Re: Musescore/musicxml questions
Thank you, Jacques! That does help. I work with this system, that creates both printable online files and downloadable xml files, but lately I have been having formatting issues... I wish we used something other than MuseScore! (Lilypond is used for a different part of the project!) https://my.hymnary.org/song/62/o-come-all-ye-faithful?header=auto=full=None; On Thu, Jun 30, 2022 at 4:44 PM Jacques Menu wrote: > Hello Kira, > > I’ve looked at the two files you posted, and the MusicXML export is > actually not reflecting the exact layout of the original.Converting it to > LilyPond with xml2ly gives the same layout as when the exported file is > re-imported in Musecore. > > This is a difficult issue at any rate, to be submitted to the MuseScore > team at https://musescore.com/user/login?destination=%2Fcas%2Flogin. > > HTH! > > JM > > > Le 30 juin 2022 à 18:50, Kira Garvie a écrit : > > > > Hey all, > > I know this is a bit off-topic but it's on-topic for me... also I don't > know who else to ask, the muse-score forums aren't very helpful. > > I use Lilypond, Musescore, and musicxml files for my work. Please, no > comments on the quality of Musescore, the decision to use it was above my > paygrade. I am having issues exporting an xml file and having it keep its > formatting. Is there anyone who has experience with this and can help me > off the list? Or should I just can it and keep googling stuff until I > stumble on an answer? > > Here are the files. > > Thank you! > > > >
Musescore/musicxml questions
Hey all, I know this is a bit off-topic but it's on-topic for me... also I don't know who else to ask, the muse-score forums aren't very helpful. I use Lilypond, Musescore, and musicxml files for my work. Please, no comments on the quality of Musescore, the decision to use it was above my paygrade. I am having issues exporting an xml file and having it keep its formatting. Is there anyone who has experience with this and can help me off the list? Or should I just can it and keep googling stuff until I stumble on an answer? Here are the files. Thank you! SSS2019-13.musicxml Description: Binary data SSS2019-13.mscz Description: application/musescore
Re: Playback using Frescobaldi?
Thank you all for the help! Some of this is above my head - a timidity-daemon sounds like something out of a book... I hope I can figure something out from your answers, I am sorry I am not yet very savvy with these programs! On Thu, Jun 23, 2022 at 2:39 AM Vaughan McAlley wrote: > On Wed, 22 June 2022, 17:33 Henning Hraban Ramm, > wrote: > >> Am 21.06.22 um 18:17 schrieb Guy Stalnaker: >> > MacOS -- LONG ago I used to use Homebrew on a MacOS laptop to install >> > and use QSynth/fluidsynth, so I know at one point that was possible. >> > Perhaps it still is, but I cannot say for certain. Other users on this >> > email list may have more recent experience with MacOS. >> >> You can install QSynth/fluidsynth via MacPorts (probably still also via >> Homebrew, it’s a matter of taste). >> >> Same as for other systems: Start QSynth before Frescobaldi, and it >> usually just works (otherwise check the MIDI preferences and reload the >> MIDI ports). >> >> Hraban >> > >> > > > It looks like MidiPipe is still alive. It’s one of the things I miss most > from my time on Mac: > http://www.subtlesoft.square7.net/MidiPipe.html > > Vaughan > >
Playback using Frescobaldi?
Hello all, I use Frescobaldi to make my scores, and is it possible to have a way to play the scores so I can listen to them? It would make my proofreading so much quicker! Thank you! Best, Kira
Re: Piano pedalling in (conductor) scores
Well, someone has to put that info in. If it’s for a whole section, either it’s the composer or the orchestra librarian. Who cares of the conductor changes it, that’s their choice. If it’s for a single player like a keyboardist, I would be inclined to leave more open to the player - I am a keyboardist with relatively small hands, and many times I physically can’t do the fingerings the composer puts in, and so printed fingerings do clutter the score when I have to just cross them out. Also, pedaling may change based on the acoustics of the room… El El lun, may. 30, 2022 a la(s) 9:27 a.m., David Kastrup escribió: > Kieren MacMillan writes: > > > Hi David, > > > >> I disagree. There is no point in cluttering the conductor's part with > >> stuff like fingerings (only relevant to the player) and bowing > >> directions (section leader material). > > > > Actually, we agree completely: I believe there’s no point in > > cluttering performers’ parts with fingerings (ever) or bowing > > directions (almost ever). ;) > > It's a matter of efficiency for sections expected to sightread large > parts of their material to work with performance-ready information even > if it results from arbitrary choices. > > -- > David Kastrup > >
Re: Consecutive trills
It is true that Bach used the signs interchangeably, but if a trill terminates before the note itself terminates in his music, it indicates to stop trilling at that point and continue holding the note. At least that’s how we interpret his organ music notations! On Fri, Apr 29, 2022 at 3:54 PM Mark Stephen Mrotek wrote: > Hans, > > Without getting into detail, Arnold Dolmetsch contends that > "They (the various indications of a trillo) have no particular shade of > meaning, being only the consequence of his (Bach's) lack of system." > The Interpretation of the Music of the 17th and 18th Centuries, p. 169. > > Mark > > -Original Message- > From: lilypond-user [mailto:lilypond-user-bounces+carsonmark= > ca.rr@gnu.org] On Behalf Of Hans Åberg > Sent: Friday, April 29, 2022 11:33 AM > To: Kieren MacMillan > Cc: Martín Rincón Botero ; Lilypond-User > Mailing List > Subject: Re: Consecutive trills > > > > On 29 Apr 2022, at 19:06, Kieren MacMillan > wrote: > > > >>> As far as I know that's not a notation rule, but I agree that it makes > more sense to use the trill + wavy line for tied notes. > >> I haven't seen "tr" plus chevron on a single untied note > > > > When it’s a chain of trills — some tied, others single — I find the > consistency [of using the wavy line on *all* trills, and not just the tied > notes] is appreciated by conductors and performers. > > In BWV 1067, first movement, there is for the flute a long note with > several ties with a trill span ending somewhere in the middle, indicating > the length of the trill followed by untrilled part. I do not know if Bach > himself write it that way, but I found it useful in Balkan music, where it > is common to not have an alteration on the last 16th of say a trilled > dotted 8th note. I decided to write that with an 8th having a "tr" tied to > a following 16th, otherwise those not accustomed with the style would not > know how to play it (and I find it is hard to remember). Trilled notes can > be syncopated in Balkan music, and then it may be necessary to use a trill > span. Hindemith, "Elementary Training", says that on short notes, a trill > can have only one alteration. This occurs in Balkan music, but I decided to > write a prall sign as it is more compact. > > > > >
Re: Off-topic: What do you guys think of the upside-down music?
When I was a kid I would regularly turn piano scores upside down and try to
sight read through then, so I think this is fun!
On Thu, Apr 14, 2022 at 6:04 PM Kenneth Wolcott
wrote:
> Thanks, Jean! This is cool! Not that I would do anything with it,
> but it sure is nice to know that there seems to be no limit to what
> Lilypond can do :-)
>
> On Thu, Apr 14, 2022 at 1:18 PM Jean Abou Samra
> wrote:
> >
> >
> >
> > Le 14/04/2022 à 21:58, Kenneth Wolcott a écrit :
> > > Hi;
> > >
> > >Off-topic: What do you guys think of the upside-down music?
> > >
> > > On youtube:
> > >
> > > https://www.youtube.com/channel/UCrLBkLxyE7T1cyv_4ykGTrg
> > >
> > > Upside-down Scores
> > >
> > > Example:
> > > Für Elise Upside-down (new version, with Score)
> > > https://www.youtube.com/watch?v=q2vsAua8FxM
> > >
> > > How is this done? Can this be done with Lilypond? Just curious..
