Re: "oom pah" and chord line
Le mer. 31 juil. 2024 à 18:18, Gilles Sadowski a écrit :
>
> Hello.
>
> A common accompaniment motive is "oom pah":
> https://en.wikipedia.org/wiki/Oom-pah
>
> An excerpt of a LilyPond-generated score is attached.
> I get this PDF output by encoding separately the "oom" ("bassoon" line)
> and the "pah" (the chord line), for the purpose of getting the MIDI output
> right: Bass note on the downbeat; chord on the upbeat.
> However, this entails that in the PDF the chord name is also displayed
> on the upbeat (as expected) despite it should also appear above the
> downbeat in order to convey the correct semantics of the harmonic
> structure.
>
> The excerpt below shows how the "upbeat" part is encoded (in its own file).
> ---CUT---
> aMajorBar = \chordmode {
> s8 a s a |
> }
> aMajorGMinorBar = \chordmode {
> s8 g:m s g:m |
> }
> harmonyChords = \chordmode {
> \time 2/4
> % Intro
> \repeat percent 2 {
> \aMajorBar
> }
> % A
> \repeat volta 2 {
> \aMajorGMinorBar
> \aMajorBar
> \aMajorGMinorBar
> \aMajorBar
> }
> % etc.
> }
> harmony = \context ChordNames = "Harmony" {
> \set chordChanges = ##t
> \set ChordNames.midiInstrument = "accordion"
> %
> \harmonyChords
> }
> ---CUT---
>
> Is there a recommended way to encode "oom pah" style accompaniment
> that would produce both outputs (PDF and MIDI) right?
Partially answering my initial question, the correct outputs are achieved
with encoding the upbeat accompaniment (and chord line) as
---CUT---
aMajorBar = \chordmode {
\tag #'no-layout {
s8 a s a |
}
\tag #'no-midi {
a2 |
}
}
---CUT---
> If not, it looks like what I'm looking for is a function with two arguments
> (a duration and a chord name) that would shift the graphics (to the left)
> while not changing its timing position:
> ---CUT---
> aMajorBar = \chordmode {
> s8 \shiftChordSymbol { 8 a } s \shiftChordSymbol { 8 a } |
> }
> ---CUT---
Hence the new question: How to define an "oompah" function
---CUT---
aMajorBar = \oompah { a2 }
---CUT---
that would expand to
---CUT---
aMajorBar = \chordmode {
\tag #'no-layout {
a,,8:1 a e,,:1 a |
}
\tag #'no-midi {
a2 |
}
}
---CUT---
i.e. from the chord name (and duration) argument, the function
would create
* the two "tag" blocks and
* the "oom pah" motif that consists of the bass notes (I, V) and
upbeat chords.
Best regards,
Gilles
"oom pah" and chord line
Hello.
A common accompaniment motive is "oom pah":
https://en.wikipedia.org/wiki/Oom-pah
An excerpt of a LilyPond-generated score is attached.
I get this PDF output by encoding separately the "oom" ("bassoon" line)
and the "pah" (the chord line), for the purpose of getting the MIDI output
right: Bass note on the downbeat; chord on the upbeat.
However, this entails that in the PDF the chord name is also displayed
on the upbeat (as expected) despite it should also appear above the
downbeat in order to convey the correct semantics of the harmonic
structure.
The excerpt below shows how the "upbeat" part is encoded (in its own file).
---CUT---
aMajorBar = \chordmode {
s8 a s a |
}
aMajorGMinorBar = \chordmode {
s8 g:m s g:m |
}
harmonyChords = \chordmode {
\time 2/4
% Intro
\repeat percent 2 {
\aMajorBar
}
% A
\repeat volta 2 {
\aMajorGMinorBar
\aMajorBar
\aMajorGMinorBar
\aMajorBar
}
% etc.
}
harmony = \context ChordNames = "Harmony" {
\set chordChanges = ##t
\set ChordNames.midiInstrument = "accordion"
%
\harmonyChords
}
---CUT---
Is there a recommended way to encode "oom pah" style accompaniment
that would produce both outputs (PDF and MIDI) right?
If not, it looks like what I'm looking for is a function with two arguments
(a duration and a chord name) that would shift the graphics (to the left)
while not changing its timing position:
---CUT---
aMajorBar = \chordmode {
s8 \shiftChordSymbol { 8 a } s \shiftChordSymbol { 8 a } |
}
---CUT---
Best regards,
Gilles
Re: Emacs setup
Hello. Le jeu. 4 juil. 2024 à 17:05, Kenneth Flak a écrit : > > "Kenneth Flak" writes: > > Sorry, forgot to add subject... Still getting used to mu4e :-D > Kenneth > > > Hi list, > > > > I've started learning me a bit of emacs, and I would love to get > > lilypond working with it as well... However, the installation > > instructions in the documentation left me a bit baffled. It > > *seems* I should be able to just require the lilypond files, as > > they are nicely tucked away in > > /usr/share/emacs/site-lisp. However, this doesn't do much for > > me... Could someone hold my hand a little bit to get this set > > up? > > I'm on Arch Linux, using emacs 29.4. On Debian/GNU Linux, it works "out of the box", perhaps due to: $ ls -l /etc/emacs/site-start.d/50lilypond-data.el -rw-r--r-- 1 root root 185 Nov 17 2014 /etc/emacs/site-start.d/50lilypond-data.el HTH, Gilles
Re: Adjusting instrumentation of a MIDI output?
Hi. Le mer. 8 mai 2024 à 06:54, Alasdair McAndrew a écrit : > > Hello, > > I've set various instruments for my MIDI output (from an early 18th century > piece), but I have a new soundfont with better instruments. Is there any way > I can get lilypond to pick up, as it were, the instrument from this > soundfont? As it is, I just set the Staff.midiInstrument to one of the > standard values, and lilypond does the rest. But I'd like to mix and match, > as it were, instruments from different soundfonts. Which soundfont is used when listening to a MIDI [1] file depends on the configuration of the MIDI player (IOW, LilyPond has nothing to do with that). Regards, Gilles [1] https://en.wikipedia.org/wiki/General_MIDI
Re: audible metronome in MIDI file?
Hi. > [...] > > The typical solution for that is an additional drum staff with high- and low > woodblocks in parallel to the actual music as shown in a snippet of the > snippet repository: > https://lsr.di.unimi.it/LSR/Item?id=876 > In order to be universally useful, shouldn't this functionality be able to pick up the time signatures and create the appropriate sequence of "ticks" (strong and weak), roughly similarly to what happens with beams? Regards, Gilles > [...]
Re: help for midi instruments
Le sam. 2 avr. 2022 à 18:29, Guy Stalnaker a écrit :
>
> Curious question if I may. Respondents in this thread suggest something is
> possible I thought was not possible. Is it true that putting on a whole note
> crescendo or decrescendo dynamics
>
> c1\> ... \p
>
> creates midi output with increasing or decreasing loudness for the duration
> of that note?
You can achieve the desired effect with the following:
---CUT---
<< {c1} {s8\> s s\! s\p} >>
---CUT---
Regards,
Gilles
>
> [...]
Re: help for midi instruments
Le sam. 2 avr. 2022 à 17:01, Kieren MacMillan a écrit : > > Hi all, > > > is there a way to create [MIDI dynamics], but then keeping them hidden on > > the score, leaving just normal dynamic sign? > > A perfect use-case for the Edition Engraver. :) What's the incantation equivalent to Knute's template? Regards, Gilles
Re: help for midi instruments
Hello. Le sam. 2 avr. 2022 à 01:19, Dario Marrini a écrit : > > hi guys, > I want to copy an orchestral part (as attachemento render it to midi file; > I'm quite newbie about midi, and I'd know if it's possible to perform some > things : > > i choose 'string ensemble 1' as midi instrument, but there is a 'pizzicato' > mode on cello and bass, so the question : is it possible to keep the string > ensemble 1 as midi instrument, but changing it to pizzicato string giving > that role to the item 'pizzicato' written on the score? Yes; each staff can be associated to a MIDI instrument, e.g. ---CUT--- \set Staff.midiInstrument = "violin" ---CUT--- > is it possible to change a midi instrument inside the score? in example, > passing from string ensemble to pizzicato string Yes (using the same command as above). > is it possible to change the sound level of a long note (known as velocity > about midi) giving some command inside the score? Yes (using "\<" and "\!"). > there are some sfp (sfz and then p suddenly) on long notes, is it possible to > create that effect inside the lilypond cde, without needing a post processing > in midi sequencer? Yes (dynamic markups "\ppp", "\pp", ... affect MIDI rendering). > to give some 'human behavior' to midi rendering, I should create a lot of > dynamics signs, even where they are not present; is there a way to create > them, but then keeping them hidden on the score, leaving just normal dynamic > sign? Yes (using "\tag"). Best regards, Gilles > > sorry for my English, I hope you can understand me > > regards > dario > >
Re: My Tuba+Piano engravings: during midi playback, the Piano dominates the Tuba; why?
Hello? Le dim. 27 févr. 2022 à 18:47, Kenneth Wolcott a écrit : > > Hi; > > My Tuba+Piano engravings: during midi playback, the Piano dominates > the Tuba; why? > > I know that this is really a midi versus live performance question... > > I can change the dynamics of the Tuba to be "fff" and both the left > hand and right hand of the Piano to be "ppp", and yet the Piano > dominates the Tuba during midi playback. You can alter the balance with \set Staff.midiMinimumVolume = #0.2 \set Staff.midiMaximumVolume = #0.8 HTH, Gilles > > I'm not expecting a midi playback to sound as good as a live > performance, but this seems...odd. > > Is there anything I can do with Lilypond to generate a midi playback > of Tuba+Piano pieces that sound more realistic? > > Thanks, > Ken Wolcott >
Re: [OLL} Discourse forum
Hi. 2020-10-16 15:47 UTC+02:00, Andrew Bernard : > To provide a focus and a sub-community for LilyPond users and those > interested in openLilyLib, I have established a Discourse forum here: > > https://discourse.openlilylib.space > > All are welcome to join. It's a forum and a parallel mailing list for > support, help, development talk, and all matters about openLilyLib. > > This runs on my personally managed Linux VPS systems, and Discourse is > fully open source, in accordance with my policy of using open source > wherever possible. > > When setting up new services such as this that utilise email for > functions, one inevitably hits the demons of the spam blacklisting > houses, which can aggressively block email. I have a lot of experience > with this and I try my best to avoid this, by using the Amazon Simple > Email Service, which provides the requisite degree of credibility to > the spam houses. I mention this because initial emails can still end > up in your spam folder, as some mailers alsoe need to be trained. If > expected mail does not appear, check Junk. Contact me if there are > persistent issues. > > I am critically aware that this is independent of this mailing list > and somewhat splittist, but I feel OLL is important enough to have its > own ecosystem, Maybe it's so important that it should keep this list's subscribers aware of its usefulness and progress? > and I am not sure that people on the LilyPond user list > necessarily want to read ling threads on details of Scheme parsers and > package code development and git topics. Sure. However, average users might want to be informed when some significant improvement has been made such that there is now a new recommended/easy way for accomplishing certain tasks. Regards, Gilles P.S. I do not follow the "dev" list; maybe the reason why I've never really understood why OLL is not meant to be part of LilyPond itself. > > [...]
