Re: smallCaps and special characteres
Quoting Nicholas WASTELL [EMAIL PROTECTED]: On Wed, 26 Mar 2008 19:26:20 -0700 (PDT) Zenith [EMAIL PROTECTED] wrote: I thought it would be an easy way, :confused:at this moment, this solution is too advanced to me. %-| Too advanced for me, too! I don't think it's so advanced to use. The nice thing is that you only have to copy and paste Nicolas function definitions directly into your own .ly file. There's no need to understand exactly how it works. Then you can use the \smallCaps markup command just as usual, with the difference that it will handle more characters the correct way. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: simultaneous free rhythms
See http://lists.gnu.org/archive/html/lilypond-user/2008-01/msg00864.html for some hints. /Mats luis jure wrote: hello list, i found a problem i can't solve by myself. i'm writing a string quartet with a section where the four instruments play in free rhythm, independently from each other. the cello plays a melody and the three other instruments play whole notes with fermatas, all of them freely. the general score is of course only an approximation of the result (see attached handwritten excerpt). first i wrote the cello part using cadenzaOn and \bar to force line breaks. that was OK, and i thought it would be as easy as doing the same in the other voices. but i realized that everything gets aligned and that you can't put independent line breaks. what's the best method to achieve what i'm trying to do? i hope i have stated the problem clearly enough. best, lj ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesizing rests
parenthesized is a layout object property that only is included in the accidental-interface, where it is used to determine if a cautionary accidental should be typeset using smaller font or by including it in parentheses. parenthesize, on the other hand, is a music property, which is used internally by the \parenthesize macro to add parenthesis around note heads or articulations or ... For note heads, it only works within chords (I don't understand the implementation well enough to realize why), which also explains why it doesn't work with rests. An ugly workaround is to use the technique in the regression test called stencil-hacking.ly /Mats Wilbert Berendsen wrote: Op woensdag 26 maart 2008, schreef Aaron Dalton: I've done some archive searching but there does not appear to be any solution. How does one parenthesize rests? I'm preparing a number of transcriptions that will eventually be formally published (with Lilypond credited as the engraver) and need to be able to show editorial rests as well as pitches. I am having the same problems outlined in the list archives. I have no solution, but grepping/looking in the sources I found both references to: to_boolean (me-get_property (parenthesized)) as well as: to_boolean (ev-get_property (parenthesize)) note the d at the end :) In music-functions-init.ly the property name 'parenthesize is used. Which one is correct and could that be the cause of rests not working? best regards, Wilbert Berendsen -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parenthesizing rests
Playing around with \displayMusic, I got a hint on how to obtain a
parenthesized rest:
\version 2.10.0
\relative c' { c d e
#(ly:export (make-music
'EventChord
'elements
(list (make-music
'RestEvent
'parenthesize
#t
'duration
(ly:make-duration 2 0 1 1)
}
A skilled Scheme hacker can easily turn this into a music function that
applies
the music property in the correct way for a rest of any duration.
By the way, isn't it a bug that the default implementation of
\parenthesize doesn't
handle this? If I understand correctly, this is also the reason that you
cannot
parenthesize a single note without enclosing it in a chord.
/Mats
Mats Bengtsson wrote:
parenthesized is a layout object property that only is included in the
accidental-interface, where it is used to determine if a cautionary
accidental
should be typeset using smaller font or by including it in parentheses.
parenthesize, on the other hand, is a music property, which is used
internally
by the \parenthesize macro to add parenthesis around note heads or
articulations
or ...
For note heads, it only works within chords (I don't understand the
implementation
well enough to realize why), which also explains why it doesn't work with
rests. An ugly workaround is to use the technique in the regression test
called stencil-hacking.ly
/Mats
Wilbert Berendsen wrote:
Op woensdag 26 maart 2008, schreef Aaron Dalton:
I've done some archive searching but there does not appear to be any
solution. How does one parenthesize rests? I'm preparing a number of
transcriptions that will eventually be formally published (with
Lilypond
credited as the engraver) and need to be able to show editorial
rests as
well as pitches. I am having the same problems outlined in the list
archives.
I have no solution, but grepping/looking in the sources I found both
references to:
to_boolean (me-get_property (parenthesized))
as well as:
to_boolean (ev-get_property (parenthesize))
note the d at the end :)
In music-functions-init.ly the property name 'parenthesize is used.
Which one is correct and could that be the cause of rests not working?
best regards,
Wilbert Berendsen
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Re: Beginning single staff with vertical line
Note that this solution only works in recent 2.11.x versions, not in
2.l0 or earlier.
/Mats
Risto Vääräniemi wrote:
Dear Marius,
The SystemStartBar seems to be in Score context. To make it appear try
the following:
%
\version 2.11.39
\score {
\new StaffGroup
\override StaffGroup.SystemStartBracket #'collapse-height = #1
\override Score.SystemStartBar #'collapse-height = #1
\new Staff {
r2^\fermata \bar |.
}
}
\layout{ragged-right = ##t}
%
-Risto
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Re: just a little help
Zenith wrote:
please, is that a way to do something like this?
http://www.nabble.com/file/p16175922/Sem%2Bt%25C3%25ADtul.jpg
Certainly! For the mix between upper and lower stems, you can use
something like
\relative c'{ c16 d e f {g[ a s c] } \\ {s8 b16 s } }
For the cross staff beaming, see the manual.
/Mats
thx
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Re: Flamenco notation, something for LSR?
Oscar van Eijk wrote:
Of course, reserved space, that was the problem :-S
Thanks to you both!
@Mats, is it correct that objects, once 'switched off' with #'stencil =
##f, can't be switched on anymore?
When I try, I get:
warning: type check for `stencil' failed; value `#t' must be of type
`unknown'
Of course it can be switched on again. What you have to realize (and is
not so
clearly described in the cited section of the Learning Manual) is that
this property
by default specifies the function that should be used to print the object.
To find the default value, you have to look in the Internals Reference.
The easiest
way is to follow the link from the corresponding section in the Notation
Reference,
i.e. to look up the section on Tuplets, click on the link on the
Internals Reference
for TupletNumber, where you find that the default value is the function|
|ly:tuplet-number::print. So, to switch on the numbers, you just do
\override TupletNumber #'stencil = #ly:tuplet-number::print
An even simpler solution is to just revert the previous setting:
\revert TupletNumber #'stencil
/Mats
Oscar
On Tue, 2008-03-18 at 22:12 +0100, Mats Bengtsson wrote:
Quoting Marc Hohl [EMAIL PROTECTED]:
On Tuesday 18 March 2008 18:38:59 Oscar van Eijk wrote:
...
It looks great, the arrows are much better than \rtoe/\ltoe, but
there is some
small problem left. You blanked the tuplets, but it looks as lilypond
reserves the space for the tuplet number - look at bars 3 and 4.
