Re: Any way to turn of "strange time signature found" warnings?
On 05/13/2011 04:42 AM, Trevor Bača wrote: Is there any way to turn these warnings off? (Something like override NoteColumn #'ignore-collision = ##t would be ideal.) On Linux, just redirect stderr, lilypond file.ly 2> /dev/null ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Change the color of ledger lines
On 04/18/2011 08:06 PM, Xavier Scheuer wrote:
I know see the real problem: it is not possible to change the color of
ledger lines _in the middle of the score_.
Yes, you can start with an override, but can't revert it.
\score {
<<
\new Staff { c c' c'' c''' }
\new Staff {
\override Staff.LedgerLineSpanner #'color = #red
\clef bass
c c'
\revert Staff.LedgerLineSpanner #'color % no effect!
c'' c'''
}
>>
}
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Re: How to prevent page number appearing on back of title page?
On 04/16/2011 04:46 PM, Nick Payne wrote: If I add a blank page on the back of the ToC, so that the first piece starts on a right-hand page, I'm getting a page number of 0 appearing on that supposedly blank page. My 'solution' would be to add the blank page later with pdftk or some other cli tool. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing between continuo figures and staff/notes
On 03/22/2011 12:11 AM, Brent Annable wrote:
Lilypond always puts the continuo figures too far from the staff for my
taste. When I use an "\override BassFigure #'extra-offset" command, the
figures get closer but of course they start bumping into things. What I
want is to be able to tell Lilypond to put the figures a minimum
distance from the lower limit of the staff, or if the bass note is below
the staff, a minimum distance from the bass note.
Maybe something like
\layout {
\context {
\FiguredBass
\override VerticalAxisGroup #'minimum-Y-extent = #'(-2 . -2)
}
}
(took me a week to get around to reading your msg -- sorry)
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Re: How to do jazz-style bar repeats
On 03/04/2011 10:30 AM, Colin Hall wrote:
For the record I've attached a complete source file to demonstrate how I do
chop marks.
Here's another way, with one-line rythmic staff.
dummy = \relative c {
\set squashedPosition = #0
\override NoteHead #'style = #'slash
\override Stem #'transparent = ##t
\key g \major
\repeat unfold 2 { c4 c c c }
}
harmonies = \chordmode {
b2:7 e:7
a:7 d:7
}
\score {
<<
\new ChordNames \harmonies
\new RhythmicStaff
{
\set RhythmicStaff.instrumentName = \markup { "Solos" }
\new Voice = "rhythm" \dummy
}
>>
\layout {
\context {
\RhythmicStaff
\consists "Pitch_squash_engraver"
\consists "Clef_engraver"
\consists "Key_engraver"
}
} % close layout
} % close score
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Re: Special symbols for Blues harp (german: Mundharmonika)
On 02/19/2011 04:58 AM, frank.weich...@lpp-pfullingen.de wrote: Hi All, I'm looking for special symbols used for harp-notation (german: Mundharmonika). Like fingering for keybords, harps needs special symbols for "chanel-number" and "blow" and "reverse blow", "Shift" (chromatic one only). There are /some/ numbers in circles in unicode characters, like ① Much better is Supertab, a collection of ttf harmonica tab fonts, which includes draw bends, overblows, and chromatic notation. Examples here: http://patmissin.com/tab/tab.html Dowload from here: http://harmonica.co.uk/SuperTAB.zip ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Snippet does not work anymore
On 02/12/2011 12:46 AM, Ole Schmidt wrote:
the "=" sign is now a bit low, but I don't know how to raise it- I can live
with that...
Maybe try vertically centering the lot with \vcenter {}...
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Re: guitarist: how write chord names like Gadd5
On 02/03/2011 10:40 AM, David Raleigh Arnold wrote: You will find that useless innovations which are doomed to obsolescence are not appreciated, and even less appreciated if they require explanation. Regards, daveA Quote of the day! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Translation for musical phrase "Niveau-Überschreitung" or "Niveau-Unterschreitung"?
On 01/31/2011 07:27 PM, Francisco Vila wrote: I vaguely recall this case known as 'false relation'. The listener could be fooled into hearing e' a' but the a' is sung by another voice. This would be the 'soft' case, the hard case is for 'f b' tritone sung by different voices. Don't rely too much in this... Nein, false relation is where you have two successive chords, where a note of the first is inflected with an accidental to become a note of the second chord, and this happens in different parts. So if D minor is followed by D major, the F to F# should happen in the same voice, to avoid 'false relation'. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Translation for musical phrase "Niveau-Überschreitung" or "Niveau-Unterschreitung"?
On 01/31/2011 12:28 AM, Nils Gey wrote: Hello list, do you know the name for the music theoretical voice progression which can be seen in this picture? The lower voice in the second cord is higher than the higher voice in the first chord. Second measure shows the same, inverted. The German term is "Niveau-Überschreitung" or "Niveau-Unterschreitung" which means something like going above or falling below a level. I don't know an English term for it, apart from 'overlapping parts' -- strict harmony books usually advise against it, at least for passing 4-part harmony exams! The really strict would also whinge about the first chord measure 2, saying that if any part proceeds by an interval greater than a 5th (as in measure 1), its next note should fall within that interval. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord name size
On 12/28/2010 02:43 PM, Peter Buhr wrote: I want to change the size of the chord names, as in: \override ChordNames #'font-size = #-1 but I can't find the grob name to do this. There's no `s' in ChordName. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
ChordName Font [was: lilypond cameo]
On 12/10/2010 05:43 PM, Jan Warchoł wrote: Seriously though, have you considered changing the default font for chords? For /some/ things, it's nice to have serif-ed chord names; an easy way is to put \override ChordName #'font-size = #0 \override ChordName #'font-family = #'roman in \layout \context ChordNames, which gives the attached. Or you could try \override ChordName #'font-name = #'"Exact Font Name" to use any font on your system. <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: articulation question
On 11/21/2010 08:53 AM, Hu Haipeng wrote:
I'm wondering whether I can enter these articulations: mezzo staccato (dot
and line),
Just put both after the note: c-.--
reversed accent sing
Not sure what this is...
and martellato (thick V).
If you force the direction of the marcato mark downwards, it points
down; usually you put c-^, but try c_^ to get thick downwards V.
Or, if you want a thick downwards V above the note, you could try
martellato = \markup { \musicglyph #"scripts.dmarcato" }
c^\martellato
otherwise if it goes above the note, as in c^^, it points upwards.
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Re: Produce just a small png file
On 11/19/2010 01:51 PM, Bernardo Barros wrote: 2010/11/19 Marc Mouries: http://lists.gnu.org/mailman/listinfo/lilypond-user lilypond --png filename.ly just type lilypond and you will see all the possible options. Sorry Marc, but here it produces just the png file, that's ok, but in a complete page... I wanted a compact fragment, with all the music, I just crop the whole page png with gthumb; most ungeeklike, but I don't care :) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Brandenburg #3
On 11/10/2010 06:47 AM, Robert Margo wrote: I am looking for .ly files for the parts for Brandenburg #3. I know that they existed on www.mutopia.org at some point but they are not there at present. If anyone has these, it would be a great help on a project. Maybe try old versions of the Bach page http://web.archive.org/web/*/http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=BachJS Like looking for a noodle in a smokestack... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ANN: Frescobaldi 1.1.8
On 11/09/2010 07:34 PM, Wilbert Berendsen wrote: The current plan is to remove the dependency on KDE. Best news I've had all day ;) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: More PDF metadata
On 08/29/2010 12:33 AM, Henning Hraban Ramm wrote: Is it possible to insert PDF metadata (pdfmarks) into LilyPond's PostScript output? I use pdftk for this (and other cool stuff) http://www.pdflabs.com/tools/pdftk-the-pdf-toolkit/ To add metadata, you write a text file that looks like InfoKey: Title InfoValue: My Wonderful Title InfoKey: Subject InfoValue: My brilliant piece InfoKey: Keywords InfoValue: other stuff etc (or possibly extract the info from your .ly with some sed incantation) then run pdftk old-file.pdf update_info metadata.txt output new-file.pdf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Next sheet music question - chords and lyrics no melody
On 08/20/2010 11:07 AM, Stephen Nesbitt wrote: All: Ok, my next Lilypond stumper (at least to me). Is it possible to generate sheets that comprise lyrics plus chord changes *without* the need to specify (or display) the melody. Something like this: G D/F# Em7 Am C A long, long time ago I can still re-member how One way is here http://lsr.dsi.unimi.it/LSR/Item?id=536 Another solution is to use Chordii http://www.vromans.org/johan/projects/Chordii/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I got a syntax error i couldn't find out how to fix
On 08/12/2010 10:21 AM, Nick Payne wrote: Checking that you have correctly matching opening and closing braces, brackets, and parentheses is much easier if you use an editor that matches them. I use jEdit with Lilypondtool which does so. +1 for bracket matching -- saves a lot of headaches. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Similar to tremolo
On 07/06/2010 09:20 AM, M Watts wrote:
\relative c' {
\time 9/16
\set Staff.timeSignatureFraction = #'(3 . 4)
\override NoteHead #'duration-log = #1
\override Beam #'positions = #'(1.25 . 1.5) % not strictly needed
b8. c d
}
Sorry, the above only has one beam; for two beams, it's:
\relative c' {
\time 9/32
\set Staff.timeSignatureFraction = #'(3 . 4)
\override NoteHead #'duration-log = #1
\override Beam #'positions = #'(1.25 . 1.5)
b16. c d
}
The time sig denominator and note duration are both doubled to add
another beam.