Re: Future of openLilyLib
Hi.
Moving back to the ML; it was not my intention to discuss this
"off-list"; I hope I won't be sued for public disclosure of a private
communication. ;-)
[See quoted text for the two messages that went off-list.]
2020-09-22 12:40 UTC+02:00, Karsten Reincke :
>
> On 22.09.20 12:17, Gilles Sadowski wrote:
>> Hi.
>>
>> 2020-09-22 11:07 UTC+02:00, Karsten Reincke :
>>> Dear Carl;
>>>
>>> here is my explanation using the method of showing an analogy:
>> Is this what your are aiming at:
>>https://www.gnu.org/licenses/gcc-exception-3.1.html
>>https://www.gnu.org/licenses/gcc-exception-3.1-faq.html
>> ?
> Yep, but please keep in mind: I think, tt's not necessary to modify the
> licensing statements of Lilypond itself (the interpreter). The GPL-v3
> seems to be perfect.
Then, I don't understand the rest of the reasoning.[1]
Why do you require a different license for using an *external*
extension (like OpenLilyLib), than for using any of 900+ (".ly"
and ".scm" files bundled with LilyPond) internal ones.
Would it change anything if OpenLilyLib were bundled too (or
downloaded automatically as part of the LilyPond installation
process)?
Regards,
Gilles
[1] IANAL: It would be interesting if you could provide links
to cases where a situation as you described has occurred
(i.e. IIUC a court decision that forced someone to offer his
copyrighted work because it was produced with a copyleft
software).
>> If so, do you confirm that currently you do not use "lilypond" (the
>> software) itself in order to compile music into a score (e.g. PDF)
>> because that exception is *not* mentioned for the software?
>
> No, I do not confirm this. I use Lilypond as probably al the others. I
> write my music scores by using the lilypond language. And I let compile
> my music score into PDF (and midi) files by the Lilypond program.
> Mostly, I use Frescobaldi to edit my music score.
>
> I look at Lilypond at that what it is: a programming language and a
> compiler/interpreter. If you need another analogy: I look at Lilypond
> like I look at php : a programming language and an interpreter.
>
> Now let us switch on the level of Lilypond code (on the level of a php
> program): If a php program includes a lib licensed under the GPL, it has
> to be released under the terms of the GPL too. And so is the
> relationship between Lilypond Music Code and OpenLilyLib.
>
>> If not (and you do use "lilypond"), how is the situation any different
>> with an extension (like OpenLilyLib) from any other extension that
>> is provided when installing LilyPond?
>
> My code does not include any other Library (no include / import
> statement). That'sd the differenct.
>
> If you want to highlight the point, that interpretation of my Lilypond
> code is done by expanding my code by literally replacing my elements by
> 'your' GPL licensed guile scheme code, then indeed we also need an
> exception like the exception for C/C++ include files.
>
>
> with best regards Karsten
>
>
> --
>Karsten Reincke/\/\ (+49|0) 170 / 927 78 57
> Im Braungeröll 31 >oo< mailto:k.rein...@fodina.de
> 60431 Frankfurt a.M. \/http://www.fodina.de/kr/
>
>
Re: Question about abbreviations
Hi.
2020-08-27 10:48 UTC+02:00, Alasdair McAndrew :
> Hello,
>
> I don't know if this is possible in Lilypond, so I'm asking the experts...
> In a bar of 3/4 time I might have, say: c4. c8 c4 - a very standard
> rhythm. I remember once that in a score-writing system I used years ago,
> this could be abbreviated as c>c c. I know that < > are used in Lilypond
> for chords - but is some other similar abbreviation possible?
You can define a variable
patOne = \relative c' { c4. c8 c4 }
then refer to it: \patOne
HTH,
Gilles
>
> Thanks,
> Alasdair
>
>
> --
> https://numbersandshapes.net
>
Re: Spacing of systems while using lyluatex
Hello. Le mar. 25 août 2020 à 17:09, Claire Meyer a écrit : > > Hi, > > Let me preface with the fact that I'm not sure that a system is what I think > it is, for me, it's a "line" of all the staves of my score. > I'm using lyluatex to embed my music within a latex file, and on page 3, the > inter-system spacing seems off to me. Especially, I feel like I could fit > four systems on that page, and I only fit three, while on page 2 lyluatex > fits four systems without problem. On one hand, the systems have roughly the > same height, on the other hand, it might be that the four systems together > are just too big of a teeny tiny bit. > > > If someone could confirm that I can do nothing about it, or on the contrary, > how to make it fit the four systems, I'd be very grateful :) You could try playing with the "global" size setting: ---CUT--- #(set-global-staff-size 19) ---CUT--- The default is "20" (IIRC); by reducing it slightly (as above), the layout might become nicer... HTH, Gilles > > Claire >
Re: Help with Midi
Hi. 2020-08-14 17:49 UTC+02:00, David Sumbler : > When working on a project in Lilypond I usually set things up to > generate midi files as well as printable output, mainly for note- > checking. But it is interesting to generate an ensemble midi file too. > I play these files with TiMidity, using the fluidr3_gm soundfont. > > I know the (very) basics about midi instruments (although I'm a bit > vague about midi channels), and I know how to improve things by using > timidity to generate wav files which I can import into qtractor or > similar and then edit the combined result. > > What I am about to ask is not really a Lilypond question at all (at > least, I don't think it is), but I am hoping that somebody on this list > can point me in the right direction. Clearly I am not making the right > searches on line, because I have never managed to find the information > I want. > > What I should like to know is > 1) how can I use drum and other untuned percussion sounds? http://lilypond.org/doc/v2.19/Documentation/web/source/Documentation/notation/common-notation-for-percussion#basic-percussion-notation http://lilypond.org/doc/v2.19/Documentation/web/source/Documentation/notation/percussion-notes > 2) I notice that fluidr3_gm has dozens - probably hundreds - of extra > sounds and instruments beyond the standard 128. How can I access > these? On Linux, looking at /etc/timidity/freepats.cfg might give some ideas. > 3) how can I use other soundfonts? First line of the above configuration file reads ---CUT--- dir /usr/share/midi/freepats ---CUT--- $ ls /usr/share/midi/freepats Drum_000 Tone_000 > There seem to be a lot of free > soundfonts available on line, but I have no idea how I would use them. > It would be nice to have a decent trumpet sound (the fluidr3-gm one is > very poor), the sound of violin section as will as solo violin, string > harmonics, timpani roll and so on. > > Can anyone point me to a useful online source of such information? https://apfelboymchen.net/gnu/notes/timidity++%20multiple%20soundfonts.html https://freepats.zenvoid.org/ HTH, Gilles
Re: Creating midi file that is not empty
Hello.
2020-08-08 2:33 UTC+02:00, Claire Meyer
:
> Hi everyone,
>
> I have read the documentation and have gone through the archives of the
> mailing list, and don't understand what I've got wrong. The midi file I
> generate is empty and doesn't contain music. My .ly file is as follows :
>
> \score {
> {c''4 c'' c''}
> \layout {}
> \midi {\context {
> \Score tempoWholesPerMinute = #(ly:make-moment 120 4)
> }
> }
> }
>
> The terminal doesn't give any errors at compilation, and says that :
>
> Requested buffer size 32768, fragment size 8192
> ALSA pcm 'default' set buffer size 32768, period size 8192 bytes
> Playing pianoClarinetUriTzion.midi
> MIDI file: pianoClarinetUriTzion.midi
> Format: 1 Tracks: 2 Divisions: 384
> Sequence:
> Text: creator:
> Text: GNU LilyPond 2.20.0
> Track name: \new:
> No instrument mapped to tone bank 0, program 0 - this instrument will not
> be heard
The above signals that some instrument will not be heard.
If there is only one instrument, silence will result. :-}
It's a MIDI player configuration issue.
One thing to try is perhaps setting the MIDI instrument explicitly.[1]
---CUT---
\set Staff.midiInstrument = "clarinet"
---CUT---
Regards,
Gilles
[1] https://lilypond.org/doc/v2.20/Documentation/notation/midi-instruments
> No pre-resampling cache hit
> Last 1 MIDI events are ignored
> Playing time: ~4 seconds
> Notes cut: 0
> Notes lost totally: 0
>
> When I try to read my midi file. Can someone help me ?
