it in the section of entering lyrics): http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Entering-lyrics#Entering-lyrics Regards, Eduardo ___ Neste Fim de Ano, interurbano para cidades próximas ou distantes é com o 21. A Embratel tem tarifas muito baratas de presente para você ligar para quem você gosta e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Has anyone extended \include?
Citando Rick Hansen (aka RickH) [EMAIL PROTECTED]: If you have done this can you share it or sell it to me? (please dont suggest m4, I gave up on that monster) Thanks Hi, Rick! Yes, this preprocessor looks scary, as well as some advanced programming with Scheme. But once I got into reading about the GEMA preprocessor and didn't look as complicated as m4. Maybe it's worth a try. Another thing I found out that is *really* useful with text editing, manipulating: Learn Regular Expressions. You can do quite a few tricky search and replace tasks. And most of text editors for programmers support them. Eduardo ___ Neste Fim de Ano, interurbano para cidades próximas ou distantes é com o 21. A Embratel tem tarifas muito baratas de presente para você ligar para quem você gosta e economizar. Faz um 21 e aproveite. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to make undisappearable hyphens?
Citando Eduardo Vieira [EMAIL PROTECTED]:
Hello list, I'm still puzzled with this problem. Can anybody help me?
We know that in some words an hyphen should be used and as part of lyrics of
a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the
manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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Re: How to make undisappearable hyphens?
Citando Laura Conrad [EMAIL PROTECTED]:
Eduardo == Eduardo Vieira [EMAIL PROTECTED] writes:
%% I don't want the hyphen ti and frut to disappear. The others
can
disappear.
Why not just:
text = \lyricmode {
Tut -- ti- -- frut -- ti
}
Because the hyphen will not be nicely centered in many cases.
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Re: Lyrics in poly
Citando David Rogers [EMAIL PROTECTED]:
Ezequiel Sierra wrote:
The thing is that the music is a hymn so i cant make different lines
of lyrics for different voices
Ezequiel, it's hard to understand what you really want. I sent the file
001-modif.ly and it doesn't seem you are trying to develop a progress from
there. You don't don't tell us how you tryed with set associatedVoice, this
way is hard to feel like helping you.
Anyway, attached is the file 001-modif2.ly, which uses set associatedVoice.
There are other problems with the other verses, but I'll let you figure out the
solution, as well as apply set associatedVoice to the other verses.
Eduardo.
P.S. Users like to once in a while hear a thank you, to. ;)
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%**
\version 2.10.2
%**
numeroHimno = 1
tituloHimno = ¡Santo! ¡Santo! ¡Santo!
%
\paper {
oddHeaderMarkup = \markup { \bold \large \numeroHimno }
print-page-number = ##f
between-system-space = 0.0\cm
head-separation = 0.0\cm
}
%
%
\header {
title = \tituloHimno
copyright = Iglesia Bautista de Jesucristo
tagline =
meter = \markup { (CAPO I) }
}
%
%
acordes= \chordmode {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees ees1
}
%
#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion context)
(markup #:line (( (ignatzek-chord-names in-pitches bass inversion context)
%
acordesConCapo= \chordmode {
\set chordNameFunction = #parenthesis-ignatzek-chord-names
\transpose ees d {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees4 ees1
}
}
%
%
tope = \relative c' {
\key ees \major
\time 4/4
\new Voice = melodia {
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 ees, bes'4 d bes' } \new Voice { \voiceTwo d ( f ) } \oneVoice
c c' d c' ees c' f c'
g bes2 ees g2 \break
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g } \context Voice = alto { \voiceTwo f4 f4 } \oneVoice
{ \voiceOne ees'2 f, d'4 g bes } \new Voice { \voiceTwo d ( f ) } \oneVoice
{ \voiceOne f d bes' ees c'4. d bes'8} \new Voice { \voiceTwo f4 } \oneVoice
d bes'1 \break
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 } \new Voice { \voiceTwo d,4 ( f ) } \oneVoice ees bes'4 d bes'
\context Voice = melodia { \voiceOne c'4. c8 } \new Voice { \voiceTwo c,4 d} \oneVoice c' ees,4 c f,
g bes2 ees bes'2 \break
ees ees'4 ees ees' ees bes' ees bes'
ees c'2 ees g4 des g
c aes' c f d! f4. ees8
ees ees1
}
}
%
%
versoUno = \lyricmode {
\set stanza = 1.
¡San -- to! ¡San -- to! ¡San -- to! Se -- ñor om -- ni -- po -- ten -- \set associatedVoice = alto te,
Siem -- \set associatedVoice = melodia pre el la -- bio mà -- o lo -- o -- res Te da -- rá.
¡San -- to! ¡San -- to! ¡San -- to! Te a -- do -- ro re -- ve -- ren -- te,
Dios en tres per -- so -- nas, ben -- di -- ta Tri -- ni -- dad.
}
versoDos = \lyricmode {
\set stanza = 2.
¡San4 -- to!4 ¡San4 -- to!4 ¡San2 -- to!4 en nu -- me -- ro -- so co -- ro,
San -- tos es -- co -- gi -- dos Te a -- do -- ran sin ce -- sar1
De a -- le -- grÃa -- a lle -- nos y sus co -- ro -- nas de o2 -- ro
Rin4 -- den an te el tro2 -- no4 y el cris -- ta -- li -- no mar.1
}
versoTres = \lyricmode {
\set stanza = 3.
¡San4 -- to!4 ¡San4 -- to!4 ¡San2 -- to!4 la in -- men -- sa mu -- che -- dum2 -- bre
De án1 -- ge - les que cum -- plen tu san -- ta vo -- lun -- tad,1
An4 -- te Ti se pos -- tra, ba -- ña - da de tu lum2 -- bre,
An4 -- te Ti que has si2 -- do,4 que e -- res y se -- rás.1
}
versoCuatro = \lyricmode {
\set stanza = 4.
¡San4 -- to!4 ¡San4 -- to!4 ¡San2 -- to!4 por más que es
How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
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How to make undisappearable hyphens?
We know that in some words an hyphen should be used and as part of lyrics of a
song it must not disappear.
I'm trying to do that based on a suggestion of an older version of the manual,
but to no avail:
%%% Here's the snippet:
%% I don't want the hyphen ti and frut to disappear. The others can
disappear.
\version 2.10.2
melody = \relative c' {
\clef treble
\key c \major
\time 4/4
a4 b c d
}
text = \lyricmode {
Tut --
\override LyricHyphen #'minimum-length = #1.0
\override LyricHyphen #'springs-and-rods =
#ly:hyphen-spanner::set-spacing-rods
ti -- frut -- ti
}
\score{
\new Voice = one {
\melody
}
\new Lyrics \lyricsto one \text
}
\paper { ragged-right = ##t }
%%
Eduardo
Have a good day!
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Re: Lyrics in poly
Citando Ezequiel Sierra [EMAIL PROTECTED]:
that wont assign lyrics to the f4 f4
i tried
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g }
\context Voice = melodia { \voiceTwo f4 f4 } \oneVoice
but it dosent work either i put all stems down even the first voice
On Dec 18, 2006, at 12:56 AM, Eduardo Vieira wrote:
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes
g }
\context Voice = alto { \voiceTwo f4 f4 } \oneVoice
Hello!
You did *not* try my suggestion of creating the context alto for VoiceTwo.
I suggest that you *re-read carefully* the chapters of lyrics and Explicitly
instantiating voices
Attached is a modified version of your score. The first line of lyrics is
matching fine. The others must be some typo from your part.
Pay close attention on how I modified your score in the soprano/alto parts. I
recommend you to use a software called K-diff to compare side by side your file
and my changes.
As for the alto and bass. I have the following remarks:
{ \stemDown bes2 ees g4 ees bes' } \\ { \stemUp \slurUp f (aes) }
You are not following the logic of polyphony in lilypond:
-- What comes before \\ is voiceOne, which tells the stems, slurs and ties to be
UP
-- what comes after the first \\ is voiceTwo, which tells the stems to go down
-- avoid chords inside this construct (this is my suggestion, not lilypond's)
Therefore you should replace those things with:
{ f4 (aes) } \\ { bes2 } ees g4 ees bes'
Y así por delante...
Have a good day!
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%**
\version 2.10.2
%**
numeroHimno = 1
tituloHimno = ¡Santo! ¡Santo! ¡Santo!
%
\paper {
oddHeaderMarkup = \markup { \bold \large \numeroHimno }
print-page-number = ##f
between-system-space = 0.0\cm
head-separation = 0.0\cm
}
%
%
\header {
title = \tituloHimno
copyright = Iglesia Bautista de Jesucristo
tagline =
meter = \markup { (CAPO I) }
}
%
%
acordes= \chordmode {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees ees1
}
%
#(define (parenthesis-ignatzek-chord-names in-pitches bass inversion context)
(markup #:line (( (ignatzek-chord-names in-pitches bass inversion context)
%
acordesConCapo= \chordmode {
\set chordNameFunction = #parenthesis-ignatzek-chord-names
\transpose ees d {
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
bes2/+d ees4 g4:m/+d c4:m f4:/+c bes4 ees4 bes2/+f f4:7 bes4 bes1
ees2 c2:m bes2:7 ees2 aes4 d4:dim7/+bes aes4 bes4:9 ees1
c4:m aes4 ees4 ees4:7 aes2 ees4 ees4:7 aes4 f4:m/+aes bes4:7 ees4 ees1
}
}
%
%
tope = \relative c' {
\key ees \major
\time 4/4
\new Voice = melodia {
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 ees, bes'4 d bes' } \new Voice { \voiceTwo d ( f ) } \oneVoice
c c' d c' ees c' f c'
g bes2 ees g2 \break
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes g } \context Voice = alto { \voiceTwo f4 f4 } \oneVoice
{ \voiceOne ees'2 f, d'4 g bes } \new Voice { \voiceTwo d ( f ) } \oneVoice
{ \voiceOne f d bes' ees c'4. d bes'8} \new Voice { \voiceTwo f4 } \oneVoice
d bes'1 \break
bes ees4 bes ees ees g ees g
\context Voice = melodia { \voiceOne bes'2 } \new Voice { \voiceTwo d,4 ( f ) } \oneVoice ees bes'4 d bes'
\context Voice = melodia { \voiceOne c'4. c8 } \new Voice { \voiceTwo c,4 d} \oneVoice c' ees,4 c f,
g bes2 ees bes'2 \break
ees ees'4 ees ees' ees bes' ees bes'
ees c'2 ees g4 des g
c aes' c f d! f4. ees8
ees ees1
}
}
%
%
versoUno = \lyricmode {
\set stanza = 1.
¡San -- to! ¡San -- to! ¡San -- to! Se -- ñor om -- ni -- po -- ten -- te,
Siem -- pre el la -- bio mà -- o lo -- o -- res Te da -- rá.
¡San -- to! ¡San -- to! ¡San -- to! Te a -- do -- ro re -- ve -- ren -- te,
Dios en tres per -- so -- nas, ben -- di -- ta Tri -- ni -- dad.
}
versoDos
Re: Lyrics in poly
Citando Ezequiel Sierra [EMAIL PROTECTED]:
to be more specific
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes
g } { \voiceTwo f4 f4 } \oneVoice
i get all stems down of that staff why?
You should to include \new Voice (or \new Voice = something) , after
\voiceTwo:
\context Voice = melodia { \voiceOne bes'4. bes8 bes g4 bes
g } \new Voice { \voiceTwo f4 f4 } \oneVoice
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Re: tie different chord
Citando Ezequiel Sierra [EMAIL PROTECTED]: c f, ~ d d, in a f clef dosent work On Dec 17, 2006, at 2:55 PM, Mats Bengtsson wrote: You need a *slur*, not a tie: c f,( d d,) Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Single staff polyphony and one lyric voice
Citando Christophe Dang Ngoc Chan [EMAIL PROTECTED]:
Now I try to dissociate the two voices, and the lyrics do not align
any longer.
% ** this does not work
\new Staff \relative c' {
{ s2. e'8 e~
e4 e8 e~ e2
} \\
{ r2. g,8 a~
a4^\markup \fret-diagram-terse #o;o;2;2;o;o;
b8 a~ a2
}
}
\addlyrics {
be -- hind
blue eyes
}
% **
Any hint ?
Yes. The manual say in the vocal music chapter:
The command \addlyrics cannot handle polyphony settings. For these cases you
should use \lyricsto and \lyricmode.
You could do this to fix it:
\new Staff \relative c' { \new Voice = top
{\voiceOne s2. e'8 e~
e4 e8 e~ e2
}
{\voiceTwo r2. g,8 a~
a4^\markup \fret-diagram-terse #o;o;2;2;o;o;
b8 a~ a2
}
\oneVoice
\new Lyrics \lyricsto top {
be -- hind
blue eyes
}
}
%%
Regards,
Eduardo
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Left alignment of lyrics when not using lyricsto
In the second example, the first 3 lyric-syllables are left aligned to the
note-head because I specified the durations and didn't use lyricsto. Intend
behaviour?
% Created on Thu Dec 14 07:50:40 GMT-03:00 2006
\version 2.10.2
\include english.ly
verse= \lyricmode {
come8 good old friends
}
staffSoprano = \new Staff {
\time 6/8
\key c \major
\clef treble
\relative c' {
\context Voice = melodySop {
\partial 4. g' e 8 f d e c c' e 4. ~ c e
}
\bar |.
}
}
\score {
\staffSoprano
\context Lyrics = lmelodySop { \verse }
}
\score {
\staffSoprano
\context Lyrics = lmelodySop \lyricsto melodySop { \verse }
}
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Re: Why are these lyrics being left aligned?
Citando Mats Bengtsson [EMAIL PROTECTED]:
It seems that your attachments have been filtered out by the mailing list
software. Could you please include the .ly file in the email body.
/Mats
Ok. Here it is:
% Created on Fri Feb 03 20:21:54 BRST 2006
\version 2.8.0
#(ly:set-option 'point-and-click #f)
#(set-global-staff-size 16)
\header {
title = Trust in the Lord
}
\include english.ly
verseI= \lyricmode {
\set stanza = 1.
Trust in the Lord, what priv -- i -- lege giv -- en!
O in this world fail not to live right;
Stand by His word with hope and de -- ci -- sion,
God will not leave you, trust in His might.
}
verseII= \lyricmode {
\set stanza = 2.
