Re: MusicXML exporter (was Re: Lilypond lobbying?)
As an engraver AND an independent publisher (both of printed, and soon digital interactive sheet music) it has been imperitive for my to find ways of efficiently separting the content from the actual publishing layout, so that changes to format and/or content can be easily managed without one being entirely dependent on the other. As a printing method, all my sheet music content is imported as linked graphics into my desktop publishing software so that as soon as a change is made and the relevant piece of music is recompiled, my layout document automatically is updated with the new graphic content. I don't know how a larger publisher would work, but I would imagine they would follow some similar principle so that tweaks could easily be made without having to modify the layout. I've been following the MusicXML export discussion closely, because I have also been looking at converting some sheet music content into MusicXML so it can be delivered by the Legato Music interactive sheet music viewer. As I delve deeper into the process, I don't see how I can avoid having to make formatting/layout changes to the version that is delivered as interactive sheet music. So that even if there were a smooth export process from Lilypond to MusicXML, I would still need to tweak the formatting and layout, perhaps significantly. It would almost make my life easier just to have a fast, precise way to deliver the content rather than a way of trying to retain the precise format. I wind up doing my formatting in Finale, since the Legato support folks recommend the MusicXML export from Finale (using Recordare's export plugins) as the cleanest output for the Legato music player. By the way, I'll contribute $75 US to the MusicXML exporter project(s). -- Jack Cooper, BerLen Music www.berlenmusic.com www.jack-cooper.com___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: guitar chord: add9 - how?
There's a snippet for this, but here's a rebroadcast:
chExceptionMusic = {
c e g d'1-\markup { \super add9 }
}
chExceptions = #(append
(sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
Chords =
\chordmode {
\set chordNameExceptions = #chExceptions
d1:9^7
}
The exceptions you define applies to any chord of that voicing, regardless of
the key. I do
all of my exceptions in the key of C, for clarity.
--
Jack Cooper, BerLen Music
www.berlenmusic.com
www.jack-cooper.com___
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Re: Chord Naming
I was a bit lax in not mentioning that this particular setting is mentioned
under the notation manual
section 2.7.2, Displaying Chords for both version 2.12 and 2.13 documentation.
It is sometimes frustrating finding examples as a newer user- after a while you
start to build a
library of your favourite tricks and shortcuts without remembering where the
description
of the feature came from.
In general, I do the following when I'm looking for information about a topic
in lilypond and
have done this since starting out:
1 - Check the notation manual. I will sometime browse the TOC or look
specifically in the index.
2 - Do a search in the user list archives.
3 - Browse the LSR
I almost always find what I am looking for by searching through the list
archives. There will usually be a pointer to a
previous discussion where the solution was described, or a pointer to the
relevant notation manual chapter
or LSR entry. The hardest thing is sometimes finding the right keyword to
search.
Cheers,
Jack
--
Jack Cooper, BerLen Music
www.berlenmusic.com
www.jack-cooper.com
- Original Message
From: Martin Tarenskeen m.tarensk...@zonnet.nl
To: Jack Cooper jack.coo...@rogers.com
Cc: lilypond-user@gnu.org lilypond-user@gnu.org
Sent: Mon, April 26, 2010 2:52:43 AM
Subject: Re: Chord Naming
On Sun, 25 Apr 2010, Jack Cooper wrote:
You don't have to do
this for major sevenths- just include the following within your ChordNames
context:
\context ChordNames = Chords {
\set majorSevenSymbol = maj7
...
}
Thank you. THAT's the kind of
easy-to-understand-and-ready-to-use example I was looking for.
--
Martin
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Re: Chord Naming
You don't have to do this for major sevenths- just include the following within
your ChordNames context:
\context ChordNames = Chords {
\set majorSevenSymbol = maj7
...
}
What I do for other chord exceptions is put them all in one big file and
include that file in all my scores.
I suppose that doesn't work if you have different interpretations of chord
names for the same chord in
different pieces, but doing this once will save you a lot of hassle. And
saving you hassle is one of
Lilypond's strongest features.
--
Jack Cooper, BerLen Music
www.berlenmusic.com
www.jack-cooper.com
- Original Message
From: Jonathan Kulp jonlancek...@gmail.com
To: Tim Rowe digi...@gmail.com
Cc: lilypond-user@gnu.org lilypond-user@gnu.org
Sent: Sat, April 24, 2010 7:30:13 PM
Subject: Re: Chord Naming
On Sat, Apr 24, 2010 at 6:22 PM, Tim Rowe
ymailto=mailto:digi...@gmail.com;
href=mailto:digi...@gmail.com;digi...@gmail.com wrote:
I'm
sure I used to be able to do this, but now I can't. I must be
getting
forgetful!
How do I get Lilypond to show chord names instead of
jazz symbols (I'm
not a jazzer!)
In other words, I want
C major 7 to show as Cmaj7, not as C with a
triangle next to
it.
Check out this snippet:
href=http://lsr.dsi.unimi.it/LSR/Item?id=459; target=_blank
http://lsr.dsi.unimi.it/LSR/Item?id=459
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Re: Lilypond to MusicXML (was: Re: New Sibelius to LilyPond conversion suite)
Just out of curiosity... Assuming for the moment that development interest might materialize if there were money involved, approximately how much sponsorship dollars would be involved to tackle this? Jack -- Jack Cooper, BerLen Music www.berlenmusic.com www.jack-cooper.com - Original Message From: Graham Percival gra...@percival-music.ca To: Martin Tarenskeen m.tarensk...@zonnet.nl Cc: lilypond-user mailinglist lilypond-user@gnu.org Sent: Mon, February 8, 2010 6:51:26 AM Subject: Re: Lilypond to MusicXML (was: Re: New Sibelius to LilyPond conversion suite) On Mon, Feb 08, 2010 at 10:45:58AM +0100, Martin Tarenskeen wrote: But the main problem remains: Lilypond developers are also very happy Lilypond users, which could explain the lack of motivation to put a lot of time and effort exporting to a format that only people who do NOT use Lilypond really need ? LilyPond is open source. That means that you can see the workings of the software. LilyPond is Free software. That means that you can legally improve and distribute the software. Neither of those means that people who have improved LilyPond in the past are under ANY kind of obligation to you. You're blaming lilypond developer for not doing a job that *you* are not willing to do. That's not on. - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Community of professional LilyPond engravers?