>
> Thanks in advance,
> Claire
>
Re: [OT] modify midi
Hi. 2020-06-15 12:09 UTC+02:00, Gianmaria Lari : > Sometimes I would like to modify a bit the midi file generated by Lilypond. > What stops me from doing that is that in case I modify the lilypond source > I lose all the work done on the midi and I have to do it again from > scratch. > > So I was wondering if anyone knows a software that gives you the > possibility to record the list of operations I do on a midi file so that I > can reapply them "automatically". Of course I understand the limitation > that a software like this will have: the midi file you want to apply the > change has to be "very similar" to the original one (for example changing > only the note pitch etc. etc.). Maybe this library could be useful: http://www.jfugue.org/index.htm See also that page: https://en.wikipedia.org/wiki/Comparison_of_MIDI_editors_and_sequencers Regards, Gilles > > Not sure I have been clear enough . let me know if I have to explain > myself better. > > Thanks, g. >
Re: registering a composition
Le sam. 23 mai 2020 à 22:46, antlists a écrit : > > On 22/05/2020 13:26, Gilles Sadowski wrote: > > IIUC, CC licences aim to protect against others making money from > > your work. How is "ASCAP not being happy" related to that? > > > > > Unless I'm mistaken, LilyPond (GNU) and CC belong to the "eco-system" > > where sharing is the norm (to enhance the common cultural pool) while > > making it hard for "free-riders". Using the tools offered by that alternate > > system, and then bow to the arguments of those who smear it seems a > > contradiction. > > > You're correct that GNU and CC belong to the eco-system where sharing is > the norm, but NEITHER have any objection to others making making money > (yes they do both object to free-riders). And they do object to being misrepresented, wherein lays the contradiction I was pointing out, not about "making money" (which I evoked similarly to what you did, as quoted below). Regards, Gilles > CC has an *optional* clause that forbids commercial activity (I use it > on my photos), and GNU forbids charging for THE SOFTWARE. But CC doesn't > forbid commercial activity by default, and GNU permits charging for > services, such as supplying the software, supporting the software, and > anything like that. > > Cheers, > Wol >
Re: registering a composition
Hi. Le jeu. 21 mai 2020 à 19:57, Francesco Petrogalli a écrit : > > OK, thank you all for the kind reply. > > Here is my understanding, just double cheking with you guys is my > reasoning is right. I can't follow the whole reasoning (see below), but the conclusion seems nevertheless utterly unfair. > > Step 1: secure the copyright of the PDF of the composition. > I am tempted to say that this is already done by the fact that I have > stored all commits of the development of the PDF via lilypond in a > private repo on bitbucket.org. If the originality of the piece will > ever be challenged, all I need to do it either make the private repo a > public repo, or, if bitbucket dies by the time someone challenges the > originality, I just need to show the git repository I have stored in a > second secure place. > > To make it even more safer than that, I can register the copyright either > with: > > 1. the Copyright Office of the Library of Congress (online) > 2. copyright.co.uk > 3. https://www.costozero.org/ > 4. patamu.com > > I have a slight preference for patamu.com, it seems quite easy and > fully online, it also has international validity, the other options > seems to be country-specific. > > Step 2: register to a PRO to secure the royalties (even if no > royalties will ever come to me). > > I can register to ASCAP or BMI, as an individual who is both the > composer and the publisher. It doesn't matter whether I upload the PDF > or not, the royalties will be collected on the name of the song and > the author/publisher, if someone will ever play it. If ASCAP / BMI > will ask for a copy/link of the work, I can always upload the PDF or > link an upload in, say, soundcloud, of the wave file generated from > the midi. > > Then, say that the band I am giving this piece will decide to produce > a recording, they will register their recording on their favorite PRO, > simply saying that they are the publisher and that I am the writer. > > Step 3: publish the PDF on the internet > > When the prior steps are done, I can safely upload the PDF on my > personal website, for anyone to download. I just have to make sure > that I mark it saying "Copyright (C) 2020 by Francesco Petrogalli > (ASCAP). All rights reserved." > > Thank so much for all the useful help! I just want to add a bit of > background in case there are some details that might change the way I > should do this. > > 1. I am a software engineer working on open source code. In the spirit > of open source, I initially wanted to use a CC-BY license on the work, > then I read this and completely changed my mind. > https://www.ascap.com/playback/2007/FALL/FEATURES/creative_commons_licensing, This link is not viewable unless one accepts this site's advertizing and targeting cookies. So please lay out why you changed your mind about CC. > which somehow seems to contradict > https://creativecommons.org/2010/06/30/response-to-ascaps-deceptive-claims/. > I would have loved to use a CC license that would have guaranteed my > royalties via ASCAP, but ASCAP doesn't seem to be happy about this > license so I will not use it. IIUC, CC licences aim to protect against others making money from your work. How is "ASCAP not being happy" related to that? As a comparison, proprietary software publishers can be unhappy about FLOSS, and FUD campaigns follow. Would that make you stop "working on open source code"? > 2. The song has been written with my 7yo son. He is mentioned in the > PDF as a co-author, but I don't think I can mention it as one of the > authors in ASCAP because ASCAP requires to certify "you are 18yo or > older" when registering. I will anyway publish a video on youtube of > the "improvisation session" in which he came up with the melody. This > plus the authorship claim in the PDF will hopefully secure his part of > the copyright. > > Again, thank you for the help, this is being painful and interesting > at the same time :) > > Kind regards, > > Francesco > > PS: lilypond rocks! :) Unless I'm mistaken, LilyPond (GNU) and CC belong to the "eco-system" where sharing is the norm (to enhance the common cultural pool) while making it hard for "free-riders". Using the tools offered by that alternate system, and then bow to the arguments of those who smear it seems a contradiction. Regards, Gilles > > On Thu, May 21, 2020 at 8:32 AM Tim McNamara wrote: > > > > > > > > > On May 21, 2020, at 3:34 AM, Valentin Villenave > > > wrote: > > > > > > On 5/21/20, Francesco Petrogalli wrote: > > >> I have written it with lilypond, but it hasn't been performed yet. I > > >> wanted to secure the copyright before performing it. Given that there > > >> is no performing artist yet, there is no recording, so I cannot > > >> register it with ASCAP. Have I got this right? > > > > > > No registration anywhere is needed to "secure the copyright". All you > > > need to have is a way of proving your anteriority if anyone were to > > > come and claim they’ve written it
Re: "Dangling" ties.
Hi.
2020-05-21 2:28 UTC+02:00, Hwaen Ch'uqi :
> Greetings,
>
> Is there a way to force LilyPond to engrave ties at the end of a
> snippet of music?
No need to "force" ;-)
http://lilypond.org/doc/v2.18/Documentation/snippets/expressive-marks#expressive-marks-laissez-vibrer-ties
Regards,
Gilles
> I was hoping that \set tieWaitForNote = ##t would
> work, but it too had no results. Here is the snippet in question:
>
> \score {
> \new PianoStaff <<
> \new Staff {
> \relative c' {
> \key es \major \time 6/8 \clef bass
> r4. \grace { a16[ bes c] } 4.~ %123
> }
> }
> \new Staff {
> \relative c' {
> \key es \major \time 6/8 \clef bass
> f,,8 r r \grace { s16 s s } 4.~ %123
> }
> }
> >>
> }
>
> Thank you so much.
>
> Hwaen Ch'uqi
>
>
Re: Paralellizing Lilypond [was: Re: Sibelius Software UK office shutsdown]
On Sat, Aug 11, 2012 at 01:21:27PM +0100, Joseph Rushton Wakeling wrote: On 10/08/12 15:08, Phil Holmes wrote: - Original Message - From: Joseph Rushton Wakeling joseph.wakel...@webdrake.net What counts as a chunk for the -djob-count option? It's not clear from the 2.15 usage manual. I believe it would be a compilable file. Useful to know, thank you! ... but I think it emphasizes my real point: this puts the onus on the user to split up a project into independently-compilable units. Such units are also bound to be more maintainable in the long term. Putting the burden on lilypond (the software) would rather encourage sloppy LilyPond projects (the score source). I think that it's worth having Lilypond try and automatically identify independent units, which could have knock-on benefits in terms of minimizing rebuild times for scores. How many scores would be impossible to manually design into reasonably large independent units? Is it really worth the developers' time to try and automate this? Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Appreciation / Financial support
On Tue, Jun 12, 2012 at 12:03:53PM +0200, Janek Warchoł wrote: On Tue, Jun 12, 2012 at 9:35 AM, David Kastrup d...@gnu.org wrote: Janek Warchoł janek.lilyp...@gmail.com writes: David Nalesnik already did this: http://lsr.dsi.unimi.it/LSR/Item?u=1id=838 I think the issue at this point is not LilyPond's lack of ability to do this or that, but rather the lack of a vibrant cookbook culture like Python has. I think you're right. It is a bit more than that. A cookbook is nice (and we have excellent cooks here), but of more importance is a standard cook you can hand it to. Namely a sort of module system. A place where you can drop things in, call them by name, and they will come. Copypaste jobs are nice, but a standard place where things can be called from, and maintained and improved by someone else, beats that. I guess that you mean something akin to http://www.cpan.org/ http://www.ctan.org/search/ Regards, Gilles Indeed! We need a standard cookbook and a cookbook standard. I hope that GLISS will help with this. And, of course, your continous effort is angled toward these issues - i appreciate that! cheers, Janek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Transposing instruments
On Fri, Jun 08, 2012 at 08:12:20AM +0200, Helge Kruse wrote:
Am 07.06.2012 17:23, schrieb Gilles Sadowski:
besides some other voices. I know the name Clarinet in B but
Likely, this should have been Clarinet in Bb where the small b is for
flat (i.e. a clarinet in B flat, where a c on the clarinet will sound
as b flat in concert pitch).
You're right. It's designated with Klarinette in B what is
Clarinet in Bb. That's my mistake.
Assuming that clarinetNotes contains the notes:
If the part contains the notes in _concert_ pitch, you use the:
\transposition bes {% make MIDI sound right
\transpose bes c { % transpose to clarinet notation
\global
\clarinetNotes
}
}
If the part contains the notes as transposed for clarinet, you use:
\transposition bes { % make MIDI sound right
\transpose bes c { % transpose to clarinet notation
\global
\transpose c bes { % transpose to concert pitch
\clarinetNotes
}
}
}
}
and the MIDI will sound OK while the PDF will show the part transposed for
clarinet.
[In the above, \global contains e.g. the actual \key (i.e. in concert
pitch). For example, if the piece is in G minor, the part for clarinet in Bb
will be written in A minor.]
With Davids' hint I found a way to do this with much less coding. I
write the score as it should look in the score (A minor). When I add
the \transposition I get for the sample below following MIDI output:
Oboe: d, Clarinet: bes, French horn: g
oboe = \relative c'' { \key g \minor d16 d8. ~ d4 }
clarinetB = \relative c'' { \transposition bes c16 c8. ~ c4 }
hornF = \relative c'' { \transposition f d16 d8. ~ d4 }
\score
{
\new Staff \with { midiInstrument=oboe} { \oboe }
\new Staff \with { midiInstrument=clarinet} { \clarinetB }
\new Staff \with { midiInstrument=french horn } { \hornF }
\layout {}
\midi {}
}
I think this is straight forward as the \transposition affects the
MIDI output only. And: it's well documented, I must admit.
http://www.lilypond.org/doc/v2.15/Documentation/notation/displaying-pitches#instrument-transpositions
It is not more coding; and it is more efficient in the long term
(maintenance): the more you separate contents (notes) from layout (\key,
\transpose, \transposition), the eaiser it is to change one or the other.
Regards,
Gilles
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Re: Transposing instruments
On Fri, Jun 08, 2012 at 02:03:49PM +0200, David Kastrup wrote:
Gilles Sadowski gil...@harfang.homelinux.org writes:
oboe = \relative c'' { \key g \minor d16 d8. ~ d4 }
clarinetB = \relative c'' { \transposition bes c16 c8. ~ c4 }
hornF = \relative c'' { \transposition f d16 d8. ~ d4 }
\score
{
\new Staff \with { midiInstrument=oboe} { \oboe }
\new Staff \with { midiInstrument=clarinet} { \clarinetB }
\new Staff \with { midiInstrument=french horn } { \hornF }
\layout {}
\midi {}
}
I think this is straight forward as the \transposition affects the
MIDI output only. And: it's well documented, I must admit.
http://www.lilypond.org/doc/v2.15/Documentation/notation/displaying-pitches#instrument-transpositions
It is not more coding; and it is more efficient in the long term
(maintenance): the more you separate contents (notes) from layout (\key,
\transpose, \transposition), the eaiser it is to change one or the other.