Trust in the Lord; for -- get not His prom -- ise,
Heav -- en will pass ere it prove un -- true;
Sing mid your tri -- als, have faith in Je -- sus,
Trust in His grace suf -- fi -- cient for you.
Trust in the One who nev -- er will fail you,
On Him re -- ly, He's faith -- ful to you;
O do not fal -- ter, stay on the al -- tar,
An -- chor your soul in Him that is true.
}
verseIII= \lyricmode {
\set stanza = 3.
Trust in the Lord when you are in trou -- ble,
When in your life come sor -- row and pain,
God is un -- fail -- ing, dai -- ly He'll help you,
O -- ver your foes the vic -- t'ry to gain.
}
verse= \lyricmode {
\set stanza = 4.
Trust in the Lord, how sweet the ex -- pe -- rience,
If in this life we on Him de -- pend;
Fit -- ted for ser -- vice; rea -- dy for judg -- ment,
So let us live and trust to the end.
}
basi = \lyricmode { Trust in the One who nev -- er will fail you,
On Him re -- ly, He's }
tebai = \lyricmode { faith -- ful to you; }
basii = \lyricmode { O do not fal -- ter, stay on the al -- tar,
An -- chor your soul in }
tebaii = \lyricmode { Him that is true. }
staffSoprano = \new Staff {
\time 9/8
\set Staff.midiInstrument=choir aahs
\set Staff.shapeNoteStyles = ##(do re mi fa #f la ti)
\set Staff.autoBeaming = ##f
\key c \major
\clef treble
\context Voice = melodySop {
\relative c'' {
\partial 8*3
g e 8 fs ds g e
e c 4. e g 4.
c' e, 8 d e, c e, c f,4.
a f c f,8 b f
a f g e4. c e,4.
e g,8 d g, c g \new Voice { \voiceOne d2.} {\voiceTwo g,4.(
f4.) }
\oneVoice g e 8 fs ds g e
e c 4.
g e
c e,8 d f,8 e g,8
f a,4.
a, f
a f8 c f,
a f
g e4.
c e,4.
d f,8 c e, b d,
c e,4. ~ c e,4. \bar ||
%% refrain below
r4.^\markup {\bold Refrain} c g8 c g c g
c g 4 c g 8
r4.
e g,8 ds fs, e g,
c g 4 c g8
r4.
b f8 as f b f
g d4
\new Voice { \voiceOne g8 } { \voiceTwo f8} \oneVoice g e8 fs
ds f
d
e c4. ~ e c4.
r4.
c' f,8 c f, c f,
a f4 a f8
r4.
e' g,8 e g, e g,
c g4 c g8
r4.
b f8 as f b f
g d4 g d8
\new Voice { \voiceOne g8^\markup {\italic rit.} } {\voiceTwo g8}
\oneVoice a fs8 b f
c e,2. \bar |. }
}
}
staffTenorSaxophone = \context Staff = men {
\set Staff.midiInstrument=tenor sax
\set Staff.shapeNoteStyles = ##(do re mi fa #f la ti)
\set Staff.autoBeaming = ##f
\key c \major
\clef bass
\context Voice = tb {
\relative c' {
\partial 8*3
c c, 8
c c, 8
c c, 8
g c, 4.
g c, 4.
g c, 8
g c, 8
g c, 8
a f 4.
c f, 4.
a f 8
a f 8
c f, 8
c c, 4.
g c, 4.
c c, 8
b d, 8
c e, 8
b g 2.
c c, 8
c c, 8
c c, 8
g c, 4.
c c, 4.
c c, 8
c c, 8
c c, 8
c f, 4.
c f, 4.
c f, 8
a f 8
c f, 8
c g 4.
c g 4.
b g, 8
g g, 8
g g, 8
g c, 4. ~ g c, 4.
%% refrain below
\context Voice = tb { \voiceOne r4. g8 g g g4 g8 r4. c8 c c c4 c8
r4. g8 g
g b4 b8 }
\context Voice = baixo { \voiceTwo c,8 d ds e4. e4. e8 g
a g4. e4. c8 b c d4. g,4. } \oneVoice \context Voice = chrd { g'
g, 8
g a, g b, g c,4. ~ g c, 4. }
{ \voiceOne r4. a8 a a c4 c8 r4. c8 c c g4 g8 r4. g8 g g b4 b8}
\context Voice = baixoi { \voiceTwo c,8 d e f4. f4.
a8 g fs g4. e4. a,8 b c d4. g4. }
\oneVoice \context Voice = chrdii { c e,8 a d, g g, g c,2. }
\bar |.
}
}
}
\score {
\context ChoirStaff
\set ChoirStaff.systemStartDelimiter = #'SystemStartBar
\override ChoirStaff.SystemStartBar #'thickness = #4
\override ChoirStaff.SystemStartBar #'padding = #0.5
\staffSoprano
Why are these lyrics being left aligned?
Hello, list! I've been reviewing one of my first songs typesetted with Lilypond and noticed a problem that I don't know how to solve: The words for the tenor and bass become left aligned after these voices are splitted and put back together. See the picture where it shows the words O do not falter (on the bottom) Attached goes the source file. How can I arrange the lyrics placement so that O do not falter don't become left aligned? Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. problemsnapshot.png Description: PNG image ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Barlines between staffs
Citando Maurits Lamers [EMAIL PROTECTED]:
I can't find in the list your first post. Did you try in the context Lyrics
revert those properties for the bass? Maybe in layout you could try this that I
never tested:
\context {
\Lyrics = SopraanLyrics {
\consists Bar_engraver
\override BarLine #'transparent = ##t
\consists Separating_line_group_engraver
}
and so on and avoid applying that to the bass.
Warning: I don't know if its valid syntax.
Hi,
I sent a mail a week ago about the same problem, but did not get any
response (as far as I can see from the digests).
So, for a second try:
I want to typeset a renaissance choir piece and I would like to do it
with the barlines not on the staffs but between them.
The structure I chose is the following:
\score {
\new StaffGroup {
\new Staff { \override Staff.BarLine #'transparent = ##t
music
}
\context Lyrics = SopraanLyrics { s1 }
\new Staff { \override Staff.BarLine #'transparent = ##t
music
}
\context Lyrics = AltLyrics { s1 }
\new Staff { \override Staff.BarLine #'transparent = ##t
music
}
\context Lyrics = TenorLyrics { s1 }
\new Staff { \override Staff.BarLine #'transparent = ##t
music
}
\context Lyrics = BasLyrics { s1 }
}
}
This works beautiful, until I want the Lyrics to avoid the Barlines.
When I add the Barline_engraver to the Lyrics Context using:
\layout {
\context {
\Lyrics {
\consists Bar_engraver
\override BarLine #'transparent = ##t
\consists Separating_line_group_engraver
}
}
}
as the example in the manual tells me, the lyrics do indeed avoid the
barlines, but also something else strange occurs. The barline is
drawn not only between the Staffs, but also between the lowest staff
and the lowest Lyrics line. I have included a small excerpt of the
score showing the problem as a jpeg file.
Have a good day!
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Re: Piano polyphony
Citando Tomas Valusek [EMAIL PROTECTED]:
Hello,
in piano music, there are often situations where temporary voices are
introduced. It's not true polyphony, because the additional voices are
temporal and are use only to mark prolonged notes. What is the simplest
way to typeset the example shown in attachement? It was created using
Lime and I wasn» forced to create additional voices, since Lime allows
combining different note durations within a single chord. If there were
no ties, it would be rather straightforward.
Tomas Valusek
There are several approaches to that. It is better to use explicit Voice
constructs, I think, for example : \new Voice, \voiceOne, to avoid some further
problems. There is a section in the manual that deals with that Explicitly
instantiating voices
However this was the simplest I came up with. And it uses the feature of
partially tieing chords?
\relative c' { { \stemDown c'16 d e8 ~ \stemUp e4 } \\ { s16 s16 s8 c g8
c g ~ 8 \stemUp g a b c } }
Have a good day!
Eduardo
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RE: lilypond and editors
Citando Trevor Daniels [EMAIL PROTECTED]: I use LilyPondTool for jEdit and it is great and worth having it . My conclusion is that we may as well have two good text editors. Since I know, that jEdit is slower and I also experienced crashes or very slow instances when the Lilypond documentation was open besides a few files. Well that second editor I haven't decided for my case, maybe I'll settle with ConText. I've tried it a bit. And a faster editor is good for a quick check of files, and so on. But when I'm concentrated with Lilypond files, jEdit has been a real asset. I know we resist to learn extra stuff, but in my case, I want to learn better jEdit and enough of a second good editor. Eduardo Me too. I tried them both. ConText and the Lily highlighter worked fine straight out of the box (although I needed to make it case sensitive to correctly pick up the keywords) and I find it suits my style of working very well - usually with lots of files open; I failed to get jEdit to work even half right under MS XP and I've now deleted it. Trevor Geoff Horton wrote: Often one can gain productivity by fitting his way of work to the editor :-) Bert Sometimes, yes. Often ... I don't know about that, and I'm not really a fan of the idea. Tools exist for me; I don't exist for tools. I don't mean to discourage anyone from trying jEdit. I did. I prefer something else. YMMV :) Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user On Windows XP I gave jEdit a try, then I switched to Context. The main issues I had with jEdit on Windows is that it would not install unless I went to IBM or SUN microsystems web site to install some other stuff first as I recall. Then forums suggested I needed something called cygwin, big mistake there, after I installed that my machine was never the same, more sluggish. After I got jEdit finally working it kept locking up whenever I tried to open too many files simultaneously. Also if I opened a text file that was over say 2 meg or so, it would try to parse ending brackets for the WHOLE file, instead of just showing me the page I was on, and it typically took about 5 minutes to open these large files and 15 seconds for the PageUp/Down keys to work. With Context I've had several dozen files open simultaneously in its tabbed folders and my large files also open immediately. But I'm not sure of the future of Context either because it's author only makes updates once a year or so, but for now I'm productive with it. jEdit had a lot going for it functionality-wise, but it needs some work performance-wise and installation-wise for Windows machines from my experiences, maybe others like it on Windows but for me it did not work out. I think it sould be changed to install all of it's own dependencies itself, so at least users can begin using it immediately. -- View this message in context: http://www.nabble.com/lilypond-and-editors-tf27346 13.html#a7760420 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Have a good day! ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extracting parts from a .ly file?
Joe wrote: It is not pretty and it doesn't to a great deal of syntax checking but below is a perl script I've just thrown together which extract the parts as you require. It should pick out things like 'soprano' while ignoring things like '\soprano'. You should save it in a file called ly-extract and call it with: $ ly-extract infile.ly outfile.ly label where label is soprano, alto, etc. I don't know how perl works with Windows, but I would guess that you would need to change the first line in some way. Only now was I able to test your script and I got this result: C:\carols\Songbook\ajuste1 perl ly-extract lindotempo.ly lindalto.ly alto Bareword found where operator expected at ly-extract line 12, near )address (Missing operator before address?) Array found where operator expected at ly-extract line 12, at end of line syntax error at ly-extract line 12, near )address Global symbol @hidden requires explicit package name at ly-extract line 12. Execution of ly-extract aborted due to compilation errors. Process perl exited with code 255 line 12 is this: my($fin,$fout,$label)[EMAIL PROTECTED]; Was this altered by the mail server? Or is it intentional to have [EMAIL PROTECTED] I don't know perl to easily fix that, so, first of all thank you very very much and, please, could you help me to fix it? Best regards, Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extracting parts from a .ly file?
Citando Joseph Haig [EMAIL PROTECTED]:
I think it must have been the lilypond mailserver seeing the 'at' sign
and assuming that it is an email address, because it is wrong in the
list archives. The line should read:
my($fin,$fout,$label) = @ARGV;
I have put spaces either side of the equals sign, and this may allow
it to get through the mail server correctly. That is,
my($fin,$fout,$label) = , followed by an 'at' sign, followed (with
no space) by 'ARGV;'
Alternatively, replace the line with the following three lines.
my($fin)=$ARGV[0];
my($fout)=$ARGV[1];
my($label)=$ARGV[2];
which will have the same effect.
Regards,
Joe
Thank you! Now it doesn't say that error message, however the output is an empty
file.
See the attached file. What I did was: perl ly-extract lindotempo.ly linalto.ly
alto
then it creates a blank linalto.ly file.
Have a good da
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\version 2.9.19
#(ly:set-option 'point-and-click #t)
#(set-global-staff-size 16)
\header {
title = Lindo tempo de Natal
subtitle =
subsubtitle =
composer = Melodia Inglesa
arranger =
poet =
texttranslator = Leonido Krey
tagline = ##f
}
%%% âPor grande infindo amor.â
verseOne = \lyricmode {
\set stanza = 1.
Vin -- de to -- dos en -- to -- ar hi -- nos de lou -- vor,
Pois ao mun -- do Deus quis dar Cris -- to Re -- den -- tor
}
verseTwo = \lyricmode {
Lin -- do tem -- po de Na -- tal, a -- le -- gri -- a ce -- les -- tial!
Quan -- tos sons, quan -- ta luz, tu -- do lem -- bra~o bom Je -- sus.
Lin -- do tem -- po de Na -- tal, a -- le -- gri -- a ce -- les -- tial.
\set stanza = 2.
Nes -- te mun -- do de~i -- lu -- são, Cris -- to~é nos -- sa luz
Que da ne -- gra~es -- cu -- ri -- dão pa -- ra~o Céu con -- duz.
}
verseThree = \lyricmode {
\set stanza = 3.
Ho -- je no~or -- be ter -- re -- al to -- dos com fer -- vor
Can -- tem hi -- nos de Na -- tal do bom Sal -- va -- dor.
}
verseFour = \lyricmode {
Tem -- po \skip 1 \skip 1 \skip 1 go -- zo
\repeat unfold 16 { \skip 1 }
Tem -- po \skip 1 \skip 1 \skip 1 go -- zo
}
verseFive = \lyricmode {
\set stanza = 5.
}
verseSix = \lyricmode {
\set stanza = 6.