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Re: Similar to tremolo
On 07/06/2010 04:36 AM, Helge Kruse wrote:
Hello,
I need to write a piece with a tremolo like fast repetition. But since
there are three notes in this repetition
\version "2.13.11"
% your example, with thanks to LSR snippet 440
\relative c' {
\time 9/16
\set Staff.timeSignatureFraction = #'(3 . 4)
\override NoteHead #'duration-log = #1
\override Beam #'positions = #'(1.25 . 1.5) % not strictly needed
b8. c d
}
% your attached png
\relative c' {
\time 9/128
\set Staff.timeSignatureFraction = #'(3 . 4)
\override NoteHead #'duration-log = #1
a64. c e
}
The middle note's stem on the attached png doesn't go up through the
tremolo beams, but Stem #'length only affects unbeamed notes, not sure
how to fix.
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Re: Creating a ://: repeat mark?
On 07/02/2010 06:20 PM, Marc Hohl wrote:
> Why don't you just combine the double slash?
>
Um, mental block; or just blockhead :)
you can use \raise:
\markup { \raise #0.25 { \italic : } \hspace #-1.25 "/" \hspace #-1.25
"/" \hspace #-1.25 \raise #0.25 { \italic : }}
Instead of experimenting with various values for \raise, you can
\vcenter the whole thing; this goes for all markups, too.
\markup { \vcenter { { \italic : } \hspace #-1.25 "/" \hspace #-1.25
"/" \hspace #-1.25 { \italic : }}}
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Re: Creating a ://: repeat mark?
On 07/02/2010 09:58 AM, M Watts wrote:
So it's probaly best done as a markup.
\markup { { \italic : } \hspace #-1.25 "⫽" \hspace #-1.25 { \italic : }}
I found if you use the // on the keyboard, they're too far apart: the
double slash is called a Double Solidus Operator U+2FAD.
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Re: Creating a ://: repeat mark?
On 07/02/2010 08:06 AM, Xavier Scheuer wrote: 2010/7/2 Matthew Vernon: Hi, Sometimes music has marks a little like ://: (only with the double-dots slanted too) to indicate that a phrase of the words is to be repeated at this point in the music. How can I get lilypond to generate such a mark? Hi! Well, this is simple "double" percent repeat of 2 measures, isn't it? No, in 'extended' hymn tunes, like Cwm Rhonnda or Sagina, a line of lyrics is repeated, but with different music. The music is written out normally; so are the lyrics. Where there's a line of lyrics repeated, ://: is literally printed above or between staves. So it's probaly best done as a markup. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond w/ changes from M Watts & I Hulin
On 06/09/2010 07:26 PM, Mike Solomon wrote: Hey liylpond users, Please see: http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.pdf and http://www.apollinemike.com/lilypond/woodwind-diagrams-text-graphic.ly to see the changes These are excellent and valuable addition to Lilypond -- thanks very much Mike! The markup looks well set out & easy to use -- any w/wind player should have no trouble with it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating chord names like C7/F#7
On 06/09/2010 06:07 PM, snozpacker wrote: For a certain polytonal piece, I need to display chord names of the form "C7/F#7". That is, I need to be able to have an entire chord after the slash, not just the root. This isn't an answer, but a dominant 7th chord with its flat 9th & sharp 11th, contains two 7th chords whose roots are a tritone apart, so for now you could write C7b9#11. C7b9#11 contains all the notes of C7 and F#7, as does F#7b9#11 -- same chord. (C E G Bb Db F# or F# A# C# E G B#). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: force a double page break
This page left intentionally blank ;) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Woodwind diagrams in lilypond
On 05/31/2010 02:10 AM, Mike Solomon wrote: Dear lilypond users, I am currently working on adding woodwind diagrams to lilypond, and I would love to hear lilypond users' opinions on this project. An excellent idea -- contrats on the work so far. Specifically, I would like to know from woodwind players and/or enthusiasts: 1) Are the diagrams correct in their nomenclature and positioning? One vital thing:-- The 'one', 'two' thru 'six' for the main keys/holes on all instruments are round the wrong way -- 'one' means first finger, left hand. So 'one' should be at the top, and 'six' at the bottom. Several minor things:-- Could the separator line between lh & rh key be a bit longer? I like the way you only include relevant key clusters -- no need to show every key every time. Oboe: rh c cis & ees keys are usually of equal size Saxophone: front f could be a bit bigger and closer to lh one; palm keys could be a bit bigger (lh d ees & f); rh side keys could be a bit bigger (side bes, side c, high e). Maybe add baritone sax low A thumb key? Clarinet: maybe T & R could be a bit smaller. Bass clarinet: some horns have an additional ees/aes lever in the lh little finger cluster; low c horns might have a 6th key for rh little finger (for low d), as well as 3 keys for rh thumb (low d, des, c) 2) Do the diagrams meet the standard of visual elegance to which you hold lilypond? I reckon so -- they're looking really nice; I like the ability to indicate depressedRing-to-open trills etc. If you are interested in extending this project to other instruments, please let me know. Maybe recorder, tin whistle, bagpipes The code is written as such so that someone who knows how to use Scheme should be able to, by observing the way that the instruments are constructed, make their own instrument in the same manner. Very handy. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: polyphonic tuplets + accidentals = spacing mess
On 05/16/2010 02:50 PM, Mark Polesky wrote: The accidentals in polyphonic tuplets are disrupting the horizontal spacing here. In the example file that follows, I wanted the notes of the second line to be typeset with the spacing found in the first line. I tried *everything*, and humorously, things only got further and further from the desired spacing. I tried various of the following with your examples, but without success \override SpacingSpanner #'common-shortest-duration = #(ly:make-moment 1 16) \override SpacingSpanner #'average-spacing-wishes = ##t \override SpacingSpanner #'shortest-duration-space = #0.5 \override SpacingSpanner #'spacing-increment = #0.8 \override SpacingSpanner #'springs-and-rods = ##t ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Circular Staff in Inkscape [was Re: Lilypond vs Score]
On 02/05/2010 02:33 AM, Bertalan Fodor (LilyPondTool) wrote: Circular staves ARE possible with pure LilyPond, just look at this: Impressive! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Circular Staff in Inkscape [was Re: Lilypond vs Score]
I have to admit - I tried it and it's not easy to get a staff to conform to a circle, for example. Maybe someone else can. My Inkscape skills are weak, though I love the software. Not sure how to wrap the entire staff in a circle, but you can easily draw a circular staff in Inkscape:- Draw a circle (F5) with Ctrl held down, 115 px in size; Get outline only by Ctrl+Shift+F, click the X under Fill, and flat color (2nd left) under Stroke paint (or click the X near bottom left of window, and Shift-click a coler for line color); Clone it 4 times (Alt + D); Hit F1 and make sure the circle and all clones are selected by drawing a selection box around the circle (the status bar will tell you if they're all selected; you anly see the top one); Open the Transform dialog (Shift+Ctrl+M), go Scale, width & height both 110%, and make sure 'Scale proportionally' and 'Apply to each object separately' are both checked. Click Apply :) Btw, Inkscape has layers -- use them if you don't want to be constantly dragging the wrong notes and whatnot around. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing question
On 12/03/2009 02:23 AM, Howard wrote: I have downloaded the Installer to my Limux Suse 10.2 Desktop. I see is is a Shell Script. Where do I go from here please ?? Open a terminal, cd to your Desktop directory, and type sh lil[TAB]. Pressing the tab key will complete the filename for you, then press enter. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: linking render frames in Scribus
On 08/29/2009 09:47 AM, Federico Bruni wrote: Anybody of you has tried using Scribus 1.3.5 to render LilyPond files? See here: http://docs.scribus.net/index.php?lang=en&page=renderframes If the score is one page only, it works fine. But if it's 2 pages or more, I could not find any way to spread the LilyPond output over the pages. So I can see just one page and all the other pages are hidden.. One way is to split or burst the lilypond pdf so that each page is a separate pdf; there's a number of commandline utilities to do this, such as pdftk ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request - three line drum stave
On 07/30/2009 08:34 AM, Brian Lloyd wrote:
Dear Lillyponders,
Some of my favourite drum books (Chapin, Pickering) use a three-line
stave for their notation.