\transposition bes { % make MIDI sound right
\transpose bes c { % transpose to clarinet notation
\global
\transpose c bes { % transpose to concert pitch
\clarinetNotes
}
}
}
If you really, really, really want to have the key from the default
declarations, it is much more straightforward to write
\transposition bes % This does not take an argument, it is a declaration
Thanks for the info.
\transpose bes c \global % default key shown in clarinet transposition
\clarinetNotes
TIMTOWTDI, as they say in a language that was not yet suggested in that
other thread. ;-)
Gilles
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Re: Transposing instruments
Hi.
I am transcribing an autograph with an arrangement for a small
orchestra. There are two transposing instruments: Clarinet in B and
French horn in F. The piece itself is set in g minor (some parts
also in g major).
The original score begins with this picture:
oboe = \relative c'' { \key g \minor d16 d8. ~ d4 }
clarinetB = \relative c'' { c16 c8. ~ c4 }
hornF = \relative c'' { d16 d8. ~ d4 }
\score {
\new Staff { \oboe }
\new Staff { \clarinetB }
\new Staff { \hornF }
\layout {}
\midi {}
}
besides some other voices. I know the name Clarinet in B but
Likely, this should have been Clarinet in Bb where the small b is for
flat (i.e. a clarinet in B flat, where a c on the clarinet will sound
as b flat in concert pitch).
honestly I don't know what this means. Which pitches should I get
from these notes?
How can I set this with Lilypond so that I can also create a MIDI
file with correct pitches? I would like to have the MIDI file for
acoustic error check of my transcription.
How can I use \transpose and \transposition to get both a nice
looking PDF output and a useful MIDI file? I assume that the music
definition will include the \key g \minor for all voices and the
transpose will change it and removes the flats. But I didn't get it
in the last hours.
Assuming that clarinetNotes contains the notes:
If the part contains the notes in _concert_ pitch, you use the:
\transposition bes {% make MIDI sound right
\transpose bes c { % transpose to clarinet notation
\global
\clarinetNotes
}
}
If the part contains the notes as transposed for clarinet, you use:
\transposition bes { % make MIDI sound right
\transpose bes c { % transpose to clarinet notation
\global
\transpose c bes { % transpose to concert pitch
\clarinetNotes
}
}
}
}
and the MIDI will sound OK while the PDF will show the part transposed for
clarinet.
[In the above, \global contains e.g. the actual \key (i.e. in concert
pitch). For example, if the piece is in G minor, the part for clarinet in Bb
will be written in A minor.]
HTH,
Gilles
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Re: Trouble with acciaccatura at the beginning of a piece
On Thu, Jan 12, 2012 at 02:03:19PM +0100, Ninn Langel wrote:
Hi everyone,
I'm just getting started with lilypond, but I do have some programming
knowledge.
I'm having trouble with this input:
\version 2.15.24
\include english.ly
global = {
\time 2/4
\key d \major
}
bassPart = \relative c' {
\clef bass
r4 a16 a a a
a a a a a a a a
}
You have to synchronize this part too; i.e. probably add a grace skip.
Regards,
Gilles
pianoRight = \relative c'' {
\acciaccatura gs8 a8 r a,4~
a r
}
pianoLeft = \relative c {
\clef bass
\acciaccatura gs8 a8 r a,4~
a r
}
\score {
\new Staff \global \bassPart
\new PianoStaff
\new Staff \global \pianoRight
\new Staff \global \pianoLeft
\layout { }
}
Which renders with two sets of clefs with the acciaccaturas in between. I am
aware that there is documentation about this, but I have not been able to
understand the problem after hours of trying - clearly it relates to starting
with the acciaccaturas, but I have not found a solution.
Thanks in advance for your help. I am really looking forward to grasping
enough of this to convert everything to lilypond.
Cheers,
NL
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Re: Empty music sheet generator in LilyPond
Hello. Every now and then you need empty music sheets to write a score or arrangement manually on paper, prepare some exercises for you instrumental students or simply do some homework for college. Wouldn't it be great if you could create empty score sheets for the exact instrumentation that intend, rather than drawing all brackets manually on stock music paper that you can buy? To automate this, I have created a small online creator for empty music sheets, which uses lilypond as the backend to produce the nice sheets: http://www.edition-kainhofer.com/en/empty-scoresheets.html Please let me know what you think about it. It looks promising. But it would be better if it were nice to the forests: Sheets should probably contain more than one staff/system if space allows. ;-) Maybe the A3 format would also be useful (e.g. for orchestral scores). [...] Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Empty music sheet generator in LilyPond
On Thu, Sep 08, 2011 at 06:01:56PM +0200, Reinhold Kainhofer wrote: Am Donnerstag, 8. September 2011, 17:51:25 schrieb Gilles Sadowski: It looks promising. But it would be better if it were nice to the forests: Sheets should probably contain more than one staff/system if space allows. ;-) That's why you can select Systems/page... Sorry; I hadn't noticed it. Notice, however, that if you have e.g. a full orchestral score selected, in most cases only 1 system fits onto a page, so Systems/page is set to 1. If you then select another type, where more than one system fits on a page, the Systems/page does NOT change. You'll have to change it manually. I didn't want to change automatically change the Systems/page to an optimal value when you select a different score-type, because that would be too annoying... Imagine, for example, that you choose a Single staff, treble clef and select 14 systems (staves) per page. If you then select Single staff, bass clef, you probably still want 14 systems/page. I don't want to reset the Systems/page setting in this case... I think that the most common case would be to have the page filled with systems. It makes sense that it would be the default behaviour. Then, to take care of the situation which you describe above, you could add a button Do not use default layout, which when selected, would activate the Systems per page menu. However, it might make sense to find some heuristics when it makes sense to reset (e.g. if you switch from full orchestral score to single-staff systems). That would be more complicated than what I suggest above, and not obvious for the user. [...] Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best Practices for Multiple Part Scores
Hello. I'm sure this has been discussed before, but I've been having a heck of a time finding previous threads that go into any depth. I see one from 2008 (revived in 2010) that references a part of the Learning Manual that seems to have moved from section 5 but doesn't really contain all that much information. I would like to set a large piece with multiple parts, with the option of producing single-part scores (e.g. an orchestral piece). I have found that very quickly my source files get out of control. What are the best practices I should be following to keep everything clean and D.R.Y.? I am specifically looking for advice on the following subjects: [...] Several people have encoded extensive scores; there is a web site collecting some of those works but I do not recall its address right now. Personally, I have built my own set of template files, which I change manually for each new encoding work. This is certainly not as comprehensive or flexible as some of the suggestions you'll get here, but I can send you my project files of a small orchestral score, from which you could already extract an answer to several of the points you mentioned. Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Best Practices] instrument changes
Hi.
I would love to put together a Best Practices example/snippet/document
Good idea!
I don't write much music for transposing instruments, so i cannot give
any advice, but i have a question that may trigger a discussion: how
to prepare scores with transposing instruments so that they are
structurally correct? Consider this canon:
common = {
\key e \minor
\time 4/4
}
melody = \relative c' {
e4 d8 fis e4 b |
e8 e fis fis g a16[ g] fis4 |
b8 b a a g a16 g fis8 b, |
e4 d8 fis e2
}
\new Staff = violin { \common \melody R1 }
\new Staff = clarinet in A \transpose a c' { \common R1 \melody }
If i understand how transposing instruments should be notated, the
output is how it should look like from a performer's point of view.
However, it is structurally wrong: for example MIDI output will be
bad, because internally the two parts have differently pitched
melodies (while they should be pitched the same and only displayed
differently).
What is the correct way of doing this?
Something along those lines:
If the source contains notes in concert pitch:
---CUT---
\new Staff = clarinet in A {
\transposition a {
\transpose c a {
\common
\melody
}
}
}
---CUT---
If the source contains notes written for the instrument in A:
---CUT---
\new Staff = clarinet in A {
\transposition a {
\transpose c a {
\common
\transpose a c {
\melody
}
}
}
}
---CUT---
Best,
Gilles
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Re: Question about Transposing: Score vs. Midi Output
On Sun, Jul 03, 2011 at 11:27:25AM +0200, Robert Schmaus wrote:
Hello fellow Lilyponderers,
I'm currently typesetting a score for Bigband, i.e. lots of
transposing instruments. I'm writing everything in concert pitch, so
I can check everything with the midi output. My initial idea was
that I would transpose the individual instruments into their desired
key, once I have finished the concert pitch score.
Recently, I discovered the \transposition command, and had hoped
that this would actually be an elegant solution: still writing
everything in concert pitch, but the engraver would set each voice
in its correct key. So, in the example below, the Tenor would play
the same note as the bass (modulo octave) but the notes for the
Tenor would show d. The Midi file, however now has the tenor play
b-flat.
So, I still would have to write every instrument in its own key, but
would have a correct midi output.
My question is: is there an inverse command to \transposition,
where I can write everything in concert pitch, s.t. the midi output
will also remain in concert pitch, but the score is actually
correct?
An alternative would be to use the right \transpose command for each
instrument but suppress all \transpose directives for the midi
output - is that possible?
You only to combine \transpose and \transposition (see below).
Thanks a lot.
Have a nice sunday,
Robert
\version 2.14.1
Tenor = \relative c'' {
\clef treble
\transposition bes
\transpose c d {
c c c c
}
}
But see also my post of a few minutes ago (so that the key signature is
correct for the transposed voice).
Best,
Gilles
Bass = \relative c {
\clef bass
c c c c
}
\score {
\new Staff \Tenor
\new Staff \Bass
\layout{}
\midi{}
}
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Re: status of mutopia project
Hi. [...] I hope everyone knows about the Werner Icking Music Archive? http://icking-music-archive.org/index.php Public domain, pdf files, and the maintainer encourages contributors to include source (and sound or at least midi) files. Most of my music http://icking-music-archive.org/ByComposer/Eijkhout.php has lilypond (or occasionally sibelius) source files. This site is very much alive, with several contributions per day. I'd prefer a Lilypond-only archive, with Creative Commons licenses and sources _always_ available. Best regards, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to create a coda with a gap?
Hi.
3. The segno sign is for too high.
Maybe the attached file helps somewhat for this item.
4. The first volta bracket doesn´t have an end line.
I noticed that using
\bar |.
prints the vertical end line, while
\bar ||
does not.