}
global = {
\clef treble
\key f \major % or e \minor
\time 4/4
\override Staff.TimeSignature #'style = #'()
\set Staff.autoBeaming = ##t
\set Staff.midiInstrument=choir aahs
\set Staff.shapeNoteStyles = ##(do re mi fa #f la ti)
}
sop = \relative c'' {
\set autoBeaming = ##f
c8[ bes] a[ bes] c4 a f g a2 a8[ g] f[ g] a4 f c e f2
g4 c c2 a4 c c2 g4 d' c a c bes8[ a] g2
c8[ bes] a[ bes] c4 a f g a2 a8[ g] f[ g] a4 f c e f2^\markup { \smallCaps Fine } \bar |.
g4. a8 bes4 g a bes c2 d4 c bes a bes1
g4. a8 bes4 g a bes c2 c,4 a' a g f1
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark \markup { \small \smallCaps D.C. al Fine }
}
alto = \relative c'' {
\set autoBeaming = ##t
a8[ g8] f8[ g8] a4 f4 c4 e4 f2 f2. c4 c4 c4 c2
e4 e4 g4 e4 f4 f4 f2 e4 e4 f4 f4 a4 g8 f8 e2
f2. f4 d4 e4 f2 f2. c4 c8 ces8 bes4 a2
c4. c8 e4 e4 f4 f4 f2 f4 fis4 g4 fis4 g1
g4. f8 g4 e4 f4 g4 a2 c,4 f4 e4 e4 c4\( bes a2\)
}
tenor = \relative c' {
\set autoBeaming = ##t
f2. c4 a bes c2 c8[ bes] a[ bes] c4 c a bes a2
c4 g c2 c4 a c( a) c c c d d d e8 d c bes
a[ d] c[ bes] a4 c d bes c2 b( c4) a a8[ aes] g4 f2 \bar |.
e4. f8 g a bes4 c c c2 bes4 c d d d1
c4. c8 c4 c c c c2 a4 c c bes a\( g f a8 f\)
}
bass = \relative c {
\set autoBeaming = ##t
f2. f4 a g f2 f2. a,4 c c f2
c4 c e( c) f f a( f) c' bes a d, g, bes c2
f2. a4 bes g f2 d2( c4) c c c f,2
c'4. c8 c4 c f g a2 bes4 a g d g,\( bes8[ d] g4 f\)
e4. d8 c4 bes' a g f\( a,8 bes\) c4 c c c f,1
}
\score {
\context ChoirStaff
\context Staff = upper
\global
\context Voice =
sopranos { \voiceOne \sop }
\context Voice =
altos { \voiceTwo \alto }
\context Lyrics = one \lyricsto sopranos { \repeat unfold 41 { \skip 1 } \verseOne }
\context Lyrics = two \lyricsto sopranos { \verseTwo }
\context Lyrics = three \lyricsto sopranos {\repeat unfold 41 { \skip 1 } \verseThree }
\context Staff = lower
\global
\clef bass
\context Voice =
tenors { \voiceOne \tenor }
\context Voice =
basses { \voiceTwo \bass }
\context Lyrics = ba \lyricsto basses { \verseFour }
\midi { }
\layout {
\context {
\Score
% Turns off bar numbering
\remove Bar_number_engraver
% \override PaperColumn #'keep-inside-line = ##t
}
\context {
\Lyrics
%
Extracting parts from a .ly file?
Hello users, does anybody have a Python or Perl script to extract parts from a
.ly file and save them into a different file?
For example:
I have several files with:
soprano = {
music
}
alto = {
music
}
etc.
and would like to get each part in a different file (soprano.ly, alto.ly,
etc.ly) . If someone with programming skills could share such script, I'd be
very thankful. I'm using Windows XP and if it is in a language other than
Python or Perl, it is fine if it works in Windows.
Regards,
Eduardo
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Re: which language for programming
Jean wrote: I'm trying to choose a language to learn programming. i know, it depends en what I want dto do with it : but I don't have particular project on my table. I had been wondering with the same questions lately and, having Lilypond in mind, and lot of survey on forums. I decided I'd go for Python and then, later, Scheme. Well, I haven't gone very far in Python, due mostly to my limited time, but I'm finding it understanble and not so hard. And hope I can go deeper in my learning sometime. If you learn Python, there's more chance to contribute to Lilypond than if you learn, say, Pascal, or whatever. To have a project in mind is a good starting point, however, I found that once you learn some programming skills new ideas pop up about how to use them. What I have in mind is more text manipulation: maybe improve Musicxml2ly, abc2ly, etc., Automation scripts, and so on. let us see what are our conclusions, say within 6 more months. Best regards, Eduardo Vieira ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Crazy idea: point-and-click for PDF end-users?
Hi! Foxit Reader already gives the ability of annotating PDFs, drawing shapes, etc, even for free. But doing for free adds a stamp Edited by Fox Reader, etc. What is interesting is that this stamp is not visible in Adobe Reader, just the annotations you made. So, this basic and feasible thing already exists. Regards, Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: old way of vertically centering refrain no longer works
Hello, I'm using lilypond version 2.9.26 and am typesetting a vocal piece in which there are 4 stanzas and a refrain. As the refrain starts about the middle of the system, I decided to center vertically the refrain in relation to the lyrics but couldn't get it to work. So, I search the users list, and I got this post: Re: old way of vertically centering refrain no longer works http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00305.html So, how can this be fixed? It looks like changing VerticalAxisGroup #'minimum-Y-extent no longer does the trick. What's the new approach for that? Eduardo Vieira ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: old way of vertically centering refrain no longer works
Citando Mats Bengtsson [EMAIL PROTECTED]: One workaround is described in http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00015.html /Mats Thanks Mats! I knew there was that page somewhere but couldn't narrow my search sufficiently. Best regards, Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to add a smart alignment to my lyrics?
Hello users! I want to follow this style of aligning lyrics to the notes whenever a lyric syllable starts a new verse: \once \override LyricText #'self-alignment-X = #-1 \once \override LyricText #'X-offset = #-1 However I wonder if, by using Scheme, one could apply this setting *whenever* a new system is created, so that every first lyric syllable can be left aligned in the beginning of a system -- a style used by some song publishers. Well, I don't know Scheme and won't be able to study much maybe until next year. So, if someone feels challenged to do this and share the code, I'd be much beholden to him. Regards, Eduardo Vieira ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Enjoying version 2.9.27
Hello! I'm using version 2.9.27 in Windows XP and am enjoying it very much. It was good to see that the ps files can be viewed in GhostView and also could be distilled with Acrobat Distiller (not a big deal tho'). EPS works nice, too. And a big thanks to Han-Wen for fixing the sizes of the shaped notes. This made me resume my projects with Lilypond. Oh! And jEdit's lilypond tool is really great. Regards, Eduardo ___ Com o Click21 você tem sempre vantagens! Além do email com 1 Gb, Acelerador, Blog, Flog, Games e atendimento 24 horas, voce também pode falar minutos DDD com a promoção Click 21 Minutos. Quanto mais você navega mais fala DDD. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Slur usage
Hello list, is there a musical difference between these two styles of slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I prefer
the latter. But I'm not a musician.
Eduardo
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Re: Is Lilypond right for this need?
Hello! You can google about ChordML, I think it is what you need. There are some shareware for these kind of job, too. I don't remember the names, but a search with lyrics and chords gave me a few hits. Good luck. Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Making notes in Scheme?
Hello, to me Scheme/Lisp is (still) Greek. But you may find interesting what FOMUS has to offer, if you`re thinking of algorithmical composition. Check it out: http://common-lisp.net/project/fomus/ Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine not giving joy for hymns
Hi,
I have found that \partcombine is not the ideal
tool for hymns if you follow this convention: soprano and alto in the same staff
as chords, if the interval is of a second or unison, then the stems are split
(soprano, stem up; alto, stem down).
Now you have to choices: either typeset the voices
like chords (which is bit harder), and add new voice layer for the splitted
parts. Or use something as the example file below:
This file is a 4-part arrangement in wich soprano
and alto are typeset separately, and tenor and bass like chords.
Check the answer Mats gave in the thread "Stemming
for Hymnal" on May 23, 2005 for a better understanding on this (I'm offline now
and don't have the link, but had this page savedin my reference files).
One setback is that when there is a tie, you'll have to override the tie
direction to obtain the same results as if you were typessetting
chords.
Hope this helps while \partcombine is
revised.
EXAMPLE %%%
%% Sorry for the messy style %%
\version "2.8.0"
#(ly:set-option 'point-and-click #f)
#(set-global-staff-size 16)
\header {
title = "Give Me Oil in My Lamp"
}
% \include "nederlands.ly"
versum= \lyricmode {
\set stanza = "1."
Give me oil in my lamp, oil in my
lamp,
Give me oil in my lamp I pray;
Give me oil in my lamp, keep me shin -- ing in the
camp,
Un -- til the break of day.
}
global = {
\key g \major
\time 4/4
\override Staff.TimeSignature #'style =
#'()
\set Staff.autoBeaming = ##f
}
sop = \relative c'' {
\partial 8*2
d8 d
d4 b8 b b2
a4 g8 e g4 e8 e
%3
d4 g8 a b4 d
%4
a2.
%pb
\bar "" \break
d8 d
d4 b8 b b4 g8 g
a g g e g4 g
b4. g8 b4 a
g2.
}
alto = \relative c'' {
\partial 8*2
g8 g
g4 g8 g g2
e4 e8 c e4 c8 c
b4 d8 d d4 d
d2.
g8 g
g4 g8 g g4 { } \\ { f8 f }
% \oneVoice
e e e c e4 e
d4. d8 g4 fis
d2.
}
basten = \relative c' {
\partial 8*2
g b 8
g b 8
g b 4
g d' 8
g d' 8
g d' 2
c, c' 4
c c' 8
c g' 8
c c' 4
c g' 8
c g' 8
g g' 4
b g' 8
d fis 8
{ g4 } \\ { g4 }
b, g' 4
d fis 2.
g b 8
g b 8
g b 4
g d' 8
g d' 8
g d' 4
g b 8
g b 8
c, c' 8
c c' 8
c c' 8
c g' 8
c c' 4
c g' 4
d g 4.
d b' 8
d d' 4
d c' 4
g, b' 2.
\bar "|."
}
\score { \context ChoirStaff
\set ChoirStaff.systemStartDelimiter =
#'SystemStartBar
\override ChoirStaff.SystemStartBar #'thickness =
#4
\override ChoirStaff.SystemStartBar #'padding =
#0.5
\context Staff = mulh {
\global
\context Voice = mel \voiceOne \sop \alto
}
\context Lyrics = stum { \lyricsto mel \versum
}
\context Staff = hom {
\clef bass
\global
\context Voice = melb { \basten }
}
\midi {
}
\layout {
indent = 0.0\cm
\context {
\Lyrics
\override LyricText #'font-size = #-1
\override VerticalAxisGroup #'minimum-Y-extent =
#'(-1 . 1.8)
\override LyricSpace #'minimum-distance =
#0.6
}
\context {
\Score
\remove Bar_number_engraver
\override PaperColumn #'keep-inside-line =
##t
}
}
}
\paper { paper-width = 5.5\in
paper-height = 8.5\in
between-system-space = 0.85\cm
between-system-padding = 0.2\cm
line-width = 11.5\cm
ragged-bottom = ##t
after-title-space = 0.1\cm
}
%
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Re: Lyrics and centering
Kieren wrote:
As for the automatic placement issue, I have to say that I do a
fair bit of manual tweaking of my lyrics, in order to make it fit
or make it look good -- as you indicated, I think Lilypond does a
pretty amazing job, considering how complex (and, often, subjective)
the process is.
Shortcuts I use regularly include:
lyrLQ = { \once \override LyricText #'self-alignment-X = #-0.25 }
lyrLH = { \once \override LyricText #'self-alignment-X = #-0.5 }
lyrLM = { \once \override LyricText #'self-alignment-X = #-0.75 }
lyrL = { \once \override LyricText #'self-alignment-X = #-1 }
lyrRQ = { \once \override LyricText #'self-alignment-X = #0.25 }
lyrRH = { \once \override LyricText #'self-alignment-X = #0.5 }
lyrRM = { \once \override LyricText #'self-alignment-X = #0.75 }
lyrR = { \once \override LyricText #'self-alignment-X = #1 }
where Q means quarter of the way to L/R alignment, H means
half..., and M means most. I use these to shift syllables at
the beginnings or ends of measures, or (especially) to float long
syllables under the rest(s) preceding or following the note, in order
to even out the note spacing.
I've already mentioned the other tweak I regularly use, i.e.,
lyrMX = \once \override LyricText #'X-offset = #-0.5
which I use to soften the left-alignment of melismas.
Anyone else have Lyric adjustment tips?
Hi! I think this is a good practice. And as it was mentioned in this thread
there aren't strict rules for aligning syllables.
I, personally, like that style that the first syllabe after the stanza
number is left alligned as well as the first syllable beginning a new
system, too. How could one ever program that preference with Scheme?
Yes, I also like to use a negative X-offset too.
I have some songbooks that follow an interesting practice that's even
harder: The first syllable of a new verse is left aligned and the last
syllable right-aligned to the note. The last syllable of a system is also
right aligned, and the first syllable of the next system is left-aligned. To
follow this fashion I`d have to run the file more than one time, inevitably,
to detect which syllable should be left or right alligned :(
Regards,
Eduardo
P.S. I think Lilypond, by default follows a good style.
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Re: Problems with melismata
Strange. I use version 2.9.5 and I didn't get any warning. The output you can see in the png file. Maybe you should try it in a stable version (2.8.x) Armin Wrote: Thank you for the link, but it does not solve the problem. I get the extender in the text, but the text then starts only at the third note. I have broken down the file to less content to show the effect: erde3.png Description: Arquivo anexado pelo iGmail ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: selecting fonts -- partial solution (Mac OS X)
Recently I switched from Windows Me to XP, and haven't tried to change fonts yet. But lilypond generates a file located in c:\Documents and Settings\???\ called .lilypond-2.9.5-font.cache-1 that lists all the fonts of the system, I suppose. You should check how the name of the font is written in that file, which may differ from the name that appear in a word processor software. Doing that should get the font changed. Eduardo P.S. I suppose that for the latest version, the mentioned file will have the numbers 2.9.10, instead ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with melismata
Hi! I think this message can help you:
http://lists.gnu.org/archive/html/lilypond-user/2006-03/msg00514.html
- Original Message -
From: Armin Lambacher [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Friday, July 14, 2006 6:20 AM
Subject: Problems with melismata
Hello,
I tried the following code in Lilypong 2.9.10 to typeset some organ music
(just a snippet):
--
\version 2.9.10
\header
{
title = Erde singe
composer = Satz: Max Eham 1975
}
#(set-default-paper-size a4 'landscape)
#(set-global-staff-size 20)
global = {
\time 4/4
\key f \major
}
text = \lyricmode {
Er2 -- de4 sin -- ge,2 daß2 __ es4 klin -- ge,2
}
sopran = {
f'4( a') c''
d'' c'' s4
f'4( g') a'
bes'4 a' s4
}
alt = {
c'4 f' f'
f'8 g' a'4 \once \override Rest #'extra-offset = #'(0 . 2) r4
f'4 e' f'
d'8 e' f'4 \once \override Rest #'extra-offset = #'(0 . 2) r4
}
tenor = {
a4 c' a
bes4 c'4 s4
c'2 c'4
bes4 c'4 s4
}
bass = {
f,4 f4. f8
bes,4 f4 \once \override Rest #'extra-offset = #'(0 . 2) r4
a,4 c f
g4 f \once \override Rest #'extra-offset = #'(0 . 2) r4
}
\score {
\new Lyrics = lyrics {s1}
\new Staff = righthand
\clef treble
\global
\new Voice = one {\voiceOne \sopran}
\new Voice = two {\voiceTwo \alt}
\new Staff = lefthand
\clef bass
\global
\new Voice = three {\voiceOne \tenor}
\new Voice = four {\voiceTwo \bass}
\context Lyrics = lyrics \lyricsto one \text
}
--
The problem is here, that I get no melisma on the daß, second bar, 3rd and
4th note. If I comment out the statement \new Lyrics = lyrics {s1} in the
\score, I get the melisma, but the text is not above, but below the staves.