I like it—it has a clean look, especially when writing for snare, hh,
cymbal and bass.
It is similar to the timbale stave currently available in Lillypond.
Is someone able to advise me how to reproduce this, or simply to make one?
\score {
\new DrumStaff \with {
\override StaffSymbol #'line-count = #3
% \override BarLine #'bar-size = #4
}
Uncomment the `BarLine #'bar-size' line and play with the figure if you
want the barlines to extend above and below the staff.
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Re: Speed-up compiling
On 07/30/2009 04:29 AM, Patrick Horgan wrote: Here's the fix. Without buying a new computer, you can buy new RAM (Random Access Memory) and you'll THINK that you have a new computer. It will make you amazed at the difference! You will dance around and shout Huzzah! Woman will hold up their babies to be kissed by you. You will get a promotion and a humanitarian award. Yes! It makes that big a difference!... Thanks for this amusing and informative post. The moral of the story is: Fill your machine with RAM -- it'll go like a rocket. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clip-systems png output?
On 07/25/2009 08:09 AM, Neil Puttock wrote: I'd class this as a bug, since the documentation suggests it should work. Fortunately, it's rather easy to fix, so I'll post a patch for it soon. If you're feeling adventurous and can't wait for a new release with the fix, you can use the attached file to overwrite your installed scm/framework-ps.scm file. Good work -- thanks Neil. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: clip-systems png output?
On 07/23/2009 01:24 PM, ian rashkin wrote:
hi, am a total newbie to lilypond, but way impressed, hope to use it a lot.
interested in outputting clips as png, so trying various combinations, all of
which are the same result.
file scale.ly:
\version "2.12.0" % necessary for upgrading to future LilyPond versions.
#(ly:set-option 'clip-systems #t)
\header{
%title = "A scale in LilyPond"
}
\score {
\relative c' {
c d e f g a bes c d ees8( e) c4 b c~ c1
}
\layout {
clip-regions
= #(list
(cons
(make-rhythmic-location 3 0 4)
(make-rhythmic-location 4 0 4)))
}
}
lilypond --png scale.ly
i get a clipped eps (or so it would appear), and a full ps and png. if i leave
out the --png, i get a clipped pdf.
am i doing this wrong, or is it not possible to get a png clip?
thanks,
ian
I couldn't get the clips in png format either, trying `lilypond
-dclip-systems --png clips.ly'
Maybe you use the `convert' command from ImageMagic to convert the eps
file to png?
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Re: Bass clarinet fingering chart
[Off topic] Mike Solomon wrote: 5) I read that the biblical definition of pi is 3 (1 Kings 7:23). 1) The Bible makes no such claim. 1 Kings 7:23 apparently describes a temple object with a circumference of 10 and a diameter of 30. It's perfectly correct to state measurements only to the number of significant figures necessary for the application in question, in this case description of the temple. As maths people know, `10' is accurate to two significant figures for any value from 9.5 to 10.5; `30' for any value from 29.5 to 30.5. An implied rounding of pi to 3 introduces a margin of 4.7% error (because 0.14/3 = 4.7%); we all accept greater inaccuracies in everyday life without any drama. 2) Or, if you insist that biblical authors were too stupid to round off figures, take a closer look at the text -- the vessel's brim flared outwards (v. 26); the `10' measures from brim to brim (v. 23). The `30' refers to the outer diameter of the main part of the vessel (below the the flared brim), measured with a taut string line. In guile, (angle -1) returns pi accurate to 14 decimal places. Good for guile; but any decimal expression of pi remains an approximation. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to achieve chord stop with ¬
Marc Hohl wrote:
Stjepan Brbot schrieb:
In chords for chord stop usually the following sign is used: ¬
How to get this with lilypond?
Have you an example of how this should look like?
I haven't seen this mark ever before.
The only place I've seen this sign is in symbolic logic, where it means
negation of a proposition.
There are at least 2 versions in UTF-8; a normal one U+00AC, and a
full-width one U+FFE2.
To use these within lilypond, do \markup { \char ##x00AC } or \markup {
\char ##xFFE2 }.
Or, if your file is saved with UTF-8 encoding, you can paste the
character straight into it.
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Re: Pick a pitch/instrument in MIDI output
Matthew Rowles wrote: I've read all of that. All of those instruments are pitched. I want just a snare drum to hit out the rhythm. One way would be to play a midi file through a Jack-aware player like timidity, connecting timidity's midi output to the midi input of the Hydrogen drum machine, or Gneutronica. I can't access the percussion midi instruments as I'm not using a drum staff, and if I was, the notes would still change (percussion) instrument as the "pitch" changed. Basically, I want to replicate an audio RhythmStaff. So, maybe a better phrased question: Can I pick a particular midi instrument "pitch" (eg c', snare etc...) and use that for all notes in my score? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: get typical jazz swing in drums midi file
Grammostola Rosea wrote:
Hi,
It is possible to get an typical jazz swing also in the midi file, so
I hear it when playback?
I think you'd have to code swing drum section just for the midi output,
with something like
\times 2/3 { hh4 hh8 } to get swung rhythms.
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Re: Lilypond is amazing! (engraving Reubke)
Arno Rog wrote: Hi, Just to learn LilyPond better I've engraved the splendid Organ Sonata "Der 94ste Psalm" by Julius Reubke (1834-1858) with LilyPond 2.13.1. The result can be seen here [1]. The 28-page score is based on the IMSLP score (first edition 1871) of this piece. [Dutch]Werkelijk meesterlijk Wilbert![/Dutch] Magnificent score, exemplary use of incorporating separate ly-files into one score, makes me realize there is still só much to learn!!! Thanks for sharing this and your other ly-files, they should be promoted to the LilyPond Snippet Repository and incorporated into the Lilypond manuals immediately! Beautiful examples to incorporate into a show-case and to convince (so-called) professional printers to accept lilypond-scores (try to typeset this Reubke with Finale/Sibelius!) What he just said! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: trills
Berthold Gunreben wrote:
Hi,
I am quite new to lilypond and stumbled over a question regarding trills. I'd
like to use pitched trills which works quite well with something like:
\pitchedTrill b2 \startTrillSpan cis b \stopTrillSpan
However when I want to do a pitched trill over just one single note, I always
get errors:
test.ly:34:17: warning: programming error: bounds of this piece aren't
breakable.
\pitchedTrill b
\startTrillSpan cis \stopTrillSpan
For a pitched trill on a single note, try terminating the trill spanner
on a spacer note:
\relative c '' {
\pitchedTrill e2\startTrillSpan fis d\stopTrillSpan % as usual
\pitchedTrill e2\startTrillSpan fis s2\stopTrillSpan % with spacer note
}
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Re: Lilypond crash
Nick Payne wrote:
I was attempting to shorten the entry required for indicating
strokefingering:
\version "2.12.2"
i = #(define-music-function (parser location) () #{
\rightHandFinger #2
#})
\relative c' { }
This causes Lilypond to crash (2.12.2, Windows). The entry in the
application event log shows:
Faulting application name: lilypond.exe, version: 2.12.2.1, time stamp:
0x497bdfce
Faulting module name: libguile-17.dll, version: 0.0.0.0, time stamp:
0x497bdfcd
Exception code: 0xc005
Fault offset: 0x0002d4a7
Faulting process id: 0x15a0
Faulting application start time: 0x01c9ba2888d32f3b
Faulting application path: C:\Program Files\LilyPond\usr\bin\lilypond.exe
Faulting module path: C:\Program Files\LilyPond\usr\bin\libguile-17.dll
Also crashes 2.12.2 on Fedora 10.