Best,
Gilles
\version 2.12.0
\paper {
ragged-last = ##f
}
\score {
\new Staff {
\time 4/4
\relative c''' {
\repeat volta 1 {
s1*0 |
} \alternative {
{ g,8 a g g~ g2~ |
g2 r |
\bar || }
}
\stopStaff
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #LEFT
\mark \markup {\musicglyph #scripts.segno}
s1 |
\repeat volta 1 {
s1*0 |
\bar
} \alternative {
{ \revert Score.VoltaBracket #'stencil
\override Staff.Clef #'full-size-change = ##t
\startStaff
\clef G
g8 a g g~ g2~ |
g1~ |
g1\fermata |
\bar |. }
}
}
}
\layout {}
}
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Re: help with particular notation...
On Tue, Oct 12, 2010 at 03:49:01PM +0100, Mark Knoop wrote: At 15:58 on 12 Oct 2010, 106ohm(G.Masetti) wrote: I don't know how to trascript a particolar notation, I had scan the paper and isolate the problem, the little image is here: http://poisson.phc.unipi.it/~masetti/IMG.jpg In the absence of more context, it is impossible to tell what that notation means. It could be a comma (breath mark), a quaver rest, or some sort of articulation. At least tell us the meter of the music. I think that he meant the line connecting the notes in the upper and lower staves. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with segnos and codas
Hi.
You're trying to put 2 rehearsal marks on the same bar line. Does
something like:
{ r4 r r fis a c
\override Score.RehearsalMark #'self-alignment-X = #CENTER
\mark \markup {D.S \musicglyph #scripts.segno
\musicglyph #scripts.coda Coda }
|
g2 r2 |
}
do what you want?
In many cases, that won't do since what usually happens is that D.C.
must appear at the last bar, then there is a \break and the next line is
the coda (with the scripts.coda sign).
The workaround which I use is to put the D.C. \mark one bar earlier with
a #LEFT alignment (so it looks like it is on the last bar, albeit not
aligned on the end of it).
Indeed it's strange that LilyPond cannot write both marks even if they are
not on the same line.
Best,
Gilles
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Re: Problems with segnos and codas
On Tue, Oct 05, 2010 at 09:26:52AM -0500, Tim McNamara wrote: While this doesn't solve the problem (somebody else seems to have done that), it'd sure be nice if using marks for segno and coda would be a lot more user friendly- like g1\segno g1\coda That would not solve the problem because we want those to be associated with the bar line (i.e. a single setting for a whole score, not one per staff). [...] although both coda and segno are probably more properly associated with a bar line than with a beat, unlike a fermata. Indeed. And it would be nice if the problem with manual breaks and codas could be fixed. There is no reason for the coda mark to be forced to the beginning of the next line if a \break is present. The mark should be rendered where it is placed. I guess that the problem is that a bar line is a bar line, even if visually splitted over two staves. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help using convert-ly recursively on Linux
Hello.
I'm running LilyPond on Ubuntu 9.10 (Karmic Koala).
I'd like to run convert-ly against all of my .ly files that I have created,
without having to manually change directories to each directory that
contains a file I want to convert, and then run convert-ly against the files
in that directory.
You could use the find command:
$ find -name '*ly' -exec convert-ly -e {} \;
Best,
Gilles
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Re: Cord Names vs midi Instrument
Hi. Is it possible to override the midi instrument for named chords (to change it to a guitar, for instance) or is note format the only way ? \set ChordNames.midiInstrument = acoustic guitar (nylon) Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best practice when typesetting transposing instruments.
Hello.
I cannot quite find figure out from the manual which is a better practice when
typesetting transposing instruments (say, a B\flat clarinet):
I use the following (assuming that the music contents is in variable
clarinetNotes and that the global variable namely contains the \key
declaration in concert pitch):
1. If the music has been entered in concert pitch:
%---CUT---
\transposition bes {
\transpose c d {
\global
\clarinetNotes
}
}
%---CUT---
2. If the music has been entered in Bb-clarinet pitch:
%---CUT---
\transposition bes {
\transpose bes c {
\global
\transpose c bes {
\clarinetNotes
}
}
}
%---CUT---
Best,
Gilles
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Re: Octave help
Hello.
When I am using Lilypond the program assumes a different octave and
no matter what I do the the \relative c, it won't change the octave.
See the code below:
{
\clef treble
\time 4/4
\key g \major
\relative c
\partial 4 d8 d
d d g g g4 f8 g
a g c a b2
d'4 a8 b c4 b8 c
d'4 e'8( c) b g a4
g1
}
Try to put the music between curly brackets:
\relative c {
\partial 4 d8 d
% ...
}
Best,
Gilles
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Re: Nesting SLurs and phrases
Hello.
I would have expected something like this to work
e''8-1^\markup {\bold #8} \slurDown
(
\slurNeutral
(f-2 e f) fis-3 (f-2 fis f\))
^^
This \) seems unbalanced.
but it won't compile.
Gilles
P.S. Please always give a self-contained example file, in attachement.
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Re: RE; Re nesting curves getting closer
Hi. Gilles asked for an attachment I don't exactly know what to attach so I've attached the latest pdf output. What was wanted was the exact working code to get bad output, which you've included in the body of the email. Perfect! IMHO, perfect would be to *attach* a complete lilypond file, so that people trying to help don't have to copy/paste/fill the missing bits/fiddle with long streaks of blank spaces, etc; but just save and compile. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: RE; Re nesting curves getting closer
Hi. Gilles asked for an attachment I don't exactly know what to attach so I've attached the latest pdf output. What was wanted was the exact working code to get bad output, which you've included in the body of the email. Perfect! IMHO, perfect would be to *attach* a complete lilypond file, so that people trying to help don't have to copy/paste/fill the missing bits/fiddle with long streaks of blank spaces, etc; but just save and compile. Well, IMO, it's better to have a short file in the body of the email. Because that way I can look at it and identify errors without having to save an attachment and then open it up in another application. I don't *have* to save to attachment to just view it. I said that it's easier (if the purpose is to compile it) to just save it than to cut/copy the relevant bits from the body of the mail. [If you cannot view attached text files inline, I guess that it's a shortcoming of the mail client you use...] It's best if long files are not used, because if you can get a short file to show your problem, it's better for your thinking and better for the people who are trying to answer. Short or long is not the question; if you have to compile, you must have an input file. And it should be just long enough to show the problem. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: marks
Hello.
can I put marks A, B, C etc etc generated by \mark\default in a
separate file to be included in every staff/staffgroup, [...]
Yes.
You could proceed somewhat along the following lines.
In file global.inc.ly:
%---CUT---
\version 2.12.0
global = {
\key d \minor
\time 2/4
\mark \default
s1*2/4*8 |
\bar |.
}
%---CUT---
In file violin.inc.ly:
%---CUT---
\version 2.12.0
\include global.inc.ly
violinNotes = \relative c' {
%
}
violinStaff = \context Staff = Violin {
\clef G
\global
\violinNotes
}
%---CUT---
In file violin.ly:
%---CUT---
\version 2.12.0
\include violin.inc.ly
\score {
\violinStaff
\layout {}
}
%---CUT---
And similarly for all the instruments and the orchestra score.
Best,
Gilles
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Re: octave
Hi. Now, the part of the first piano has to be played an octave higher the what is written on the score, so the guy who has written it with encore has placed an 8 over the clefs of the piano staves. Is this a standard way to specify to play an octave higher? If yes, how can I do this with lilypond? \clef G^8 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond for drums
Hello.
Thanks in advance. BTW, this is what I did for her three exercises (just
beginning ;-). Is this maybe rewritable to shorthand in some case? Maybe
with repeats or so? Any help wouyld be appreciated.
The shorthand for
cymr8 cymr8 cymr8 cymr8
would be
\repeat unfold 4 {
cymr8
}
The structure of the file seems fine.
Best,
Gilles
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Re: text with \musicglyph
Hi. ...and I'm not getting entirely what I need. The varcoda sign is too low and too close to the preceding text. I've been searching through the docs to find a solution and have not yet come across what I need. Ideas? Try fiddling with \raise #1.0 and \hspace #1.0 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: instrument name misalignment
Hi. I have several instances where instrument names are too high, much higher than the staff center line. It happens with both full and short names, but only when a volta bracket is over the first measure. If this rings a bell and merits further discussion, I can provide examples. Without an example, it's hard to gues what's going wrong ;-) Best, Gilles P.S. Keep the example minimal (i.e. just enough code to display the behaviour). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reuse \header definitions: Is it possible?
Hi.
Is there a way to reuse a \header definition?
Yes; you put all your header items in a file which you then include wherever
you need them:
In file header.inc.ly:
---CUT---
title = ...
subtitle = ...
composer = ...
% etc.
---CUT---
And, in other files:
---CUT---
\header {
\include header.inc.ly
}
---CUT---
Best,
Gilles
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Re: RehearsalMark under Volta Bracket
Hi. In this example, is there a way to move the To Coda rehearsal mark so that it is underneath the Volta Bracket? Also, I'd like to have the brackets on the same baseline (after the mark is moved down). Any hints? Things you might try to fiddle with are: \override Score.RehearsalMark #'padding = #2.0 \override Score.VoltaBracket #'minimum-space = #4.0 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [frogs] trailing spaces
Hi. python script that removes tailing spaces from lines. [if: s/Python/Perl/] perl -i -pe 's/\s+$/\n/' some_file Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi omits one instrument in full score
Hello. Hi again. I did some more work and found that viola and vibraphone are silent while voice oohs, glockenspiel, and violin (and default acoustic grand) play ok. As I indicated in my previous reply, this depends on the MIDI player, and accompanying data used for rendering the sound of the selected instrument: If this data is missing, that instrument's sound cannot be generated. If anyone can tell me if I'm missing something it would be greatly helpful. I have attached one file for your convenience. I tried it on my computer. E.g. for the timidity midi player, the vibraphone is absent, while with fluidsynth it's there. As a workaround, for timidity, you can modify its configuration file; when you see the following message in the output: --- No instrument mapped to tone bank 0, program 11 - this instrument will not be heard --- then you can create an appropriate line in /etc/timidity/freepats.cfg which would reference one of the existing patch (i.e. sound) file. [Of course, you still won't have the sound of the vibraphone, but at least you can keep the reference to the correct midi instrument in the Lilypond file.] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi omits one instrument in full score
Hello. Hi, I've copied my complete code at the bottom, but the highlighted part is this. The midi plays the piano part only. [...] I've tried repositioning the \set Staff.midiInstrument everywhere but I never hear the part. Did you try selecting another instrument? [Maybe it's the MIDI player that misses something to play the viola.] I could try compiling your score but you should provide it as an *attachement*. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: printing rest in ChordNames context
Hi. This solution to the N.C. problem (use r to indicate N.C.) ^^^ Will R also work? Thanks, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple skips in lyrics
[...] I use
underscore _ multiple times, e.g. 30 underscores. Is there any more
convenient way to define multiple skips instead of long row of
underscores like _ _ _ _ _ _ _?