Unfortunately I do not have a webpage, where I coud post the output...
Now, I'd like to have the text above the staves AND the melisma. Did I do
something wrong, or is this a bug? I tried to search the archive, but could
not find a solution...
Best regards
Armin
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Re: Stick glyph?
There are three workarounds I can think of: 1- If you have these glyphs in a musical font, use them as markups, changing the default font with the musical one. 2- Use PostScript. One can insert a PostScript code as a markup. For us that don't know PostScript, we could make the glyph in CorelDraw, Illustrator, Mayura Draw (inexpensive) or Inkscape (Open Source), then export do PostScript and insert the code (I never tried that yet) 3-Save the glyph as an EPS and insert it in the file. I hope this helps. Eduardo - Original Message - From: Vivian Barty-Taylor To: lilypond-user@gnu.org Sent: Thursday, July 06, 2006 8:28 AM Subject: Stick glyph? I need a graphic for indicating hard sticks in a percussion part (and later also for soft sticks.) These are simple signs which just look like a percussion stick (!) with either a solid or outlined head. These don't seem to exist in the Feta font, and I'm wondering if anyone knows of a simple workaround for getting them? Cheers, Vivian. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: New user + notation queries
Hi! I took a look in your file and the Finale's PDF. Now I understand what
you mean.
I think the best work around for now is to follow Mats advice and make a
different version for sound (midi) purposes.
Eduardo
- Original Message -
From: Joseph Wakeling [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Friday, June 30, 2006 4:40 PM
Subject: Re: New user + notation queries
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
I've already tried posting this message but it got held up because the
attachments were large... So here's the same thing, but with PDF files
accessible via the web instead.
Eduardo Vieira wrote:
Hello, I don't really understand what you want your score to look like
about
those invisible notehead. Maybe you could post a small picture of what
you
can do using Finale. And we would see to the right solution.
OK. A Finale-generated version of the two bars is at
http://music.webdrake.net/KobenhavnO-sample.pdf.
What I did in Finale was just (1) request beams and stems over rests and
(2) hide the rests themselves.
Kieren MacMillan wrote:
Try using
\override Score.Beam #'damping = 10
This modification affects the change at the Score level/context
rather than the default level/context (Voice).
OK, that works nicely for producing a global effect.
... but the effect is still not right. The beams on the second voice
are not horizontal, although they are made flatter by the presence of
the \override Score.Beam command.
In addition to the PDF from Finale I've attached the latest Lilypond
file. The PDF resulting from it is here:
http://music.webdrake.net/KobenhavnO.pdf
... so comparing the two PDF's ought to give an idea of what needs
altering in Lilypond.
Many thanks for everyone's time,
-- Joe
-BEGIN PGP SIGNATURE-
Version: GnuPG v1.4.2.2 (GNU/Linux)
Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org
iD8DBQFEpX4tcjylL0sfzuERAmLZAJ9BPFHU5cOr5caa+WL+eu0wlCBv/QCfQh4I
16CxPvmqz+4UdcqJUL35J/s=
=mQXd
-END PGP SIGNATURE-
\version 2.8.4
\header {
title = København Ø
composer = Joseph Rushton Wakeling
}
lentocantabilelontano = \markup { \note #8 #1 = 63 \hspace #0.1
\bold{lento, cantabile lontano e rubato} }
clarinetNotes = {
\clef treble
\override Staff.TimeSignature #'style = #'()
\override Score.Beam #'damping = 10
\time 3/4
\once \override Score.MetronomeMark #'transparent = ##t
\tempo 8=63
\relative c''' { bes4~(^\lentocantabilelontano bes16 ces8 bes16~ bes8) }
\\
\relative c' { ees8~\ppp \times 2/3 { ees8 fis16~ } fis16 g8 ees16~ ees8 }
r16 ees'''(\pp_\markup{\italic{dolce}}
\relative c''' { \oneVoice \times 2/3 { c16-- b4) \voiceOne f16~ } f8.([
r16] r32[ d'16.]) }
\new Voice=1 { \voiceTwo
\relative c' { s4 r16[\ppp eeseh8 b'16]~ b32[ fis16.] }
\oneVoice
}
\oneVoice
r8
}
{
\clarinetNotes
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Re: Chords with ()
Hi! Check this message for an answer: http://lists.gnu.org/archive/html/lilypond-user/2005-11/msg00708.html - Original Message - From: Ezequiel Sierra [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Tuesday, July 04, 2006 6:52 PM Subject: Chords with () Does anyone know how to put the chords inside () like, (A) (Em) Regards ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem Adding Lyrics to Poly
Hello!
Replace this line:
\new Voice = staffCinco { \voiceOne { bes'4. bes8 bes g4 bes g} }
{ \voiceTwo f4 f } \oneVoice
With this:
{ \voiceOne { bes'4. bes8 bes g4 bes g} } { \voiceTwo f4 f }
\oneVoice
Erase this line:
\set associatedVoice = staffCinco
*** A Good Tip:
Checke this site: http://www.geoffhorton.com/
It has lots of information about working with vocal music and many hymns in
lilypond.
Try to adjust your score to his examples.
Regards,
Eduardo
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Re: Problem with this file
Ola, Ezequiel!
The problem of lyrics jumping to another stanza can be solved by doing this:
Substitute all the constructs: { notes } \\ { notes } with: {
\voiceOne notes } \new Voice { \voiceTwo notes } \oneVoice
If you do it this way, you won't probably need to use stemUp and slurUp,
too.
Check about \lyricsto, which is more appropriate for polyphony.
I strongly recommend that you read the manual for more answers and learning.
Look up check in the manual: bar number, and bar types or repeats.
Another remark:
- The line \context { \ChoirStaff \accepts Lyrics } is unnecessary. You're
not even user such ChoirStaff context.
Best regards,
Eduardo
- Original Message -
From: Ezequiel Sierra [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Monday, July 03, 2006 4:27 PM
Subject: Problem with this file
Im having problems with this file
http://www.ezequielsierra.com/1.txt
Lyrics Jumping to next staff
Removing Staff Numbering
Adding repeat to the end of the song
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Re: New user + notation queries
Hello, I don't really understand what you want your score to look like about those invisible notehead. Maybe you could post a small picture of what you can do using Finale. And we would see to the right solution. Joseph wrote: (2) In the second bar, you can see that there are sometimes rests in one voice while the other voice is playing. What I want is, first, that the rests be invisible, but second, that there be short stems where the notes (or rests) would be. I tried using s (as in skip) but did not get any beams or stems. That was an uncommon request! The best way I can think of to get the stems but no note heads is to use ordinary notes but make the note heads invisible: \override NoteHead #'transparent = ##t Uncommon requests are my speciality, I'm very picky about how I want my scores to look! :-) My instinctive thought would have been to do what I would do in Finale, which is first to request both beams and stems over rests, and then make the rests invisible. But I would imagine the first part isn't possible...? I saw from the manual that getting beams to extend over rests was supported, but saw nothing about adding stems in. What frustrates me about the solution you propose is that it's a cheat that takes away from what I have already learned to love about Lilypond, its attempt to create correspondence between notation and the logical structure of the music. The reason why I want this particular notation, btw, is that the passage is a mixed multiphonic/monophonic passage and I want to represent both the two voices and the continuous sound that results. (3) Is it possible to get alternative quarter-tone symbols? In particular I don't like the 3/4-flat sign; I'd much rather have the combined backwards-flat plus ordinary flat db sign. In other pieces I might want to use accidentals-with-arrows as sometimes that seems to be a preferable option. You could try something like: \once \override Accidental #'stencil = #ly:text-interface::print \once \override Accidental #' OK. There isn't a way to write into the setup once and for all, the 3/4-flat accidental is ... ? Maybe you can create a variable and add it to share\lilypond\current\ly\property-init.ly ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: proportional grace notes
Hi! I may be giving you the wrong information, but in the Program reference
(Scheme Functions) about ly:make moment it reads:
Function: ly:make-moment n d gn gd
Create the rational number with main timing n/d, and optional grace
timin gn/gd.
Moment is a point in musical time. It is consists of a pair of rationals
(m, g), where m is the timing for the main notes, and g the timing for grace
notes. In absence of grace notes, g is zero.
I never tested nor dealt with this, but the solution my have to do with it.
Regards,
Eduardo
- Original Message -
From: V!ctor [EMAIL PROTECTED] [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Thursday, June 22, 2006 8:02 PM
Subject: proportional grace notes
Hi,
I would like to have grace notes spaced proportionally to their
durations, like this:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotesB.pdf
I thought that using proportionalNotationDuration would do it, but it
only affects the real notes. Here's what I get:
http://music.columbia.edu/~vadan/lilypond/proportional_gracenotes.pdf
with the following code:
%
*
\version 2.9.7
\include english.ly
\layout{
\context{ \Score
% proportional notation --
proportionalNotationDuration = #(ly:make-moment 1 32)
\override SpacingSpanner #'strict-note-spacing = ##t
\override SpacingSpanner #'uniform-stretching = ##t
}
}
% THIS ...
\new Voice{\afterGrace c''2. { c''32 c''8 c''32 c''16} c''4 c''2 c''2}
% OR ...
\new Voice{ c''2. \grace{ c''32 c''8 c''32 c''16} c''4 c''2 c''2}
%
*
From looking at 6.5.7 in the manual (2.9), I can see it should be
possible, maybe somehow changing the 'grace note timing', but I can't
figure out how.
How could I do this? Is there an easier way?
Thanks,
Victor.
--
V!ctor [EMAIL PROTECTED]
[EMAIL PROTECTED]
--
http://www.fastmail.fm - Access your email from home and the web
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Re: DYI \chordcombine
Hi! Isn't \partcombine what you need? Eduardo - Original Message - From: Simon Dahlbacka To: lilypond-user@gnu.org Sent: Tuesday, June 20, 2006 3:49 PM Subject: DYI \chordcombine I've been wanting something like \chordcombine, i.e. combine multiple voices into chords if they occur at the same time and same duration (possible edge cases not taken into account right now) How hard would it be to put together something like that myself, (a person knowing close to nothing about scheme, but programmer by profession). That is, is it feasible, or should I just forget it right away? regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pronunciation of the author's names
Thank you! Now I have an idea. - Original Message - From: Han-Wen Nienhuys [EMAIL PROTECTED] To: Shamus [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Tuesday, June 20, 2006 8:06 AM Subject: Re: Pronunciation of the author's names Shamus schreef: Meeting Han-Wen last time I asked him how the name `Nieuwenhuizen' actually does sound. To make it short: I'll stay with `Jan' and `Han-Wen'. I'll take a stab at it, though I'm no expert at this kind of thing (the words nine, when, and zen are the American English pronunciations): :-) Nienhuys -- nine - hyoos Nieuwenhuizen -- nee - oo - when - hoo - zen Note that there are no accent marks given; my best guess is that they would fall on the second to last syllable in each case. This is also most likely the wrong pronunciation in any case. So how did I do? Did I get anywhere close? :-) close but not quite: nienhuys = 'neen huh-iss nieuwenhuizen = 'nee wunn huh-izz zunn (where huh-i is a monosyllabic dipthong, so slide from uh to ih smoothly.) - ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: DYI \chordcombine
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Re: DYI \chordcombine
Sorry! I pressed the send button mistakenly!
Here's the message:
I see! Actually, if I'm not mistaken \partcombine is suited for only two
voices. But there's hope:
See if this is what you expect: (Notice that for the other voices I used
skips instead of rests, so the rest would be placed in the normal position.
There may be different ways of adjusting that)
%% Example starts
music = \relative c' {
c4 c8 c8 c4 \oneVoice r4
}
musicTwo = \relative c' {
e4 e8 e8 e4 s4
}
musicThree = \relative c' {
g4 g8 g8 g4 s4
}
\score {
\new Staff = test { \new Voice
\voiceOne \music \musicTwo \musicThree
}
\new Staff {
\relative c' { c e g4 c e g8 c e g8 c e g4 r4 }
}
}
\paper { ragged-right = ##t }
%% Example ends
One problem you may run into is that all the ties will have the same
direction. In this case you could change their direction tweaking TieColumn
properties.
Eduardo
- Original Message -
From: Simon Dahlbacka
To: Eduardo Vieira
Cc: lilypond-user@gnu.org
Sent: Wednesday, June 21, 2006 10:57 AM
Subject: Re: DYI \chordcombine
On 6/21/06, Eduardo Vieira [EMAIL PROTECTED] wrote:
Hi! Isn't \partcombine what you need?
well... No, as can be seen from the example. (depending on if the
\oneVoice:s are commented or not, I get different, but equally bad results.)
Basically, I want to input the music as non-chords, but want lilypond to
view them as chords.