Hi Michael, I would be interested in joining a discussion related to engraving and (dare I say) publishing with Lilypond, whether the discussion is part of a wiki, part of this group or part of a splinter group.. I have had a few freelance jobs fall my way and I know of folks who have hired freelance engravers to create musical output. The software used for engraving doesn't seem to be relevant- depending on the use of the music output, either a pdf or graphic image of the output is the end product. I did have one project where the client wanted Finale files of the score along with the pdf output. I am set up with both Finale and Lilypond as well as translation tools (pdftomusicxml, dolet for finale) so I am able to transfer output with a little tweaking to current or older finale versions. I talked to a few engravers and did some research on how engraving projects are charged. There are a lot of complicated pricing schemes in place (charge by the note, measure, page, instrument, etc.) but in the end it seemed to make sense to me to estimate how long it would take me to do the job and charge accordingly. I quote an hourly rate, but my 'hours' will vary on the project and budget. I also take into account that my skills are still developing so it isn't fair to charge for development time, where I am learning some new trick that will take me less time when I've had more experience. My main business isn't engraving but actually publishing printed songbooks and digital sheet music. As someone else mentioned, pdf output is what is accepted by most printers, so how you get there is up to you. In the digital realm, someone mentioned Sibelius as having the only real solution for online scores (apart from pdfs, where you generally have no control over who can access, copy and print the files). I am currently working with a company called Legato music (formerly MusicRain) that has developed a technology for publishing online digital interactive sheet music. The current customer rep, Peter Maund, used to work for Sibelius as the representative/support for Sibelius Scorch. Legato uses MusicXML files as input and allows for extensive digital content management. I am currently converting some of my Lilypond-generated songs into MusicXML and am working on integrating Legato sales into my online ecommerce site. -- Jack Cooper, BerLen Music www.berlenmusic.com www.jack-cooper.com - Original Message From: Michael J. O'Donnell michael_odonn...@acm.org To: lilypond-user@gnu.org Sent: Thu, February 4, 2010 7:59:51 PM Subject: Community of professional LilyPond engravers? I am pondering offering engraving services with LilyPond. I wonder if there are people ready and willing to share information on the possibility to make modest money this way. I found one (slightly broken) thread in the archives: http://lists.gnu.org/archive/html/lilypond-user/2007-10/msg00482.html http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg2.html which indicates that several people use LilyPond for professional projects, but they seem to be activities within a larger job, rather than pay specifically for engraving. I found one person offering Finale engraving ranging from 2 cents to 5 cents per note: http://home.earthlink.net/~rscarbro/russell/music_prep.htm but I didn't understand precisely what he was charging for. His examples looked to me inferior to LilyPond results, but they were in low resolution pictures. I found a list of people offering mostly Finale engraving from $20 to $80 per hour: http://www.musicengravers.com/ I have no idea how much they accomplish in one hour. I like the relative objectivity of a charge per note. So, if there is enough interest (i.e., at least 2 other people), I suggest that we develop a discussion within the LilyPond Wiki: http://wiki.lilynet.net/index.php/Main_Page If there's enough response, I'll join the Wiki, make sure that this is within it's scope, and provide a front page. So far, I have some examples to share, and a crude sed script for counting notes. Cheers, Mike O'Donnell ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond vs Score
I'm not saying it is inconceivable that a DOS-based relic of a program would be considered superior to any open source or commercially developed notation software over the last twenty years, but claims like this set my bullshit detector clanging like a chinese fire drill. Think of it this way- if you were a major publisher and were dependent upon trained professional engravers to provide you with a massive variety of material, would it make good business sense at all to insist that all these engravers, many graduating from Berklee or some other school where Finale or Sibelius is the standard, learn another format? Or pay someone to translate output from other formats into the *DOS-based* score? Just sayin'... Jack -- Jack Cooper, BerLen Music www.berlenmusic.com www.jack-cooper.com That ability would seem to indicate more possibilities. The person I spoke to who is one of the publishers listed on the Wikipedia page, said that the output of both Finale and Lilypond was unacceptable for a professional publisher. But he did say that the output of Finale could somehow be manipulated by Score. I don't quite understand how that could be done but this is what he said. I can't speak to what major music publishers use. Cheers, - Graham -- Bob Wooldridge Blog: http://kc0dxf.net/blog/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sheet music site for contemporary music
Stefan, are you looking looking to create a free sheet music site or are you looking at helping composers generate revenue from sheet music of their compositions (which is really the function of a sheet music publisher)? And by contemporary music, are you thinking specifically classical or are you including popular genres as well? Jack -- Jack Cooper, BerLen Music www.berlenmusic.com www.jack-cooper.com From: Stefan Thomas kontrapunktste...@googlemail.com To: lilypond-user lilypond-user@gnu.org Sent: Tue, January 26, 2010 4:18:54 AM Subject: sheet music site for contemporary music Dear community, sorry, the topic is not really something about lilypond, but somehow related to. Do You know some good sheet-music sites, that contain contemporary music? Off course, I knnow the great mutopia site, but it has only quite contemporary pieces. I thins it's the same problem with ) WIMA and the international score libary (which is down at this moment). A better one, in my opinion, is copyus, because it is specialized in contemporary music, but it is not very well known. I'm thinking of making a new site, specialized in contemporary music. Publishers in these days do more or less nothing for their composers and I guess, we shouldn't just wait that something will happen. What do You think about this? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: linking render frames in Scribus