\repeat unfold 30 { _ }
Best,
Gilles
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Re: I don't remember how to do this ...
Hi.
[...]
realized that the notes are one step too high.
[...]
If I understood correctly, you just need to use \transpose:
% -- Trombone 1--
tbonea = { all the notes of the piece }
trombonea = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 1
\set Staff.shortInstrumentName = #Tbn 1
\clef bass
\transpose d c { \tbonea }
}
% -- Trombone 2--
tboneb= { all the notes of the piece }
tromboneb = \relative c {
\global
\key f \major
\set Staff.instrumentName = #Trombone 2
\set Staff.shortInstrumentName = #Tbn 2
\clef bass
\transpose d c { \tboneb }
}
But if you also want to keep the same pitch (as without the transposition),
you also need \transposition:
\transposition bes { \transpose d c { \tboneb } }
Best,
Gilles
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Re: Writing text in a measure
Hi.
I need something like
music .. |s-\markup {Play loud random notes, then burn your instrument (30s)
}| more notes...
This seems to work for me (see attached files).
Best,
Gilles
\version 2.10.10
mm = \relative c'' {
a4 b c d |
s4-\markup {Play loud random notes, then burn your instrument (30 s)} s s s
|
e4 d e c |
}
\score {
\new Staff {
\mm
}
\layout {}
}
test2.pdf
Description: Adobe PDF document
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Re: Writing text in a measure
This seems to work for me (see attached files). But don't you need an \instrumentSwitch command near the end? I never used this command. How is it related to what the first poster asked? Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: why does this simple notation fail a barcheck?
trpta = {
\partial 8*1 e8-. |
e4 d8 c4 d8 |
e4 e8-. r r e |
e4 d8 c4 d8 |
e4 e8 r r fs |
g4 fs8 g4 e8 |
d2 d8 e |
\times 2/3 {f4 fs b} |
\times 2/3 {d c b} |
g2.\fermata \bar || |
r1*5
}
There errors are this -
Interpreting music... [8]
F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 1/2
\times 2/3 {f4 fs b}
|
Probably because this bar contains the value of a half-note (or 2 quarter
notes) while a complete bar is a dotted half-note (or 3 quarter notes or 2
dotted quarter notes or ...).
Best,
Gilles
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Re: Total invisibility
E.g. in this instance, I would have liked to keep the drone notes and
the
melody notes together (i.e. in the same file) because they both are
the
bagpipe content.
But that, as we've seen, that makes it difficult to separate the
printed
from the midi output; hence I had to *separate* contents that belong
together (i.e. create the drone staff) and then use \tag...
No, that's not true. There's a difference between having them in the
same file, and having them in the variable. You can have a variable
drone = {music} and a variable pipes = {music} in the same file.
I had exactly that: 2 _variables_.
And
then your score has \new Staff \drone \pipes or not.
I cannot have that (i.e. it's a personal choice to minimize the number of
changes from one project to another) because the Staff is exported from
the contents file: Hence at the score level, I just want to see a variable
\staves (which is a StaffGroup); but no reference to the internal
drone or pipes.
Admittedly, there might be a better way to organize the layout/contents into
multiple files but if I'm not mistaken, there is a huge gap between the
examples in the manual or LSR (where everything is crammed into a single
file) and frameworks for large scale projects. [Some proposals have been
talked about in this ML (e.g. Nicolas Sceaux's) but they are not (yet?)
integral part of LilyPond.]
In-between these extremes, there are many different aproaches, but not one
considered to be the final normalized LilyPond template of templates...
Best,
Gilles
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Re: Total invisibility
Hi.
First, the great thing about a program like LilyPond is that one is
not constrained to templates. You create your own that works for you.
I don't see templates are not a constraint but as a time-saver.
It's nice not to be constrained to a single one. But that doesn't mean
that one template cannot be arguably better than another.
Then, it might be interesting to have some template repository so that
we can compare their respective merits and bring some ideas to improve
our own. [It has been said a few times that LSR wasn't suitable for that
(because of the multiple files approach).]
Second, the problem is that you may learn over the course of several
projects that your current template is somehow deficient. Much better
to improve your template now and save yourself potential hours of
working around an old template that may not suit all your needs. I
can foresee many types of workflow for large projects, but I for one
like to have many small files that feed into one or more parent files.
Editing is much easier that way (at least in vim) and it offers
maximum flexibility in the end. But it's taken a couple years to get
a template I'm happy with.
I know that's not too helpful - but I've never regretted a few hours'
work getting my templates right.
My templates are not too bad either, also built up for several years with
nice tricks from here (the ML) and there (the Manual).
In the end, fo the problem that started this thread, I just needed to add
this
\tag #'no-layout {
\context Staff = Drone {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\droneStaff
}
to my StaffGroup, and this
\removeWithTag #'no-layout \staves
instead of just \staves to my \score block (the one with \layout{}).
Best,
Gilles
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Re: Total invisibility
Hi. Ah, I understand now. Honestly, I would change the input to reflect what you want. What you want is a midi voice that is not present in the score. If I understand correctly, you have typeset this voice into the printed score. (This is where I learned a lot from Kieren about separating things.) That's also what I'm trying to achieve but it doesn't always seem possible with LilyPond only. I like having separate input files for the different instruments, but for most projects, I don't think it would be wise to go further and put other tools in the picture such as a preprocessor that would fetch its data from a database! E.g. in this instance, I would have liked to keep the drone notes and the melody notes together (i.e. in the same file) because they both are the bagpipe content. But that, as we've seen, that makes it difficult to separate the printed from the midi output; hence I had to *separate* contents that belong together (i.e. create the drone staff) and then use \tag... I've learned with lilypond to put one thing into a variable. If there are two voice that are always two voices throughout the entire piece, then it's easier to type those two voices into separate variables and combine them in my staff, than to type them both into the same variable. Of course, that's also what I do. But having the drone and melody in separate voices is not enough; they had to go in separate staves. Otherwise I would have mixed contents (music) with layout decision, by specifiying a \tag #'no-layout in front of the drone Voice! Anyway, in the end, it works, with minimal changes :-) Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Total invisibility
I'd like a Voice to be totally invisible (i.e. taking up no space)
while
retaining midi output.
Then don't include it in the \score block with a \layout. You can
have
multiple \score blocks in a file.
\score {
\new Staff {\bagpipeMusic}
\layout {}
}
\score {
\bagpipeMusic
\droneMusic
\midi {}
}
How does this not work for your templates? I'm assuming you have a
\score block in your file. It probably has a \layout {} and a \midi {}
block in it. You duplicate the \score block, and leave one with the
\layout {} and one with the \midi {}.
I already have 2 \score blocks (namely to have \unfoldRepeats for
the MIDI output). But the thing is that both \scores refer only to a
variable \staves (defined in another file, that groups all the staves for
all the instruments) and I don't want those blocks to refer to a \drone
variable which won't even exist in most projects. [When an instrument
doesn't exist in a score, I comment it out in the file that defines the
\staves variable.]
Then, in the one that has the
\layout {}, you remove all references to the invisible staff.
Currently, the drone is *not* in its own staff; it's a second Voice in
the bagpipe staff.
Hence my question: Is it possible to completely hide that Voice (the
same way that some symbols can be made to take no space at all). [That
would be the easiest solution since I wouldn't have to touch any file
other than the one concerned with the drone i.e. the bagpipe file.]
But, if the above is not possible, then I figure I'll have to add a new staff
for the drone, and figure out something with \keepWithTag (or
\removeWithTag) to prevent the staff from appearing in the layout. [In any
case, I'd seek a modification that would be done once for all in the \scores
blocks (i.e. no commenting in/out in each project).]
Best,
Gilles
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Re: Multi measure rest for non 4/4 measures
I wanted to have something like that : \set Score.skipBars = ##t \time 12/8 r1*12/8*4 ^^^ Should be a capital R. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Total invisibility
Hi.
I'd like a Voice to be totally invisible (i.e. taking up no space) while
retaining midi output.
The purpose is to add the drone to a bagpipe part. Currently I've done
something like the attached file.
The problem is that the \drone takes space and pushes the violin staff
downwards. Also (in the complete file) I get a lot of:
[...] warning: ignoring too many clashing note columns
What would be the incantation to make those notes totally neutral,
graphically speaking (and, if possible, make the warnings disappear)?
Or is there another, better, way to achieve this?
Thanks and best regards,
Gilles
\version 2.10.10
drone = \relative c' {
\override Tie #'transparent = ##t
\hideNotes
g g,1~ |
g g,1 |
}
bagpipeNotes = \relative c'' {
\new Voice {
\oneVoice
d4 c8 ees d4. ees8 |
fis4 d16 d g8 fis2 |
}
\new Voice {
\drone
}
}
bagpipeStaff = \context Staff = Bagpipe {
\clef G
\bagpipeNotes
}
violinNotes = \relative c' {
d4 c8 ees d4. ees8 |
d4 d16 d ees8 d2 |
}
violinStaff = \context Staff = Violin {
\clef G
\violinNotes
}
\score {
\context StaffGroup
\context Staff = Bagpipe {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\bagpipeStaff
\context Staff = Violin {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 2)
}
\violinStaff
}
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Re: Total invisibility
Hi.
I'd like a Voice to be totally invisible (i.e. taking up no space)
while
retaining midi output.
Then don't include it in the \score block with a \layout. You can have
multiple \score blocks in a file.
\score {
\new Staff {\bagpipeMusic}
\layout {}
}
\score {
\bagpipeMusic
\droneMusic
\midi {}
}
Unfortunately, that doesn't fit well with my current templates: I use one
file for each instrument, then another file for the full layout (that refers
to the Staff variables defined in those other files) and then still others
that contain the \score... Well, in short, I'd rather keep the reference
to \drone in the bagpipe file, if possible.
Hence seeking the eventual \set or \override that could get the result.
I assumed that something akin to [...] #'stencil = ##f would have been nice
but, if that doesn't exist...
Best,
Gilles
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Re: RemoveEmptyStaffContext
Hi.
I have a score with 3 voices, A, B, and C.
Voices B and C have a lot in common. For about half of the score the B
parts is identical to the C part.
By specifying rests in voice B where it is identical to voice C, and
using \RemoveEmptyStaffContext, LilyPond can eliminate printing of
voice B. That's good. And a space saver.
But, not surprisingly, this makes the generated MIDI less useful. I
split the MIDI into separate parts for the individual voices, and now
voice B will have large gaps where it should sound the same as voice
C. I hope it is clear what I mean.
What would be a good way to benefit from \RemoveEmptyStaffContext and
still get a useful MIDI? I'm currently considering to write
non-printing rests (S-rests) in voice B where it matches voice C and
then develop a scheme function that copies the measures from C where B
has S-rests. But I was wondering whether there are other means to deal
with this situation.