> > >
> > > Amusing...
> > >
> > > Ken Wolcott
> >
> > \version "2.22.2"
> >
> > upsideDown =
> > #(define-music-function (music) (ly:music?)
> > (for-some-music
> > (lambda (m)
> >(let ((p (ly:music-property m 'pitch #f)))
> > (if p
> > (let ((n (ly:pitch-transpose #{ cis' #} (ly:pitch-diff #{
> > des' #} p
> >(ly:music-set-property! m 'pitch n
> >#f)
> > music)
> > music)
> >
> > RH = \relative {
> >\time 3/8
> >\partial 8
> >e''16 dis
> >e dis e b d c
> >a8 r16 c, e a
> >b8 r16 e, gis b
> >c8 r16
> > }
> >
> > LH = \relative {
> >\time 3/8
> >\partial 8
> >s8
> >s4.
> >a,16 e' a r r8
> >e,16 e' gis r r8
> >a,16[ e' a]
> > }
> >
> >
> > \score {
> >\header {
> > piece = "Lettre à Élise"
> >}
> ><<
> > \new Staff \RH
> > \new Staff { \clef bass \LH }
> >>>
> > }
> >
> > \score {
> >\header {
> > piece = \markup \scale #'(1 . -1) "Lettre à Élise"
> >}
> >\upsideDown <<
> > \new Staff { \key bes \major \LH }
> > \new Staff { \clef bass \key bes \major \RH }
> >>>
> > }
> >
> >
> >
> >
>
>
Re: When the previous typesetter states "with pedal", what exactly does this mean?
Ditto to what Martin said, and I’ll add that if it’s organ music it means play the bass line with the feet. (Unless another line is specifically stated as being the pedal line). On Sat, Mar 26, 2022 at 3:08 AM Martin Tarenskeen wrote: > > > On Fri, 25 Mar 2022, Kenneth Wolcott wrote: > > > When the previous typesetter states "with pedal", what exactly does > > this mean? > > Pianist here. For most scores trained pianists will know how and when to > use the pedal even without any pedal markings. Occasionally detailed > pedalling instructions from the composer are seen. > > "With pedal" means the composer/typesetter trusts the musical skills of > the performer to add pedalling ad libitum in a sensible way and that no > detailed pedalling instructions are needed. It never means the pedal > should be continuously down! If that is the case it should be explicitly > stated. > > -- > > MT > >
Re: Accessing old threads?
Thank you, Jean! That gave me exactly what I needed! Best, Kira On Thu, Feb 24, 2022 at 8:03 PM Jean Abou Samra wrote: > Le 25/02/2022 à 01:44, Kira Garvie a écrit : > > Hi all, > > How/where do I access old mailing list threads? I am looking for the > > answer to a question I asked a few months ago, but I deleted the email. > > Thank you! > > Kira > > > > The official list archives are here: > > https://lists.gnu.org/archive/html/lilypond-user/ > > You will also find that link on > > https://lilypond.org/contact.html > > Unfortunately, these archives are a bit inconvenient to > navigate: if the thread crosses month boundaries, replies > from another month will not be shown in threaded view > at the bottom when viewing a message, so you have to > navigate between months to be sure you're not be missing > part of the thread. There is an unofficial archive, > also linked on https://lilypond.org/contact.html: > > https://www.mail-archive.com/lilypond-user@gnu.org/ > > This one is easier to read. > > Best, > Jean > >
Accessing old threads?
Hi all, How/where do I access old mailing list threads? I am looking for the answer to a question I asked a few months ago, but I deleted the email. Thank you! Kira
Re: Teaser: Animated Lilypond Scores
I love it! That is amazing, and no need to apologize for your piano playing. The scrolling scores are extremely helpful for score study! On Fri, Feb 18, 2022 at 8:08 AM Valentin Petzel wrote: > Hello Pondmates! > > I have created an experimental script to turn a Lilypond score into an > animated video. Here is a little teaser: > > https://youtu.be/oFFm7FcFaLA > > Just a trigger warning: This contains bad piano playing! > > Cheers, > > Valentin >
Re: Engraving chords with the same note twice, but different accidentals
I’m personally not a fan of the splayed stem notation - I’ve never seen it before so it makes me go “what?” before I get to the notes. It also sort of looks like the a natural should be played first because it’s stem goes down to the beam? I would rather have the b-double flat notation - then the motion b-flat, b-double flat, back to b-flat is clear, and a g-sharp in the middle of flats would make my brain do a double take… I think that’s clearer than the a-flat and natural next to each other, and respects the spelling. It makes it clear it’s just the top voice of each chord that’s moving. On Thu, Feb 3, 2022 at 1:37 PM Knute Snortum wrote: > On Thu, Feb 3, 2022 at 9:32 AM Leo Correia de Verdier > wrote: > > > > I differ on that. For me, (and with the perspective of only this > measure) both the option of respelling the a flat in only that chord (looks > like the repeated a flat moves) and respelling the a flats in the whole > measure (and having to read the second between a flat and b flat as a > diminished third) are more awkward than reading the augmented unison. I > slightly prefer the notation with both heads on the same stem, but find > them both quite readable. > > > > 3 feb. 2022 kl. 18:13 skrev David M. Boothe, CAS < > david.booth...@gmail.com>: > > > > > > I also would prefer to see a G#. However between the two examples, I > think the first is slightly more readable. > > > > That said, what are the subsequent A's supposed to be - flat or natural? > As written, I would play them as naturals in the first example, but flats > in the second example. Were I engraving this, I would put an explicit > accidental, whether flat or natural on the fourth A, as well. > > > > > > dB > > > > On Thu, Feb 3, 2022, 11:51 AM Kieren MacMillan < > kieren_macmil...@sympatico.ca> wrote: > >> > >> Hi all, > >> > >> > Speaking as a keyboard player (and lilypond novice) I would recommend > re-spelling the a flat as a g sharp! Sometimes, theory has to take a > backseat to readability. > >> > >> If theoretical correctness (or, say, accuracy to a previous source) > isn't a requirement, then I agree with Charlie: this is a moment in which, > as a keyboard player, I'd much rather see two different notes [by pitch > name]. > >> > >> Otherwise, I'd say the split-stem convention is [perhaps > counterintuitively?!] more readable for me. If you want to do this in > Lilypond, I'm pretty sure Harm has solved this particular issue (see e.g., > https://archiv.lilypondforum.de/index.php/topic,1176.msg6932.html#msg6932 > ). > > Ok, the first attachment is using Harm's splayed stem chord function. > Better? Worse? > > Respelling the chord using a "gs" for the "af" is a possibility, but > what about respelling the "a" as a "bff"? The second attachment shows > how that would look. > > -- > Knute Snortum >
Re: trillSpan question:
Sorry if I went overboard! I think you are probably asking too much from midi - the nuance won't be there. Have you considered consulting a different arrangement of the piece, and seeing what sort of trill is notated there? That specific notation that you used probably wasn't original to the piece/timeperiod, it would have been much more improvisatory . (And please tell me if this is way more detail than you want - I sometimes have nothing better to do than overthink articulation!) On Thu, Jan 27, 2022 at 8:27 PM Kenneth Wolcott wrote: > Hi Kira; > > Thank you for your elaboration on the performance aspects of the trill. > > I implemented the trill span; it was not intuitive to me to end the > trill span on the following note, but it seems to work. > > I implemented articulate.ly on the piece and the trill sounds > ***AWFUL*** It sounds like someone knocked over the Piano! > > I don't think the 8notes.com's Piano arrangement of the "Prince of > Denmark's March" (or "Trumpet Voluntary"), composed by Jeremiah > Clarke, should sound so terrible with articulate.ly implemented, but I > guess I'm expecting too much from midi. > > Thanks, > Ken Wolcott > > On Thu, Jan 27, 2022 at 5:07 PM Kira Garvie wrote: > > > > I can't speak to the Lilypond notation, but only to the actual score > notation. When is this piece of music from? Different composers used > various trill markings to mean different things, but the 16th notes, > although they are notated normally, are probably part of the ornament. > There isnt really a set "duration" for a trill, so no guarantee just "tr" > would be an exact quarter note - there can be as much variation in how > someone performs a trill as any other musical indication. (ie start the > attack slow, almost a full 8th note duration, and speed up through to slow > back down for the termination, or a quick sharp attack going rapidly > through to the termination, or a gentle ornament that ends on the main note > and waits to terminate). To me at first glance, the plain "tr" indicates to > trill for the full value not because of itself, but because of that little > termination afterwards. The wavy line after it just makes it extra clear > what you are supposed to do. These would all be impacted by tempo, > composer, country, etc... performance practice of ornamentation is just as > ridiculously fussy and messy as anything else in music! > > > > On Thu, Jan 27, 2022 at 7:16 PM Kenneth Wolcott < > kennethwolc...