%% Example starts
music = \relative c' { %\oneVoice
c4 c8 c8 c4 r4
}
musicTwo = \relative c' { %\oneVoice
e4 e8 e8 e4 r4
}
musicThree = \relative c' { %\oneVoice
g4 g8 g8 g4 r4
}
\score {
\partcombine {
\partcombine \music \musicTwo
} \musicThree
\new Staff {
\relative c' { c e g4 c e g8 c e g8 c e g4 r4 }
}
}
\paper { ragged-right = ##t }
%% Example ends
- Original Message -
From: Simon Dahlbacka
To: lilypond-user@gnu.org
Sent: Tuesday, June 20, 2006 3:49 PM
Subject: DYI \chordcombine
I've been wanting something like \chordcombine, i.e. combine multiple voices
into chords if they occur at the same time and same duration (possible edge
cases not taken into account right now)
How hard would it be to put together something like that myself, (a person
knowing close to nothing about scheme, but programmer by profession).
That is, is it feasible, or should I just forget it right away?
regards,
Simon
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Re: shape notes
Great! This topic was brought up right in time. I was about to post one similar. In the past I had sent the attachment (shapednotesnew.pdf) to Han-Wen, and I would like to request some changes to the shaped notes design: - The half-notes (minims) in many shaped notes songbooks have one or more sides that are thicker in order to match more with the style of the normal half note. - I'd like to see the whole note (semibreve) the same size as the half note, like a stemless half note. This style is common in many songbooks, even in Southern Harmony. The normal semibreve in feta font has sizes that are too thick to be matched with the other shapes. So my suggestion would be to make it just like the normal half-note. This change should only happen, of course, when the score is in shaped notes, otherwise the semibreve should have the same (beautiful) design as usual. I'd like to sponsor these changes, if I can afford them, and if nobody is against it. Here's a link to an old shaped-note songbook page. Notice that the size of the semibreves (whole-notes) are just the same as the minims (half-note): http://digital.lib.msu.edu/collections/index.cfm?action=viewTitleID=607Format=jpgPageNum=45 And here is another link about shaped-notes that offer a True Type font with shaped notes. The design of the half notes are like the one I'm proposing: http://www.paperlesshymnal.com/shapnote/shaped.htm Regards, Eduardo - Original Message - From: Daniel Johnson [EMAIL PROTECTED] To: Monk Panteleimon [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Tuesday, June 20, 2006 4:17 PM Subject: Re: shape notes Monk Panteleimon wrote: Dear Lilypond users, Somehow the SacredHarpHeads have gotten very small in 2.8. The regular notehead (the one called #f in property-init.ly) is normally sized, of course, so one can't simply globally adjust notehead size or one ends up with big fat sol noteheads. Is there a way to get the shaped heads to normal size while leaving the standard #f head as it is? BTW, the sequence of shapes for the Sacred Harp four-shape system is still wrong in property-init.ly. In property-init.ly it goes : (#f #f mi #f fa la #f) But it *should* go (fa #f la fa #f la mi). That's the Sacred Harp system. What lilypond has goes sol sol mi sol fa la sol. Very funny scale, that. Muchas Gracias. Fr. P I compile Lilypond instead of using GUB, and I apply the attached patch to make shape-notes wider. They are a bit narrower than 2.7, but considerably wider than 2.8. It would be nice if the width of the shaped heads could be tuned within a .ly file, but right now I don't have any disposable cash to make that happen. Both 4-shape and 8-shape scales have noteheads exactly as wide as the round noteheads in all published sources I can find. I can send scans if you like. An online example can be found here: http://www.ccel.org/s/southern_harmony/sharm/sharm/hymn/t=New+Britain.html --d shapenotesnew.pdf Description: Arquivo anexado pelo iGmail ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How many users?
I was just curious, nothing else, to know how many users are subscribed to this list. Eduardo Vieira ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Pronunciation of the author's names
Hello list, How do you pronounce Nienhuys? And Jan Nieuwenhuizen? Thanks, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: barline problem
Hello users, Ghostscript comes with tools for ps/pdf conversion into several formats. Xpdf converts pdf-ps-pdf. They all run in Windows. Another thing to try is to convert the PDF into PDF again, using print to PDF tools. There are many like that for free, like PDF995. I may be wrong but TeX backend is no longer supported. Maybe the documentation needs an update. I didn't verify that. Another remark: I'm not part of Lilypond's developer, but I think the expression crap is too strong, and may not be the right approach to encourage the developers to do something better about the PDFs. Also, since this particular need is not the main focus of Lilypond, you could sponsor Han-Wen to take a look in the matter. Regards, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to work with makefile?
Thank you all for the replies. I'll check on that too. Eduardo - Original Message - From: Simon Dahlbacka To: Anthony W. Youngman Cc: lilypond-user@gnu.org Sent: Friday, June 02, 2006 2:23 AM Subject: Re: How to work with makefile? On 6/1/06, Anthony W. Youngman [EMAIL PROTECTED] wrote: In message [EMAIL PROTECTED], Eduardo Vieira[EMAIL PROTECTED] writesHello list! Once in a while I see .ly examples posted in this list in a zip file containing several pieces and a file called "makefile". I suppose it is to putall the parts together. Is it possible to work with it Windows?If you're running it under Cygwin ...'make' is part of the GNU development tools. I use it, but I'm currentlyusing the ?mingw version of lilypond and don't know how to get make towork with that. at least on http://www.mingw.org/download.shtml there is a mingw version of make, so it seems it might be possible, I haven't yet had the time to try, but I'll see during the weekend../Simon Cheers,Wol--Anthony W. Youngman - wol at thewolery dot demon dot co dot ukHEX wondered how much he should tell the Wizards. He felt it would not be agood idea to burden them with too much input. Hex always thought of his reports as Lies-to-People.The Science of Discworld : (c) Terry Pratchett 1999___lilypond-user mailing listlilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___lilypond-user mailing listlilypond-user@gnu.orghttp://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stemUp stemDown with chords
Hello!
Try the following (Also read the manual where it says explicitly instanting
voices):
\new Voice {\voiceOne d'4 c'2} {\voiceTwo b4 a2} \oneVoice
Cheers,
Eduardo
- Original Message -
From: Mark Dewey [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Friday, June 02, 2006 3:45 AM
Subject: stemUp stemDown with chords
Hello,
I'm having problems with chords and stem direction.
It seems whenever I want one note of the chord to go up and the other to
go
down, I cannot specify this with \stemUp and \stemDown (doing it to one
note in
the chord will do it to all of them).
How do I make it specific to one note (or one voice)?
For instance, I can't just type the following:
{\stemUp d'4 c'2} {\stemDown b4 a2}
Now, I can do the following
{d'4 c'2} \\ {b4 a2}
to get this effect naturally. However, the need to do this is not always
desirable. For example, when I type the following:
d'2. \\ {c'2 (b4)}
I run into the bug where the dot of d'2. is slightly blocked by the note
head of
c'2. If I get rid of the \\ then all the stems face the same direction
and
cannot face different directions, it seems.
Anyway, a way around this would be nice. Anyone know of one?
Thanks!
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How to work with makefile?
Hello list! Once in a while I see .ly examples posted in this list in a zip file containing several pieces and a file called "makefile". I suppose it is to put all the parts together. Is it possible to work with it Windows? Regards, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fw: Lilypond developing: getting started
- Original Message - From: Eduardo Vieira [EMAIL PROTECTED] To: Kieren Richard MacMillan [EMAIL PROTECTED] Sent: Friday, May 26, 2006 8:42 PM Subject: Re: Lilypond developing: getting started Hi, Kieren! I'm not one of the developers, of course, but I have some suggestions for your envolvement\ development of Lilypond. 1) Improve the MusicXML converter for Lilypond. 2) Since you're familiar with Java, how about getting envolved in the improvement of LilyTool for jEdit? Just suggestions. Wishing you the best, Eduardo - Original Message - From: Kieren Richard MacMillan [EMAIL PROTECTED] To: lilypond-devel@gnu.org Sent: Friday, May 26, 2006 7:56 PM Subject: Lilypond developing: getting started Hello, all! I'm very interested in getting involved in Lilypond development. I have a fair bit of experience in both computer programming (databases, Java, XML/XSLT, etc.) and music (Master of Music in Composition, Bachelor of Music in Piano Performance, etc.) -- in fact, I currently make about half my living wage in each of those disciplines. Right now, I'm finishing up a big commission (a chamber opera), and have two more coming down the pipe. However, I would like to start in to helping the Lilypond codebase in any way I can, immediately upon completing the current score (should be in about two weeks). In order to prepare for that, I have a few preliminary questions... =) 1. How much of the code is in C++, and how much in Scheme? Does the roadmap see this balance changing in any way, and if so in what direction? [n.b. I have very little experience with either C++ or Scheme specifically.] 2. Consequently, can I get away with learning one or the other, and if so which one would you prefer I learn? In other words, where would my learning curve best be applied, given the needs of Lilypond development over the next few months (and possibly years)?. 3. I would probably also be willing to take on the Newsletter Editor position (but I do want to roll up my sleeves and actually do some bit-pushing as well) -- is there an opportunity for me to start to learn some of the internal workings of Lilypond as a result of editing the newsletter? Onward and upward! Kieren. ___ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Connecting notes on separate staves...
Hi, Rick!
Try this: \once \override NoteColumn #'X-offset =
#1.3 d b8 r r
Adjust the number until you're
satisfied.
Regards,
Eduardo
- Original Message -
From:
Rick Hogg
To: Thies Albrecht ; lilypond-user@gnu.org
Sent: Saturday, May 20, 2006 6:13
PM
Subject: Re: Connecting notes on separate
staves...
Thies,I knew about that. It's more like, add a second
voice, stem up. Then the E, stem down, is moved to the right a little
and doesn't line up with the notes it should connect to on the next staff
down. If you compile my example you'll see what I mean. Basically,
I need to be able to shift notes to the right a little to line up.
Here's the code again:%%\version
"2.8.3"\layout { ragged-right = ##t }stemExtend = \once \override
Stem #'length = #14noFlag = \once \override Stem #'flag-style =
#'no-flagupper = \relative c' { \clef
treble \time 6/8 \key a
\major f a d8-. \\ \stemDown
\stemExtend \noFlag e8 r r }lower =
\relative c' { \clef bass \time
6/8 \key a \major d b8 r r
}\score {
\new PianoStaff
\new
Staff = "upper" \upper
\new Staff = "lower" \lower
}%%Thanks,RickThies
Albrecht [EMAIL PROTECTED] wrote:
Hi
Rick!Rick Hogg schrieb: Can anybody help me on this? How do
I move the notes on the bottom staff to the right?Are you
looking for something like
http://lilypond.org/doc/v2.8/Documentation/user/lilypond/Cross-staff-stems.html#Cross-staff-stems
?Kind regardsThies
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Re: Question about lyrics in voices
Hi, Shelagh!
For your lyrics to be properly aligned with lyricsto, you need to
explicitly instantiate voices (See this section in the docs).
So instead of \\ , do this:
\new Voice { \voiceOne g4\rest\p d8 d fs4 fs ~| fs d fs fs ~| %this
[*was*] problem section
fs d fs fs | a g fs2 } { \voiceTwo
s4 b,8 b a4 a~| a b a a ~|
a b a a | d a d2 }
Best regards,
Eduardo
- Original Message -
From: Shelagh Manton [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Thursday, May 18, 2006 8:32 PM
Subject: Question about lyrics in voices
I am presently doing a piece for our local singing group, which has two
parts. But for a short section the altos split into two parts. So during
that refrain there are three, not two parts.
I did a basic Lilypond file without the second alto part which worked well
with the lyrics I entered. So far so good. However when I put in the
second alto part I used the form { a b c}\\{d b g} to show the
separate voices. The rhythm is the same in each voice. Now of course the
lyrics pass by this section and my words are out of order. I read through
the lyrics sections but I can't get my head around how I would use the
voices and lyricsto in this situation. I've thought of making them into
chords but I'd prefer to make it clear they are separate voices. Also I'd
thought of making a whole separate voice with lots of hidden notes or
s1*whatever, but it is such a short section ( four bars )that I thought
there might be a better work around.
I use lilypond 2.8.0 on Ubuntu.
Shelagh
I don't suppose you want the whole thing, but maybe you'd like to compile
it to see where the words are out of order.
\version 2.8.0
\include english.ly
#(set-global-staff-size 15)
global = {
\key d \major
\time 4/4
\autoBeamOff
}
sopMusic = \relative c'' {
\tieDown a2\mf^\markup{Unison}~a8 a, b a | fs'4 fs2 g4\rest |
a2~a8 a, b a | fs'4 g fs g\rest |
a2~a8 a, b a | fs'4 fs2 g4\rest |
a2~a8 a, b a | fs'4 e d g\rest \bar ||
d'4^\markup{High} b a b | d8 d b4 a2 |
d4 b a b8 b | fs fs e4 d2 |
d'4 b8 b a a b b |d4 b a2 |
d4 b a8 a b4 | fs e d2 |
\repeat volta 2 {d8\mf d b'4 a8 a b4 | d, b' a b |
d,8 d b'4 a8 a b4 | fs e d2 }
d'8 d4 b8 a b4. | d8 d4 b8 a2 |
d8 d b b a a b4 | fs e d2 |
d'4 b a b | d b a4. b8 |
d4 b a8 a b4 | fs e d2 |
\repeat volta 2 { g4\rest\mf^\markup{Descant} d'4.^ d8 d4 | fs d d2 |
g4\rest d4.^ d8 d4 | a g fs2 }
a fs2.\mf^\markup{Coda} a fs4 | fs d a fs2 b fs4 |
\textSpannerUp
\override TextSpanner #'edge-text = #(cons (markup #:italic rit ) )
d g,2\startTextSpan cs a\stopTextSpan | d a1 \bar .|
}
sopWords = \lyricmode {
Love a lit -- tle short -- nin'; Love a lit -- tle short -- nin'
bread.
Love a lit -- tle short -- nin'; Love a lit -- tle short -- nin' bread.
Three li'l chil -- lun ly -- in' in bed,
Two was sick and de u -- der 'most dead,
Sent for the doc -- tor an' de doc -- tor said,
Gib' dem chil -- lun some short -- nin' bread
Mam -- my's li'l ba-- by loves short -- nin', short -- nin',
Mam -- my's li'l ba-- by loves short -- nin' bread.
Put on de skil -- let, Put on de led,
Mam -- my's gwine to make a li'l short -- nin' bread.
Dat ain't all she's gwine to do,
She's gwine to make a li'l cof -- fee too.
Sing a -- bout short -- nin' bread,
Sing a -- bout short -- nin' bread,
Mam -- my's ba -- by loves short -- nin' bread.