A simple and probably sufficient workaround is the command
\tupletDown. I put it in your definition
tupletsOff = {
\tupletDown
\override TupletNumber #'transparent = ##t
\override TupletBracket #'transparent = ##t
}
Well, a much better solution is described in
http://lsr.dsi.unimi.it/LSR/Item?id=337
for tuplet brackets in particular and in
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Visibility-and-color-of-objects#Visibility-and-color-of-objects
for any object (such as a TupletNumber) in general (what I have in mind
is \override TupletNumber #'stencil = ##f ).
/Mats
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Re: Organisation of compositions
See Sect. 5 Working on LilyPond projects in the Learning Manual for LilyPond version 2.11 (which is relevant also if you use 2.10 but has been rewritten and improved in many ways). /Mats Thermo wrote: What advice can Lilypond users give as to the way parts of an arrangement are organised for re-use? As an example I have a piece displayed on one staff with guitar chords, lyrics, melody line, repeats and rehearsal marks. Is it possible to reuse the lyrics or melody I just completed, via a file or variable, in another arrangement? For example I may wish to use the same guitar chords but this time add a single bass line. Or do I just start with a fresh file and manually insert the sections I want from the completed piece? What I would like any modification to a lyric to flow through the composition with out multiple edits. A reference to the manual is fine. Thanks Graham -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vista problem
See http://code.google.com/p/lilypond/issues/detail?id=545 However, it's interesting that you say that it was faster when you first installed LilyPond on Vista. Can you remember what version it was? Perhaps, there is some connection to the problems on XP that have just been reported, see http://lists.gnu.org/archive/html/bug-lilypond/2008-03/msg00046.html with followups? If would be interesting if one of you could try version 2.11.34 or older and see if it's faster on Vista. These older versions of the installation package are available at http://download.linuxaudio.org/lilypond/binaries/mingw/ /Mats CDon wrote: I have Vista on a laptop, and I see the same sort of thing. A file takes about 40 s to compile. Odd thing is that when LP was first installed, a file would compile in about 5 s, about the same as on the XP desktop . At some point, along the route of several upgrades, the problem developed. I am not sure now with which version this occured (but I am not sure it matters). Also there used to be two different font configuration files in my user folder, I guess from different versions of LP. These are not longer there, but at some point I deleted them trying to fix the problem.I have tried recent versions from the dev path, and even went back and got the last stable version. Compile is slow with them all. And none of the versions will place a font configuration file in the user folder. I suspect the source of the problem lies here. I don't think that I have changed any permissions, but Vista will on occasion do this all by itself (Trying to protect me from my own stupidity, I guess.) In any event, permissions appear to be set properly in every place that I can think of. But who knows what is hidden away... Don -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Flamenco notation, something for LSR?
Quoting Marc Hohl [EMAIL PROTECTED]:
On Tuesday 18 March 2008 18:38:59 Oscar van Eijk wrote:
...
It looks great, the arrows are much better than \rtoe/\ltoe, but
there is some
small problem left. You blanked the tuplets, but it looks as lilypond
reserves the space for the tuplet number - look at bars 3 and 4.
A simple and probably sufficient workaround is the command
\tupletDown. I put it in your definition
tupletsOff = {
\tupletDown
\override TupletNumber #'transparent = ##t
\override TupletBracket #'transparent = ##t
}
Well, a much better solution is described in
http://lsr.dsi.unimi.it/LSR/Item?id=337
for tuplet brackets in particular and in
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Visibility-and-color-of-objects#Visibility-and-color-of-objects
for any object (such as a TupletNumber) in general (what I have in mind
is \override TupletNumber #'stencil = ##f ).
/Mats
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Re: bartók pizzicato?
Search for Bartok in the LSR! /Mats James E. Bailey wrote: Is there somewhere in lilypond the bartok pizzicato symbol? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: BarNumber 'break-visibility
Short answer: please read the full section http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/The-Internals-Reference-manual#The-Internals-Reference-manual Longer answer: In the section on Bar numbers, click at the link to the internals reference for BarNumber, then you can find links to all relevant interfaces at the bottom of the page. /Mats Andrew Black - lists wrote: Mats Bengtsson wrote: Why not use the official documentation? http://lilypond.org/doc/v2.11/Documentation/user/lilypond-internals/item_002dinterface#item_002dinterface I did look up in the index to _lilypond-internals_ and could find anything very relevant. How does one find the page that you quoted. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: on a single page
James E. Bailey wrote:
Section 3.1.3 of the manual talks about this, but really, all you need
is a file with that includes all of the files you want to include in
order.
\include file01.ly
\include file02.ly
Well, this is almost true. However, if you want a separate title on each
piece,
see also http://lsr.dsi.unimi.it/LSR/Item?id=310
/Mats
On 13.03.2008, at 11:23, Steffen Pfundmaier wrote:
Hello together,
since a couple of month I'm using lilypond and I like it more and
more. For my lessons ( I'm teaching viola) I often need to combine
various small pieces on a single page. How to do that?
Each one of this file.ly is looking like:
\version ...
\header { ...}
upperVoice = \relative c' { ...}
lowerVoice = \relative c' { ...}
\score {
\new Staff { \upperVoice }
\new Staff { \lowerVoice }
}
Every file is working well alone. How to combine them fast without
having to change to much? The next time I need another combination
of this litttle pieces for another student.
Or how I have to write every file that I can combine them fast?
Thanks a lot
Steffen
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Re: ferneyhough
luis jure wrote: El Thu, 13 Mar 2008 10:16:02 + Mark Knoop [EMAIL PROTECTED] escribió: Attached FYI is the source for some excerpts from the second movement of Opus Contra Naturam... thanks for sharing this excerpt, i found many things to learn. but could you please clarify this part of the code? : % the 5s are just a value different from any accidental \set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5) (4 . 5) (5 . 5) (6 . 5)) i searched Staff.keySignature in the manual and the example is somewhat different, involving pairs ((octave . step) . alter). See the latest manual for version 2.11: http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Key-signature#Key-signature i also get lots of warnings when compiling: warning: No glyph found for alteration: 5 i found the example in the LSR but without much explanation. i guess it's a bogus alteration to force naturals appearing before notes without alteration. could anyone elaborate a bit on how and why this works? See http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00533.html with all follow-ups for the discussion behind this LSR example. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: outside-staff-priority
Risto Vääräniemi wrote: The manual doesn't mention lyrics, though. Sometimes I'd like to move a hairpin or similar above the lyrics. How do I do that? One solution is to use the Dynamics context defined in the template called Piano centered dynamics. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: irregular glissando
robcanning wrote: nice work luis! i have been wondering if lilypond was capable of such things - it seems it is! :) pity this stuff is so tricky - would be great to see some of these fairly standard notation elements made easier to achieve would be great to see more examples of scores people have made exploiting non standard notation techniques, perhaps from this we would be able to see what needs improving to facilitate the creation of the more adventurous score with lilypond. anyone out there got some crazy scores they want to show off? I hope you have browsed through the examples in the LSR. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Nesting variables inside music
Unfortunately, variables can only be defined at the top level, but
it's not uncommon to see one or several variables used in the definition
of another one.