I used Scribus to help lay out my first large book project. The main issue I had with the version of Scribus I was using was that the various methods for incorporating lilypond pdf output rendered *horribly* in print. I tried a number of methods, and each time I noticed distinct degradation in output quality from output incorporated into a Scribus file (and then exported as pdf) than from the original lilypond output. What I wound up doing was exporting each page of output as a hi-res png image and simply importing each page of music output as an image in Scribus. Made a helluva large pdf file, but when the end product is print, who cares? I don't know whether the lousy pdf rendering was a result of the version I was using at the time (the book was finished in February) and whether subsequent releases have improved pdf import. Cheers, Jack Jack Cooper, BerLen Music www.berlenmusic.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond to XML
As others have replied, this isn't currently a lilypond feature. However, a commercial program called pdftomusicpro provides translation between pdf output and another format which can then be exported to musicxml. It works pretty well, although I've only used it for leadsheet and songbook-style transcriptions. Depending on what you intend to do with the xml output, you may need to filter the output through one of the finale products to produce a more robust xml output. I haven't fully experimented with tab output, so I can't say how well the tab information is retained through this process. Jack Cooper, BerLen Music www.berlenmusic.com --- On Tue, 4/21/09, craigbakalian craigbakal...@verizon.net wrote: From: craigbakalian craigbakal...@verizon.net Subject: Lilypond to XML To: lilypond-user@gnu.org Received: Tuesday, April 21, 2009, 6:24 PM Hi all, Do we have anything to convert a lilypond file to a music xml file. Doing a google search just provides the opposite, xml to lily. Anybody know of anything? Craig Bakalian 560 Keswick Drive Yardley, PA 19067 215-428-0856 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: songbook from Lily scores
For a songbook project I just completed, I've been using Scribus and Gimp to manage my songbook layout and import the individual song pages as 300 dpi png files. This worked reasonably well, although Scribus takes a bit of playing around with to figure out how to configure a table of contents and other things. Jack --- On Fri, 2/6/09, Francisco Vila paconet@gmail.com wrote: From: Francisco Vila paconet@gmail.com Subject: Re: songbook from Lily scores To: Zoltan Kota zolt...@gmail.com Cc: lilypond-user@gnu.org Received: Friday, February 6, 2009, 4:02 PM 2009/2/6 Zoltan Kota zolt...@gmail.com: I have been using Lily for a year now, and I have several music scores as separate lily files. I would like to make a songbook including them, with cover page, table of contents, correct page numbering, etc. How should I start? What sectiones should I learn in documentation? Lilypond-book? Any useful info and tips are welcome! If your preferred system to produce documents is LaTex, go learn lilypond.-book. You'll have a TOC and page numbering. If all the scores span a single page maximum, inserting them as images could be an option for word processors. A third approach is to make multiple PDFs and pack them together with Adobe Acrobat or a free tool. A coherent numbering and an automatic TOC would be much more difficult in this case. -- Francisco Vila. Badajoz (Spain) http://www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lilypond version compile times
A silly question- a while back, people were reporting drastically slower compile times for the newest release of lilypond from that for previous versions. For that reason, I haven't version 11 since something like 2.11.32 (or maybe earlier..). Has the speed issue been resolved? If I recall, the problem had something to do with loading fonts.. I haven't come across anything on the bugfixes I've looked at.. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond version compile times
My bad- I should have read the fixes for 2.11.43.. Cheers, Jack - Original Message From: Jack Cooper [EMAIL PROTECTED] To: List lilypond-user lilypond-user@gnu.org; List lilypond-user lilypond-user@gnu.org Sent: Thursday, May 22, 2008 2:26:01 PM Subject: Lilypond version compile times A silly question- a while back, people were reporting drastically slower compile times for the newest release of lilypond from that for previous versions. For that reason, I haven't version 11 since something like 2.11.32 (or maybe earlier..). Has the speed issue been resolved? If I recall, the problem had something to do with loading fonts.. I haven't come across anything on the bugfixes I've looked at.. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Open Tuning Conversion
--- Martin Seng Hin Yew [EMAIL PROTECTED] wrote: Dear lilypond users, I'm copying some fingerstyle guitar score. Most of the songs are in open tuning (like D A D G A D) and crosstuning (like E-B-E-G-B-E). The notation is hard to read because it is totally different from standard tuning. I'm refering a standard 6-strings guitar. I'm asking, is there a command to convert the altered notes, to standard note (e.g. the 2nd string 1st fret should read C in score, not A#) but the guitar remains DADGAD tuning? Regards, Martin I hate responding twice, but I shoulda read the docs more carefully the past few months :-) If you read the Guitar section of the documentation, and then go to non-guitar tablatures, you will find an example of how to alter the tablature tuning for any stringed instrument. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Open Tuning Conversion
--- Martin Seng Hin Yew [EMAIL PROTECTED] wrote: Dear lilypond users, I'm copying some fingerstyle guitar score. Most of the songs are in open tuning (like D A D G A D) and crosstuning (like E-B-E-G-B-E). The notation is hard to read because it is totally different from standard tuning. I'm refering a standard 6-strings guitar. I'm asking, is there a command to convert the altered notes, to standard note (e.g. the 2nd string 1st fret should read C in score, not A#) but the guitar remains DADGAD tuning? Regards, Martin Martin, just to clarify, are you referring to the inability of the tab staff to accomodate altered tunings? If so, this is a wall I've run up against as well, and I would be interested in helping sponsor a solution. My current solution is to enter the wrong notes in the tab staff so that the tab shows what strings/frets a player would actually play in the intended tuning. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating a nice formatted Chords + Lyrics layout for guitar players
--- Johan Vromans [EMAIL PROTECTED] wrote: Thomas Bonte [EMAIL PROTECTED] writes: You may see my current result on this pdf file: http://www.nabble.com/file/p13829430/CL-v2.pdf If this is what you want to achieve, I'd suggest to take a look at the 'chords' program. (It is currently hard to find, but we're working on a new release and a new site. I can send you a copy if you like.) -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user I don't know your exact requirements, but before my discovery of lilypond, when I was looking for software to produce chords and lyrics with chord diagrams, I came across a program called SongSheet - http://www.dsbsoft.com/ Again, I don't know your requirements- this progam is Windows based, is not freeware and has a bit of an awkward interface. But it may be what you are looking for. There is a free download to try. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd Volta Behaviour
I've attached a peculiar little example to illustrate a problem
I am having with Volta using Alternative endings.