GNU LilyPond 2.12.2
Processing `shorten_finger.ly'
Parsing...
Interpreting music... fish: Job 3, “lilypond shorten_finger.ly ”
terminated by signal SIGSEGV (Address boundary error)
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Re: Analysis brackets?
Claudia wrote:
Hi, I need to draw several superimposed -- although not nested --
brackets in order to evidence two
melodic overlapping structures for teaching purposes. Does
anyone knows how to do it?
I've tried Analysis brackets but the groupings are presumed nested
and so, the group openings and
closings are interpreted as in a heap.
I'm looking for something like:
\openGroup1 c d e f \openGroup2 g a b c \closeGroup1 d e fis g
\closeGroup2
As the Horizontal_bracket_engraver lives at voice level, overlapping
brackets need to live in different voices.
\version "2.12.2"
upper = \relative c'' {
c\startGroup d e s4
g a b c\stopGroup
d e fis s4
}
lower = \relative c'' {
s2. f4\startGroup
s1
s2. g'4\stopGroup
}
\score {
\new Staff {
<<
\voiceOne \upper
\voiceThree \lower
>>
}
}
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
Btw, you can put any bracket above the staff with \once \override
HorizontalBracket #'direction = #UP
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Re: hiding portions of slurs/ties around specific objects
Questions and comments are welcome. If anyone wants to add it to the LSR, that's fine by me. Change the function name too, if you want, I couldn't think of anything better. Very awesome! It's definitely LSR worthy. +1 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tip/Trick: Double-Breve or Single-Breve-with-Double-Sidebars
I think I've seen music where the breve (2 whole notes) was printed with two bars on each side. Indeed, in most hymn books I've seen, the breves have 2 lines each side, so "huzzah" for Kieren's code! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Real-world usage of Lilypond
Sorry Tim, I don't understand what you said. Could you point me to a link explaining those systems? Thanks! I'm not Tim, but try starting here for LilyPond syntax; also read the "see also" pages linked from the bottom: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Simple-notation#Simple-notation Also check out the Music glossary http://lilypond.org/doc/v2.12/Documentation/user/music-glossary/index There are many resources to help 'translate' between American and British note names and other terms, like http://ninagilbert.googlepages.com/British.html#ALPHA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: move lyrics closer
James E. Bailey wrote:
I want to move lyrics closer to each other. I've tried \layout
{\context { \Lyrics \override #'baseline-skip = #-55 } } and it's not
working for me. I'm sure I've just got the wrong context somewhere.
Can someone point me to the right way?
Do you mean move words closer together, or lines closer together? If
words, it might be something like
\override LyricText #'wordspace = #0.3, the default is 0.6.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/LyricText#LyricText
But I'm fairly weak on Lyrics, so I haven't really tested this.
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Re: Real-world usage of Lilypond
Wei-Wei Guo wrote: Christ van Willegen 写道: - Any other advice/techniques/additions/modifications we can think of. Does Lilypond has any application on music textbook? Is is possible? I find it difficult to input single/standalone music symbols, such as crotchet or quaver. Have you seen ooolilypond? http://ooolilypond.sourceforge.net/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Canorus -- help found
M Watts wrote: >/> / >/Try their website/ >/https://canorus.berlios.de/wiki/index.php/Main_Page/ That's where I started, of course. I downloaded the program from there, but I can't find anything like a user guide or tutorial. And the "User's guide" choice on the "Help" menu is grayed out. AFAICT, you're just supposed to know With the latest 0.7 release, available via wget http://download.berlios.de/canorus/canorus_0.7.R1002_source.tar.bz2 the help file gets built as part of the compile process, via a makefile which invokes lyx, in the doc/userguides directory (explained in the Readme) You need to build the docs first b4 building the app, otherwise the help menu remains greyed out. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug? Lines disappear with rhythmic staff
Trevor Daniels wrote:
Peter Chubb wrote Saturday, March 28, 2009 8:44 AM
That's right. I want no lines on the stave for the RhythmicStaff, but
I do want lines for the Staff context, and no StaffGroup bracket.
The OP didn't say so -- one is not a mind reader ;)
Peter
Have you tried setting 'line-count of StaffSymbol to 0
rather than removing Staff_symbol_engraver?
Trevor
Indeed, adding \override StaffSymbol #'line-count = #0 to the
RythmicStaff's layout block immediately has things looking better -- but
that left a ridiculously tall bar line at the end of the main staff.
I tried taking the StaffGroup out altogether, as you don't need a
StaffGroup bracket, which seems to "work fine" this time.
--
\version "2.12.2"
recscore= {
\context RhythmicStaff = "tambour" {
\override NoteHead #'style = #'cross
\stemUp
f4 f8 f8 \bar "|."
}
}
lower = \context Staff = "recA" {
\clef "G8"
a''2
\bar "|."
}
\score {
<<
\recscore
\lower
>>
\layout {
\context{ \RhythmicStaff
\remove "Time_signature_engraver"
% \remove "Staff_symbol_engraver"
\remove "Clef_engraver"
% \remove "Bar_engraver"
\consists "Instrument_name_engraver"
\override BarLine #'transparent = ##t
\override StaffSymbol #'line-count = #0
}
\context{ \Staff
\remove "Time_signature_engraver"
}
}
}
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Re: Bug? Lines disappear with rhythmic staff
Peter Chubb wrote:
I'm using the current 2.12.2 version of lilypond. The attached file
yields,
programming error: vertical alignment called before line-breaking
and no lines on the staff.
If I remove the \bar "|." the output is correct.
\version "2.12.2"
recscore= \context StaffGroup <<
\context RhythmicStaff = "tambour" {
\override NoteHead #'style = #'cross
\stemUp
f4 f8 f8
}
\context Staff = "recA" {
\clef "G^8"
a''2
\bar "|."
}
>>
\score {
\recscore
\layout {
\context{ \RhythmicStaff
\remove "Time_signature_engraver"
\remove "Staff_symbol_engraver"
\remove "Clef_engraver"
% \remove "Bar_engraver"
\consists "Instrument_name_engraver"
\override BarLine #'transparent = ##t
}
\context{ \Staff
\remove "Time_signature_engraver"
}
}
}
For me, with 2.12.2 on Fedora 10, running your example yields tiny staff
lines before the clef, but nothing after, and no StaffGroup bracket.
You seem to have removed the Staff_symbol_engraver from the RythmicStaff
context -- I left the \bar "|." in, and commented out the line
% \remove "Staff_symbol_engraver"
, then all worked fine.
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Re: auto-beaming
Mats Bengtsson wrote: Trevor Daniels wrote: Unfortunately, this will also subdivide 16th beams too. This is what I meant by "not quite possible". You would need to turn subdivideBeams on and off as required. Should we turn this into feature request to make the automatic subdivision of beams even more flexible, with separate rules for different note lengths, That could be very handy -- a case in point is Karg-Elert's Chacconne, op. 153, no. 12, one bar before section 19, where there's a bar of 3/4 time filled with 24 32nd notes, subdivided at every level. What I mean is, there are 4 32nd notes, joined with 3 beams (as normal); then every two lots of 4 32nds are join by 2 beams, and the whole lot is joined by one beam. or would the resulting scheme get too messy to use and implement? Haven't the foggiest :) /Mats ___ 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: a:4 chord
Miklos Vajna wrote:
Hi,
First, sorry if this was already discussed, I did not found anything
regarding this in the documentation.
So I have the following block in my .ly file:
\chords {
a:7
}
and this is properly rendered to something similar to "A^7".
Now I want the same with A^4, so I type:
\chords {
a:4
}
and I get: A^4/sus4/add3.
Question: How do I get just an "A^4"? :)
Thanks.