@gmail.com> wrote: > >> > >> So, it appears that \stopTrillSpan being placed on the following note > >> does not include the following note in the trill; I guess that was > >> not obvious to me. > >> > >> The third question is that the trill does not appear in the midi > >> output, but articulation.ly would implement it? > >> > >> Thanks again, > >> Ken Wolcott > >> > >> On Thu, Jan 27, 2022 at 4:03 PM Kenneth Wolcott > >> wrote: > >> > > >> > Hi; > >> > > >> > I have trouble understanding how to implement the \startTrillSpan > >> > and \stopTrillSpan. > >> > > >> > I have two screenshots. > >> > > >> > The first is an obvious \trill, no span needed. > >> > > >> > The second requires the span, but I don't know how to place the > >> > \stopTrillSpan. > >> > > >> > I see the trill section in the Notation Reference. It does not help > >> > me understand how to place the \stopTrillSPan correctly. I could > >> > place the \stopTrillSpan after the following note, but that certainly > >> > would be correct, right? > >> > > >> > Another related question: what is the difference in the actual > >> > performance of the two types? > >> > > >> > This is partially explained by Wikipedia: > >> > > >> > "A rapid alternation between the specified note and the next higher > >> > note (determined by key signature) within its duration, also called a > >> > "shake". When followed by a wavy horizontal line, this symbol > >> > indicates an extended, or running, trill. In music up to the time of > >> > Haydn or Mozart the trill begins on the upper auxiliary note" > >> > > >> > So does this mean that a dotted-quarter note trill will only be > >> > "trilled" for a quarter note duration and will the spanner indicate > >> > the full dotted quarter duration? > >> > > >> > Thanks, > >> > Ken Wolcott > >> >
Re: trillSpan question:
I can't speak to the Lilypond notation, but only to the actual score notation. When is this piece of music from? Different composers used various trill markings to mean different things, but the 16th notes, although they are notated normally, are probably part of the ornament. There isnt really a set "duration" for a trill, so no guarantee just "tr" would be an exact quarter note - there can be as much variation in how someone performs a trill as any other musical indication. (ie start the attack slow, almost a full 8th note duration, and speed up through to slow back down for the termination, or a quick sharp attack going rapidly through to the termination, or a gentle ornament that ends on the main note and waits to terminate). To me at first glance, the plain "tr" indicates to trill for the full value not because of itself, but because of that little termination afterwards. The wavy line after it just makes it extra clear what you are supposed to do. These would all be impacted by tempo, composer, country, etc... performance practice of ornamentation is just as ridiculously fussy and messy as anything else in music! On Thu, Jan 27, 2022 at 7:16 PM Kenneth Wolcott wrote: > So, it appears that \stopTrillSpan being placed on the following note > does not include the following note in the trill; I guess that was > not obvious to me. > > The third question is that the trill does not appear in the midi > output, but articulation.ly would implement it? > > Thanks again, > Ken Wolcott > > On Thu, Jan 27, 2022 at 4:03 PM Kenneth Wolcott > wrote: > > > > Hi; > > > > I have trouble understanding how to implement the \startTrillSpan > > and \stopTrillSpan. > > > > I have two screenshots. > > > > The first is an obvious \trill, no span needed. > > > > The second requires the span, but I don't know how to place the > > \stopTrillSpan. > > > > I see the trill section in the Notation Reference. It does not help > > me understand how to place the \stopTrillSPan correctly. I could > > place the \stopTrillSpan after the following note, but that certainly > > would be correct, right? > > > > Another related question: what is the difference in the actual > > performance of the two types? > > > > This is partially explained by Wikipedia: > > > > "A rapid alternation between the specified note and the next higher > > note (determined by key signature) within its duration, also called a > > "shake". When followed by a wavy horizontal line, this symbol > > indicates an extended, or running, trill. In music up to the time of > > Haydn or Mozart the trill begins on the upper auxiliary note" > > > > So does this mean that a dotted-quarter note trill will only be > > "trilled" for a quarter note duration and will the spanner indicate > > the full dotted quarter duration? > > > > Thanks, > > Ken Wolcott > >
Re: String at the bottom of a cover page without using \markup
I’m so sorry, Valentin! That is a challenging time to go through, and I wish you strength and comfort. I hope you have a good support system to lean on at this time. I’ve been reading through this thread, and what strikes me is that the original intent of the question and the answers and troubleshooting has gotten lost in justifications and explanations of tone etc. Miscommunications are very easy over text only communication, so it’s no surprise it happens from time to time! Maybe it’s time to set all 55+ above emails aside and try again in a new thread? 路♀️ Literally start over? On Sat, Dec 18, 2021 at 10:45 AM Valentin Petzel wrote: > Hello Paolo, > > I did not mean a random specification, but a very important core > specification at a random point. In the beginning I asked you twice why you > want to avoid footer markups. This was not because I assume you're wrong > but because we need to know what you intend to do to properly help you. The > second time you stated that it would be a hack, which I doubted, as in my > book it isn't. > > The part about stylesheets was brought up by Jean, up to that point I had > thought that you wrongly assumed that using footer markups was a dirty > hack, which I debated. > > So it is not like we assume that any of your objections is wrong, but we > confuse what you actually want to say. You should always remember that we > do not know what you are thinking, so things that are clear to you might be > confusing to us. > > And please don't feel offended by my last mail, I'm not in the best shape, > as a friend of mine killed himself recently. > > Valentin > > 18.12.2021 14:38:41 Paolo Prete : > > > > On Sat, Dec 18, 2021 at 1:38 PM Valentin Petzel > wrote: > >> Nothing really heated here, but probably some communication issue. I try >> to >> listen to what you try to explain, but I hardly get anything about your >> actual >> problem and mostly critique how the solutions are not clean enough for >> you >> without really reasoning why this would be that way. >> >> I’ve sent you an example of how we basically can get what Jean described >> (which involves adding some functionality to the header and footer >> markups >> which can be put into an include and then on line overrides (which can >> also be >> put into includes). You’ve then dismissed this as too much logic (when >> this >> actually just requires a very miniscule amount of additional >> functionality. >> Then when you talked about cover pages I gave you an example of a markup >> function that spreads markups vertically over the page (which can then be >> used >> to push stuff to the bottom). >> >> I’m spending lots of my time trying my best to help you, and it’s really >> frustrating then to get told to focus on „what you tried to explain”, >> especially when you give core specifications like "I just want to set >> simple >> fields” randomly in the end. And this really takes away a lot of >> motivation >> for trying to help people on the mailing list. >> >> > Please don't misunderstand my words: I stated many and many times that > your (and Aaron's ones) examples HELPED me A LOT. Including these last > ones, with which I could understand how the footer and header do work, and > how they can be customized. Then you can easily understand the value of > your contribution. And, of course, without these