}
altoMusic = \relative c' {
s1*8
\stemUp a'2^\markup{Low}~a8 a, b a | fs'4 fs2 g4\rest |
a2~a8 a, b a | fs'4 g fs g\rest |
a2~a8 a, b a | fs'4 fs2 g4\rest |
a2~a8 a, b a | fs'4 d d2 |
{g4\rest\p d8 d fs4 fs ~| fs d fs fs ~| %this is problem section
fs d fs fs | a g fs2 }\\{
s4 b,8 b a4 a~| a b a a ~|
a b a a | d a d2 }
d8 d g4 fs8 fs e4 | d4 g fs e |
d8 d g4 fs8 fs e4 | d4 g fs e |
d8 d g4 fs8 fs e4 | d4 g fs e |
d8 d g4 fs8 fs e4 | d g fs2 |
d8\f^\markup{Melody} d b'4 a8 a b4 | d, b' a b |
d,8 d b'4 a8 a b4 | fs4 e d2 |
d2.\mf d4 | d d2 d4 |
b2 g' | fs1
}
altoWords =\lyricmode {
Love a lit -- tle short -- nin'; Love a lit -- tle short -- nin'
bread.
Love a lit -- tle short -- nin'; Love a lit -- tle short -- nin'
bread.
Mam -- my's ba -- by loves short -- nin',
loves short -- nin', short -- nin' bread.
Mam -- my's li'l ba-- by loves short -- nin', short -- nin',
Mam -- my's gwine make a li'l short -- nin', short -- nin',
Mam -- my's li'l ba -- by loves short -- nin', short -- nin',
Mam -- my's gwine make a li'l cof -- fee too.
Mam -- my's li'l ba-- by loves short -- nin', short -- nin',
Mam -- my's li'l ba-- by loves short -- nin' bread.
Mam -- my's ba -- by loves short -- nin' bread.
}
\header {
title = Shortnin' Bread
arranger = The Krones
poet = Negro Folk Song
}
\score {
\new ChoirStaff
\new Staff = upper
\new Voice =
sopranos { \voiceOne \global \sopMusic
Re: Stacking up lyrics in same stanza
My problem is about stacking up lyrics in the same stanza, bracketing them
and vertically adjusting the stanza number. See picture.
I played around with a lot of things for days, but I did not find any
serios
workaround. Please, help!
Hi,
Collin Wilding, one of the Lilypond users gave me this technique:
This is his example. Try to adapt it.
version 2.8.0
cwpsDef = \markup { \postscript #
/CMWFont { /CenturySchL-Roma findfont 7 scalefont setfont } bind def
/CMWBrace { CMWFont /braceright glyphshow } def
}
cwpsBrace = \markup { \postscript #6 -7 moveto CMWBrace }
music = \relative c' {
e4 f g a-\cwpsBrace b c d e
}
\header {
title = Title
subsubtitle = \cwpsDef
}
\score {
\new Staff
\new Voice = singing { \music }
\new Lyrics \lyricsto singing { The first verse here; now both verses
join }
\new Lyrics {
\lyricsto singing { This is the second; }
}
}
\layout { }
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Re: Macro pre-processing?
Sorry for prolonging this thread... but have you taken a look at David Raleigh Arnold's Lilypond Tools? They are some interesting Python scripts for handling \include among other things. I forgot the URL, so use Google, please. Eduardo Vieira - Original Message - From: Rick Hansen (aka RickH) [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Tuesday, May 02, 2006 5:06 PM Subject: Re: Macro pre-processing? Thanks, being a musician I was unaware of such a program. I'll go buy the m4 Windows XP version after I look at a demo version. I need to generate chord fret markup of each chord form in all enharmonic spellings at every neck position, as a \include library of diagrams. This is 200-300 lines of markup per chord, considering that I will be doing maybe 1000 or so chord forms, thats a big LP file of 200,000 lines or so and over 26,000 variable names (1000 chords times 26 enharmonic root name spellings at all positions)! Each markup is assigned to a different variable, then I just do a \include of this chord library file to have all my chord forms available when doing arrangements. I have a naming standard where the variable names dont get duplicated, I just need a macro processor to generate each diagram at all fret positions and with all the possible enharmonic root names. Having this library will same future time not having to re-create the diagrams from scratch in each song. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical spacing of lyrics
Hello Lothar,
You didn't say the version you're using, but by your example it is too old
to even compile in the latest version (2.8.0). Well, after I removed \notes,
it did. My first advice is to upgrade you version.
Addressing your need, I think the easiest way is just remove
\lyricsto one \new Lyrics { Lu lu lu lu }
And add these words to the first lyricsto:
La la la la Lu lu lu lu
As to the vertical spacing between lines of lyrics, I'll give you a hint.
See in the manual the SATB template, a line that ends with extent.
Good luck!
Eduardo Vieira
- Original Message -
From: Lotharster [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Monday, May 01, 2006 5:19 PM
Subject: Vertical spacing of lyrics
I have 2 problems with the vertical spacing of lyrics:
1.) When rendering the lilypond file below, there is very much space
between
the two lyrics lines. How can I reduce that space?
2.) The third part (Lu lu ...) is should be set at the same height as
the
first part (La la ...). How can I achieve that?
Attached is a picture of the rendered output
Regards,
Lothar
The lilypond file:
\score {
\context Voice = one {
\override Staff.TimeSignature #'style = #'() % 4/4
Takt-Zeichen
\clef violin
\time 4/4
\notes \relative c' {
c4 d e f
g4 f e d
}
}
\lyrics {
\lyricsto one \new Lyrics {
La la la la
}
\lyricsto one \new Lyrics {
Lo lo lo lo
}
\lyricsto one \new Lyrics {
Lu lu lu lu
}
}
}
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Re: Vertical spacing of lyrics
Lothar wrote:
I'm using version 2.2.6. I'd like to upgrade, but 2.2.6 is the only version
that is supported by my distribution (debian sarge). As far as I know, there
are no .deb - packages available.
Don't those universal installers that Lilypond provides work for your
system?
The problem is that I am working on a larger song, which contains several
double lines, as well as some longer sections with only one lyrics line.
Adding all these lines to one lyrics expression would be very difficult.
Isn't there some easier way?
You could try this. I don't know if it will be easier:
\context Voice = one { ... } \context Voice = two { ... } etc
then assign lyrics to each Voice that will correspond to a section of your
score, like:
\context Lyrics = verseone \lyricsto one { ... }
\context Lyrics = verseone \lyricsto two { ... }
\context Lyrics = verseTwo \lyricsto one { ... }
I hope I didn't confuse you even more:)
Eduardo Vieira
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Re: Syllables not centered under notes after volta
Hello Eyolf!
It looks like a bug. Why would it be left-aligned after all? But it appears
that Lilypond didn't like this structure of creating 2 voices contexts,
namely stollen and abgesang, and then, in the score block, creating
another voice context (called one) comprising them. So, if you just
eliminate the context stollen and assign lyrics to one, instead,
everything is fine. See instructions:
=Replace:
%melody:
\context Voice = stollen {
\repeat volta 2 {
\partial 2
g'2 | fis4 g a2 a | g4 a b2 c |
b4 a g2 fis4( g) | a2 g
%repeated music
}
}
=With:
%melody:
\repeat volta 2 {
\partial 2
g'2 | fis4 g a2 a | g4 a b2 c |
b4 a g2 fis4( g) | a2 g
%repeated music
}
=And replace:
\lyricsto stollen
=With:
\lyricsto one
I'm not in a position to judge it a bug. I'm a beginner. So, I'll let the
experts have their judgement.
Best regards,
Eduardo Vieira
- Original Message -
From: Eyolf Ostrem [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Friday, April 28, 2006 7:41 PM
Subject: Syllables not centered under notes after volta
I've encountered a strange problem:
After a section with volta, the lyrics are not centered under their notes,
but
are instead left-aligned.
In the following example, the lyrics for textAbgesang are left-aligned. I
can't see why that should be. Is it a bug, or is there something that I've
missed?
(a pdf can be found on: http://oestrem.com/salmer/et-trofast-hjerte.pdf)
Eyolf Østrem
\version 2.6.4
\header {
title = Et trofast hjerte, Herre min
subtitle =
composer = Strassburg 1525
poet =
}
#(set-global-staff-size 23)
\paper {
indent = 0\cm
leftmargin = 2.5\cm
linewidth = 16\cm
betweensystempadding = 0.8\cm
}
melody = \relative c' {
\clef treble
\key g \major
\time 3/2
%melody:
\context Voice = stollen {
\repeat volta 2 {
\partial 2
g'2 | fis4 g a2 a | g4 a b2 c |
b4 a g2 fis4( g) | a2 g
%repeated music
}
}
\context Voice = abgesang {
%musikk abgesang
\partial 2
g2 | a4 c b2 g | a4 fis e2 fis |
d4 d a'2 b | c4 a g2 d' |
b4 a g2 fis4( g) |
a2 g1\fermata \bar |.
}
}
textStollenEn = \lyricmode {
Et tro -- fast hjer -- te, Her -- re min,
skal dig til re -- de væ -- re,
}
textStollenTo = \lyricmode {
du mig for -- lø -- ste, jeg er din,
thi ske dig pris og æ -- re!
}
textAbgesang = \lyricmode {
Den sag er klar, du kær os har,
på kor -- set selv vor synd du bar,
at vi Guds børn må væ -- re.
}
\score {
\context Voice = one {
\autoBeamOff
\melody
}
\lyricsto stollen \context Lyrics = mainlyrics \textStollenEn
\lyricsto stollen \context Lyrics = repeatlyrics \textStollenTo
\lyricsto abgesang \context Lyrics = mainlyrics \textAbgesang
\layout {
}
}
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Re: Boxes and bars
I, a beginner too, and maybe others don't really understand your need, but here are my guesses (I hope someone else will help too). My first advice is to upgrade your version of Lilypond. :) About item 2: You might find answers in 8.4.1 Polymetric notation. Also if you use \set Score.defaultBarType = empty. No bar line will be drawn unless you specify, for example, c8 c8 \bar | c8 c8. About item 1: Do you need what is described in section 8.5.1? Or you may find something in the Regression Tests or Tips and Tricks. It is worth consulting these html files. Good luck, Eduardo - Original Message - From: c.m.bryan [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Wednesday, April 26, 2006 11:05 AM Subject: Re: Boxes and bars Hello all, I sent a message to the list a couple of days ago and never heard anything back, I'm just wondering if the message actually went through, because it seems like people here are good at responding :) So here it is again, my apologies if I'm double-posting... --- If anyone can help with these 2 questions regarding a score I'm working on, I would be very grateful. I'm using 2.4.5. 1) I need to draw boxes notes on the staff, in order to designate improvisation. Is this possible? (I would be surprised if it wasn't, but I seem unable to find anything in the docs.) 2) Is there a way to draw manual barlines in one staff that won't affect anything in other staves? For instance: c8 c8 \bar c8 c8 overtop of: c2 I'm sorry if either of those questions are covered in the docs, a link would be sufficient. Thanks in advance, - Chris ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup text to the left of first chord on ChordNames staff
- Original Message - From: Jennifer Clark [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Wednesday, April 26, 2006 11:30 AM Subject: Re: Markup text to the left of first chord on ChordNames staff Sorry for answering my own post, but I have found something that may be relevant; in the manual, it says you can move about items through use of the extra-offset, e.g. for markup text, which seems quite effective; \once \override TextScript #'extra-offset = #'(-1.3 . 1.3) Is it possible to apply the same thing to chords? Jennifer Sure, according to the Program Reference - I never verified it, though. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
shifting an aligned syllable further yet
Hello list, I wonder how can I shift these two
left-aligned lyric syllable more to the right and they would still be
left-aligned in relation to each other?
Here's my code:
\version "2.8.0"
vI = \lyricmode { \once \override LyricText
#'self-alignment-X = #-1Great is the Lord! }vII = \lyricmode { \once
\override LyricText #'self-alignment-X = #-1He is the Light! }
\score {\new Staff {\time
2/4 \relative c'' { c4 b8. a16 g2
}}\addlyrics { \vI }\addlyrics { \vII }
\layout { ragged-right = ##t }
}
%%% End
* If it isn't clear, I'd like to achieve
this:
O - pretend this is a
note head
Great
He
* Instead of:
O- note
head
Great
He
I know I could, by trial and error, leave one
syllable centered and work with the other until I got the desired alignment
between them, but I think there must an easier way, or not?
Thank you,
Eduardo
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Re: shifting an aligned syllable further yet
Hi, Kieren and list,
Thanks for your reply. Looks like I found the practical solution - I'm
starting to catch on a little better the program reference:
I just needed to add: \once \override LyricText #'X-offset = #-1
- Original Message -
From: Kieren Richard MacMillan [EMAIL PROTECTED]
To: Eduardo Vieira [EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Sent: Friday, April 21, 2006 1:05 PM
Subject: Re: shifting an aligned syllable further yet
Hi, Eduardo:
Hello list, I wonder how can I shift these two left-aligned lyric
syllable
more to the right and they would still be left-aligned in relation
to each other?
Note that the self-alignment-X takes any number you want, and you can
use spaces to increase the virtual size of a given syllable. For
example,
\version 2.8.0
vI = \lyricmode { \once \override LyricText #'self-alignment-X = #0
Great is the Lord! }
vII = \lyricmode { \once \override LyricText #'self-alignment-X = #2
He is the Light! }
\score {
\new Staff {
\time 2/4
\relative c'' { c4 b8. a16 g2 }
}
\addlyrics { \vI }
\addlyrics { \vII }
\layout { ragged-right = ##t }
}
will give you
Just play around with the precise alignment value(s) to get what you
want.
Good luck,
Kieren.
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Alignment of lyrics in the beginning of each system
Hello! I would like to have the first lyric syllable of a stanza automatically left-aligned in the begining of each new system. Is it possible currently? I know that if I specify line breaks, and change the alignment of the next syllable, this is easily obtained. But I'd rather not to add line breaks. Regards, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: What to use to edit output after the fact?