/Mats
Shadok wrote:
Hi, I am new to LilyPond and I wonder how to use
local variables inside a music expression.
I searched the list archives but did not find
anything.
Something like:
melody = {
c'8 d' e'
% long here
x = {g e' c'' b''8} % local assignment
\x c \x d \x e % use it
% long after
}
It is easy to assign x outside (before) melody, but
if melody is long and the need of \x is local, it
would be more understandable to define it only where
needed.
What are the usual practices for that?
Thanks
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Re: BarNumber 'break-visibility
Reinhold Kainhofer wrote: Am Mittwoch, 12. März 2008 schrieb Andrew Black - lists: I am a little confused by the following : \override Score.BarNumber #'break-visibility = ##(#f #t #t) \override Score.BarNumber #'break-visibility = #end-of-line-invisible - what is the default for before you tweak - by setting end-of-line-invisible do I set the other places _visible_ If you search the lilypond directory for end-of-line-invisible, you'll get scm/output-lib.scm as a hit, and in there you'll find the definition: Why not use the official documentation? http://lilypond.org/doc/v2.11/Documentation/user/lilypond-internals/item_002dinterface#item_002dinterface /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: BarNumber 'break-visibility
Reinhold Kainhofer wrote: I would definitely not look into item-interface (because that would be sheer luck to find an interface among the seven listed where a property is described again in greater detail. Not at all! If you want to find all properties that can be set (and not only those that are set by default), then you have to browse through the different *-interfaces. Similarly, if you want to see the documentation of for example what values are available for the property called style, you should look at one of the *-interface links. Graham and the other documentation gurus would like to merge all these interface descriptions into the main page of each layout object, but this requires some Scheme hacking and hasn't happened yet. /Mats Cheers, Reinhold - -- - -- Reinhold Kainhofer, Vienna University of Technology, Austria email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/ * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/ * K Desktop Environment, http://www.kde.org, KOrganizer maintainer * Chorvereinigung Jung-Wien, http://www.jung-wien.at/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFH2FuwTqjEwhXvPN0RAlB7AJ0U7vfAs06bPdwW0zZNfNW0BvT3MgCgvU5Y p+5kKkM5VAAjwQpY8JDCoLU= =vERp -END PGP SIGNATURE- -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Different distance line - chordnames within one score
This is very natural. There is a minimum distance specified by default, but if you have notes that stick out far outside the staff, or if you have articulations or text scripts or whatever else that belongs to the staff and would end up getting too close to the chord names, then they are moved further away from the staff to avoid collisions. If you want exactly the same spacing for all lines, you have to increase the minimum distance, so that it's large enough to work for all the staves. Read the section Vertical spacing inside a system in the manual for more information. Note that the setting of minimum-Y-extent of both the Staff and ChordNames contexts will influence the result. /Mats Dominic Neumann wrote: Hi, I´ve determined a strange problem. In some of my scores the distance between note line and chord names differs from line to line. I´ve got a song with 3 lines. In line 2 the chord names are around 1mm farther away from the line. I will try to build a minimal example, because the songs I usually publish are not allowed to be sent here. Is this a known problem? I don´t know where I should start searching ... Dominic ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Coloring ornaments
David Fedoruk wrote: Hello: I am trying to color ornaments based on which of the composer or editors suggested them. Setting a variable for each color and articulation seems like it should be almost the same as for a simple NoteHead. Since the articulation is a property of the note, the override should be a simple extension of the ones in the manual. So far my best guess based on what I've found in the manual and the list archives is this: % articulation-type (string) color = \override NoteHead.articulation-type mordent = #darkred I cannot really imagine where you have read to come up with something like this. The articulations are separate objects and not a property of the note head. The object type for articulations is Script. The easiest solution is therefore \once \override Script #'color = #darkred c-\mordent The solution using \tweak that have been proposed as a solution to your problem will also work, but is only needed if you have several articulations stacked on top of each other on the same note and you only want to influence the color of one of them c-\tweak #'color #darkred -\mordent -\fermata /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text crescendi with hidden line and their position
How about:
\version 2.10.0
\relative {
\setTextCresc
\once \override DynamicTextSpanner #'stencil = #ly:text-interface::print
c \ d e f \!
}
/Mats
Reinhold Kainhofer wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 11. März 2008 schrieb Neil Puttock:
Hi Reinhold,
Is there any way to achieve a position of the cresc. directly at the
staff (except for using ordinary markup text, which does not work e.g. in
midi (and also breaks if/when Lilypond one day gets a MusicXML backend)?
Vertical positioning of this is done by the DynamicLineSpanner object,
so all you need to do is override its Y-offset property:
\once \override DynamicLineSpanner #'Y-offset = #0
Thanks for the hint, but the problem is that this would need to be set
manually for every spanner (and I have ~250 in one score and ~300 in the
other!). Besides, these spanners also align a \p that is right at the end of
the spanner and also a possible bar number... (See my second example).
So, basically, I'm looking for a way to force the text crescendo not to create
a spanner object at all (which will have side-effects on the position of
several other items), but just print the text.
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
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Re: New ancient time signature?
If you look at the Appendix The Feta font in the manual, you will find
symbols called timesig.mensural68alt and timesig.neomensural68alt that
look like what you describe (if I get you right). I couldn't find any easier
way of using these symbols than
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text = \markup{\musicglyph
#timesig.mensural68alt }
/Mats
Laura Conrad wrote:
The documentation for ancient time signatures
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Ancient-time-signatures
(it doesn't seem to have changed noticeably since 2.10, which is what
I'm actually using) has a circle with a dot inside and a left half circle
with a dot inside, but no right half circle with a dot inside.
I'm transcribing something from Morley's Plaine and Easie...
(neither plain nor easy from the point of view of a 21st century
musician) which uses the right half circle with a dot. The modern
transcription I have access to seems to believe he meant a 12/4 time
signature when he wrote that.
Would it be easy to add this symbol? If it's easy but not trivial,
would the person for whom it's easy like to point me to a starting
place so I could take a crack at it?
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Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: coloring dots (and ledger lines)
Kieren MacMillan wrote: Hi Orm, I'd like to color some notes in a piece but the dots aren't colored as well (see example below). I found an option called dot-color but can't get it to work. As far as I can see, the dot-color is only used for fret diagrams. \override Dots #'color = #(x11-color 'red) In addition I think it might be better to color the ledger lines as well, but don't know how to accomplish that either.. LedgerLineSpanner seems not to want to change color. =( Perhaps since you didn't do the setting in the Staff context: \override Staff.LedgerLineSpanner #'color = #red or perhaps since you changed the setting after the LedgerLineSpanner object was created, i.e. after the first note of the piece. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dotted or dashed phrasing slurs
If you use version 2.11, please note that this is one thing that has
changed, so please use the corresponding definitions
from ly/property-init.ly as a starting point. If I remember
correctly, convert-ly will issue a warning but will not solve the
problem automatically, when you upgrade your file.