Instead of using a regular chordname context to display my chords,
I am creating a new voice consisting entirely of spaces and text
markups. The text markups contain both the fret diagrams and chordnames
(with and without capo). In addition to this voice, which I label
fret, I am also defining a vocal voice, segmented into different
sections of the song.
The song (An abridge version of Twinkle, Twinkle, Little Star)
contains a volta repeat with alternative endings. In this case,
my volta bracket appears below my chords.
How do I move the volta above my chords while retaining the peculiar
structure I've set up to display my chords/fret diagrams? Is this
a case where I should be defining a new context for my chords/frets?
I am using lilypond 11.
Thanks in advance,
Jack \version 2.11.25
\include english.ly
\header {
dedication =
title = Twinkle, Twinkle, Little Star
subtitle =
subsubtitle =
poet =
composer =
meter =
opus =
arranger =
instrument =
piece =
breakbefore =
copyright =
tagline=
}
% -- DEFINE TAGS USED THROUGHOUT SONG TEMPLATE --
gmaj= ^\markup {
\halign #1 {
\override #'(font-name . Verdana Bold )
\fontsize #-1.8 {\center-align {G (F) } } }
\raise #-2.9
\override #'(size . .80) \fret-diagram #c:6-1-2;6-o;5-3;4-3;3-2;2-o;1-o;
}
amaj= ^\markup {
\halign #1 {
\override #'(font-name . Verdana Bold )
\fontsize #-1.8 {\center-align {A (G) } } }
\raise #-2.9
\override #'(size . .80) \fret-diagram #6-3;5-2;4-o;3-o;2-o;1-3;
}
dmaj= ^\markup {
\halign #1 {
\override #'(font-name . Verdana Bold )
\fontsize #-1.8 {\center-align {D (C) } } }
\raise #-2.9
\override #'(size . .80) \fret-diagram #6-3;5-3;4-2;3-o;2-1;1-o;
}
verseone = {
d'4 d'4 a'4 a'4 |
b'4 b'4 a'2 | \break
}
altone = {
g'4 g'4 fs'4 fs'4 |
e'4 e'4 d'2 | \break
}
alttwo = {
g'4 g'4 fs'4 fs'4 |
e'4 e'4 d'2 | \break
}
bridge = {
a'4 a'4 g'4 g'4 |
fs'4 fs'4 e'2 | \break
a'4 a'4 g'4 g'4 |
fs'4 fs'4 e'2 | \break
}
versefinal = {
d'4 d'4 a'4 a'4 |
b'4 b'4 a'2 | \break
g'4 g'4 fs'4 fs'4 |
e'4 e'4 d'2
\bar |.
}
song = {
\mark \markup \small \italic \column { Place Capo on 2nd fret }
\clef treble
\key d \major
\time 4/4
\override MultiMeasureRest #'expand-limit = 1
\repeat volta 2 {
\new Voice = verseone {\verseone}
}
\alternative {
{\new Voice = altone {\altone} }
{\new Voice = alttwo {\alttwo} }
}
\new Voice = bridge {\bridge}
\new Voice = versefinal {\versefinal}
}
frets = {
\override TextScript #'staff-padding = #2.5
\hideNotes
s1\dmaj s2\gmaj s2\dmaj
s2\gmaj s2\dmaj s2\amaj s2\dmaj
s2\amaj s2\dmaj s2\amaj s2\dmaj
s2\dmaj s2\amaj s2\dmaj s2\amaj
s2\dmaj s2\amaj s2\dmaj s2\amaj
s1\dmaj s2\gmaj s2\dmaj
s2\gmaj s2\dmaj s2\amaj s2\dmaj
}
lyrVerseOne = \lyricmode {
Twin -- kle Twin -- kle lit -- tle star
}
lyrAltOne = \lyricmode {
How I won -- der what you are
}
lyrAltTwo = \lyricmode {
How I won -- der what you are
}
lyrBridge = \lyricmode {
Up a -- bove the world so high,
Like a dia -- mond in the sky
}
lyrVerseFinal = \lyricmode {
Twin -- kle Twin -- kle lit -- tle star
How I won -- der what you are
}
\score {
\set Score.skipBars = ##t
\new Staff = vocals
\set Staff.voltaOnThisStaff = ##t
\frets
\new Voice = song { \song }
\new Lyrics\lyricsto verseone\lyrVerseOne
\lyricsto altone \lyrAltOne
\lyricsto alttwo \lyrAltTwo
\lyricsto bridge \lyrBridge
\lyricsto versefinal \lyrVerseFinal
}___
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Re: Multimeasure rests with chordnames context .. possible bug?
--- Mats Bengtsson [EMAIL PROTECTED] wrote:
Quoting Jack Cooper [EMAIL PROTECTED]:
I've been having a problem generating multimeasure rests within
leadsheets, and until recently I made no serious attempt to figure
out what was going on. What I finally noticed is that lilypond
doesn't generate multimeasure rests when I use the chordnames context.
If I comment out the chordnames part of the score, lilypond correctly
generates multimeasure rests.