You can use the tool, pstoedit, which can be included in Ghostview. It exports to a variety of vector formats including wmf. Some filters are shareware, though. Another option is to find an old version of Corel Draw, sometimes they very inexpensive. I have Corel 7. Good luck, Eduardo - Original Message - From: andrea valle [EMAIL PROTECTED] To: lilypond-user lilypond-user@gnu.org Sent: Tuesday, April 18, 2006 4:45 AM Subject: Re: What to use to edit output after the fact? Hi, Is there anything free doing the job of Illustrator? thanks best -a- On 17 Apr 2006, at 21:40, Kris Shaffer wrote: I frequently use Illustrator as a post-Lilypond editor for musical graphics for theory handouts or papers, and I just use the PDF files which Lilypond outputs. Andrea Valle DAMS - Facoltà di Scienze della Formazione Università degli Studi di Torino http://www.semiotiche.it/andrea [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot get the lyrics in polyphony
Hello Riccardo,
That is a common stumbling for lilypond users. In your case you have to
avoid the construct \\ and explicitly create a voice context. See
Explicitly Instantiating Voices in the manual. Anyway, this should make
you score work:
nogood = \relative do'' {
\new Voice = nogood { \voiceTwo do2 re8 mi8 fa8 sol8 }
{ \voiceOne mi2 fa8 sol8 la8 si8 } \oneVoice |
\context Voice = nogood { \voiceTwo do1 } { \voiceOne sol1}
\oneVoice
}
Eduardo Vieira
- Original Message -
From: Riccardo Orfei [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Sent: Tuesday, April 18, 2006 6:56 AM
Subject: Cannot get the lyrics in polyphony
Hi all,
can somebody explain my mistake in coding the following example?
If I code the music like nogood I cannot get any lyrics.
I can only get the lyrics if I code the music like good.
Why?
There is surely something I am missing...
Ciao,
Ric
===
\version 2.8.0
\header { title = Prova }
\include italiano.ly
global = { \time 4/4}
nogood = \relative do'' {
{ \stemDown do2 re8 mi8 fa8 sol8 } \\
{ \stemUp mi2 fa8 sol8 la8 si8 } |
{ \stemDown do1 } \\ { \stemUp sol1}
}
good = \relative do'' {
do mi 2 re fa 8 mi sol 8 fa la 8 sol si 8
do sol 1
}
voce = \lyricmode {
ah oh eh ih ah oh
}
\score {
\new Staff {
\global
\context Voice = nogood { \nogood }
\context Voice = good { \good }
}
\override Score.LyricText #'font-family = #'sans
\new Lyrics \lyricsto good\voce
\new Lyrics \lyricsto nogood\voce
\layout { }
\midi { \tempo 4=90 }
}
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Re: Feature requests
Hi Jake,
I took a look in the score. I see that vocal music in Lilypond have many
approaches for setting up lyrics, and the one used in this score wasn't very
successful. To correct all the problems would take an extra effort that I
will leave it up to you. I'm still learning the lyrics management in
Lilypond, but in order to get better results you should do this with the
score:
--- Instead of using \markup \italic, use: \override LyricText #'font-shape
= #'italic, then use \revert, when necessary. The text will be part of the
lyrics, not a text markup anymore, so you'd have to change the melisma or
whatever adaptation he did with the notes because of the markups.
--- Using \context Lyrics=l1 \textocantus, the lyrics won't be properly
aligned unless you specify the duration of each syllable, I think, for
instance: A2 -- scen4 -- dens4, etc.
Since doing that is more work than youd'd want, you'd better have this
setup: Explicit voice contexts, like this \context Voice = Sopone {
\cantus }
\context Lyrics=l1 lyricsto Sopone \textocantus.
I hope this works.
Best regards,
Eduardo
P.S. I and Geoff Horton are going to make some contributions to the docs
about Vocal Music in a near future, that's why I'm researching more about
lily's lyrics management.
- Original Message -
From: Jacob Cooper
To: Cameron Horsburgh ; Eduardo Vieira ; Geoff Horton
Sent: Saturday, April 15, 2006 9:13 PM
Subject: Re: Feature requests
Hi all,
Thanks for getting back so quickly! I've attached the file (source and
output) that raised these issues for me. The lyric underlay you can see
throughout, and the note issue you can see at m72 and (real dramatically) at
m107. I had to prepare a tranposition for performance, and noticing that it
was lilypond, I thought I'd go to the source and do it that way. In the end,
I just nixed the second text and went with \mark D.C. but I would prefer
to have the line-specific text of the source. The original source and output
that Nancho Alvarez had posted was generated from a version 1.x of lily; I
used 2.6 (windows). Workarounds would be great, but if they're inconsistent,
that kinda quashes their usefulness a bit.
Eduardo, you have a good point about different standards with this issue. I
expect most of my use will be with polyphonic music, not hymnal preparation,
and the underlay actually made it harder to read in performance. Perhaps a
global switch? \lyrics hymn-mode, \lyrics polyphony-mode, \lyrics song-mode?
Thank you all!
Jake
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Re: Helping with the documentation
- Original Message - From: Pedro Kröger [EMAIL PROTECTED] To: [EMAIL PROTECTED] Cc: lilypond-user Mailinglist lilypond-user@gnu.org Sent: Saturday, April 15, 2006 11:26 AM Subject: Re: Helping with the documentation Bart Kummel [EMAIL PROTECTED] writes: About the tarballs. Most Windows users don't even know what a tarball is. Pedro replied: no problem, a zip file can also be generated. anyway, AFAIK all major unzip programs for windows extract tarballs and other formats as well. Well, some zip programs cannot open bz2 files. But, the documentation tarball is already so big, that only compressing in the zip format would make it too big, don't you think? In the current setup, every piece of documentation has to go through your hands. Pedro reploed: and that's a good thing to maintain quality and accuracy. if using a wiki he had to go every page to make sure the information is good and current. IMHO it's a mistake to assume that editorial control is not needed in a wiki. in fact, I found editorial control much harder in wiki-like environments. I very much agree with that too. Bart wrote: Another benefit is that we don't have to wait until a new version of Lilypond is built for new documentation to come available on-line. Graham replied If this is a serious concern, I could start making doc tarballs available -- or even hosting temporary docs on my webpage. I agree that sometimes this has bothered me. It would be nice if somewhere in the documentation page there would be informations like this: Latest revisions: April 2, 2006 Section 2.6 April 1, 2006 Section 3.2 This way people that don't use broadband internet could check on updates and wouldn't be downloading over 14Mb of docs every so often. These revisions could point directly to the on-line manual or also be a link to a temporary documentation at Graham's webpage. Now, another remark about the documentation page: The PDF for Regression Tests and Tips and Tricks have the same name: collated-files.pdf. It would be good to have different names for each. Regards, Eduardo Vieira ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Feature requests
Jacob Cooper wrote: I don't care as much how they're entered as how they're output. Right now, it looks like syllables are aligned so that the left edge of the longest syllable (in polyphonic choral music) is aligned with the center of the note it's matched with, and in every other part, the syllables are center aligned with that one long syllable. The result is that shorter syllables are placed quite a distance from their corresponding note. The way it should look (see Barenreuter's Passion scores, for instance) is that all syllables are centered on the centerline of the noteheads, and the noteheads adjusted accordingly. One should be able to draw a single vertical line that would neatly bisect every note and every syllable at a I don't quite understand what you mean. It would also be good if you said which version of lilypond you're using. I too, am a beginner yet with Lilypond, and have some questions about standard practices for lyrics placement. But, lilypond is flexible in adjusting lyrics alignment. Just for your information about variety of standards, I'm used to seeing in songbooks and hymnals this kind of practice in: The first syllable of each new verse is *left aligned*. The first syllable of lyrics in the beginning of a new system is also *left aligned*. The last syllable of of a verse and of a system are *right aligned*. In other cases, they're center-aligned. Syllables should not extend to the left of a barline; rather, the notes should adjust to the right. Again, in many hymnals, which are more tightly engraved than normal sheet music, they ignore such practices. But if you want to follow it there is a nice work around in the last on-line documentation. Also, there needs to be a better way to add text above a staff, particularly if there are also lyrics. Currently, it seems that text added above a staff (using ^) is attached to lyric text, which creates odd alignment issues. Any text above the staff needs to be linked to the bar (or beat) and free thereafter. By If you provided examples, we'd understand better. But texts above staff can be entered with \markup command, which is attached to notes, not to lyrics. Give us more clear examples and we will figure out the problems better altogether. Cheers, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF file sizes on windows. Feedback wanted
Hi, I'm using Lilypond in Windows ME. Actually, I never noticed that the size of the PDFs are big, usually they're much smaller than the PS. I also have ghostscript 8.50 installed in c:\gs\gs8.50. Here's what I got: C:/WINDOWS/SYSTEM/GDI32.dll bff35a413bee4c1dd468a96ee65c8b5e C:/WINDOWS/SYSTEM/USER32.dll 84c9fa9dd2494099cf239f96a77d290d C:/WINDOWS/SYSTEM/msvcrt.dll b572b6b5b6ef76b30e013f8dbf094a99 C:/WINDOWS/SYSTEM/COMCTL32.dll 4f8d7a4cf11dcdb3677d358d3b5ee0e4 C:/WINDOWS/SYSTEM/KERNEL32.dll c9962f5de9c58e74157d6e37111abd33 C:/WINDOWS/SYSTEM/SHELL32.dll 1714c7c7d7f63b96d3bf61af5280d0cf C:/WINDOWS/SYSTEM/SHLWAPI.dll a83f77d2673e4c6905b87940cfac97e8 c:/Arquivos de programas/LilyPond/usr/bin/libz.dll 8e8c54c344c8ff1cdaf03cc9572e607d C:/WINDOWS/SYSTEM/ADVAPI32.DLL bb8a47cde704fc5b46dcbc8537805437 C:/WINDOWS/SYSTEM/COMDLG32.DLL 7aa495385fc07cda0112773ec64a7391 C:/WINDOWS/SYSTEM/WINSPOOL.DRV e8e57ae83ab138373cab5666bb3ac09d c:/Arquivos de programas/LilyPond/usr/bin/libjpeg-62.dll 2630ca14e0d6d655172c4e30c7ede204 c:/Arquivos de programas/LilyPond/usr/bin/libpng-3.dll c05a424b410049b3f9f92015229fc478 c:/Arquivos de programas/LilyPond/usr/bin/gs.exe 4121ab244f4ec7b4ff7354646ecf5df8 - Original Message - From: Han-Wen Nienhuys [EMAIL PROTECTED] To: info-lilypond@gnu.org Cc: Lilypond-User lilypond-user@gnu.org Sent: Wednesday, April 05, 2006 9:32 PM Subject: PDF file sizes on windows. Feedback wanted Hello, there have reports of exploding file sizes for Lily's PDF output on various flavors of Windows. In order to understand this problem better, I would like people that experience this problem to run the following diagnostic * download http://lilypond.org/~hanwen/cygcheck.exe * download http://lilypond.org/~hanwen/checksum.py * open a CMD window * Go to the directory where you downloaded cygcheck.exe and checksum.py * run: python checksum.py * this should leave a file gs-checksum.log; send this file to the bug-lilypond list. If I do this, I get a file looking like this C:/WINDOWS/system32/USER32.dll 96457929ad87e02918e53fea42b0521f C:/WINDOWS/system32/GDI32.dll dc883d0e93944c08efda7a12aef50080 C:/WINDOWS/system32/msvcrt.dll 397e905aa74c232f80d86058435998cb (etc.) -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [somewhat-OT] tweaking Lilypond PS/PDF output in (e.g.) Illustrator
Hi Kieren, I'll share some of my similar experiences. I have Corel Draw 7 (Windows), and I could import Lilypond .ps files with no trouble if they were from version 2.6.3. But I had to choose the option of importing text as vector, not as text, for if I tryied otherwise all the music glyphs that are fonts would be displayed. I don't know if Illustrator gives you the option of importing text as vector. I really don't see much, if any, loss of quality by doing that. I have a laser printer and the output is fine. I'm also still curious how to make Corel Draw recognize, include or import the font, whatever term is more proper. Now, recent versions ( 2.7.x?), Corel couldn't open at all. Too bad :( Then I found a workaround: I open Lilypond's PDF output with Adobe Reader, use PDF995 virtual printer, using the option print to file. Then the generated .prn file can be open in Corel Draw, like I used to do before. I haven't tested multiple pages yet with this workaround. Regards, Eduardo - Original Message - From: Kieren Richard MacMillan [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Saturday, February 25, 2006 1:36 PM Subject: [somewhat-OT] tweaking Lilypond PS/PDF output in (e.g.) Illustrator [Mac OS X 10.4.4 ; Lilypond Version 2.7.35-1 (Build from 30-12-2005 19:17) ] Hello, all! On many (especially time-sensitive) projects, I prefer to do my fine tweaks in Illustrator -- I find that fast tweaking directly in Lilypond is essentially impossible, given the multiple-try-and- compile-cycle process required for almost every tweak. [Fortunately, the basic Lilypond output is so great that the tweaks are minor and can be done quite quickly in Illustrator.] Unfortunately, it's no simple job to get Illustrator to recognize my Lilypond output as clean PostScript! [Likely this is an Adobe problem, not you guys -- however, I'm stuck trying to find a workaround anyway, and would appreciate any assistance...] On single-page scores, I can use ps2ps to convert, and that seems to leave a useable file (i.e., Illustrator reads it). However, on multi- page scores, it only reads the first page. If I pull an arbitrary page directly from the PDF output, all of the non-note font information goes kablooey, so I have to reenter all scripts, etc., which is far too time-consuming in many cases. So, I guess my questions are these... 1. Is there a way to have all Lilypond fonts (feta, feta-alphabet, etc.) available as PostScript fonts for Illustrator to use natively? If so, where can I get these fonts, or the information on how to convert the existing ones? 2. If #1 cannot be solved, is there a way to use ps2ps (or equivalent) to split my Lilypond output file into separate PS pages? Or maybe have Lilypond output each page as a separate file? 3. Is there a better solution than those I've suggested, to get what I want/need? Thanks! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
working with abc2ly
Hello users, There's a part in the manual that says: Similarly, %%LY slyrics more words will cause the text following the slyrics keyword to be inserted into the current line of lyrics Sorry, but I still don't understand this. Does anybody have an abc file with such slyrics tweaking? I would like to learn more how to prepare my abc files with lyrics for optimal import. Regards, Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
linewidth and header alignment
Hello fellow users, I still don't know how to make the header items to be aligned with the staff when I change its linewidth. I have set the paper to a5, the linewidth is 11.5. Now the composer name remains where it was, before I changed the linewidth. How do I do this? Thanks, Eduardo Windows Me; Lilypond 2.6.4 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: faster lilypond rendering
Mats wrote: Unfortunately, that's not true on Windows, where it seems that GSView is unable to handle Postscript files from LilyPond, no matter what ghostscript version you use. See the mailing list archives for more information. I use GSView in Windows and it does display the ps from Lilypond, yet sometimes it will only display after you select the menu Close, then the image is rendered. Strange behavior. I don't know why it doesn't display the music symbols if you open the pdf produced instead of the ps. Eduardo ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Can't change fonts in lyrics
Hello list,
Using version 2.6.5 and 2.7.17(?) I could change the fonts for my lyrics by
doing this:
\layout {
\context {
\Lyrics
\override LyricText #'font-name = #Garamond
\override StanzaNumber #'font-name = #Garamond
}
}
Now in version 2.7.30 nothing happens, no matter what font I select, Arial,
etc... I'm under Windows Me.