/Mats
Quoting Reinhold Kainhofer [EMAIL PROTECTED]:
Am Samstag, 8. März 2008 schrieb Reinhold Kainhofer:
Am Samstag, 8. März 2008 schrieb Peter Kaplan:
I am interested in making phrasing slurs that are (graphically, not
rhythmically) dotted or dashed, in order to differentiate them visually
from ordinary legato slurs (to be represented with solid slurs). Is
there a way to do this straightforwardly in lilypond?
http://lsr.dsi.unimi.it/LSR/Item?id=133
Oh, right, if you want to have these settings apply to real phrasing slurs
generated by \( and \), then you can't use \slurDashed, but have to apply the
appropriate settings on the PhrasingSlur object. if you look at the file
ly/property-init.ly, there is the definition for \slurDashed:
slurDashed = {
\override Slur #'dash-period = #0.75
\override Slur #'dash-fraction = #0.4
}
This sets the appropriate settings for slurs. For phrasing slurs, you would
simply have to define your own command, setting dash-period for PhrasingSlur:
phrasingSlurDashed = {
\override PhrasingSlur #'dash-period = #0.75
\override PhrasingSlur #'dash-fraction = #0.4
}
phrasingSlurDotted = {
\override PhrasingSlur #'dash-period = #0.75
\override PhrasingSlur #'dash-fraction = #0.1
}
phrasingSlurSolid = {
\revert PhrasingSlur #'dash-period
\revert PhrasingSlur #'dash-fraction
}
Sample file (the lsr example, adapted to phrasing slurs) is attached.
cheers,
Reinhold
PS: I wonder if we shouldn't add these definitions to ly/property-init.ly for
the sake of consistency...
--
--
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
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Re: crescendo beginning in middle of note duration
Quoting Wilbert Berendsen [EMAIL PROTECTED]:
Op zaterdag 8 maart 2008, schreef Peter Kaplan:
Occasionally a crescendo or decrescendo needs to begin not at the
commencement of a note's duration, but rather halfway through the note.
Can such a situation be properly typeset using lilypond? If so, how?
Yes, one way I know of is by instantiating a temporary polyphony, and
attaching the dynamic to a 'space':
\new Staff \relative c' {
g1\pp {s2 s\ a1 b\ff}
}
This question is answered in the second example of the section on
Dynamics in the manual. Peter, can you provide a hint on how to make it
even more clear?
/Mats
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Re: Need help with upgrade from 2.2 to 2.10
I recognize the problem, when trying to use the precompiled binary package of 2.10 or 2.11 on Debian Sarge. The funny thing is that often I get the correct output anyway, but sometimes LilyPond simply breaks halfway through the compilation. /Mats Quoting Alan McConnell [EMAIL PROTECTED]: I grabbed the big .gz from your site and ran the install. It seemed to work fine. But I now when I runlilypond testfile.ly , I get the error message: /usr/local//lilypond/usr/bin/lilypond: relocation error: /usr/local/lilypond/usr/lib/libguile.so.17: symbol regexec, version GLIBC_2.3.4 not defined in file libc.so.6 with link time reference I am running a very ancient Debian sarge, which I hope to upgrade to etch in a week or so. Can I fix the above error before that, or is it best to wait till I have etch working? TIA for help and best wishes, Alan ___ 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: Clef, key and tempo only at beginning of first system?
sdfgsdhdshd wrote: Mats Bengtsson-4 wrote: sdfgsdhdshd wrote: There is now a problem with the lyric line: My music is SATB+lyric (Win XP+2.11.41). The first word of the second system and the next systems collides with the system vertical bar, if the word is more than 2 or 3 letters. See the main section called Vocal music I read the entire section, but it didn't help. The page I referred had in mind is http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Vocal-music#Vocal-music I have two other ideas, that will do, if possible. 1) on systems number 2 to n, is it possible to automatically add some blank space before the first item? 2) The line: \override Score.Clef #'break-visibility = #all-invisible is it possible to change it, so that the Clef will now be invisible on all systems, but its space reserved? Yes, read http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Visibility-and-color-of-objects#index-transparent-property-263 /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \arpeggioUp with connected voices
See http://lists.gnu.org/archive/html/lilypond-user/2006-10/msg00174.html
with follow-ups.
/Mats
Arjan Bos wrote:
Dear List,
Could anyone please tell me how I can do an arrowed arpeggio with
\arpeggioUp when two voices share the arpeggio?
I've tried this (adjusted from
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Arpeggio#Arpeggio):
\version 2.11.39
\score {
\new StaffGroup {
\set Score.connectArpeggios = ##t
\new Voice \relative c' {
\arpeggioUp
e g4\arpeggio
}
\new Voice \relative c {
\clef bass
\arpeggioUp
c e4\arpeggio
}
}
\layout {
\context {
\Score
\consists Span_arpeggio_engraver
}
}
}
but that gives an unarrowed arpeggio:
Thanks,
A.J.
---
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Sweden
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Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Spanner trouble
Strange! If you look at the bottom of the page of http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Text-spanners#Text-spanners you'll see that it is typeset using version 2.11.41 and when I try it here with a self-compiled installation that still says that it's version 2.11.41 but probably contains a few changes compared to your, it still gives dashed spanners as normal. /Mats David Bobroff wrote: I've been trying to add a couple spanners (text or crescendo type) to a score. I was having trouble getting the output I wanted and I noticed that Lily did not appear to be behaving as advertised. For example; in 1.8.1.3 Text spanners if I cut paste the examples given on the page and run them through 2.11.41 (Windows) I do *not* get a dashed line but a solid line that ends one note early. Also, similarly; in section 1.3.1.2 Dynamics if I cut/paste the last example on the page I do *not* get a series of dots connecting the cresc. poco to the mf. Instead I get a short solid line immediately following cresc. poco and then space to the mf. -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: moving notes and accidentals
Valentin Villenave wrote:
2008/3/7, luis jure [EMAIL PROTECTED]:
the problem was the clash between a and a-flat in the two voices. by
default lilypond merges the two noteheads, even if they have different
accidentals. first i found about force-hshift, and managed to move the
aes to the right. but only the note, the accidental stayed in place.
the code compiles without complaints and i get what i wanted, but i'm
not sure if it is a good solution. is there a simpler|better|cleaner
way to move the note _and_ the accidental to avoid the clash between
a-natural and a-flat? some part of the documentation i missed?