examples, I would not have > focused the problem we are discussing. What I meant is different. It > appears to me that when I say something, it is seen as a criticism against > LP. This is absolutely not true. I just try to focus a problem which, IMHO, > deserves to be discussed. > That said, forgive me if I speak frankly: it appears strange to me that > you and Aaron (both have huge experience with LP coding) really say that > *any* of my objections is wrong. Or that you systematically start from this > assumption. Probably I'm wrong with this perception, but maybe I'm not > totally wrong and, in any case, this is my perception. Why do I have this > perception? Let me explain. > I well know and I'm sure that you have huge experience and knowledge of LP > and coding. At the same time, my objections regarding the customization of > headers and footers were very simple. No logic or coupling or low-level > stuff at all is required. This is how stylesheets and templates do work. > Therefore, no matter if you add tiny or huge logic to add. I just talked > about additional logic, in the previous posts. So: why all these > objections? > If you add tiny logic to this method, then you corrupt it. But I'm sure > that you already know this, because you surely know how stylesheets do > work. This is not a "random" specification given at the end. This is the > reason for which I stated from the beginning that I did not want to work on > the footer, nor to couple different elements of the template. Instead of > saying: "you're wrong, you're wrong, you're wrong etc." (and then I have > systematically to answer: "no, it's you who
Re: 3 questions
I am also a new user, but what draws me to Lilypond is the sheer aesthetics of it. Even the most basic thing created with Lilypond looks 1000 times more professional and attractive than MuseScore, in my opinion! It is a learning curve though, one I’m still slogging through! On Tue, Oct 26, 2021 at 4:56 PM Tim's Bitstream wrote: > I think that for typesetting purposes Lilypond is more powerful than > MusicXML. > > I have tried MuseScore in the past, probably close to 10 years ago, and > I'm sure it has developed a lot since then. For my purposes at that time, > however, Lilypond was more effective. When I started using it, I was in a > jazz quintet and writing songs and arrangements; Lilypond made it easy to > produce transposed lead sheets for Bb and Eb instruments as well as treble > and bass clef in a matter of a few additional seconds. Once I had my > templates established, I could go from a manuscript to a finished lead > sheet very quickly. The release of the LilyJAZZ font was also a nice step; > it looks like the traditional "Real Book" lead sheets and the music font is > very clean and readable. > > When Frescobaldi came along as a front end, that was a huge improvement in > usability and efficiency. Those two applications together are in immensely > powerful music engraving system. For my little projects, it sometimes feels > like I'm using a giant CNC machine to make toothpicks. But they're really > nice toothpicks! > > Tim > > > On Oct 26, 2021, at 1:47 PM, Charlie Boilley > wrote: > > > > > > Hello, > > > > Relatively new user here. > > > > Do MuseScore 4.x could attract Lilypond users or will Lilypond still be > maintened in the next decade as a open source Dorico alternative ? > > > > - How large is the Lilypond community ? > > - Why not a Discourse forum ? > > - Why not a clean MusicXML imprt / export thoughout a simpler music > representation / abstraction that just works ? > > > > Thank you for maintaining this powerful tool : the Csound / Lilypond / > LaTeX trio is just sublime ! > > > > Have a good day ! > > > > Best, > > Ch. B > > > > > > >
Re: Multiple versions of Lilypond?
Thank you, Guy, that helps a lot! :) On Sat, Oct 23, 2021 at 7:39 PM Guy Stalnaker wrote: > Kira, > > Your computer will care. Some operating systems "register" installed > applications to open certain kinds of files (or files with specific > extensions; e.g., Adobe Acrobat is registered to open files with .pdf > extensions so that one can double-click on the file in the File Explorer > and the application will run and open the file). > > By default Lilypond opens files with the .ly extension. When you install > Frescobaldi there is usually a step where the installer specifically asks > if you want it to open .ly files. > > Having more than one version of a program installed requires that *you* > keep track of which versions are registered and also where they are > installed. For example, if Version X of ProgramA is installed and you then > install Version Y, typically the installers are written to install files > into the same path/folder. Thus Version Y will overwrite Version X. To > prevent that, many installers give you the option to explicitly say where > to install the application. That's what you'll have to do here. > > It is possible to do this with both Lilypond and Frescobaldi. If I may, > choose installation folders that have names relevant to your use for them. > For example, since "work" requires LP 2.16.2, create a folder in your Home > directory ~//Work/Programs and install LP 2.16.2 and an appropriate > version of Frescobaldi (one that "knows" about LP 2.16.2 rather than LP > 2.20.*) there. Then you can install the latest and greatest LP and > Frescobaldi in their default locations. Updates to Frescobaldi and LP go to > their defaults as they are released and the World folder remains constant > and unaffected by those changes. > > Many years ago I was the support triage agent for my IT group at a large > mid-western public university. I had 3-4 different versions of MS Office, > Corel Office, Adobe (everything) on the same computer (because there was no > IT standardization across the university that that's what it took to > support the many possible versions). It worked with due diligence (but no > one, ever, was allowed to touch that computer LOL). > > Hope I've helped a little. > > Regards. > > On Sat, Oct 23, 2021, 5:58 PM Kira Garvie wrote: > >> What I was told is that there are some features on the back-end of the >> program that turns the Lilypond scores into manipulatable scores for the >> company that doesn't play well with some of the newer updates to Lilypond. >> So I can have more than one Lilypond program downloaded, my computer won't >> care? >> >> On Sat, Oct 23, 2021 at 6:50 PM David Kastrup wrote: >> >>> Kira Garvie writes: >>> >>> > Hi all, >>> > I saw this referenced in the Frescobaldi manual, but is it possible to >>> have >>> > multiple versions of Lilypond installed on my computer at once? Many >>> of you >>> > know I have to use version 2.16.2 for my work (don't ask me why, I >>> honestly >>> > don't know), >>> >>> That's more than 8 years old. Does _anybody_ actually know? >>> >>> > but I would like to use a more recent version for some other engraving >>> > jobs. And can I use an older version of Frescobaldi with a newer >>> > version of Lilypond? Thank you! Best, Kira >>> >>> As far as I understand, Frescobaldi supported using multiple versions of >>> LilyPond for a long time now. Of course, an older version of >>> Frescobaldi will not know about newer syntax features (like pitchless >>> music for percussion entry and a number of other things). >>> >>> -- >>> David Kastrup >>> >>
Re: Multiple versions of Lilypond?
Ah. Thank you! I'll just stick to what I have now, then! On Sat, Oct 23, 2021 at 7:34 PM Aaron Hill wrote: > On 2021-10-23 3:58 pm, Kira Garvie wrote: > > What I was told is that there are some features on the back-end of the > > program that turns the Lilypond scores into manipulatable scores for > > the > > company that doesn't play well with some of the newer updates to > > Lilypond. > > So I can have more than one Lilypond program downloaded, my computer > > won't > > care? > > The only issues would be if the installer modifies global or shared > aspects of the OS environment. > > On Windows, for instance, only one version of LilyPond can be associated > with .ly files at a time. The most recently installed version would > trump priors, unless you specifically disable file association during > installation. If you never double-click .ly files to compile them, then > none of this matters. If you do, then you would need to be careful when > installing other versions to preserve the existing association. And > should the association get altered, you would need to manually > re-associate with the desired version. > > > -- Aaron Hill >
Re: Multiple versions of Lilypond?