I haven't seen anything in the archives addressing this issue, so
I wonder if I've been missing something obvious. I am currently
using version 2.11.27 under windows, although I noticed this problem
with version 2.10.x as well. I've attached a copy of one of the
leadsheet files that exhibits this behaviour..
If you temporarily replace your \context ChordNames = mychords {
by
\context Staff = mychords {
you might get a clue on what the problem is.
In order for the \set Score.skipBars = ##t setting to work here, you
need to use multimeasure rests also in the ChordNames context. For
example, you should replace
harmonies = \chordmode {c1 r1 r r r r r
by
harmonies = \chordmode {c1 R1*6
/Mats
Ah, yes.. makes much more sense now.. thanks, Mats!
Jack
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Multimeasure rests with chordnames context .. possible bug?
I've been having a problem generating multimeasure rests within
leadsheets, and until recently I made no serious attempt to figure
out what was going on. What I finally noticed is that lilypond
doesn't generate multimeasure rests when I use the chordnames context.
If I comment out the chordnames part of the score, lilypond correctly
generates multimeasure rests.
I haven't seen anything in the archives addressing this issue, so
I wonder if I've been missing something obvious. I am currently
using version 2.11.27 under windows, although I noticed this problem
with version 2.10.x as well. I've attached a copy of one of the
leadsheet files that exhibits this behaviour..
Cheers,
Jack%
% This lilypond source file produces lead sheet output
% for a Jack Cooper composition, Eyes Wide Open.
% The melody is written out in full in this example- there
% are no musical repeating elements used.
%
% the following statement indicates the version of lilypond used to compile the source code.
\version 2.11.25
% the following statement invokes certain preferences with regards the syntax for sharps and flats.
\include english.ly
% the following statement sets overall size scaling of music output
#(set-global-staff-size 15.8)
%
% The following section specifies settings for printed output including
% paper size and margins. Letter-sized paper must be explicitly stated
% else the European default, A4, is used.
%
\paper {
top-margin = 10\mm
bottom-margin = 10\mm
% annotate-spacing = ##t
left-margin = 12\mm
page-top-space = #0.5
head-separation = #0.5
after-title-space = #0.5
% between-system-padding = #1.5
% between-system-space = #0.4
between-system-padding = #0.8
between-system-space = #0.1
% page-spacing-weight = #20
print-page-number = #f
#(set-paper-size letter)
}
%
% The following section specifies information appearing in the page header and footer.
% An explanation of each setting can be found in lilypond's online documentation:
% http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Creating-titles#Creating-titles
%
\header {
dedication =
title = Eyes Wide Open
subtitle = Lead Sheet
subsubtitle =
poet =
composer = Jack Cooper
meter = Tempo = 124 bpm
opus =
arranger =
instrument =
piece =
breakbefore =
copyright = Copyright - Jack Cooper, 2001
tagline=
}
% the following defintion creates a customized chord symbol for No Chord
NCString = { c e g-\markup { \whiteout { \hspace #-2 NC } } }
NCStringX = #(append (sequential-music-to-chord-exceptions NCString #t)
ignatzekExceptions)
%
% the following defines the melody notes used in the song's intro
%
intro = {
\set Score.skipBars = ##t
\override MultiMeasureRest #'expand-limit = 1
R1*7 \bar ||
}
%
% the following defines the melody notes used in the first verse of the song
%
verseone = {
r4 c'4 e'8 g'8 a'4 | R1 |
r4 r8 g8 e'8 e'4 c'8 | R1 |
r4 r8 g8 e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r8 c'8 c'8 c'8 e'4 e'4 | c'4 r4 r2 |
r4 r8 c'8 e'8 g'8 g'8 e'8 | g'8 (d'8 e'4) r2 |
r4 r8 g8 e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r4 c'4 e'4 g'4 | g'2 f'8( e'4.) |
d'8 g4. e'8 e'4 c'8~ |
c'4 r4 r2 | R1 | R1 \bar ||
}
%
% the following defines the melody notes used in the second verse of the song
%
versetwo = {
r4 c'4 e'8 g'8 a'4 | R1 |
r4 r8 g8 e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r2 e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r8 c'8 c'8 e'8~ e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r4 r8 c'8 e'8 g'8 g'8 e'8 | g'8 (d'8 e'4) r2 |
r4 r8 g8 e'8 d'8 d'8 c'8 | c'4 r4 r2 |
r4 c'4 e'4 g'4 | g'2 f'8( e'4.) |
d'8 g4. e'8 e'4 c'8~ |
c'4 r4 r2 \bar ||
}
%
% the following defines the melody notes used in the song's bridge
%
bridge = {
r2 c''4 b'4 | a'4 g'4 e'4 g'4 |
a'8 b'4 b'8 ~ b'4 a'8 ( g'8) |
a'8 g'4. g'8 g'4 e'8~ |
e'4 r4 r4 c''8 b'8 |
a'4 g'4 e'4 g'4 |
a'8 b'4 b'8 ~ b'4 a'8 (g'8) |
a'4 g'4 g'8 g'4 e'8 ~ |
e'4 r4 r4 c''8 b'8 |
g'4 r4 r4 c''8 b'8 |
g'4 r4 r4 c''8 b'8 |
a'4 g'4 g'8 g'8 (e'8) g'8( |
g'8 a'8) r4 r4 e'8 g'8 |
a'4 a'8 a'8~ a'8 a'4 b'8~ |
b'8 a'4. a'4 a'4 |
a'8 g'4. g'8 a'4 g'8~ |
g'4 r4 r2 \bar ||
}
%
% the following defines the melody notes used in the final verse of the song
%
versethree = {
r4 c'4 e'8 g'8 g'8 (a'8 | a'4) r4 r2 |
r4 r8 g8 e'8 d'8 d'8 c'8 |
c'4 r4 r2 | r8 e'8 e'4 e'8 d'8 c'8 c'8~|
c'4 r4 r2 | r8 c'8 c'8 e'4 d'8 d'8 c'8 |
c'4 r4 r2 | r4 r8 c'8 e'8 g'8 g'8 e'8 |
g'8 (d'8 e'4) r2 | r8 g8 g8 e'8~ e'8 d'8 d'8 c'8|
c'4 r4 r2 |
r4 c'4 e'4 g'4 |
g'2 f'8( e'4.) | d'8 g4. e'8 e'4 c'8~|
c'4 r4 r2 | r4 c'4 e'4 g'4 |
g'2 f'8( e'4.) | d'8 g4. e'8 e'4 c'8~|
c'4 r4 r2 | r4 c'4 e'4 g'4 |
g'2 f'8( e'4.) | d'8 g4. r2\fermata \bar |.