Hi Luis,
unfortunately, you have stumbled upon a known limitation of LilyPond
(there are very few, and this is probably one of the most annoying):
http://code.google.com/p/lilypond/issues/detail?id=546
http://code.google.com/p/lilypond/issues/detail?id=547
Joe has recently made the situation a little less worse, but this is
still nowhere near perfect. So your workaround is the best solution so
far.
I made a quick attempt to find some alternatives to your very
clever solution. The best I could come up with is
\relative c'' {
\clef alto
{ bes16*11/10[ aes16*9/10 g16 fis] } \\
{ a a a a } s2.
}
The following doesn't really solve the problem, but might do it when the
above mentioned fix has been included.
\relative c'' {
\clef alto
{ bes16 aes g fis } \\
{ a aes \tweak #'transparent ##t a a a } s2.
}
/Mats
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Re: tuplet-type groups and bar check
A Graham says, there's no problem with
\include english.ly
\relative c'{
\time 2/4 \acciaccatura d8 d d'4 \times 4/5 { d'16[ b af f d] } |
}
in neither 2.11.41 nor 2.10.33. Can you please provide a complete example
that illustrates the problem.
/Mats
Graham Percival wrote:
There's no problem with 2.11.41. What version are you using?
Ceers,
- Graham
On Wed, 5 Mar 2008 22:56:29 -0800
David Fedoruk [EMAIL PROTECTED] wrote:
Hello:
It seems when ever I use a grouping like this:
\time 2/4 \acciaccatura d8 d d'4 \times 4/5 { d'16[ b af f
d] } |
The bar check sees that as 9/20 the score I'm working with has a
quarter note and acciacatura and a 5 gouping which *should* be 5 16th
in the time of 4 making one quarter note. This should be correct, yet
I get this error. I have a feeling this may be the culprit in a repeat
volta I'm trying to trouble shoot.
There are occasions where Lilypond seems not to count acciacaturas and
grace time correctly or it gets confused. This is one where I have no
idea why it acts the way it does. What am I not seeing?
Cheers
David
--
David Fedoruk
B.Mus. UBC,1986
Certificate in Internet Systems Administration, UBC, 2003
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Signal Processing
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Clef, key and tempo only at beginning of first system?
sdfgsdhdshd wrote: There is now a problem with the lyric line: My music is SATB+lyric (Win XP+2.11.41). The first word of the second system and the next systems collides with the system vertical bar, if the word is more than 2 or 3 letters. See the main section called Vocal music /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing around bar lines in 2.11.38 - links to example (fixed)
You have already done lots of tweaks related to the spacing, so are probably
aware of that the layout decisions on LilyPond are based on a large
number of
different considerations and parameter values.
I admit that you have very tight spacing around some bar lines, for example
in the beginning of bar 26 of barexample.pdf (when I processed your file
with
2.11.41, the line breaks ended up somewhat differently so bar 26 ended up
slightly more spaced out). See
http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg00124.html
for a hint on how to adjust the spacing after bar lines.
When browsing through your file, I noticed that you used the following
contruct:
\repeat unfold 3 { s1 } \lpbreak
Are you aware of that you can reduce the typing by using
s1*3 \lpbreak
instead?
/Mats
Steve Dunlop wrote:
Sorry about the bad PDF. I had FTP'd it in text mode.
I have fixed the original PDF:
http://www.nerstrand.net/8lpf.pdf
And put all the files together into one .ly file for ease of viewing:
http://www.nerstrand.net/barexample.ly
And for good measure posted the PDF from the barexample.ly file:
http://www.nerstrand.net/barexample.pdf
And fixed the broken link:
http://www.nerstrand.net/bwv558.ly
Sorry for the mixup, and thanks for looking.
Steve
Original Message
Subject: Re: Spacing around bar lines in 2.11.38 - links to example
From: Valentin Villenave [EMAIL PROTECTED]
Date: Wed, March 05, 2008 4:15 am
To: Steve Dunlop [EMAIL PROTECTED]
Cc: lilypond-user@gnu.org
2008/3/4, Steve Dunlop [EMAIL PROTECTED]:
http://www.nerstrand.net/8lpf.pdf
I cannot open your pdf :(
I'm posting the whole thing because the overall spacing situation seems
to be contributing to the problem.
Could you please put all of it in a single file, and maybe post it on the list?
Sources:
http://www.nerstrand.net/8lpf.ly
http://www.nerstrand.net/bwv558.ly
http://www.nerstrand.net/organscore.ly
The second link isn't working :(
Cheers,
Valentin
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Sweden
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Idea for improved automatic beaming
Hi,
Based on the recent discussions on automatic beaming, I got an idea on
a possible improvement/simplification.
Currently, a setting like
#(override-auto-beam-setting '(end 1 16 4 4) 1 4)
means that beams are ended on the first beat if the beamed notes are
16th notes.
What if we changed the implementation so that
#(override-auto-beam-setting '(end 1 16 4 4) 1 4)
meant that beams are ended on the first beat if the beamed notes are
1/16 *or shorter*?
With this modification, the current settings for common meter could be
shortened to:
((end * * 4 4) . ,(ly:make-moment 1 2))
((end 1 12 4 4) . ,(ly:make-moment 1 4))
((end 1 12 4 4) . ,(ly:make-moment 3 4))
((end 1 32 4 4) . ,(ly:make-moment 1 8))
((end 1 32 4 4) . ,(ly:make-moment 3 8))
((end 1 32 4 4) . ,(ly:make-moment 5 8))
((end 1 32 4 4) . ,(ly:make-moment 7 8))
and as an extra benefit, it would also automatically handle 16th triplets,
32th septuples or whatever tuplets you can think of.
Actually, at second thought, the above list should perhaps be replaced by
((end * * 4 4) . ,(ly:make-moment 1 2))
((end 1 9 4 4) . ,(ly:make-moment 1 4))
((end 1 9 4 4) . ,(ly:make-moment 3 4))
((end 1 17 4 4) . ,(ly:make-moment 1 8))
((end 1 17 4 4) . ,(ly:make-moment 3 8))
((end 1 17 4 4) . ,(ly:make-moment 5 8))
((end 1 17 4 4) . ,(ly:make-moment 7 8))
saying that any tuplet with a duration shorter then 1/9, i.e. strictly
shorter than 1/8
should be beamed on every beat. For example
c8 c \times 4/5 { c8 c c c c } c8 c
would give
c8[ c] \times 4/5 { c8[ c c c c] } c8[ c]
Can anybody think of a typesetting situation where these kind of rules
wouldn't
work, i.e. where notes with shorter durations should result in longer
beams than
notes with some other longer duration?