What I was told is that there are some features on the back-end of the program that turns the Lilypond scores into manipulatable scores for the company that doesn't play well with some of the newer updates to Lilypond. So I can have more than one Lilypond program downloaded, my computer won't care? On Sat, Oct 23, 2021 at 6:50 PM David Kastrup wrote: > Kira Garvie writes: > > > Hi all, > > I saw this referenced in the Frescobaldi manual, but is it possible to > have > > multiple versions of Lilypond installed on my computer at once? Many of > you > > know I have to use version 2.16.2 for my work (don't ask me why, I > honestly > > don't know), > > That's more than 8 years old. Does _anybody_ actually know? > > > but I would like to use a more recent version for some other engraving > > jobs. And can I use an older version of Frescobaldi with a newer > > version of Lilypond? Thank you! Best, Kira > > As far as I understand, Frescobaldi supported using multiple versions of > LilyPond for a long time now. Of course, an older version of > Frescobaldi will not know about newer syntax features (like pitchless > music for percussion entry and a number of other things). > > -- > David Kastrup >
Multiple versions of Lilypond?
Hi all, I saw this referenced in the Frescobaldi manual, but is it possible to have multiple versions of Lilypond installed on my computer at once? Many of you know I have to use version 2.16.2 for my work (don't ask me why, I honestly don't know), but I would like to use a more recent version for some other engraving jobs. And can I use an older version of Frescobaldi with a newer version of Lilypond? Thank you! Best, Kira
Re: Changing fingers while holding key down
I don’t think it’s necessarily one is modern or not, probably depends on
country of origin and publisher/edition. I see both quite frequently, but
personally when I write it out in my scores I use the hyphen because you
can make it as long as the value over which the substation takes place.
On Thu, Oct 21, 2021 at 2:16 PM Knute Snortum wrote:
> On Thu, Oct 21, 2021 at 10:10 AM Kira Garvie wrote:
> >
> > I don’t know if this will help, but another way to notate that is simply
> a hyphen between the two fingerings, if you have space to have that. It
> might be easier to notate?
>
> I've notated that this way:
>
> \markup { \finger "2-3" }
>
> I don't know which is the more "modern" way of notating this.
>
> --
> Knute Snortum
>
Re: Changing fingers while holding key down
I don’t know if this will help, but another way to notate that is simply a
hyphen between the two fingerings, if you have space to have that. It might
be easier to notate?
On Thu, Oct 21, 2021 at 12:57 PM Thomas Morley
wrote:
> Am Do., 21. Okt. 2021 um 18:07 Uhr schrieb Knute Snortum <
> ksnor...@gmail.com>:
> >
> > Hi everyone,
> >
> > In piano music, there's a technique for holding down a key with one
> > finger, then switching to another. I know how this looks in music
> > notation (see attached) but I don't know how to engrave it with
> > LilyPond. I've searched the docs, the LSR, and the internet for the
> > answer, but I don't know any technical term for this (is there one?)
> > so the results were less than helpful.
> >
> > How is this done in LilyPond? I'm assuming one uses markup with
> > \finger, but I can't find a way to make the "slur" on top of the
> > numbers. (I've seen this notated with the slur under the numbers
> > too.)
> >
> > --
> > Knute Snortum
>
> How about:
>
> {
> c''4^\tweak text \markup \tie \concat { \finger "4" \finger "1" } -1
> c''4_\tweak text \markup \tie \concat { \finger "4" \finger "1" } -1
> }
>
> Cheers,
> Harm
>
>
Re: Asterisk before first syllable of verse
Yes, that works, thank you! I thought I had tried that option, but
apparently not... silly me!
On Wed, Oct 20, 2021 at 8:52 PM Carl Sorensen wrote:
> "*Vo" will put the asterisk before the first Syllable.
>
> Sent via the Samsung Galaxy S®6 active, an AT 4G LTE smartphone
> Get Outlook for Android <https://aka.ms/AAb9ysg>
> --
> *From:* lilypond-user gmail@gnu.org> on behalf of Kira Garvie
> *Sent:* Wednesday, October 20, 2021 5:48:25 PM
> *To:* Lilypond-User Mailing List
> *Subject:* Asterisk before first syllable of verse
>
> Hello all! I need there to be an asterisk before the first syllable of
> this verse, but I can't figure out how to make it work with also keeping
> the hyphenation of the word, and not bumping all the lyrics over one
> syllable... also, I dont use the \addLyrics command because the text and
> the music are actually saved as separate files and the command to combine
> them is elsewhere.
>
> StanzaSix = \lyricmode {
>
> \set stanza = "2."
>
> \set language = "es"
>
> \override StanzaNumber #'font-shape = #'italic
>
> \override LyricText #'font-shape = #'italic
>
> Vo -- so -- tros hi -- jos de~Is -- ra -- el,
>
>
>
> Thank you!
>
Asterisk before first syllable of verse
Hello all! I need there to be an asterisk before the first syllable of this
verse, but I can't figure out how to make it work with also keeping the
hyphenation of the word, and not bumping all the lyrics over one
syllable... also, I dont use the \addLyrics command because the text and
the music are actually saved as separate files and the command to combine
them is elsewhere.
StanzaSix = \lyricmode {
\set stanza = "2."
\set language = "es"
\override StanzaNumber #'font-shape = #'italic
\override LyricText #'font-shape = #'italic
Vo -- so -- tros hi -- jos de~Is -- ra -- el,
Thank you!
Re: Text formatting - Spanish lyrics
Valentin, you're the absolute best! Thank you, the unicode works! (I found a unicode to character converter online so I was able to make the other one!) Jefferson, it is standard practice in Spanish language music to have the syllables tied together like that - I wouldn't worry about it if it was just English, but it really is necessary for the Spanish text! On Fri, Oct 15, 2021 at 6:39 PM Jefferson Felix wrote: > Is there any problem if using Jeho -- vá? > > Em sex., 15 de out. de 2021 19:14, Kira Garvie > escreveu: > >> Hi all, >> My latest project is some Spanish/English hymns. Mostly I have it figured >> out, but I have a question about text. It is convention in Spanish music to >> have multiple syllables on one note slurred together with that little mark >> under and between the syllables, achieved with the *example~more -- >> stuff *little tilde mark. That works fine when the syllables are >> separate words, however, is there a way to get it under two syllables that >> are part of the same word without creating a space between them? I have >> highlighted the two problem spots in the attached pdf - the words are >> Jehová and rehusa. I have done them as Je~ho -- vá and re~hu -- sa but that >> adds that space, which is confusing! >> Thank you! >> Best, >> Kira >> >
Text formatting - Spanish lyrics
Hi all, My latest project is some Spanish/English hymns. Mostly I have it figured out, but I have a question about text. It is convention in Spanish music to have multiple syllables on one note slurred together with that little mark under and between the syllables, achieved with the *example~more -- stuff *little tilde mark. That works fine when the syllables are separate words, however, is there a way to get it under two syllables that are part of the same word without creating a space between them? I have highlighted the two problem spots in the attached pdf - the words are Jehová and rehusa. I have done them as Je~ho -- vá and re~hu -- sa but that adds that space, which is confusing! Thank you! Best, Kira
Re: How to add a horizontal line after every third verse?
That solution didn’t work for me, but I thought it was probably user error and decided to try again later Valentin also submitted a response in that previous thread. I need it to separate between Spanish and English text in a hymn. I never realized what a strange format some hymns are! Best, Kira On Thu, Oct 14, 2021 at 6:28 AM colin baguley wrote: > ...but that only puts the horizontal line on the first staff of music, not > on subsequent staves. Is it possible to put it at the beginning of each > staff no matter where the \breaks are? > My rather crude way of making the verse lyrics stand out is simply to > alternate the fonts used in each lyric verse between bold and not bold. > > === > Colin Baguley > co...@baguley.net > === > > > On Thu, 14 Oct 2021 at 09:35, Jacques Menu wrote: > >> Hello Matthew, >> >> This was answered by Aaron in a recent post, see attached file. >> >> JM >> >> >> >> > Le 14 oct. 2021 à 05:13, Matthew Fong a écrit : >> > >> > Dear LilyPonders, >> > >> > Continuing on my journey of typesetting hymns, would anyone have >> suggestions on ways to add a short horizontal rule after every third verse? >> I tried looking around, but wasn't able to find examples. The options I >> would like to have is keep line spacing intact (with the rule), or add a >> little bit of space between the verses. >> > >> > Please see attached image as an example. >> > >> > >> > Many thanks in advance, >> > mattfong >> > >> >>
Re: Horizontal line between hymn verses
I am attaching the template of what I work with, because I am not
exactly sure where to insert either of those fixes... Sorry for being such
a newbie!