What should I do? Oh, another question what's also the procedure to change
fonts in the header section: Title, composer and poet? For example: I want
title to be displayed in Trebuchet size 25.
Eduardo Vieira
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Re: alignAboveContext problems together with \lyricsto
Thank you very very much! This solution made me much more enthused about
Lilypond's capabilities.
I thought I'd have to resort to hiding notes or something. Your solution is
much easier.
Eduardo
- Original Message -
From: Mats Bengtsson [EMAIL PROTECTED]
To: Eduardo Vieira [EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
Sent: Friday, February 10, 2006 5:40 PM
Subject: Re: alignAboveContext problems together with \lyricsto
Eduardo Vieira wrote:
Yes it is a great feature. I just used it tonight in transcribing a song.
By
the way, I still have a problem with the setting of the lyrics, and for
this
reason I attached its file.
Alright, I managed to put the lyrics of the bass above the clef in the
refrain. But I couldn't force it to go further up:
The 3rd system (measure 7) has these lyrics settings:
The four stanzasThe refrain:
(...) His might.
(...) for youTrust in the One (...)
(...) to gain.[I would like to put the words of the bass
on
this line, more or less]
(...) the end.
Bass words - Trust in the One
I guess different lyrics contexts can't overlap, so what should I do? I
tried Lyrics.VerticalAxisGroup #'minimum-Y-extent, but it didn't help.
The easiest trick is to simply use the same lyrics context twice.
If you replace your \score section with the following, you will
get the bass words of the refrain exactly on the same line
(since it's the same Lyrics context) as the third verse.
\score {
\context ChoirStaff
{ \staffSoprano
\context Lyrics = firstline { \lyricsto melodySop \verseI }
\context Lyrics = secondline { \lyricsto melodySop \verseII }
\context Lyrics = thirdline { \lyricsto melodySop \verseIII }
\context Lyrics = fourthline { \lyricsto melodySop
\verse }
\staffTenorSaxophone
\context Lyrics = thirdline { \lyricsto baixo \basi }
\context Lyrics = thirdline { \lyricsto chrd \tebai }
\context Lyrics = thirdline { \lyricsto baixoii \basii }
\context Lyrics = thirdline { \lyricsto chrdii \tebaii }
}
\midi {
}
\layout {
...
}
}
Note that I removed some unnecessary \lyricsmode directives.
/Mats
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Re: alignAboveContext problems together with \lyricsto
Yes it is a great feature. I just used it tonight in transcribing a song. By
the way, I still have a problem with the setting of the lyrics, and for this
reason I attached its file.
Alright, I managed to put the lyrics of the bass above the clef in the
refrain. But I couldn't force it to go further up:
The 3rd system (measure 7) has these lyrics settings:
The four stanzasThe refrain:
(...) His might.
(...) for youTrust in the One (...)
(...) to gain.[I would like to put the words of the bass on
this line, more or less]
(...) the end.
Bass words - Trust in the One
I guess different lyrics contexts can't overlap, so what should I do? I
tried Lyrics.VerticalAxisGroup #'minimum-Y-extent, but it didn't help.
I'll be much beholden to you.
Eduardo Vieira
- Original Message -
From: Mats Bengtsson [EMAIL PROTECTED]
To: Lilypond bug bug-lilypond@gnu.org
Sent: Thursday, February 09, 2006 2:01 PM
Subject: alignAboveContext problems together with \lyricsto
Hi,
I just realized that there is a problem with setting alignAboveContext
within a lyrics context if the corresponding lyrics doesn't start at the
top of the score. Example:
\version 2.6.0
\score{
\context Staff = mystave
\context Voice = melody {
\relative c' { c
{\voiceOne c'} \context Voice = splitpart {\voiceTwo c,8 e}
}
}
\context Voice = splitpart {s1 * 2} % Doesn't help!
\new Lyrics \lyricsto melody { \set alignAboveContext = #mystave
Text above }
\new Lyrics \lyricsto splitpart { \set alignAboveContext = #mystave
not above }
}
The problem is that also the \set directive seems to happen at the same
place as the
first syllable, which is too late. A workaround, of course, is to use
\with:
\version 2.6.0
\score{
\context Staff = mystave
\context Voice = melody {
\relative c' { c
{\voiceOne c'} \context Voice = splitpart {\voiceTwo c,8 e}
}
}
\context Voice = splitpart {s1 * 2} % Doesn't help!
\new Lyrics \with {alignAboveContext = #mystave } \lyricsto melody
{ Text above }
\new Lyrics \with {alignAboveContext = #mystave } \lyricsto
splitpart { also above }
}
The problem is the same in version 2.6 and 2.7.
/Mats
--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
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% Created on Fri Feb 03 20:21:54 BRST 2006
\version 2.7.30
#(set-global-staff-size 16)
\header {
title = Trust in the Lord
poet = Paul W. Cook, b. 1907
composer = George W. Blackwell, b. 1904
copyright = Property of Geo. W. Blackwell Paul W. Cook, 1930. Used by permission
}
\include english.ly
verseI= \lyricmode {
\set stanza = 1.
Trust in the Lord, What priv -- i -- lege giv -- en!
O in this world fail not to live right;
Stand by His word with hope and de -- ci -- sion,
God will not leave you, trust in His might.
}
verseII= \lyricmode {
\set stanza = 2.
Trust in the Lord; for -- get not His prom -- ise,
Heav -- en will pass ere it prove un -- true;
Sing mid your tri -- als, have faith in Je -- sus,
Trust in His grace suf -- fi -- cient for you.
Trust in the One who nev -- er will fail you,
On Him re -- ly, He's faith -- ful to you;
O do not fal -- ter, stay on the al -- tar,
An -- chor your soul in Him that is true.
}
verseIII= \lyricmode {
\set stanza = 3.
Trust in the Lord when you are in trou -- ble,
When in your life come sor -- row and pain,
God is un -- fail -- ing, dai -- ly He'll help you,
O -- ver your foes the vic -- t'ry to gain.
}
verse= \lyricmode {
\set stanza = 4.
Trust in the Lord, how sweet the ex -- pe -- rience,
If in this life we on Him de -- pend;
Fit -- ted for ser -- vice; rea -- dy for judg -- ment,
So let us live and trust to the end.
}
basi = \lyricmode { Trust in the One who nev -- er will fail you,
On Him re -- ly, He's }
tebai = \lyricmode { faith -- ful to you; }
basii = \lyricmode { O do not fal -- ter, stay on the al -- tar,
An -- chor your soul in }
tebaii = \lyricmode { Him that is true. }
staffSoprano = \new Staff {
\time 9/8
\set Staff.midiInstrument=choir aahs
\set Staff.shapeNoteStyles = ##(do re mi fa #f la ti)
\key c \major
\clef treble
\context Voice = melodySop {
\relative c'' { \autoBeamOff \partial 8*3 g e 8 fs ds g e e c 4.
e g 4. c' e, 8 d e, c e, c f,4. a f c f,8 b f
a f g e4. c e,4.
%%% 1st syst
e g,8 d g, c g \new Voice { \voiceOne d2.} {\voiceTwo g,4.( f4.) }
\oneVoice g e 8 fs ds g e
e c 4. g e c e,8 d f,8 e g
header: composer (alignment)
Hello list,
I had this setting for my score:
\layout {
headsep = 0.4\cm
topmargin = 1.5\cm
indent = 0.0\cm
linewidth = 11.5\cm
}
}
\paper {
#(set-paper-size a5)
Now how do I set the composer name to follow these adjustments? It just
stayed where originally it was. :(
Thanks
Eduardo Vieira
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Re: lyric syllable skipping a note -- why?
Thank you, Erik
I had figured out that with the help of the archives. I made a similar
construct that worked, and I had to use \oneVoice afterwards.
It seems like Context Lyrics are sort of a stumbling block for beginners
in Lilypond. I wonder how could we write a Tutorial for Dummies in this
part, perhaps I'll pitch in in a near future.
One thing that confuses me is that in lyricmode we are supposed to specify
durations for each lyric syllable (Lilypond.pdf v. 2.7.16), but in many
instances you can do without.
Cheers,
Eduardo
- Original Message -
From: Erik Sandberg [EMAIL PROTECTED]
To: lilypond-user@gnu.org
Cc: Eduardo Vieira [EMAIL PROTECTED]
Sent: Tuesday, February 07, 2006 9:51 AM
Subject: Re: lyric syllable skipping a note -- why?
On Monday 06 February 2006 23.16, Eduardo Vieira wrote:
Hello users,
I've been struggling to set the lyrics correctly for this song. But I
can't
assign the word right and the word true (2nd stanza) for the note
d2.
in this part: { d2. } \\ { g,4.( f4.) }
\\ creates new voices implicitly, see manual. You need to do that
manually
when voice naming matters, maybe something like:
\new Voice { \voiceOne ..} \context Voice = MelodySop {\voiceTwo ..}
i.e. without \\.
--
Erik
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lyric syllable skipping a note -- why?
Hello users,
I've been struggling to set the lyrics correctly for this song. But I can't
assign the word right and the word true (2nd stanza) for the note d2.
in this part: { d2. } \\ { g,4.( f4.) }
This construct seems to mess up the lyrics flow and those words are put
under the next chord: g e8
Gratefully
Eduardo Vieira
P. S. Never mind the 2 ways of entering lyrics, I was just testing if it
would make a difference in this case.
Here's the code
%%%
\version 2.7.30
#(set-global-staff-size 15)
\header {
title = Trust in the Lord
poet = Paul W. Cook, b. 1907
composer = George W. Blackwell, b. 1904
copyright = Property of Geo. W. Blackwell Paul W. Cook, 1930. Used by
permission
}
\include english.ly
verseI= \lyricmode {
\set stanza = 1.
Trust8 in8 the8 Lord,4. What4. priv8 -- i8 -- lege8 giv4. -- en!4.
O8 in8 this8 world4. fail4. not8 to8 live8 right2. .
Stand8 by8 His8 word4. with4. hope8 and8 de8 -- ci4. -- sion,4.
God8 will8 not8 leave4. you,4. trust8 in8 His8 might.4.
}
verseII= \lyricmode {
\set stanza = 2.
Trust in the Lord; for -- get not His prom -- ise,
Heav -- en will pass ere it prove un -- true;
Sing mid your tri -- als, have faith in Je -- sus,
Trust in His grace suf -- fi -- cient for you.
}
staffSoprano = \new Staff {
\time 9/8
\set Staff.midiInstrument=choir aahs
\key c \major
\clef treble
\context Voice = melodySop {
\relative c'' { \autoBeamOff \partial 8*3 g e 8 fs ds g e e c
4.
e g 4. c' e, 8 d e, c e, c f,4. a f c f,8 b f
a f g e4. c e,4.
e g,8 d g, c g { d2. } \\ { g,4.( f4.) }
g e 8 fs ds g e
e c 4. g c c e,8 d f,8 e g,8 f a,4. a, f a f8 c f,
a f
g e4. c e4. d f,8 c e, b d c e,4. ~ c e,4.
\bar |.
}
}
}
staffTenorSaxophone = \new Staff {
\autoBeamOff
\set Staff.midiInstrument=tenor sax
\key c \major
\clef bass
\relative c' {
\partial 8*3 c8 c c g4. g g8 g g a4. c a8 a c c4. g
c8 b c b2. c8 c c g4. c c8 c c c4. c c8 a c
c4. c b8 g g g4.~ g4.
\bar |.
}
}
\score {
\context ChoirStaff
\staffSoprano
\context Lyrics = lmelodySopLI \lyricmode { \lyricsto melodySop
\verseI }
\context Lyrics = lmelodySopLII \lyricmode { \lyricsto melodySop
\verseII }
\staffTenorSaxophone
\midi {
}
\layout {
indent = 0.0\cm
}
}
\paper {
#(set-paper-size a5)
}
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Fw: again: PDF size
- Original Message - From: Eduardo Vieira [EMAIL PROTECTED] To: Thomas Scharkowski [EMAIL PROTECTED] Sent: Wednesday, January 18, 2006 8:38 PM Subject: Re: again: PDF size Well I don't have answers, but I replying to keep the subject alive, because it interests me too. I also noticed that after version 2.7.17(?) the program Acrobat Distiller can't convert Lilypond's ps into pdf: It gives this error message: %%[ Error: undefined; OffendingCommand: Â ]%% Stack: -dict- false %%[ Flushing: rest of job (to end-of-file) will be ignored ]%% %%[ Warning: PostScript error. No PDF file produced. ] %% - Or else: %%[ Error: typecheck; OffendingCommand: pdfmark; ErrorInfo: Border --nostringval-- ]%% Stack: /ANN /Link /Subtype -dict- /Action [0 0 0 0] /Border [9.99055 -54.0783 11.0906 -51.0783] /Rect -dict- %%[ Flushing: rest of job (to end-of-file) will be ignored ]%% %%[ Warning: PostScript error. No PDF file produced. ] %% Cheers, Eduardo - Original Message - From: Thomas Scharkowski [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Sunday, January 15, 2006 11:25 AM Subject: again: PDF size Nobody answered to my mail from Wednesday (Jan 11), so maybe I am the only one who has this problem? I wrote: -- I have noticed that the size of the pdfs produced by lily 2.7.27 on (windows xp) is much bigger than in previous versions. I have tested the same file unchanged with 2.7.18 Win 44 KB 2.7.23 Win 44 KB 2.7.27 Win 1.220 KB -- Another example: The pdfs produced by lily 2.7.27 are nearly as big as the ps-files! ps 1.768 KB pdf 1.343 KB Now I tried to convert the same ps manually with gs 8.51 and the resulting pdf is 91 KB! It seems there is something wrong with the lilypond gs setup. Any hints? Thank you, Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