/Mats
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Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: use the feta font in GIMP
My experience of final touches in general is that on the average you have to repeat the final touch at least 3 times, since you found some other minor detail you wanted to fix so that you had to rerun the full process again. Therefore, I personally prefer to spend more time on fixing the problem in the original tool (LilyPond in this case) than it would take to do the final touch (once) in some other tool. The fixes you mention, placement of some objects, are often fairly easy to obtain within LilyPond. /Mats matth wrote: Thanks a lot, I was a bit afraid to ask this because it's not really a question about lilypond. To Kieren, the final touch is about the placement of some objects like rests or harmonics : a few months ago I was working on In the woods by Takemitsu (a piece for guitar) and the notation used for some harmonics was really great ( the note played with the left hand without stem, the one played with the right hand without stem and with a diamond head, the two smaller and between brackets and the closest note from the heard pitch normal with a little circle above) So the problem is not to know how to change things but just to keep an intelligible code. I'll try Inkscape it seems great! I've a second question : can we enable or disable whole engravers from some contexts with something like the \override command so that we don't have to create new contexts with specific properties? Maybe I'll have to open a new thread for that. Thanks everybody. 2008/3/5, Valentin Villenave [EMAIL PROTECTED] mailto:[EMAIL PROTECTED]: 2008/3/5, Kieren MacMillan [EMAIL PROTECTED] mailto:[EMAIL PROTECTED]: If not, I second Chris's suggestion to avoid GIMP, in favour of a vector-based application. Inkscape is free and can directly open .ps files generated by LilyPond :) http://www.inkscape.org/ Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- se renseigner sur windows : http://badvista.fsf.org/what-s-wrong-with-microsoft-windows-vista puis choisir son GNU/linux : http://www.zegeniestudios.net/ldc/index.php?lang=fr ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: automatic beaming in tuplets
The list of predefined beaming patterns is far from complete, as you have
noticed. The default rules are also a mix of general rules, for example that
a beam is always ended on the third beat in 4/4 meter, and specific rules
for certain note lenghts, for example that beams with 32nd notes are always
ended on every 8th note in 4/4.
For tuplets in general, there is only one specific rule included among the
default beaming patterns, namely that triplet 8ths should be ended on
each beat in 4/4.
Of course it would be possible to extend the list, but at least with the
current mechanism, this would make the list of default beaming patterns
extremely long (which even might influence the LilyPond processing time)
and still there will always be some user who wants a special case that's
not covered. The strategy chosen in LilyPond today is to let the default
settings cover the most common everyday music typesetting needs and
provide instructions on how each user can extend the beaming patterns
according to her/his needs and preferences.
For example, I have extended your example with the corresponding
auto-beam settings. Normally, you could enter all these at the top of the
piece, but here I inserted them in front of the bar where they are used.
\version 2.11.41
\relative c'' {
\time 4/4
% c1
c8 c c c c c c c
% c2
c16 c c c c c c c c c c c c c c c
% c3
#(override-auto-beam-setting '(end 1 20 4 4) 1 4)
#(override-auto-beam-setting '(end 1 20 4 4) 3 4)
\times 4/5 { c16 c c c c } \times 4/5 { c16 c c c c } c8 c \times 4/5 {
c16 c c c c }
% c4
#(override-auto-beam-setting '(end 1 24 4 4) 1 4)
#(override-auto-beam-setting '(end 1 24 4 4) 3 4)
\times 4/6 { c16 c c c c c } \times 4/6 { c16 c c c c c } c8 c \times
4/6 { c16 c c c c c }
% c5
#(override-auto-beam-setting '(end 1 28 4 4) 1 4)
#(override-auto-beam-setting '(end 1 28 4 4) 3 4)
\times 8/7 { c32 c c c c c c } \times 8/7 { c32 c c c c c c } c32 c c c
c c c c c32 c c c c c c c
% c6
#(override-auto-beam-setting '(end 1 10 4 4) 1 4)
#(override-auto-beam-setting '(end 1 10 4 4) 3 4)
c8 c \times 4/5 { c8 c c c c } c4
}
/Mats
luis jure wrote:
hello list,
i'm a beginner at lilypond, i know enough to enter music in a simple
way. i still don't know enough of the language to try elaborate tweaks,
but i find that usually lilypond is smart enough to produce good output
for music that's not too complex.
but i suspect that automatic beaming is not working correctly in
certain cases involving tuplets. i include a short snippet with the
corresponding image. i'm using a recently compiled 2.11.41 on linux.
in 4/4 time signature, eight notes are beamed every 4 notes (i. e. into
whole notes, m.1 in the example), which is of course correct; sixteenth
notes are also correctly beamed every 4 notes into quarter notes (m.2).
but 16th notes quintuplets and sextuplets are beamed into whole notes,
even if that means including a pair of eight notes (m3 and m4). the
same with 32nd septuplets (m5). normal 32nd notes, on the other hand,
are beamed every 4 notes into eight notes, while i find that beaming
every 8 notes is more standard. i find other anomalies, like the 8th
notes quintuplet beamed together with the preceding 8th notes (m6).
as a beginner, i don't know if these are bugs, my mistakes, or if that
is the intended behavior. in the last case, could i ask the authors to
reconsider the criteria used for automatic beaming?
i know that you can adjust the beaming manually, or even change the
automatic beam behavior globally. but i think that the defaults should
be chosen in a way that requires as little manual tweaks as possible.
thank you for your attention.
best,
lj
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Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: moving notes horizontal position
The question is if you want to move the note to the right or if you want
to decrease the distance from the note to the bar line.
In the former case, read the last lines of section Horizontal spacing
overview
in the manual. In the latter case, you may rather want to play with scaling
the durations, for example
\times 2/3 { g g'8 \f f f' e e'8*4\)} \override Script #'padding =
#1 e
e'2*1/2\fermata
or
\times 2/3 { g g'8*2 \f f f' e e'\)} \override Script #'padding =
#1 e
e'2*1/2\fermata |
I actually think that the default layout corresponds fairly well to common
notation practice, though.
/Mats
Zenith wrote:
A stupide question!
I just would like to move the last notes a bit more to the end(aproach to
the bar) as it can be seem in the fotolog below
http://www.fotolog.com/lilypondstudent/45749639
here is a piece of code of the melody:
8\\( c c' d d' e e' f f'\!
\times 2/3 { g g'\f f f' e e'\)} \override Script #'padding = #1 e
e'2\fermata
Thx!