On Fri, Oct 8, 2021 at 5:00 AM Valentin Petzel wrote:
> Hello Kira,
>
> Aarons version uses the stencil of the stanza number, which means that it
> only
> works if there is a linenumber present (thus it won’t display after a line
> break. I’ve come up with a way to instead use a context that missuses the
> Clef
> stencil, which will print in every line and can force lines within a
> system by
> setting LineSep.forceClef = ##t
>
> Cheers,
> Valentin
\header {
title = ""
subtitle = ""
fsHymnal = ""
fsHymnNumber = ""
fsTextCredit = \markup { \wordwrap { Text credits go here. } }
note = ""
}
StanzaOne = \lyricmode {
\set stanza = "1"
}
StanzaTwo = \lyricmode {
\set stanza = "2"
}
StanzaThree = \lyricmode {
\set stanza = "3"
}
StanzaFour = \lyricmode {
\set stanza = "4"
}
DescantLyrics = \lyricmode {
\set stanza = ""
}
% delete the following two variables if they will not be used
FinalRefrainLyrics = \lyricmode {
}
FinalRefrainDescantLyrics = \lyricmode {
}
%add variables from the Reponse text template here
\language "english"
hasChords = ##f
hasDescant= ##f
\header{
fsTuneCredit = \markup { \wordwrap { Tune credits go here. } }
}
keyTime = {
\time 4/4
\numericTimeSignature
\key c \major
\partial 4
}
Soprano = \relative c' {
\voiceOne
\keyTime
|
\bar "|."
}
Alto = \relative c' {
\voiceTwo
\keyTime
|
\bar "|."
}
Tenor = \relative c {
\voiceOne
\keyTime
|
\bar "|."
}
Bass = \relative c {
\voiceTwo
\keyTime
|
\bar "|."
}
% delete the following if not being used
Chords = \relative c' {
\chords {
}
}
Descant = \relative c'' {
\keyTime
}
%
% Full score, with vocal markup
%
#(use-modules (guile-user))
\include "definitions.ly"
chordMarkup = {
%\Chords
%\AccompChords
}
%{descantMarkup = {
\new Staff \with
{ \override NoteHead #'font-size = #-2
\override Stem #'font-size = #-2
\override Rest #'font-size = #-2
\override Accidental #'font-size = #-2
\override Clef #'font-size = #-3
\override KeySignature #'font-size = #-3
\override TimeSignature #'font-size = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
}
<<
\clef "treble"
\new Voice = "DescantVoice" \Descant
\lyricsto DescantVoice \new Lyrics = "DescantLyrics" \DescantLyrics
>>
} %}
\score
{
<<
$(if hasDescant descantMarkup)
$(if hasChords chordMarkup)
\new Staff
<<
\clef "treble"
\new Voice = "SopranoVoice" \Soprano
\new Voice = "AltoVoice" \Alto
% \new Lyrics = "SopranoResponse" \with { alignAboveContext = "staff" } { \lyricsto "SopranoVoice" { \SopranoResponse } }
% \lyricsto AltoVoice \new Lyrics = "AltoResponse" \AltoResponse
\lyricsto SopranoVoice \new Lyrics \StanzaOne
\lyricsto SopranoVoice \new Lyrics \StanzaTwo
\lyricsto SopranoVoice \new Lyrics \StanzaThree
\lyricsto SopranoVoice \new Lyrics \StanzaFour
>>
\new Staff
<<
\clef "bass"
\new Voice = "TenorVoice" \Tenor
\new Voice = "BassVoice" \Bass
% \new Lyrics \with { alignAboveContext = "staff" } { \lyricsto TenorVoice \TenorResponse }
% \lyricsto BassVoice \new Lyrics \BassResponse
>>
%\Keyboard
>>
}
Change text size within " "?
Another question...
In the score, the Spanish title is smaller. Is there a way to do that in
the header block within the quotation marks? (the fs information is
specifically for the Hymnary FlexScores)
\header {
title = "Blest Be the Tie that Binds / Sagrado es el amor"
fsHymnal = "Santo Santo Santo"
fsHymnNumber = "701"
fsTextCredit = \markup { \wordwrap { TEXT: John Fawcett, 1740-1817; Spanish
Version, anonymous }
}
}
SSS_701_scans.pdf
Description: Adobe PDF document
Horizontal line between hymn verses
Hello all! I can't figure out how to get that horizontal line dividing the spanish from the english verses... any tips? Thank you! Kira SSS_701_scans.pdf Description: Adobe PDF document
Re: responses in hymn tunes?
Sorry! I am still new, I havent made a tiny example yet... some of the features of FlexScores only work with 2.16.2, so that is why Hymnary still uses it. On Sat, Oct 2, 2021 at 5:50 PM Carl Sorensen wrote: > Hi, Kira > > > > *From: *lilypond-user gmail@gnu.org> on behalf of Kira Garvie > *Date: *Saturday, October 2, 2021 at 3:19 PM > *To: *Lilypond-User Mailing List > *Subject: *responses in hymn tunes? > > > > Hello all, > > I have a very specific problem I am running into of how to add a tenor > response within the repeat of a hymn tune when there is also a response in > the verses. Here is the hymn and my code. (I just copied everything... > sorry if it is too much!) > > > > When I have this situation, I create a lyric that has only the response. > > > > I then I create a music line that has only the notes for the response (and > actually, the pitches don’t matter). > > > > Then, put the music line for the response into a nullVoice so the notes > won’t show. > > > > Finally, do \lyricsto to the nullVoice with the response lyrics. > > > > However, it appears that 2.16 does not have nullVoice (I’d push > hymnary.org to move to 2.22 – but that may be impossible). I believe you > can use devNull instead of nullVoice with 2.16. > > > > If you had given us a tiny example , ( > https://lilypond.org/tiny-examples.html ) I would have shown you an > example. But this file is much too big for me to spend the time to work it > out for you. > > > > Best, > > > > Carl > > > > >
Re: voiceOne and oneVoice
I think that made sense! I will try it out and let you know if it doesnt! On Wed, Sep 29, 2021 at 6:50 PM David Kastrup wrote: > Lukas-Fabian Moser writes: > > > Hi Kira, > > > > Am 30.09.21 um 00:32 schrieb Kira Garvie: > >> I realize this is a pretty basic question... but what is the > >> difference between voiceOne and oneVoice? I am writing a multivoice > >> keyboard-style hymn (as opposed to SATB chorale style) and the > >> directions say to switch between oneVoice and voiceOne as needed for > >> stem direction... > >> "(d) Add voiceOne and oneVoice tags throughout to indicate stem > >> direction. If > >> there is no separately stemmed second part at the first note, > >> oneVoice is assumed." > >> Do I need to give an example? > > > > \voiceOne sets the layout for the current voice as if it is the first > > of several simultaneous voices. > > \oneVoice sets the layout for the current voice as if it is an only > voice. > > It would probably be clearer if we had > > \firstVoice and \soleVoice instead of \voiceOne and \oneVoice, > respectively. > > -- > David Kastrup >
voiceOne and oneVoice
Hello all! I realize this is a pretty basic question... but what is the difference between voiceOne and oneVoice? I am writing a multivoice keyboard-style hymn (as opposed to SATB chorale style) and the directions say to switch between oneVoice and voiceOne as needed for stem direction... "(d) Add voiceOne and oneVoice tags throughout to indicate stem direction. If there is no separately stemmed second part at the first note, oneVoice is assumed." Do I need to give an example? Thank you! Kira
Re: When the tempo is given as "Simply", what metronome marking would that imply?