Just use a chord name exception -- it looks like a lot of setting up,
but it's well worth it, and only needs to be done once. You can also
put this kind of thing in a separate file and \include it.
--
\version "2.12.2"
% modify suspended 4th chords
% Exception music is chords with markups
chExceptionMusic = {
1-\markup { \super 4 }
}
% Convert music to list and prepend to existing exceptions.
chExceptions = #( append
( sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
theMusic = \chordmode {
a1:4
\set chordNameExceptions = #chExceptions
a1:4
}
<<
\context ChordNames \theMusic
\context Voice \theMusic
>>
\layout {
ragged-right = ##t
}
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Re: New ConTeXt module
fiëé visuëlle wrote: Am 2009-03-10 um 00:17 schrieb -Eluze: Valentin Villenave wrote: Perhaps Eluze was mixing up ConTeXt and ConTEXT :-) thanks - how could I ?! I had no idea the other one also exists! I agree that "context" is a bad choice as a product name, as is "latex"... Well, if TeX is supposed to be pronounced as "tech", as LaTeX as "lay-tech", then I guess ConTeXt is pronounced "con-tech-t", as opposed to ConTEXT, which is presumably pronounced normally, but this hair-splitting doesn't help when they're written down -- one's eyes tend to glaze over aBSuRd capitalisation. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: glissando up from no note to a note
Chip wrote:
Robin Bannister wrote:
Chip wrote:
it just resulted in messed up measures
A judicious use of time distortion may help you here.
\transpose c c'{
\hideNotes g,32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
\hideNotes c''32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
a1*3/4\fermata \hideNotes d'4\glissando \unHideNotes |
ees8->[ c8]-> r4 r2 |
}
It appears the problem I am having has to do with the durations of the
notes - your example uses quarter notes, I am using eighth notes. The
7/8 fraction doesn't work, and I don't know how you came up with that
fraction.
Robin's code as a minimal example works fine.
There are 8 32nd notes to the quarter note; he's used one hidden 32nd to
attach the gliss to, which leaves 7 eighths of a quarter note.
If you're using hidden eighth notes to attach the gliss to, try scaling
the next note by 1/2 -- e.g.
\hideNotes g,8 \glissando \unHideNotes c'4*1/2
Making such changes to Robin's example acheives similar results with
tighter spacing.
Here is my error -
---
G:/Lilypond Files/Te Regalo el Corazon.ly:48:0: warning: barcheck
failed at: 31/32
--
--
Chip
And then patiently adjust padding and minimum-length ...
Cheers,
Robin
No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 8.5.278 / Virus Database: 270.11.9/1991 - Release Date: 03/09/09 07:14:00
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Single-digit time signature with different number
I figured something out myself :) Now that Sigfrid Karg-Elert's works are public domain, him having been dead for over 70 years, I'm fiddling with his 25 Caprices & Sonata for solo saxophone (op. 153). The Sonata's 2nd movement is in fast 3/4 time, with one beat to the bar, and its time signature is a simple number "1". I found that using \override Staff.TimeSignature #'style = #'single-digit (which I've used before), and \set Staff.timeSignatureFraction = #'(1 . 4) produces exactly the desired result. So thanx again for this wonderful software. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Multiple repeats
Kieren MacMillan wrote:
Hi Kees,
OK, let me rephrase (and this time in the right list, sorry): is the
way to indicate
a 4 times repeated set of bars "\repeat volta 4 {notes}", followed by
a manual annotation
indicating "repeat 4 times" or is there a better method?
As far as I know, that's the best Lily-method.
On a side note, as a conductor/performer, I would much prefer to see
"play 4x" (if that's what you want) or "play 5x" (if you truly mean
"repeat 4 times") — always strive for clarity. =)
That's right -- if a passage is played twice, it's only _repeated_ once.
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Re: Parenthesizing chord names
James E. Bailey wrote:
El 01.03.2009, a las 12:47, M Watts escribió:
James E. Bailey wrote:
El 01.03.2009, a las 01:12, Tim McNamara escribió:
A common jazz lead sheet convention is to parenthesize optional
chords written over the melody staff. An example is a turnaround
at the end of a song that is not played the last time through. For
example in "Easy Living" the turnaround over the last two bars of
the second ending is (using the default language conventions):
f2 aes2:7
des2:maj7 c2:7
Rather than writing a separate ending, I'd like to just
parenthesize the last three chords over the final two bars so they
would render:
F(Ab7Dbmaj7C7)
This approach is commonly used in jazz lead sheets rather than
writing multiple endings within multiple endings or adding codas.
I've been plowing through the documentation and have searched the
Web, which has extensive stuff about parenthesizing but nothing
that I have found to suit the need I have.
You could probably just add the Text_engraver to the ChordNames
context, and include it as markup.
Yes, this works, but I found that the markups need to be attached to
the chornames with _ or ^, so you need to #'extra-offset them to get
them on the same line as the chordnames.
Does using - not work?
Not for me, anyway:
newchord.ly:4:29: error: syntax error, unexpected \markup
test = \chordmode { f2 aes:7-
\markup "(" des:maj7 c:7-\markup ")" }
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Re: Parenthesizing chord names
James E. Bailey wrote: El 01.03.2009, a las 01:12, Tim McNamara escribió: A common jazz lead sheet convention is to parenthesize optional chords written over the melody staff. An example is a turnaround at the end of a song that is not played the last time through. For example in "Easy Living" the turnaround over the last two bars of the second ending is (using the default language conventions): f2 aes2:7 des2:maj7 c2:7 Rather than writing a separate ending, I'd like to just parenthesize the last three chords over the final two bars so they would render: F(Ab7Dbmaj7C7) This approach is commonly used in jazz lead sheets rather than writing multiple endings within multiple endings or adding codas. I've been plowing through the documentation and have searched the Web, which has extensive stuff about parenthesizing but nothing that I have found to suit the need I have. You could probably just add the Text_engraver to the ChordNames context, and include it as markup. Yes, this works, but I found that the markups need to be attached to the chornames with _ or ^, so you need to #'extra-offset them to get them on the same line as the chordnames. If you try to add Note_heads_engraver to the ChordNames context, so you can attach markups to spacer notes, you get actual notes for your chords above the staff as well! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text over fermata
Joseph Haig wrote:
I want to put a markup over a fermata but when I try this:
a'2\fermata^\markup { \italic lunga }
I get the text under the fermata. How can I force it above?
Thanks
Joe
One way is to do it as a markup:
\markup { \center-column { \italic "lunga" \musicglyph
#"scripts.ufermata" } }
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Re: Canorus
Tim Slattery wrote: I saw the mention of Canorus in the Lilypond FAQ, and I downloaded it and have gotten it running. But I can't figure out how to do anything in it. Is there a user's guide somewhere? I can't find one. Try their website https://canorus.berlios.de/wiki/index.php/Main_Page ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Color of notes depending on accidentals
cuco wrote: Is there is a way to authomatically color notes that are e.g. sharp? You'd need a function that says: If note name ends in "is", do \override NoteHead #'color = #red, but I don't actually know to do this :eek: ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Writing text in a measure
Kees van den Doel wrote:
I'm trying to write text in an otherwise empty measure (some special
performance instructions).
not above it or below, but in it.
How can I do that? There is a snippet doing something like that
http://lsr.dsi.unimi.it/LSR/Item?id=258
but when I apply it my text overwrites music after the bar in which the text is
contained.
I need something like
music .. |s-\markup {"Play loud random notes, then burn your instrument (30s)
"}| more notes...
Maybe this
-
\version "2.12.2"
\relative c' {
\override TextScript #'extra-offset = #'(4 . 5.5)
\override TextScript #'extra-spacing-width = #'(0 . 0)
c4-\markup { \whiteout \pad-markup #0.5 "Play loud random notes,
then burn your instrument (30s)" } s2.
d4 e f g
}
\layout { ragged-right = ##f }
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Re: Partial measures
jpeters wrote:
One way to do this is with measureLength:
\relative c'' {
\time 4/4
\repeat volta 2 {
\partial 8 gis8 |
fis4 g g c, |
\set Score.measureLength = #(ly:make-moment 7 8)
b2. r8 |
\set Score.measureLength = #(ly:make-moment 4 4)
}
fis4 g g c, |
}
~
A very handy thing to know!