}
%
% the following defines the structure of the song and specifies
% the key, time signature, clef and other settings
%
song = {
\clef treble
\key c \major
\time 4/4
\override MultiMeasureRest #'expand-limit = 1
\new Voice = intro {\intro}
\new Voice = verseone
Re: songbooks with guitar tablature
Roy Zimmerman [EMAIL PROTECTED] wrote: Hi -- I intend to produce songbooks of my songs in piano/vocal format with occasional lines of guitar tablature. Is Lilypond capable of doing that? Thank you, Roy Hi, Roy. I just finished completing a songbook of my recent CD using lilypond. I including the vocal melody with chord changes and fret diagrams and also used tablature to display fingerpicking parts and occasional guitar licks. The latest version of lilypond (2.11.xx) now supports harmonics and slides for tabluature. If you look in the back of a Hal Leonard or Mel Bay book, you will see a legend of the types of notation used within guitar tablature. Lilypond support some, but not all of these features. You have to decide how important it is to include some of these advanced featues in your notation. It is possible to fake some of these in lilypond. As far as occasional tablature, there are two possibilities here. One is to include, in your lilypond score, a tablature staff that will contain occasional bars of information with lots of empty bars. You can hide blank tabluature staves within lilypond so that only the staves containing information are displayed. If you do a search in the lilypond archives for hiding empty staves, you will find the solution. Another possibility, if you wish to have a snippet of a guitar intro or lick independent of the score, is to use lilypond-book or some other layout management software to integrate different lilypond snippets into a book layout. If you wish to take a look at my songbook, go to www.jack-cooper.com/songbook and enter guest and guest as the userid and password. The songbook file is called lop_songbook.pdf. Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: songbooks with guitar tablature
Valentin Villenave [EMAIL PROTECTED] wrote: Hi Jack, I took the liberty to download and look at your songbook, and just wanted to share a few questions that occured to me while reading it: Hi, Valentin. Thanks for your feedback- I would mind responsing to your questions point by point. -first of all, many kudos for your work; you wanted something that looked professionnal and it does indeed. I particularly like the font you use (though maybe the capital S is a bit too condensed): what' its name? is it free? The specific font I chose for this instance is called Maiandra GD, which came free with my installation of XP. I liked the way it looked in this case, but there are tons of OTF fonts available from Adobe that can be ordered individually- they are not free. -you seem to mix up free and non-free software in your introduction, which can be okay as long as you specify the difference: LilyPond is indeed open-source, but Adobe isn't (however there are opensource alternatives, maybe worth to mention), and OpenOffice is hardly a freeware version of Microsoft Office... This is a detail, but this kind of details makes such projects as LilyPond particularly valuable, in my opinion. I think in my pre-edited intro notes, I made the distinction that Adobe Standard was an additional commerical package I purchased for pdf management. I think I shot myself in the foot in the editing process :-) While OpenOffice isn't technically a freeware version of Microsoft Office, I don't know how else to describe it to folks who have never heard of it or used it. And since I wrote these intro notes, I am more inclined to use GIMP for image editing and Scribus for general layout. The general point I was hoping to convey to someone is that it doesn't require hundreds of dollars investment in software to produce professional looking songbooks, thanks to lilypond. -you're right to mention the lilypond.org website in your introduction, but the footer (or copyright) field you use in the scores mentions lilypond.com, which belongs to Campbell Industrial Supplies. I've nothing wrong with giving them some PR help, but maybe this wasn't on purpose :) Arggh! While it is too late for me to correct printed versions I have made, I will correct the online version. My apoligies to all in the lilypond community for this brain-addled error. -the engraving looks definitely great -- no wonder: simply genuine LilyPond :) -- just one little detail though: when you have to enter empty measures, maybe you'd better use R1 instead of r1, so you can have nice centered rests (yours are always left-aligned). Similarly, if you enter your chords diagrams as a separate voice, you don't have to split rests, like in the first line of Put It Right. I see that you aim to make the rhythm of the chord changes as clear as possible, but I've never seen it affect the rests in the vocal line. Thanks for the tips. It honestly never occurred to me to create a separate voice for the chord changes. I will start experimenting. -I think developing LilyPond-made songbooks is definitely a great idea, and I hope many people will eventually be interested in supporting your project. You do not mention, as far as I can see, the source files of the scores you typeset: maybe it would be cool to mention their existence, and possibly their licensing, if you plan to let them available online, or send them upon request, etc. I have a specfic market I am trying to interest in having songbooks created, and I will have a better idea over the next couple of months the level of interest within that market. Making the source files files available is a very good idea but it provides a bit of a conundrum. Here's an example using a project I am currently involved with creating a collection of notated traditional fiddle songs. The person who I am doing the notation for has decided, after I've gotten halfway throught the set of tunes, that compensation for my time is too expensive and if I could just spend an hour teaching how to use the package, he could learn to do it himself. Fair enough. But I think it is fair to say that while lilypond can be learned fairly quickly for simple notation tasks, the mastery of the dozens of tips and tricks found in the mailing list archives can not be internalized overnight. Many of these tricks inform the templates the I initially setup to do the transcribing. I have no qualms about sharing these templates within the lilypond community, but feel differently about it for this specific example. Anyway, it raises a number of interesting points. Really a nice project. It's a pity you don't do contemporary orchestral music, I definitely could use a copyist :) Best Regards, Valentin Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Songbook source files
If anyone is interested, I've put the source files online for the songbook I've recently created (I haven't gotten around to fixing the reference to lilypond's web site yet!) To access, go to: www.jack-cooper.com/lilysource Username: lilypond Password: awesome Cheers, Jack ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Template for a leadsheet (vocal, chords, lyrics, several verses)
Jens Meyer [EMAIL PROTECTED] wrote: Hello Lilypond-users!