Alright, that’s a bit beyond my scope of usual music notation and performance, I’m sorry! I’d say maybe just find a recording of the soundtrack and match it up? On Sun, Sep 26, 2021 at 5:37 PM Kenneth Wolcott wrote: > Hi Kira; > > Attached screenshot. > > At bar 11 the tempo changes to a march, so I can figure that out. > > Now, since I basically know what the music sounds like, I think that > the default 60bpm that midi uses is ok, but... > > On Sun, Sep 26, 2021 at 2:11 PM Kira Garvie wrote: > > > > Hi Ken, > > That’s a lovely vague indication, isn’t it! I always felt it implied > more of a playing style than a tempo, but everything I have played that has > had that marking has been mostly along the lines of an “andantino.” It’s > hard to give an exact metronome marking for that, though, it depends on the > harmonic motion as well as the predominant rhythmic motion! Do you have a > scan or photo of the piece? > > Best, > > Kira > > > > On Sun, Sep 26, 2021 at 5:08 PM Kenneth Wolcott < > kennethwolc...@gmail.com> wrote: > >> > >> Hi; > >> > >> Not a Lilypond question, but a musical one. > >> > >> When the tempo is given as "Simply", what metronome marking would > that imply? > >> > >> Thanks, > >> Ken Wolcott > >> >
Re: When the tempo is given as "Simply", what metronome marking would that imply?
Hi Ken, That’s a lovely vague indication, isn’t it! I always felt it implied more of a playing style than a tempo, but everything I have played that has had that marking has been mostly along the lines of an “andantino.” It’s hard to give an exact metronome marking for that, though, it depends on the harmonic motion as well as the predominant rhythmic motion! Do you have a scan or photo of the piece? Best, Kira On Sun, Sep 26, 2021 at 5:08 PM Kenneth Wolcott wrote: > Hi; > > Not a Lilypond question, but a musical one. > > When the tempo is given as "Simply", what metronome marking would that > imply? > > Thanks, > Ken Wolcott > >
Re: Having an actual hyphen in the lyrics?
Oh my this is getting way more involved than I expected! I’m re-thinking this in terms of the interruption dash Valentin mentioned. The formatting in old hymnals is sometimes really hard to parse out, and there are frequently mistakes, but I think that an interruption dash makes the most sense in the context of the lyrics. However, I already submitted the files, and if I need to change it I will, and if no one notices that’s okay too! On Thu, Sep 16, 2021 at 2:02 AM Valentin Petzel wrote: > Hello Carl, > > you mean this could be meant as an interruption dash: The fight is on – > the trumpet sound is ringing out... > > In this case I would expect the dash to be evenly spaced between on and > the. This could be achieved by using hyphen and overriding the stencil for > LyricsHyphen to a dash. May one should then use a m dash — to accentuate > the difference to a lyrics hyphen. > > Cheers, > Valentin > > 15.09.2021 20:36:40 Carl Sorensen : > > > > > > > On 9/15/21, 11:20 AM, "lilypond-user on behalf of Valentin Petzel" > valen...@petzel.at> wrote: > > > > Hello Kira, > > > > The problem with this is that how well it works depends on the > horizontal > > spacing of the system. I’ve attached a short example of how you can > tell > > Lilypond to actually align the dash under the note. It involves > setting > > melismaBusyProperties to make Ties not be handles as melisma in the > one case, > > and manually skipping the tied note in the other stanzas using _ > > > > I actually don't think that the intent is to place the dash under the > tied note. I think the dash is punctuation in the lyrics, not a lyric > itself. > > > > That's why I think the "lyric --" solution is the right solution. > > > > Thanks, > > > > Carl >
Re: Having an actual hyphen in the lyrics?
Valentin, No, it didn’t work exactly, but it worked well enough that I am happy with it! On Wed, Sep 15, 2021 at 1:25 AM Valentin Petzel wrote: > Hello Kira, > > if you use "on –" then you are treating this as one syllable. So this way > Lilypond won't align the – under the tied note, if that is still intended. > > Cheers, > Valentin > > 15.09.2021 00:43:35 Kira Garvie : > > Actually, I had quite a few spelling errors, I am sorry! Verse two is > supposed to be arouse, so that is also a dash. Carl was right, the correct > term was a dash not a hyphen, and putting it in quotes with on: “on – ” > worked perfectly, and it looks great! Sorry for the mistakes, and thank you > for the help! > > On Tue, Sep 14, 2021 at 6:34 PM David Wright > wrote: > >> On Tue 14 Sep 2021 at 18:05:17 (-0400), Kira Garvie wrote: >> > Okay, I tried that, but it bumps the lyrics all over one. In the >> original >> > page scan, which I am following, the hyphen falls right under the tied >> d >> > 8th note. How do I override the tie to get the hyphen there? >> >> You don't want a hyphen there, you need a lyric extender: "__" >> (without my quotes). You put one in the second verse, >> precisely underneath. >> >> You probably want to replace the extender in the second verse >> with a hyphen: "--" because I presume the word is onerous >> (e, not a). >> >> Note that LP's intraword hyphens don't aim to line up with anything >> musical, because that isn't the convention. >> >> Cheers, >> David. >> >>
Re: Having an actual hyphen in the lyrics?
Actually, I had quite a few spelling errors, I am sorry! Verse two is supposed to be arouse, so that is also a dash. Carl was right, the correct term was a dash not a hyphen, and putting it in quotes with on: “on – ” worked perfectly, and it looks great! Sorry for the mistakes, and thank you for the help! On Tue, Sep 14, 2021 at 6:34 PM David Wright wrote: > On Tue 14 Sep 2021 at 18:05:17 (-0400), Kira Garvie wrote: > > Okay, I tried that, but it bumps the lyrics all over one. In the original > > page scan, which I am following, the hyphen falls right under the tied d > > 8th note. How do I override the tie to get the hyphen there? > > You don't want a hyphen there, you need a lyric extender: "__" > (without my quotes). You put one in the second verse, > precisely underneath. > > You probably want to replace the extender in the second verse > with a hyphen: "--" because I presume the word is onerous > (e, not a). > > Note that LP's intraword hyphens don't aim to line up with anything > musical, because that isn't the convention. > > Cheers, > David. > >
Re: Having an actual hyphen in the lyrics?
Hi Carl, What do you mean by a code sample? I am sorry to be so ignorant - I was told I would be using MuseScore, then day one of this gig told "here, learn Lilypond instead" so I had to kind of crash-course this! those are very different little beasts! Thank you! Best, Kira On Tue, Sep 14, 2021 at 6:19 PM Carl Sorensen wrote: > > > On 9/14/21, 4:13 PM, "lilypond-user on behalf of Valentin Petzel" > valen...@petzel.at> wrote: > > So if I get the right: You want to have the hyphen under the tied note? > > This could be done by \once\set melismaBusyProperties = #' > > You could also do "on -" instead of on for the lyric (and it shouldn't > be a hyphen, it should be a dash -- which is another special character). > > You will get better help if you will send an actual code sample... > > Thanks, > > Carl > > >
Re: Having an actual hyphen in the lyrics?