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Re: Cannot correctly code this rhythm...
Brett Duncan wrote:
I've been fiddling with your files, and I cannot get the main notes to
perfectly line up, even when I set proportionalNotationDuration to a
very small value. The main culprits appear to be the grace notes, as
Carl indicated, but also the tremolos. (A bug, maybe?)
And set SpacingSpanner #'strict-grace-spacing to ##t did not seem to
have a discernable effect.
When I put \override SpacingSpanner #'strict-grace-spacing to ##t into
the score's \with block, I get errors like
programming error: No spring between column 992 and next one continuing,
cross fingers,
and output like the attached, but it's probably because of other things
I tried too.
Anyway, I tried moving the Spacing_engraver into the DrumStaff context,
but I don't think it makes much difference.
I now have the following, which doesn't look too bad, but I've put in
too many settings which try to fight each other!
\new Score \with { \remove Spacing_engraver }
{
\new DrumStaff \with {
\override BarLine #'bar-size = #4
\consists Spacing_engraver
proportionalNotationDuration = #(ly:make-moment 1 2)
\override SpacingSpanner #'uniform-stretching = ##t
\override SpacingSpanner #'common-shortest-duration =
#(ly:make-moment 1 16)
\override SpacingSpanner #'base-shortest-duration =
#(ly:make-moment 1 8)
\override SpacingSpanner #'average-spacing-wishes = ##t
\override SpacingSpanner #'shortest-duration-space = #0.35
\override SpacingSpanner #'spacing-increment = #2.45
}
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Re: Cannot correctly code this rhythm...
RandomLilyPondUser wrote:
Sure, that works for a new project, but what about in the context of my drum
project I've attached a couple posts back?
I haven't yet got the barlines lined up on each line, but I've made a start.
Btw, the file rudiments.ly, as posted, is missing a ' on lines 6 and 17;
just change "\override Beam #'positions = #(1 . 1)" to " \override Beam
#'positions = #'(1 . 1)" etc.
If you look at the output of drumtest.ly, there's an extra crotchet
which takes it into a 73rd bar -- remove this, and it looks better
immediately.
I found that I could strip out all the \noBreak jazz, and still achive
six bars on every line with this \with block:
\new Score \with {
proportionalNotationDuration = #(ly:make-moment 1 2)
\override SpacingSpanner #'uniform-stretching = ##t
\override SpacingSpanner #'common-shortest-duration =
#(ly:make-moment 1 8)
\override SpacingSpanner #'base-shortest-duration =
#(ly:make-moment 1 16)
}
which saves a lot of typing, but still doesn't do exactly what you want.
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Re: Cannot correctly code this rhythm...
RandomLilyPondUser wrote:
I figured out the problem, and that code does work, it just didn't work under
my score, paper, layout, or drumstaff section. I simply had to put it under
the function being called in the drumstaff section.
I only have two problems left:
1) since there is only one line on the staff, the bars between the measures
don't show, how do I get them back?
2) the measures aren't evenly spaced out, how do I make them all the same
size?
I've tried these lines of code:
\override Score.SpacingSpanner #'strict-note-spacing =
##t
\set Score.proportionalNotationDuration =
#(ly:make-moment 1 16)
but not all measures are evenly sized, some are fatter,
especially those
with many septuplets/32nd notes.
Besides saying "read the manual", which I've already waded through many
times, could anyone provide some constructive help? Either give me a "look
at this page" or simply posting the code snippet would save much
frustration.
Here's how I'd do the OP example, incorporating your flam macro from
another thread:
---
\version "2.12.2"
qBeam = {
#(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff)
#(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff)
}
snflam = \drummode {
\override Stem #'length = #4.5
\acciaccatura {sn8}
\revert Stem #'length
}
tomflam = \drummode {
\override Stem #'length = #4.5
\acciaccatura {toml8}
\revert Stem #'length
}
global = {
\time 3/4
\set beatLength = #(ly:make-moment 1 16)
\set subdivideBeams = ##t
}
test = \drummode {
\qBeam
\tomflam sn8-> sn8:32 ~ \stemDown \times 2/3 {toml16 sn toml} \tomflam
sn16. toml32 \times 2/3 {sn16 toml sn} \snflam toml8
\tomflam sn8-> sn8:32 ~ \stemDown \times 2/3 {toml16 sn toml} \tomflam
sn16. toml32 \times 2/3 {sn16 toml sn} \snflam toml8
}
\score {
\new DrumStaff { \global \test }
\layout {
\context {
\DrumStaff
\override StaffSymbol #'line-count = #1
\override BarLine #'bar-size = #4 % you need this to see the
barlines on a single-line drum staff
}
} % close layout
} % close score
--
For a drum part with two lines of notes, I'd do it this way; the
\voiceOne and \voiceTwo automatically take care of stem directions.
\version "2.12.2"
up = \drummode { notes go here }
down = \drummode { notes go here }
\score {
\new DrumStaff
<<
\new DrumVoice { \voiceOne \up }
\new DrumVoice { \voiceTwo \down }
>>
\layout { include the stuff from the above example, if necessary }
}
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Re: Cannot correctly code this rhythm...
M Watts wrote: Mats Bengtsson wrote: RandomLilyPondUser wrote: http://www.nabble.com/file/p22066496/snip.png One more question - how do I make a staff with only one line with notes above and below like that? Rhythmicstaff only allows notes on the line, on my drumstaff, I tried \override Staff.StaffSymbol #'line-count = #1 but it did nothing. Any help is appreciated, thank you I think you should be able to figure it out yourself, using the knowledge you can obtain in the Learning Manual. Hint: the drum staff is not handled by a "Staff" context but by something else. /Mats I shouldn't do this, but bigger hint: a drum staff is, funnily enough, handled by DrumStaff. doh, just remembered: when using a single line drum staff, you need to \override BarLine #'bar-size = #4 or similar value, in the approriate context, or you won't see any barlines. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot correctly code this rhythm...
Mats Bengtsson wrote: RandomLilyPondUser wrote: http://www.nabble.com/file/p22066496/snip.png One more question - how do I make a staff with only one line with notes above and below like that? Rhythmicstaff only allows notes on the line, on my drumstaff, I tried \override Staff.StaffSymbol #'line-count = #1 but it did nothing. Any help is appreciated, thank you I think you should be able to figure it out yourself, using the knowledge you can obtain in the Learning Manual. Hint: the drum staff is not handled by a "Staff" context but by something else. /Mats I shouldn't do this, but bigger hint: a drum staff is, funnily enough, handled by DrumStaff. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cannot correctly code this rhythm...
RandomLilyPondUser wrote:
http://www.nabble.com/file/p22066496/snip.png
Can anyone draw this basic triplet rhythm in lilypond? The extra notation
(flams, rolls, etc) can be disregarded.
Try:
\version "2.12.2"
qBeam = {
#(override-auto-beam-setting '(end 1 8 * *) 1 4 'Staff)
#(override-auto-beam-setting '(end 1 8 * *) 2 4 'Staff)
\set subdivideBeams = ##t
\set beatLength = #(ly:make-moment 1 16)
}
\drums {
\qBeam
\time 3/4
sn8 sn8:32 ~ \stemDown \times 2/3 {toml16 sn toml} sn16. toml32 \times
2/3 {sn16 toml sn} toml8
sn8 sn8:32 ~ \stemDown \times 2/3 {toml16 sn toml} sn16. toml32 \times
2/3 {sn16 toml sn} toml8
}
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Re: How do I get initial grace note after time and key signatures?
Jonathan Kulp wrote: If you remove the \new voice from your Flute variable and put it in the \score block it will work: Indeed, Jonathan's code works fine here with 2.12.2. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking within markup
Mats Bengtsson wrote:
To avoid all trial-and-error to figure out the relevant parameters to
\raise, I would propose the following alternative (which also gets rid
of the extra horizontal spacing between the parenthesis and the
accidental):
^\markup { \smaller \concat { \vcenter ( \vcenter \smaller \musicglyph
#"accidentals.natural" \vcenter ) } }
In fact, you can simplify it even further into the following, which
still gives the same layout:
^\markup { \smaller \concat { \vcenter ( \smaller \natural \vcenter ) } }
/Mats
Ah, enlightenment. This will be very useful in other situations too; thanx.