I used music-printing with my Windows-sequencing-software since several
years until I met Lilypond yesterday.
Wow - I am deeply impressed about this software! I spent several hours
(and a part of the night...) to understand the basics and to print my
first layout.
Printing vocals with chords and lyrics was successful now. ;-)
But I can't find a solution for printing a leadsheet like this:
- chorus (including \repeat, chords, one line lyrics)
- verse (including chords, 3 lines lyrics for 3 verses)
I had a look at the examples and snippets but I can't find an example
for that. I would suggest that this is no major problem for this great
software, isn't it? ;-)
Do you have any hints or template for me?
Thank you in advance,
kind and musical greetings,
Jens
Hi, Jens.
I have been spending the past several months refining leadsheet
templates for creating songbook-quality sheet music.
One of the challenges I have come across, which has less to
do with Lilypond than asthetics, is how to create elegant yet
compact sheets with repeating elements. One option, which
can be implemented through lilypond, is to try to detail all the
melodic variations from one verse to another in the score.
What I have decided on as an alternate technique is to align the
lyrics of the first verse to the verse's melody, but not align lyrics to
melody for subsequent verses- instead I omit the lyricsto
for the alternate verses and just indicate durations in the lyrics.
I am including an example of one of my own songs that uses
this technique and several other techniques for creating lead sheets.
Other songs I am working on use other techniques, particularly
for including tabs or instrumental licks, and I would be happy
to share one of those with you or anyone if it may be of use.
Cheers,
Jack Cooper
\version 2.10.17
\include english.ly
#(set-global-staff-size 17)
\paper {
between-system-space = 10\mm
#(set-paper-size letter)
%#(define fonts (make-pango-font-tree Times
% Verdana
% FreeMono
%(/ 16 20)))
}
date = #(strftime %d-%m-%Y (localtime (current-time)))
\header {
dedication =
title = \markup \override #'(font-name . Maiandra GD ) \fontsize #5 \bold { With My Heart as My Copilot }
subtitle =
subsubtitle =
poet =
composer = \markup \override #'(font-name . Maiandra GD ) { Jack Cooper - c. 2001 }
meter =
opus =
arranger =
instrument = \markup \override #'(font-name . Maiandra GD ) { Guitar and Voice }
piece =
breakbefore =
copyright = \markup \override #'(font-name . Maiandra GD ) \italic \bold { -- To play the chords shown in the fret diagrams, place capo on second fret -- }
tagline= Engraved by Jack Cooper (Berlen Consulting) using Lilypond -- www.lilypond.com
}
% -- DEFINE TAGS USED THROUGHOUT SONG TEMPLATE --
bmin= ^\markup \override #'(size . 1.0) \fret-diagram #6-x;5-o;4-2;3-2;2-1;1-o;
gmaj= ^\markup \override #'(size . 1.0) \fret-diagram #c:6-1-2;6-o;5-3;4-3;3-2;2-o;1-o;
amaj= ^\markup \override #'(size . 1.0) \fret-diagram #6-3;5-2;4-o;3-o;2-o;1-3;
dmaj= ^\markup \override #'(size . 1.0) \fret-diagram #6-3;5-3;4-2;3-o;2-1;1-o;
gmajsev = ^\markup \override #'(size . 1.0) \fret-diagram #6-1;5-3;4-3;3-2;2-1;1-o;
emaj= ^\markup \override #'(size . 1.0) \fret-diagram #6-x;5-x;4-o;3-2;2-3;1-2;
% -- SONG STRUCTURE SECTION --
intro = {
\override TextScript #'staff-padding = #3.0
r1\bmin | r1\gmaj | r1\bmin | r1\gmaj \bar ||
}
verseone = {
\override TextScript #'staff-padding = #3.0
r8\bmin \mark \markup {\smaller \italic \bold {Verse}} d'8 d'16 e'16 fs'16 g'16~ g'16 fs'8 e'16 (d'8) d'8 |
d'8\gmaj d'16 d'16~ d'16 d'8. d'8 e'8 r4 |
r8\bmin d'8 e'16 fs'8. g'8 fs'8 e'8 d'8 |
d'8\gmaj d'16 d'16~ d'16 a'8. a'16\amaj ( fs'16 e'8) r4 |
r8\bmin d'8 e'16 fs'8. g'8\gmaj fs'16 e'16~ e'8 d'8 |
r8\bmin d'8 e'16 fs'8. g'8\gmaj fs'16 e'16~ e'8 d'8 |
r8\dmaj d'8 e'8 fs'8 g'8 fs'16 e'16~ e'16 d'8 e'16~ |
e'2\amaj \fatText r4\gmaj \fatText r4\amaj \fatText |
}
versetwo = {
\override TextScript #'staff-padding = #3.0
r8\bmin \mark \markup {\smaller \italic \bold {Verse}} d'8 e'8 fs'8 g'8 fs'8 e'8 d'8 | \break
d'8\gmaj d'16 d'16~ d'8 d'8 d'8 e'8 r4 |
r8\bmin d'8 e'8 fs'8 g'8 fs'8 e'8 d'8 |
d'8\gmaj d'16 d'16~ d'8 a'8 a'8\amaj fs'16 (e'16) r4 |
r8\bmin d'8 e'8 fs'8 g'16\gmaj fs'16~ fs'16 e'16 (d'8) r8 |
r8\bmin d'8 e'8 fs'8 g'8\gmaj fs'16 e'16~ e'8 d'8 |
r8\dmaj d'8 e'8 fs'8 g'8 fs'8 e'8 d'16 e'16~|
e'4\amaj r4 r4 \mark \markup {\smaller \italic \bold {Chorus}} d'8 e'8 \bar ||
}
chorus = {
\override TextScript #'staff-padding = #3.0
fs'4\dmaj fs'8 fs'8 fs'4 e'8 d'8| r2 r4 cs'8 d'8 |
e'4\amaj e'8 e'8 e'4 d'8 cs'8 | r2 r8 fs'4 e'16 (d'16) |
d'2\gmaj r8 g'4 fs'16 (e'16) | e'2\amaj r8 d'4 e'8 |
r8\bmin fs'8~ fs'8 (e'16 d'16 e'4\amaj e'8 d'16 cs'16 |
d'4)\gmaj r4 r4
Re: Hiding Empty Tab Staves
Mats Bengtsson [EMAIL PROTECTED] wrote:
You can find the basic steps of the solution in the mailing list
archives. However,
it seems that some details have changed, so I include the solution here:
\layout{
\context {
\TabStaff
\remove Axis_group_engraver
\consists Hara_kiri_engraver
\override Beam #'auto-knee-gap = #'()
\override VerticalAxisGroup #'remove-empty = ##t
}
}
/Mats
Thanks - I must have missed something when I first tried looking
for the solution- this seems to work fine..