You could use different \tags (e.g. midi and score). Something like:
BC = \relative c' { a4 b a b }
B = \relative c' { c4 d e \tag #'midi { \BC } \tag #'score { s4*4 } d4 c }
C = \relative c' { a4 b a \BC g f }
Then in the \midi block you use
\keepWithTag #'midi { ... }
and, in the \layout,
\keepWithTag #'score { ... }
[Not tested. It would have been easier if you provided a minimal working
example of your current code.]
Best,
Gilles
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Re: jeux inegales
Hi. the question I'm asking You is not directly connected with lilypond, but I guess, that some of You could help me a lot. I'm searching for instructive examples from the french baroque-music, where the so called jeux inegales (it's a little bit like swing) has ^ This should be jeu inégal or maybe notes inégales. tu be used. Mostly I'm interested in examples, where some of the notes has to be played inegal, and some not. There is an article on Wikipedia which mentions the rule: http://en.wikipedia.org/wiki/Notes_in%C3%A9gales If You know some good example, please send it to me, if possible in Lilypond-code. In article referred to above, they point to Bach's Contrapunctus II which is on Mutopia: http://www.mutopiaproject.org/cgibin/make-table.cgi?searchingfor=bach [Although the uneven notes are spelled out explicitely with dotted durations.] I'm searching for this for my students. I brace myself for a lecture about rhythms, ornaments and so on during the baroque era. I have a sonata by Boismortier which I encoded quite some time ago (with \version 2.4). [Now I've just converted to 2.10 but the result has a problem: the bass figures are too far from the bass staff (a lilypond bug?). I don't have version 2.12 so cannot tell whether it's solved with it.] I think that there are a few passages in the first movement that contain notes to be played uneven. If you want I can send you the files. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Markup from HTML
Hello.
does anyone of you have a script or a way to convert from (simple)
html to markup like this:
This is a mebilis/i/bma.
To get:
\markup { This is a \concat { me \bold \italic lis ma. } }
sed would do the job, but I'm too hazy on it to offer a solution.
Depending on how complex the input may be, XSL might be a more powerful
approach (but it takes quite some effort to get used to it!).
Here attached is an XSL script that can serve as a starting point.
Used as
$ xsltproc htm2txt.xsl in.htm
You'll get
\markup { \concat { This is a me\bold { \concat { \italic { \concat { lis
} } } }ma. } }
[I couldn't test the output as I don't have a \concat in \version 2.10.]
Best,
Gilles
htm2txt.xsl
Description: XML document
This is a melisma.
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Re: Combining parts
Hi.
My problem is that when combining the top parts as separate voices, it
looks rather messy and confusing. I can combine two parts with
\partcombine, and that does give a much better copy, but it still leaves
the third part. I know that \partcombine can only handle two parts, but
has anyone any idea how three parts might similarly be combined?
I think I need the same thing: combining 2 *OR MORE* parts in one staff or
double staff.
I need this for orchestral music in order to produce a simplified output
such as woodwinds or brass staves instead of a dozen staves with 90% of
void measures each...
Couldn't tweak \partcombine but perhaps because I'm just a basic Lilypond
user.
Any idea?
I'm not sure that \partcombine is the best option. You could try using
Voice contexts, something along the following lines (for the combined
score):
%---CUT---
\version 2.10.10
soprano = \relative c'' {
% ... Notes here ...
}
alto = \relative c'' {
% ... Notes here ...
}
tenor = \relative c {
% ... Notes here ...
}
basse = \relative c {
% ... Notes here ...
}
upper = \context Staff = Upper {
\clef G
\context Voice = Soprano { \voiceOne \soprano }
\context Voice = Alto { \voiceTwo \alto }
}
lower = \context Staff = Lower {
\clef F
\context Voice = Tenor { \voiceOne \tenor }
\context Voice = Basse { \voiceTwo \basse }
}
pianoStaff =
\context PianoStaff = Piano
\upper
\lower
%---CUT---
Then you can add separate staves for the instrument parts:
%---CUT---
recorderOneStaff = \context Staff = RecorderOne {
\soprano
}
recorderTwoStaff = \context Staff = RecorderTwo {
\alto
}
% etc.
%---CUT---
If you need more voices on one staff, there is also \voiceThree and
\voiceFour (see manual).
Best,
Gilles
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Re: combine dynamics of 2 voices
Hi.
I would like to print on the same staff two parts of wind instruments
(flutes, clarinettes...) but if I use { \partI } \\ { \partII } or
\partcombine { \partI } { \partII }, the dynamics are not merged when
they are the same. I get the same crescendo et decrescendo above and
below the staff which is not very nice.
Any clue?
You can use \tag.
Best,
Gilles
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Re: Transposing help.
Hi. If someone could download the music and help me out here I would greatly appreciate it. It is mentioned, on the Mutopia page for that piece that this score uses LilyPond v2.6.4. Did you compile it with the right version? In fact, I guess that you have a much more recent version installed. So you must convert all the files to the right version. There is a tool called convert-ly that would do that, but it needs the \version statement at the top of the file; which is missing in the piece you refer to. So you have to add it there yourself, then run convert-ly, then add the \transpose statement, and try again to compile. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Escaping text in title and composer?
Hi. [...] I can easily change to \ in the text, but perhaps there are other characters that will cause lilypond to fail. As a first step, I'd suggest to filter out (or escape) anything that your program cannot handle. Languages usually used for web development provide libraries for regular expressions (e.g. Perl, Java, ...) that can easily match all non alphanumeric characters: All those should be escaped. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to put whole measure rest in unmetered music?
Hi. Maybe that \cadenzaOn is what you should use. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord name position
Hi.
changes = \chords {
c1 c1
}
slashes = {
\override NoteHead #'style = #'slash
b'1 b'1
}
\score {
\new Staff
\changes
\slashes
}
---
would someone be kind enough to explain?
\new Staff
appears before
\changes
Hence the chord line is after the staff line.
The attached file shows how to make it the other way around.
Best,
Gilles
\version 2.10.10
harmony = \context ChordNames {
\chordmode {
c1 |
c1 |
}
}
slashes = {
\override NoteHead #'style = #'slash
b'1 |
b'1 |
}
\harmony
\new Staff {
\slashes
}
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Re: Keeping annotations when extracting parts from a score
Hi.
I've got a song where several annotations like Refrain or Verse are set
in
the Vocals (because that's the voice at the top of the system).
Now I'm starting to extract parts, and of course the annotations are only
shown in the vocal part.
is there any other way to have the annotations in each other part than to
write it down for any voice but using tags to prevent them getting printed in
the score?
It would be nice if I could define for e.g. bar 3 independently of the
instrument the part is for that the annotation Refrain has to be set at
the
upper right of the bar.
You can save the annotations in a variable and create one staff with them and
one
staff without; then you use the appropriate one in the \score block. [See
attached
example.]
Best,
Gilles
\version 2.10.10
annotationsForParts = {
s1*3 |
s1^Refrain |
% etc.
}
partNotes = \relative c' {
c1 |
d2 e |
f1 |
g4 a g f |
% etc.
}
partStaffWithAnnotations = \context Staff = AnnotatedPart {
\annotationsForParts
\partNotes
}
partStaff = \context Staff = Part {
\partNotes
}
\score {
\partStaff
% \partStaffWithAnnotations
\layout {}
}
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Re: combining parts into a score
Hello. \include alto+descant notes.ly \include alto2 notes.ly \new Staff \alto+descant notes \new Staff \alto2 notes This looks quite odd. Although I'm not sure whether lilypond will be confused by it, using spaces in a file name is a bad idea. Morevover space characters are used as token separators so that, in the above, \alto2 refers to a variable named alto2 and notes is a syntax error. Also, LilyPond does not allow non-alphabetic characters in variables so that alto+descant is also an error. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental besides trill
Hi.
How to put an accidental besides trill?
Try this:
e^\markup{\musicglyph #scripts.trill {\raise #1 \sharp}}
Best,
Gilles
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Re: generating pdf and png but no ps
Hi. How can I generate pdf and png but no ps? $ lilypond file.ly GNU LilyPond 2.10.33 Processing `file.ly' Parsing... Interpreting music... [2] Preprocessing graphical objects... Layout output to `file.ps'... Converting to `file.pdf'... $ rm file.ps Can I adjust resolution of the png? I just need thumbnails. $ convert file.png -resize 120 file_resized.png Is there a simple way to see (e.g. from the shell or an external programming language) how many png-pages lilypond produced? ? Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chords above piano staff
Hi.
The layout is as follows:
\new PianoStaff
\chords { ... } % 24 bars
\new Staff = upper {
\upperIntro% 8 bars
\melody% 16 bars
}
\addlyrics { }
}
\new Staff = lower {
\lowerIntro% 8 bars
}
Please send a minimal but *compilable* example: It's a waste of time if
someone willing to help must first fill in the blanks to have an idea of
what you already got and are not happy with.
Best,
Gilles
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Re: chords above piano staff
Hello.
Please send a minimal but *compilable* example: It's a waste of time
Sorry, I thought advanced users could imagine the output.
Sometimes not so advanced users, or users with less imagination can help
too. ;-)
Here attached a modified version of your code that puts the chords above the
staff.
[The problem has something to do with the PianoStaff already instantiated
when the chord line is being defined.]
Gilles
\version 2.10.10
harmony = \context ChordNames {
\chordmode {
c1 |
g |
}
}
\harmony
\new PianoStaff
\new Staff = upper {
\relative c' {
c4 c c c
d d d d
}
}
\addlyrics {
\repeat unfold 4 \skip 1
la la la la
}
\new Staff = lower {
\relative c' {
c4 c c c
}
}
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Re: Removing bundled LilyPond
Hello. Usually it is sufficient to rename the old executable and point a symbolic link to the new one; say you installed the recent version in /home/johndoe/bin/lilypond/, and the default choice is in /usr/bin/, then you have do mv /usr/bin/lilypond /usr/bin/lilypond-2.10.33 ln -s /home/johndoe/bin/lilypond/lilypond /usr/bin/lilypond This is not to be recommended as it interferes with the distribution's package management and will break at some point (e.g. next upgrade). Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Removing bundled LilyPond
By '$HOME', I assume you mean the path of my local home directory. By
the way, what is my $PATH? Where do I find it and how may I alter it?
HOME and PATH are so-called environment variables.
You can change them in the initialization files of your shell (command-line
interpreter). Which file depends on which shell you use: Try the command
echo $SHELL to find out.
If it is bash, you can add something like the following lines in the
.bash_profile file in your home directory [1]:
#---CUT---
# set PATH so it includes user's private bin if it exists
if [ -d ~/bin ] ; then
PATH=~/bin:${PATH}
fi
#---CUT---
Best,
Gilles
[1] You must log in again for the change to take effect.