Absolutely no purpose, other than that it is in the original scan and my instructions were to follow the original as closely as possible! It is from a 1989 Baptist hymnal that has some interesting formatting issues, so yes, it is absolutely not practical. Thank you though!! On Tue, Sep 14, 2021 at 6:13 PM Valentin Petzel wrote: > So if I get the right: You want to have the hyphen under the tied note? > > This could be done by \once\set melismaBusyProperties = #' () before the > tied > note (after ~) and then have the other stanzas skip that one note. > > May I just ask: What would be the purpose of this hyphen there?
Having an actual hyphen in the lyrics?
Hello all, If there is a literal hyphen in the text, not a hyphen that breaks up/extends a single word, how do I indicate that to Frescobaldi? Thank you! (I couldnt find it on the manual!) the text is: The fight is on - the trumpet call is ringing out... (old Baptist hymn.) Thank you! Best, Kira
Re: Adding a quote to lyrics
Oooh thank you! ~Kira On Sun, Sep 12, 2021 at 7:54 PM Karlin High wrote: > On Sat, Sep 11, 2021 at 7:32 PM Kira Garvie wrote: > > how do I insert the curly quotes? > > If you are using Frescobaldi: > > Ctrl + ' = ‘’ > Ctrl + Shift + " = “” > > The “curly” typographical quotes will be inserted as a pair. If text > is highlighted first, there will be on each side of the highlighted > passage. > -- > Karlin High > Missouri, USA >
Re: Adding a quote to lyrics
Thank you Aaron!! (Anyone who types “blessèd” that much probably works in a similar line of work to me - that word sounds funny to me with just one syllable now! I am a church organist/ music director.)! On Sun, Sep 12, 2021 at 1:18 AM Aaron Hill wrote: > On 2021-09-11 5:32 pm, Kira Garvie wrote: > > Following up on this question from thursday, how do I insert the curly > > quotes? I copied them from your email but would like to know how to do > > them > > myself! > > If you are running Windows, you hold down ALT, type a series of numbers > on the numpad, and then release ALT to input the specified character. > For instance, here are the codes for double quotation marks: > > ALT+0147 → “ (Left double quotation mark) > ALT+0148 → ” (Right double quotation mark) > > There are tables of codes online, but you can also use the Character Map > (charmap.exe) program. Find and select a character, and the status bar > will list its Alt+Numpad code if supported. Keep a cheat sheet nearby > with the ones you use most often; though it should not take long before > muscle memory takes over. In my work, I type "blessèd" enough that I > have ALT+0232 memorized. > > > -- Aaron Hill >
Re: Adding a quote to lyrics
Following up on this question from thursday, how do I insert the curly
quotes? I copied them from your email but would like to know how to do them
myself!
On Thu, Sep 9, 2021 at 6:09 PM Kira Garvie wrote:
> Thank you, Jean! The first option with the backslashes worked perfectly.
>
> On Thu, Sep 9, 2021 at 6:02 PM Jean Abou Samra wrote:
>
>> Le 09/09/2021 à 23:46, Kira Garvie a écrit :
>> > Hello all,
>> > I am typing the lyrics to a hymn, and it has the line: The cry “To
>> > arms!” is heard afar and near. How do I do those quotations without
>> > Frescobaldi thinking it’s a string of code? Also I am the newbie-est
>> > of newbies with coding and this program here so please be gentle and
>> > very specific! Thank you!!
>> > Best,
>> > Kira
>>
>>
>> Hi,
>>
>> I assume your problem is about something like this:
>>
>> \version "2.22.1"
>>
>> { c'1 c' }
>> \addlyrics { "To arms" }
>>
>> where you want the quotes to appear as part of the
>> words "To" and "arms". In the example shown above,
>> they group the two words together, making them a
>> single syllable (see [1]).
>>
>> To add these quote marks,
>> - enclose each word in quotes, to enable a parsing mode
>>that has string-specific features,
>> - add a backslash before the quotes you want to include
>>literally, to 'escape' them so that they will be
>>treated as part of the string without ending the string
>>as they would normally do.
>>
>> This technique is explained at [2]. The code becomes:
>>
>> { c'1 c' }
>> \addlyrics { "\"To" "arms\"" }
>>
>> That being said, an attractive option would be to use curly
>> quotes. These characters are separate from straight quotes,
>> so they don't have synctactic meaning to LilyPond. Also, they
>> render much nicer in the output.
>>
>> { c'1 c' }
>> \addlyrics { “To arms” }
>>
>> Cheers, and -- welcome on this list!
>> Jean
>>
>> [1]:
>>
>> https://lilypond.org/doc/v2.22/Documentation/notation/common-notation-for-vocal-music#multiple-syllables-to-one-note
>> [2]:
>>
>> https://lilypond.org/doc/v2.22/Documentation/notation/common-notation-for-vocal-music#entering-lyrics
>>
>
Re: Realigning rests
Thank you so much! I was wondering about the double dots as well. On Fri, Sep 10, 2021 at 4:15 AM Valentin Petzel wrote: > Hello Kira, > > From your code I see that the problem stems from the line > \override Staff.Rest #' staff-position = #0 > > Here you basically force Lilypond to put all following rests onto the > middle > line. I guess you’re doing this to merge the common rests. Note that doing > this messes with the dots on dotted rests. Because Lilypond will try to > display both dots, so it will put one dot above and one beneath the line. > > If you use Lilypond 2.20 or higher you can add a merge rest engraver to > the > staff that will automatically do the merging for you. In your case I’d > suggest > you to override the position only for the rests that are affected and hide > one > of the rests (or you can also replace it with a skip). > > Cheers, > Valentin
Re: Adding a quote to lyrics
Thank you, Jean! The first option with the backslashes worked perfectly.
On Thu, Sep 9, 2021 at 6:02 PM Jean Abou Samra wrote:
> Le 09/09/2021 à 23:46, Kira Garvie a écrit :
> > Hello all,
> > I am typing the lyrics to a hymn, and it has the line: The cry “To
> > arms!” is heard afar and near. How do I do those quotations without
> > Frescobaldi thinking it’s a string of code? Also I am the newbie-est
> > of newbies with coding and this program here so please be gentle and
> > very specific! Thank you!!
> > Best,
> > Kira
>
>
> Hi,
>
> I assume your problem is about something like this:
>
> \version "2.22.1"
>
> { c'1 c' }
> \addlyrics { "To arms" }
>
> where you want the quotes to appear as part of the
> words "To" and "arms". In the example shown above,
> they group the two words together, making them a
> single syllable (see [1]).
>
> To add these quote marks,
> - enclose each word in quotes, to enable a parsing mode
>that has string-specific features,
> - add a backslash before the quotes you want to include
>literally, to 'escape' them so that they will be
>treated as part of the string without ending the string
>as they would normally do.
>
> This technique is explained at [2]. The code becomes:
>
> { c'1 c' }
> \addlyrics { "\"To" "arms\"" }
>
> That being said, an attractive option would be to use curly
> quotes. These characters are separate from straight quotes,
> so they don't have synctactic meaning to LilyPond. Also, they
> render much nicer in the output.
>
> { c'1 c' }
> \addlyrics { “To arms” }
>
> Cheers, and -- welcome on this list!
> Jean
>
> [1]:
>
> https://lilypond.org/doc/v2.22/Documentation/notation/common-notation-for-vocal-music#multiple-syllables-to-one-note
> [2]:
>
> https://lilypond.org/doc/v2.22/Documentation/notation/common-notation-for-vocal-music#entering-lyrics
>
Adding a quote to lyrics
Hello all, I am typing the lyrics to a hymn, and it has the line: The cry “To arms!” is heard afar and near. How do I do those quotations without Frescobaldi thinking it’s a string of code? Also I am the newbie-est of newbies with coding and this program here so please be gentle and very specific! Thank you!! Best, Kira