Cheers,
Jack
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Hiding Empty Tab Staves
I've successfully used a trick, documented somewhere in the archives, that allows empty voice staves to be hidden in a score. The trick involved defining a RemoveEmptyStaff context, and changing some of the engravers normally used. I am trying to accomplish the same thing for a score containing a tabulature staff and voice. The score is a lead sheet consisting of vocal melody, lyrics and chords. I want to add tabulature in certain parts of the song to show a guitar lick, but do not want empty tabulature staves to appear for the rest of the song. I am currently using version 2.10.17 - if it will help, I can include the syntax, as it currently stands, which produces the output including tab part. Thanks, Jack Cooper ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertical alignment of lyrics to multiple voices
Mats Bengtsson [EMAIL PROTECTED] wrote: Every time you do \new Lyrics, you
get a new Lyrics context, which is
placed on a separate line. Just include all your lyrics sections into
one and
the same Lyrics context if you want them vertically aligned, i.e.
replace your
current \score block with
\score {
\new Staff = whole {\new Voice =a {\melodya} \new Voice=b
{\melodyb} \new Voice=c {\melodyc} \new Voice=d {\melodyd}}
\new Lyrics
\lyricsto a \texta
\lyricsto b \textb
\lyricsto c \textc
\lyricsto d \textd
\layout { }
}
/Mats
Thank you very much! It helps me very much to see a working example..
I'm beginning to understand more of the subtleties of this package inch
by inch..
Cheers,
Jack
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Vertical alignment of lyrics to multiple voices
Happy new year!
I have been navigating the lilypond world for the past six months and have
been primarily exploring lilypond as a tool for creating leadsheets and
songbooks.
My main interest is figuring out how to create an efficient template
for creating a leadsheet (or fakebook style sheet) for all types of modern
guitar-vocal based songs.
I am wrestling with the formatting for lyrics. I am aiming for a modular
approach
to constructing lilypond input so that I can format sheets for a wide variety
of
song styles. The main problem I am having is the vertical alignment of lyrics
assigned to one or more voice contexts. I will start off with a small example
to exemplify the problem. In the following example, I am printing off the
melody
and lyrics to Frere Jacques. I creating separated voice contexts for each
section of the song, and am assigning lyrics to each section. The resulting
output properly assigns the correct lyric to the correct voice, but the
different lyrics are rendered on the same vertical line- each successive
lyric is placed lower than the one preceding it.
How do I change this so that each lyric snippet is vertically aligned? All my
keyword searcing through the archives and manual hasn't come up with
anything that seems to work (I've tried overriding the minimum-Y-extent and
Y-offset of the lyric context with no discernable change).
Any suggestions welcomed!
Thanks,
Jack
--
code snippet:
\version 2.8
\include english.ly
melodya = {
\clef treble
\key c \major
\time 4/4
c'4 d'4 e'4 c'4 | c'4 d'4 e'4 c'4 |
}
melodyb = {
e'4 f'4 g'2 | e'4 f'4 g'2 |
}
melodyc = {
g'8 a'8 g'8 f'8 e'4 c'4 | g'8 a'8 g'8 f'8 e'4 c'4 |
}
melodyd ={ c'4 g4 c'2 | c'4 g4 c'2 \bar||}
melody = {\new Voice = a {\melodya} \new Voice = b {\melodyb} \new Voice =
c {\melodyc} \new Voice = d {\melodyd}}
texta = \lyricmode {
Fre -- re Jacqu -- es,
Fre -- re Jacqu -- es,
}
textb = \lyricmode {
Dor -- mez Vous?
Dor -- mez vous?
}
textc = \lyricmode {
Sonn -- ez les ma -- tin -- es,
Sonn -- ez les ma -- tin -- es,
}
textd = \lyricmode {
Din, din don!
Din, din don!
}
\score {
\new Voice = whole {\new Voice =a {\melodya} \new Voice=b {\melodyb}
\new Voice=c {\melodyc} \new Voice=d {\melodyd}}
\new Lyrics\lyricsto a \texta
\new Lyrics\lyricsto b \textb
\new Lyrics\lyricsto c \textc
\new Lyrics\lyricsto d \textd
\layout { }
}
---
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