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Re: padding tempo indication over multiple whole-bar rests?
Sorry! I'm not quite sure what you mean by the .ly code, but I typeset the
indication as
\mark\markup\normalsize {Maestoso}
Then you probably need something like the following:
\override Score.RehearsalMark #'padding = #3.0
Best,
Gilles
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Re: one voice
I want to hide some notes. But, in the below quoted example, I don't see any example here... Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to split autobeam
Hi.
Here's one example that produces the wrong beaming:
right = \context Voice = discant
{
\clef violin
\time 4/4
\relative b' { b8. d fis b bes,16 d f bes b,8 d fis b b,8 d
fis b
cis,8 eis gis cis cis,8 eis gis cis d,8 f a d d,8 f a d }|
}
Hmm, this is still not a complete code: The \score part is missing.
Why do you use the ... construct? A chord is created with something
like
c e g4
I.e. with single brackets. Also, the duration is specified after the closing
bracket.
The compiler produces the correct beaming between the b8. and bes,16 chord
and between the two b,8 chords.
With the default auto-beam setting the next 4 chords are beamed together. In
this case the cis,8 chords should
Be beamed together and the two d,8 chords should be beamed.
You didn't tell why the solution I proposed does not satisfy your needs.
Similarly to my previous post, your code above can turned into:
%---
right = \context Voice = discant{
\clef violin
\time 4/4
\relative b' {
b d fis b8. bes d f bes16 b d fis b8 b, d fis b8
cis eis gis cis8[ cis eis gis cis8] d f a d8[ d f a d8] |
}
}
\score {
\right
}
%---
See attached pdf.
I've tried severla options, for example adding \nobeam to the first d,8
chord. As a result the last two chords are
Beamed together, but the first two chords (cis,8) are then separated, not
beamed.
I agree that this behaviour looks strange. Maybe someone else can give an
explanation or confirm that this is a bug.
Also tried overriding the default auto-beam, but that didnot produce the
correct result (yet).
In this, I guess that the default behaviour should be what you expect,
without resorting to this.
Hope you can help or point me in the direction where to look for a solution.
Again, what's wrong with using square (beaming) brackets?
Something like
a8[ b] c[ d]
produces the right result.
Gilles
test2.pdf
Description: Adobe PDF document
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Re: Getting a list of all pitches used in a score
Hi. In any case, here is the script inline (just copy/paste the text between the ---CUT--- marks in another file): Please be aware that this script scans anything, including commented-out lines and controls. For example, title = This is a nice song \key d \major This will give you an additional a and d . Right; thanks for pointing it out. My intended usage was to roughly evaluate the amount of encoding work needed to create a score. If accuracy is important, I'd advise to use the MIDI scanner I posted here. This will give 100% accurate results. [For my intended usage then, this is not quite accurate since I guess that notes in repeats will be picked up several times, whereas they were encoded only once. ;-)] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Getting a list of all pitches used in a score
Hi.
I am unable to get the attachment (I get http error 404). What am I missing?
A possible explanation was given in another post.
In any case, here is the script inline (just copy/paste the text between
the ---CUT--- marks in another file):
---CUT---
#!/usr/bin/perl -w
use IO::File;
my $lilyRE = '\b([a-gs](is|es){0,2})(\d|\b)';
my %counters = ();
for my $f (@ARGV) {
my $io = IO::File-new($f);
while ($_ = $io-getline) {
chomp;
my $note;
while (($note) = /$lilyRE/o) {
s/^.*?$note//;
$counters{$note}++;
}
}
}
my $total = 0;
foreach (keys %counters) {
$total += $counters{$_};
}
my %percent = ();
foreach (keys %counters) {
$percent{$_} = $counters{$_} / $total * 100;
}
foreach (keys %counters) {
print $_, '=', $counters{$_}, ' (';
printf %.2f, $percent{$_};
print '%)', \n ;
}
print Total=$total\n;
---CUT---
Best,
Gilles
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Re: Getting a list of all pitches used in a score
Hi.
Does anyone have any ideas about how to get a list of all the pitches from a
score? ... besides just counting off the sheet music.
Even better, to get a count of how many times each of the used notes are
played.
Here is a Perl script that counts the notes in LilyPond files (only the
English pitch names).
Example usage:
countLilyNotes.pl *.ly
Best,
Gilles
#!/usr/bin/perl -w
use IO::File;
my $lilyRE = '\b([a-gs](is|es){0,2})(\d|\b)';
my %counters = ();
for my $f (@ARGV) {
my $io = IO::File-new($f);
while ($_ = $io-getline) {
chomp;
my $note;
while (($note) = /$lilyRE/o) {
s/^.*?$note//;
$counters{$note}++;
}
}
}
my $total = 0;
foreach (keys %counters) {
$total += $counters{$_};
}
my %percent = ();
foreach (keys %counters) {
$percent{$_} = $counters{$_} / $total * 100;
}
foreach (keys %counters) {
print $_, '=', $counters{$_}, ' (';
printf %.2f, $percent{$_};
print '%)', \n ;
}
print Total=$total\n;
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Re: transparent background in lilypond generated png's
Hello. I've been using Lilypond regularly for several years now with great satisfaction. Recently, I've begun using lilypond generated png files in powerpoint presentations and I'd like to know if there is a way to generate these files with a transparent (rather than white) background so I can add something like a textured background image. Any help is greatly appreciated. You can use the convert tool (part of imagemagick package) like this: $ convert test.png -transparent white test_tr.png which will create test_tr.png with a transparent background. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ver. 2.11.56 problems
Hello. [...] For what it's worth. And again...thanks for all the help people have offered me since I've arrive here. I now have a very good looking score in front of me, as fruits for this labor - and more to come. I'm loving the experience I'm having here, mostly. I'd love to give a little talk about Lilypad at our lively local Classical Guitar Society, but I'm not going to. I don't want to witness the carnage. I've not read the whole thread, so some of the following might have been said already but anyway... 1. Why try to install the development version of Lilypond if your distribution provides one which has probably been checked for smooth integration with the other packages it needs? If you are new to Lilypond, you can probably do whatever you need with the last stable version. 2. Using the software provided by a Linux distribution is not more complicated than using that other well-known operating system. Not everyone will be able to manage the system (i.e. install/configure/ uninstall/troubleshoot) but the same is true for M$-Windows (where people usually just reinstall everything with the recovery CD when things start to behave strangely, as if this were perfectly normal). 3. Using the lilypond program (on Linux) amounts to learn the following 2 commands: $ lilypond myfyle.ly $ xpdf myfile.pdf That certainly should not scare away people motivated by the nice printed scores which this software produces. [Of course, assuming that people know what a file is, how to edit its contents and what a command is.] Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: set-global-staff-size... puzzle
Hi. If I have #(set-global-staff-size 20) in my code, I get 6 staffs spread across 1.5 pages (#6 is all that's on page 2). If I set the size to 18, I get the crowded onto one page with 2 at the bottom. I cannot figure out what's happening, or how to get better control of spacing between staffs. The solution might be not to have more control but less... See: http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg00452.html Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ubuntu package
Hi. What I want to do is install the latest version of LilyPond, but I'm unsure how or if I should remove LilyPond 2.10.33. Since I like LilyPond so much (despite my lack of knowledge concerning markup languages and programming), I'd prefer to avoid fouling up the installation of the new version. How do I go about removing 2.10.33 (if that's even necessary) before installing the latest development version. Path$ and Directorie$ are new to me because ever since I have used a computer, I have never had to deal with such weighty decisions (BTW, if anyone knows of an online self-help or twelve-step prgram-type resource to help recovering Windows users learn how to install programs in GNU/Linux, please pass them along--I'm not really 'lazy,' I just want to avoid messing things up). 1. As was suggested in another post, you could have a personal installation of whatever program you like inside your home directory. But depending on the program (like if it depends on several external components), it might not be as easy as installing it system-wide. 2. If you have 2 installations of the same program (say, one system-wide and another in your home directory), then you have to make sure that you call the one you want to use. That will require using the full name to the executable file, or setting up the appropriate $PATH variable. 3. So, if you only want to use the latest version of Lilypond, it's probably better to remove the other one, but be careful to do so using the appropriate tools of your distribution (unless you want to mess up your system!). There is no one single way of (un)installing software on GNU/Linux. Originally the various distributions came into being *because* they handle this aspect in different ways. A distribution would allow to install a foreign package system-wide on condition that it is done in places that do not interfere with its package management. Usually, those place are directories like /opt or /usr/local. These must then be used as argument to the --prefix option of the configure script. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: collision with TimeSig
Hello. I have a collision between the note and the text of the TimeSig in the below quoted example. Compiling the provided code with version 2.10.33, I don't see that there is any collision (see the attached pdf). Best, Gilles test1.pdf Description: Adobe PDF document ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score with large empty section at the top
Hello. For automatic adjustment of vertical spacing, you could also try what is explained here: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Two_002dpass-vertical-spacing#Two_002dpass-vertical-spacing Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Forcing note ... tail orientation
How can I force the note... erm... tail to go up or down, instead of the automatic orientation based on the note position in the stave? http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Stems#index-g_t_005cstemDown-217 Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: #(layout-set-staff-size 3)
Hi.
\score {
{
c' d' e' f'
}
\layout {
#(layout-set-staff-size 3)
}
}
To get a global zoom out, try to put this
#(set-global-staff-size 13)
at the top of the file.
Best,
Gilles
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Re: Roman numeral analysis
Hi. I hoped there might be a seperate context for roman numerals [...] I use a \Lyrics context. Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: numérotation , chiffre de chaque mesure / numbering of each measure
The default setting of Lilypond displays the sequential number of the first measure of each staff. Is it possible to get that number for each measure printed on the pdf output? If yes, how? \set Score.barNumberVisibility = #(every-nth-bar-number-visible 1) Best, Gilles P.S. I don't remember where, in the manual, I had found that. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to get error messages in a separate text file
Hello. I'm using bash, but on OSX. And I don't really get the results that I was looking for with this. I still get my errors in stdout. I don't use/have Mac OSX. I have no idea whether lilypond behaves differently on different OS. You should post the exact command you are using; hopefully someone can try it, and provide the solution appropriate to your environment. Good luck, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Outdated lilypond-mode for emacs ?
Hello. Could you please point out exactly what problems you have noted. Since you ask, one little thing I've noted is that in \figures mode, the automatic alignment is screwed up when the number is followed by a flat (minus sign), e.g.: 6-4 Then, in subsequent lines, pressing TAB sends the cursor one space too far. The workaround is to put a space after the minus sign, i.e.: 6- 4 Best, Gilles ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