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Re: Tweaking within markup
Nick Payne wrote:
Is it possible? I want to put a parenthesized natural above some notes. If I
do it within a single markup, the natural sign is not aligned with the
parentheses, and I haven't found any simpler way to get them aligned except
by having the left parens, the natural, and the right parens each in their
own markup and tweaking each one individually. Is there a simpler solution
or not? Eg.
How about this? (I only altered the first one)
\version "2.12.2"
\relative c'' {
16-\tweak #'extra-offset #'(-1.0 . 0)^\markup { \smaller{ ( \raise
#'0.5 \smaller \musicglyph #"accidentals.natural" ) } }
-\tweak #'extra-offset #'(-0.5 . -4.3)^\markup { ( }
-\tweak #'extra-offset #'(0.5 . -1.8)^\markup { \teeny \musicglyph
#"accidentals.natural" }
-\tweak #'extra-offset #'(1.3 . 0.8)^\markup { ) }
}
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Re: ugly .ps output
François Labadens wrote: I tried to use the .ps output, but it's not so good as the .pdf one. It's the same thing under Windows XP or Ubuntu 7.10. Do you have any solutions ? It does look pretty grainy by itself, but it's used to produce a great looking pdf, so it shouldn't be a major worry. What do you want to use the .ps files for? LaTeX, or graphics work, or print outs...? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How can I let the ambitus engraver ignore the key signature?
David Kastrup wrote: David Kastrup writes: M Watts writes: David Kastrup wrote: Hi, the following is an excerpt from a systematic listing of accordion chords with different ambitus. The ambitus engraver should not heed the first (arbitrary) key signature but rather engrave as though we were in c major. How do I do that? I guess you discovered that if you try setting a key signature just for the ambitus, then changing it for the music, results in the amusing "warning: Two simultaneous key-change events, junking this one", which doesn't work. One solution is to add this line to each \new Voice: \override AmbitusAccidental #'(glyph-name-alist) = #'((0 . null) (-1/2 . null) (1/2 . null) (1 . null) (-1 . null)) The console spits out "warning: Could not find glyph-name for alteration -1/2" etc. etc., but it seems to do the job. Wouldn't that just leave off the accidentals from the ambitus? That would not be the desired effect. The desired effect is to have accidentals relative to C major. I have not checked yet, but nulling the glyph-names would appear to have this effect, or do I just not understand what is done here? If the latter, could you explain? Actually, I have not been able to find a place in my posted example code where the above incantation would cause either a change or a warning. Hm. I placed "the above incantation" immediately after the \clef bass lines, and ran your example code with 2.12.2. It removes all accidentals from the ambitus -- I misunderstood :eek: But to get the ambitus relative to C major, you'd need to have the first bar in C major, even if it's just invisible spacer notes, ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Need information about Lyric spacing in Lilypond
fzimmerman wrote: Dave, Thanks for the quick reply. I have two other computers in the house that have Windows on them (I run a home-based computer support business), so I can use Sibelius on them if I have to...but I would rather switch to Lilypond. A very wise choice indeed. The place to start reading for lyrics is: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Vocal-music#Vocal-music Lilypond's default spacing and alignment for lyrics is better than Finale and co., as described here http://www.musicbyandrew.ca/finale-lilypond-3.html Using Lilypond's \override, \set or \tweak commands, either on their own, or with \once, gives you complete control over where things go on your page. By the way, my download link didn't seem to transfer properly. The file is on my website: http://www.practicatechnical.com. Type that in the browser address field and add /files/flowers.pdf. Just put the whole link in and send as plain text -- most mail clients realise it's a URL, and will take you straight there. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How can I let the ambitus engraver ignore the key signature?
David Kastrup wrote: Hi, the following is an excerpt from a systematic listing of accordion chords with different ambitus. The ambitus engraver should not heed the first (arbitrary) key signature but rather engrave as though we were in c major. How do I do that? I guess you discovered that if you try setting a key signature just for the ambitus, then changing it for the music, results in the amusing "warning: Two simultaneous key-change events, junking this one", which doesn't work. One solution is to add this line to each \new Voice: \override AmbitusAccidental #'(glyph-name-alist) = #'((0 . null) (-1/2 . null) (1/2 . null) (1 . null) (-1 . null)) The console spits out "warning: Could not find glyph-name for alteration -1/2" etc. etc., but it seems to do the job. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hello! and question about jazz chords
Tim McNamara wrote: On Feb 11, 2009, at 6:11 AM, M Watts wrote: Tim McNamara wrote: I have not been able to figure out how to get LP to print anything like a m7b5 or a 7#9 or a 7b9 using \chordmode. This is difficult with a song like "Angel Eyes" which has a good half-dozen of these types of chords. Currently I am writing in those extensions by hand because it's just the simplest solution. Looking at the archives there seemed to be various solutions that seemed rather kludgy to me. It seems like I ought to be able to type something like d2:m7b5 and get that chord on the page. Minor seventh, flat fifth -- c:m7.5- Seventh, sharp ninth -- c:7.9+ Seventh, flat ninth -- c:7.9- I will try those, thank you very much! page, which works just fine> I would have never thought of separating chord extensions by dots. Can multiple extensions be set that way (e.g., c:m7.5-.9+)? Indeed, just add away -- c:m7.5-.9+ works fine. If you don't like the actual markup used in the chord name, you can make an exception, as described in Carl's mail I did not see anything like this in the documentation- did I miss it? It is described here http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Chord-mode#Extended-and-altered-chords (There is a *lot* of documentation and much of it has no direct bearing on what I am using LP for, so it's likely I've overlooked many things). Yup -- LP is _the_ best documented project around. Btw, please use your mail client's Reply All function, so that messages are cc-ed to the list. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hello! and question about jazz chords
Tim McNamara wrote: I have not been able to figure out how to get LP to print anything like a m7b5 or a 7#9 or a 7b9 using \chordmode. This is difficult with a song like "Angel Eyes" which has a good half-dozen of these types of chords. Currently I am writing in those extensions by hand because it's just the simplest solution. Looking at the archives there seemed to be various solutions that seemed rather kludgy to me. It seems like I ought to be able to type something like d2:m7b5 and get that chord on the page. Minor seventh, flat fifth -- c:m7.5- Seventh, sharp ninth -- c:7.9+ Seventh, flat ninth -- c:7.9- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hello! and question about jazz chords
Check the LilyPond Snippet Repository for chord name exceptions. http://lsr.dsi.unimi.it/LSR/Item?id=459 It's basically a matter of pruning down the available information into a manageable example that does what you want. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord symbols as plain text
Tao Cumplido wrote:
Hi,
in the past I used to create chord symbols as plain text by just placing a
Lyrics context above the staff used with an own font.
I don't like the way LP handles chordsymbols right now, nor do I like the font
it uses.
The only thing I was missing in my way was the possibility to transpose the
chord symbols. Now the thread started by Carl Sorensen some time ago made me
get into scheme and write a function which makes this possible.
http://www.mail-archive.com/lilypond-user@gnu.org/msg44591.html
Well, I finally finished my function and wanted to share it here in case
someone might find it useful. Thanks to Carl for all the great help.
A very impressive piece of work, with great looking output. Thanks for
sharing the font as well.