--
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Mats Bengtsson
Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
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Re: Clef, key and tempo only at beginning of first system?
sdfgsdhdshd wrote: Is it possible to write the Clef, key and tempo only at the beginning of the first system of each score? Certainly! Just turn off printing of these objects somewhere after the first note (but of course before the next line break). For example, it should work do add the following lines \override Score.KeySignature #'break-visibility = #all-invisible \override Score.Clef #'break-visibility = #all-invisible after the first note (or the first bar or wherever is suitable). /Mats -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: multimeasure rest on single line DrumStaff
Try setting \override MultiMeasureRest #'staff-position = #0.01 If you look in the source code, you will see that it treats the case staff-position=0.0 (i.e. the default setting) specially, so what my proposed workaround does is simply to fool LilyPond. /Mats Reinhold Kainhofer wrote: Am Montag, 3. März 2008 schrieb Risto Vääräniemi: Hi Orm, I was struggling with the same thing two months back and then I just lowered the rests by one space unit. \override RhythmicStaff.MultiMeasureRest #'extra-offset = #'(0.0 . -1.0) Unfortunately, this messes up real multi-measure rests... See attached example. Cheers, Reinhold ___ lilypond-devel mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-devel -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff spacing and collisions
Oscar van Eijk wrote: Hi All, I'm 'Lilyponding' a small prelude I wrote. It's only one page, but I can't get it without collisions. I attached a PNG, if that's not clear enough; the PDF is at http://vaneyck.terra-terra.com/Senorio.de.los.Llanos.pdf. My problem is mainly the slur above bars 19 and 20 that collide with the Pedal sign of bar 14. It looks like a bug to me that you get this collision, even though I guess that LilyPond makes some approximations to the actual slur shape when it calculates the vertical spacing. Can you please send a .ly file example (as small as possible) to bug-lilypond. It could easily be solved if the staff space of the second line would be decreased a bit, but I can't find how to achieve that. I don't really understand what kind of solution you want. The natural solution would be to increase the spacing between the two systems (score lines). One trick to do that, if everything else fails, is described in http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00454.html /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book with multi-dir projects
Graham Percival wrote:
On Mon, 03 Mar 2008 23:30:48 +0100
John Mandereau [EMAIL PROTECTED] wrote:
I (or somebody else) will fix that, but unfortunately, I won't have
time for any serious contribution to LilyPond before a couple of
weeks. I'm sure I have some time again after April 3th, that's all.
Ok, for your list:
lilypond-book --out=/tmp/ foo.lytex
should imply -I=/tmp/ otherwise lilypnod-book will never find
foo.tex and will then always recreate foo.tex.
(alternately, just improve the searching for the old .tex file)
I don't exactly understand what problem you are referring to. Is it that you
have lines like
\input{includedfile}
or
\input{includedfile.lytex}
and that lilypond-book doesn't find the includedfile.{tex,lytex} file?
However, why should the unprocessed includedfile.tex file be located
in /tmp/? This is where the processed output file will be placed, so
having the original input file in that temporary directory seems silly.
On the other hand, as far as I can see, lilypond-book will not find such
an \input:ted file even if you specify it's location using -I. Rather,
it will
search using the same mechanism as is used within LaTeX to search for
files. In other words, you should add the directory to the TEXINPUTS
search path to make lilypond-book find it.
/Mats
Cheers,
- Graham
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: Problem with \transpose and \cueDuring
In the GDP docs, this issue is mentioned both in the sections on Instrument transpositions and Quoting other voices. Do you think it needs further clarification? /Mats Reinhold Kainhofer wrote: Am Dienstag, 4. März 2008 schrieb Han-Wen Nienhuys: 2008/3/3, Reinhold Kainhofer [EMAIL PROTECTED]: I'm currently investigating how to properly write transposing instruments. Since their voices are also used in cue notes, the best way is to write them I don't understand this remark: this is exactly why we have the \transposition feature; why doesn't that do what you need? Oops, sorry, I didn't read that part of the documentation thoroughly enough ;-( I only saw MIDI in capitals, looked at the example (where the \transposition does not have any effect on the output) and assumed it would only work on MIDI. Of course, it works just fine. Thanks for the hint! Reinhold -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-book with multi-dir projects
Graham Percival wrote: No; just take the simplest possible .lytex file (such as the template from the docs). Run lilypond-book --pdf --out=/tmp foo.lytex lilypond-book --pdf --out=/tmp foo.lytex Both times, it compiles all the lilypond snippets and creates a new foo.tex in /tmp/. I think this is because lilypnod-book looks for a foo.tex in the same directory, instead of looking in the output directory. That's a regression bug compared to version 2.10.33! /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hi someting Wicked this way came: problems with fonts on Easy lilypond 2.10.33?
If you search the mailing list archives, you can find some reports that LilyPond is very slow on Vista, since for some reason the font name database is rebuilt every time you run LilyPond, not only the first time after installation as is normally the case. A short description and a proposed workaround is described at http://code.google.com/p/lilypond/issues/detail?id=545q=vista I have not heard about your specific problem before, but since it's font related, the workaround might solve also your problem if you are lucky. /Mats Andreas Stenberg wrote: Hi! Did get a new computer last week and finaly got it in more or less working order. Trouble is I'm now on Windows Wista and did not get the normal down load of Lilypond and jEdit with Lilytool to work as it should. Did try the Easy lilypond package and most things are working (but not all, most are jEdit problems I think). The wicked thing is: The text font I get as default (headers, markup and lyrics) when processing is a rather ugly sans - type font (looking a lot like some Arial version). Changing fonts any of the normal ways works ok so no problem. But if I chose _Times New Roman_ i get some thing looking like an capital I over a dot in place of capital N. This is most anoying an weird. Can't figur if the problem is on my computer, in the interplay between jEdit and Lily or if there is somthing wrong with the pacage i downloaded. Is This an Easylily problem or a Wista problem or what? Should I have to try to get it all the normal eg. Downloading Lilypond, jEdit etc. separately and troubling my self through the usual configuration disasters? Andreas Stenberg ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing around bar lines in 2.11.38
Valentin Villenave wrote: Hi Steve, can you send a short example? If this is obviously a collision, i'll add it as a bug. If it's about a matter of taste, you should try something such as \override Staff.TimeSignature #'Y-extent = #'(-1 . 1) That won't affect the spacing around bar lines! We've had some bugs related to the spacing around bar lines, but these should be fixed in recent 2.11.x versions. Of course, what's a bug or not in these situations may be a matter of taste. Do you mainly see the problem before or after the bar lines? /Mats Cheers, Valentin 2008/3/3, Steve Dunlop [EMAIL PROTECTED]: I'm finding that there isn't enough space around bar lines. In some cases ledger lines are touching the bar lines. Is this a known bug? Is there a way to adjust the space a barline takes up? Steve ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff spacing and collisions
Oscar van Eijk wrote: Mats, Thanks for your reply, but it's fixed already :) The output was based on an old template I grabbed from the 2.6 documentation. I updated it with the latest piano from the snippets doc; the URL now shows the correct output. The slur of bars 6-7 still takes up a lot of space, but I think I'll be able to fix that. Yes it's really ugly. One solution seems to be to add a setting like \once \override Slur #'positions = #'(5 . 5) See also the bug report Weird output that I just sent to the bug-lilypond mailing list. /Mats Thnx, Oscar On Tue, 2008-03-04 at 10:02 +0100, Mats Bengtsson wrote: Oscar van Eijk wrote: Hi All, I'm 'Lilyponding' a small prelude I wrote. It's only one page, but I can't get it without collisions. I attached a PNG, if that's not clear enough; the PDF is at http://vaneyck.terra-terra.com/Senorio.de.los.Llanos.pdf. My problem is mainly the slur above bars 19 and 20 that collide with the Pedal sign of bar 14. It looks like a bug to me that you get this collision, even though I guess that LilyPond makes some approximations to the actual slur shape when it calculates the vertical spacing. Can you please send a .ly file example (as small as possible) to bug-lilypond. It could easily be solved if the staff space of the second line would be decreased a bit, but I can't find how to achieve that. I don't really understand what kind of solution you want. The natural solution would be to increase the spacing between the two systems (score lines). One trick to do that, if everything else fails, is described in http://lists.gnu.org/archive/html/lilypond-user/2006-09/msg00454.html /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: staffsymbol left edge
See http://lists.gnu.org/archive/html/lilypond-user/2005-11/msg00073.html for an example on how to rearrange the way things are ordered. In fact, if you move the left-edge to after the clef in the list for what happens at the beginning of lines, you should get what you want. (Don't forget to use the default settings from your current LilyPond version as a starting point). /Mats Neil Thornock wrote: Hello all, I've converted my staff (stopstaff startstaff stuff) into a line extender, indicating a repeat of a few notes. On the next system down, I'd like for the staff (the line extender) to begin printing after the clef. As it is, it prints under the clef (as a staff normally does). Is there a way to tell lily to start the staffsymbol *after* the clef - to nudge the start a few staff spaces to the right? Thanks, Neil -- Neil Thornock, D.M. Visiting Assistant Professor of Music Composition/Theory Brigham Young University http://neilthornock.net ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: decrease distance between beams in tremolo?