If one's needs are less elaborate, one can get a similar overall look
for normal chords with
\layout {
\context {
\ChordNames
\override ChordName #'font-family = #'roman
}
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Re: yet another chord question
Brett Duncan wrote: Because c:9+ would be the chord rather than dis>, so it doesn't match your chord definition. Indeed; changing to in the OP example works. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Customized accidentals
Kees van den Doel wrote: This snippet: http://lsr.dsi.unimi.it/LSR/Item?id=378 does not work as advertised; it prints both the normal accidentals and the custom postscript. Any suggestions on what might be wrong? Also, how could I print custom symbols like this in the key signature? Do you really need to do this with 2.12.2? A quick look at http://lilypond.org/doc/v2.12/Documentation/user/lilypond/The-Feta-font#The-Feta-font reveals that such accidentals are now available by default, e.g.: \musicglyph #"accidentals.flat.slash" \musicglyph #"accidentals.sharp.arrowup" || ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[Fwd: Re: Starting lyrics on measure 4]
--- Begin Message --- Thanks. I had searched the manual but couldn't find what I was looking for. \skip worked just fine. -- Jonathan Klein Topline Strategy phone: (617) 312-4560 fax: (781) 239-0640 j...@toplinestrategy.com www.toplinestrategy.com From: M Watts To: Jonathan Klein Cc: lilypond-user@gnu.org Sent: Saturday, February 7, 2009 8:55:24 PM Subject: Re: Starting lyrics on measure 4 Jonathan Klein wrote: > I am engraving a song which starts with three measures of instrumental before > going into the first verse. How do I start the lyrics on measure 4? > Many ways to skin a cat -- if the vocal part is in a separate voice from the accompaniment, a simple \new Lyrics \lyricsto "vocal" or similar will just work. Plenty of docs on lyrics: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Songs#Songs http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Vocal-music#Vocal-music --- End Message --- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String number in a \markup
David Stocker wrote:
Hi folks,
Is there a way to insert a string number into a \markup? What I need
is to indicate a scordatura for a guitar piece like this:
\markup {
\column {
\line { \small "5 = G" }
\line { \small "6 = C" }
}
}
where the '5' and '6' are identical to their analogous string numbers
(i.e. they are encircled)
In the Feta Font, these don't seem to by music-glyphs. Is there a
reasonably easy way to call these within a \markup? are they glyphs
from another font?
\markup {
\column {
\line { \small \circle 5 "= G" }
\line { \small \circle 6 "= C" }
}
}
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Re: slashed six in chordmode
James E. Bailey wrote:
Is there a way to get the slashed six from the figured bass mode into
chordmode?
In your chordname exceptions, just use:
\markup { \slashed-digit #6 }
You might want to fiddle with the font / size to get it looking right.
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Re: Starting lyrics on measure 4
Jonathan Klein wrote: I am engraving a song which starts with three measures of instrumental before going into the first verse. How do I start the lyrics on measure 4? Many ways to skin a cat -- if the vocal part is in a separate voice from the accompaniment, a simple \new Lyrics \lyricsto "vocal" or similar will just work. Plenty of docs on lyrics: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Songs#Songs http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Vocal-music#Vocal-music ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: My solution to rhythmic slashes and midi playback
Brian wrote: Hope this helps somebody, I've been trying to get a system going for my slashes and finally found something that works! Good candidate for the LSR. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: strange error message with tuplet
Stefan Thomas wrote:
Dear lilypond-users,
when compiling one of my scores I get the following error message,
which I don't understand:
musik/musik_ab115.ly:63:16: warning: No tuplet to end
s8\fp\< s\f\>
\times 4/6 { s32*5\p\< s 32\!} \pedtrem s4...\ff
\startTextSpan s32 \stopTextSpan }%lautleise 115-118
Why there is no "no tuplet to end?
Not sure what that's about -- with 2.12.2, running your line as a
minimal example produces warnings that the crescendi are too short, but
that's all.
Using visible notes, not spacer notes, produces error-free output here:
c4\fp\< c\f\> \times 4/6 { c32*5\p\< c32\!} c4...\ff
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Re: Tremolo / tuplet
Zbyněk Burget wrote: Solved by upgrade to lily 2.*13*.2 Thanks all We'll expect some great bugfixes and cool new features from you then! ;) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "ignoring between-system-padding"
Tom Hall wrote: Hello List I have a generous between-system-padding = #6 for my score, but this gets overriden when the pdf is created, with the following message: warning: Can't fit systems on page -- ignoring between-system-padding Is there a way to maintain the system padding I want, at the expense of how many pages are required? 6 what? I think you have to specify the measurment, like between-system-padding = #6\in ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: songbook from Lily scores
Francisco Vila wrote: 2009/2/6 Zoltan Kota : 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. If your needs aren't too elaborate, you could just write another LilyPond file with a bunch of \include lines and some additional header/footer information. For lilypond-book, start here: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/LilyPond_002dbook#LilyPond_002dbook Also search the list archives -- e.g. there are example .lytex and .ly files for use with lilypond-book attached to: http://lists.gnu.org/archive/html/lilypond-user/2008-11/msg00347.html ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug with missing 16th lines
Kieren MacMillan wrote:
Hi Maarten,
I'm posting this bug here
Not sure this can really be called a "bug"… your input syntax is
somewhat confusing.
In particular, it looks like you want polyphony, but aren't actually
coding polyphonic voices (which would require a \\).
Here is a possible modification which is actually valid polyphonic
syntax:
\version "2.12"
\paper {
ragged-right = ##t
}
\score
{
\new Staff
{
\set Staff.instrumentName = "Strange things"
\relative c''
<<
{\voiceOne
as2 ~ as2
} \\
{\voiceTwo
fis16 e16 d16 e16 ~ e4 ~ e2
}
>>
}
}
All beams in Kieren's example are printed correctly with 2.12.2 here on
Linux. The only 'problem' is the capital S of 'Strange things' falls
off the edge of the page -- nothing a quick margin adjustment won't fix.
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Re: Tremolo / tuplet
Zbyněk Burget wrote:
lilypond 2.10.33
(soory)
Perhaps that's the problem.
This works fine with 2.12.2 -- it shows the triplet number by default,
so I think it does what you want.
\version "2.12.2"
test = {
\relative c'' {
c4-. \times 2/3 { \repeat "tremolo" 3 c8 } c4-. \times 2/3 { \repeat
"tremolo" 3 c8 }
}
}
\score {
\new Staff {
\test
}
}
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Re: libstdc++.so.6: version `GLIBCXX_3.4.9' not found
Jonathan Kulp wrote: wing wrote: hi, i am trying to run lilypond under some application. However, i got the following error: lilypond: /usr/lib/mozart/platform/linux-i486/lib/libstdc++.so.6: version `GLIBCXX_3.4.9' not found (required by lilypond) Since i am a newbie on linux, i am not sure about what infomation is needed for fixing this problem. Here's some basic info may help OS: Linux 2.6.25.5-1.1-default i686 System: openSUSE 11.0 (i586) lilypond version: 2.10.33-73.1 hope lilyponders can help with this=) thanks! Best, wing. Hi Wing, I'm not sure what you mean by using Lilypond under some application. Do you mean you're using a graphical front end to Lilypond? If so, then I don't know what to do. If you're using Lilypond by itself, then proceed with following advice... The first thing I would try is getting the newest version of Lilypond, which is 2.12.2-1. This is a stable release. http://lilypond.org/web/install/ I suspect that you got 2.10.33 from the Suse repository, and at the time it was probably the latest stable Lilypond. 2.12 is much better and it's worth installing for that reason (and for the much better documentation), but it might also fix this dependency problem. If you installed Lilypond using the Suse package manager, be sure to remove it the same way before installing the new version. To install the new version, download the installer script from the Lilypond site to your desktop, then use the command line: cd ~/Desktop sudo sh ./lil[tab] (tab-complete the script's filename to be sure it's accurate) Press enter, then type your password and it'll install. HTH, Jon Follow Jonathan's advice and you can't go wrong. I too am unsure of your meaning -- while you don't need to compile lilypond yourself, the error you report regarding libstdc++ is typical of missing header files, needed while compiling applications from source code. This particular error could be solved by installing lidstdc++-devel from openSUSE's repository. But again, it's not necessary to do that if you install lilypond via the above method. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Installing Lilly pad
William Yeater wrote: we then typed in: sh lilypond-X.Y.Z.linux-x86.sh We got the no such command. Just type sh lil and press the TAB key -- the shell will complete the correct file name for you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: svg, inkscape, fonts
Francisco Vila wrote:
Great :-(
As pdf2svg uses poppler to convert pdf to svg, it suffers of the same
problem with Thick barlines as evince does, see attached png which is
a screenshot of inkscape editing a simple { c'1 c' \bar "|." }
As reported on another thread, Inkscape has a bug that won't display the
staff lines of svgs made via lilypond -dbackend=svg -- it's just one of
those days!
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Re: svg, inkscape, fonts
Francisco Vila wrote:
Great :-(
As pdf2svg uses poppler to convert pdf to svg, it suffers of the same
problem with Thick barlines as evince does, see attached png which is
a screenshot of inkscape editing a simple { c'1 c' \bar "|." }
As reported on another thread, Inkscape has a bug that won't display the
barlines of svgs made via lilypond -dbackend=svg -- it's just one of
those days!
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