A better way to solve the original problem might be to use http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00614.html as a starting point for an automated solution. /Mats Valentin Villenave wrote: 2008/3/2, Peter Van Kranenburg [EMAIL PROTECTED]: Hi Peter, This works perfectly. Thanks a lot! Perhaps you could consider adding a snippet to the LSR, so that anyone can easily find it in the future: http://lsr.dsi.unimi.it/LSR/html/contributing.html Adjusting the Y-offset all the time is a bit tedious, but it works. If you can provide us with a mathematical relationship between the thickness, the width, the length-fraction and the offset, we could write a single function that would define all four of them based on a single argument (such a function would be pretty cool, by the way :) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord changes under voltas?
You can't have searched very thoroughly, this topic has been discussed several times on the mailing lists. There are two main solutions for you: - Update to version 2.11.x where the voltas appear above the chord names by default. Although 2.11 is an unstable development version, I would still classify it as at least as good as 2.10 if you want to do serious typesetting. - Take a look at the volta-chord-names.ly example in the Tips and Tricks document in the documentation for version 2.10. /Mats eric raeburn wrote: There was a short thread on this topic in Feb-March 2003 (Chords under voltas?), apparently unresolved, and I could find no more recent discussion of this topic. I am using Lilypond to produce jazz leadsheets. Lilypond prints chord symbols above volta lines. This is most unorthodox and disconcerting--the symbols should be above the staff but below the volta. I am using 2.10.29. Is there a workaround, or should this be reported as a bug? Thanks, -Eric ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Defining an Ossia context
If you try to explain what you want the new context to
do, it will be much easier to provide accurate help.
In general, I strongly recommend you to take a look at
the file ly/engraver-init.ly, where all the default contexts
are defined. For example, if you look at the definition of
the PianoStaff context, you will see how to base a new
context definition on an already existing one.
/Mats
[EMAIL PROTECTED] wrote:
Afternoon.
I have been tidying up my lilypond source files and decided to try to
be clever and define an 'ossia' context in one of my layout template
files. I started to regret the decision when I realised I had to list
every single engraver I would need to use (I thought that \alias Staff
would do that - but was wrong.)
What I have done seems to work except for two things. 1) I can't get
the slurs to display. 2) The layout engine does not allocate any
vertical space to the Ossia and allows beams from the staff above and
below to collide. I included the Vertically_spaced_contexts_engraver
and Vertical_align_engraver in a fit of guess-work, but it didn't solve
the problem.
Is there a simple solution,other than manually tweaking the system
positions?
Regards - Dave P.
Example below:
\version 2.11.41
\include English.ly
\layout {
% Define a context for ossia sections
\context {
\name Ossia
\alias Staff
\consists Note_heads_engraver
\consists Text_engraver
\consists Stem_engraver
\consists Accidental_engraver
\consists Staff_symbol_engraver
\consists Rest_engraver
\consists Slur_engraver
\consists Spacing_engraver
\consists Bar_engraver
\consists Script_engraver
\consists Font_size_engraver
\consists Auto_beam_engraver
\consists Key_engraver
\consists Vertical_align_engraver
\consists Vertically_spaced_contexts_engraver
\type Engraver_group
fontSize = #-2
\override StaffSymbol #'staff-space = #(magstep -2)
\override KeySignature #'stencil = ##f
}
\context {
\Score
\accepts Ossia
}
}
Notes = \relative c'' {
% snip
% Bar 13
cs8. d16 e8 cs a4 e8 a |
d,8. e16 fs8 a d4 cs8 d |
e4 e, e'8. cs16 b8 cs |
{ a4 a8. b16 a4 s }
\new Ossia \with { alignAboveContext = Main }
\relative c'' {
\key a \major
a8^\markup \tiny \bold Last Time
b16 ( cs ) d e fs gs ( a-. ) r r8 s4 \bar |.
}
}
\score {
\new Staff = Main { \clef treble \key a \major \time 4/4 \Notes }
\layout { }
}
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Re: problem with trills
Graham Percival wrote: On Sun, 2 Mar 2008 13:00:55 +0100 Reinhold Kainhofer [EMAIL PROTECTED] wrote: If you add \version 2.10.5 to the snippet (yes, I really hate it that the snippets don't say with which version of lilypond they work!!!) and let convert-ly run on it, you'll get the hint: LSR uses 2.10.12 at the moment. That info is on the LSR web pages. Yes, but very well hidden. The link to Contributing is not the obvious place to look for this crucial information. I have said it many times before, but I definitely think that a \version line should be added at the top of each snippet when it's shown on the web page (if it's not included in the database itself). This lack of \version lines has not only caused problems for users of LSR but there have even been a number of snippets in LSR that have not been correctly updated using convert-ly. I actually found one such example as late as last week (fixed now). /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: decrease distance between beams in tremolo?
As far as I can see in the source code, it should help to do \override StemTremolo #'length-fraction = #0.8 (the default value seems to be 1). I haven't tried it though. I you manage, please send a follow-up to the mailing list for the record (it also seems that this property is missing in the documentation for StemTremolo). /Mats Peter Van Kranenburg wrote: hello list, Is it possible to decrease the distance between the beams of a tremolo? I'm asking because I'm typsetting 17th century organ music which has an ornament of two slashed through the stem all the time. If I decrease the thickness of a tremolo, it looks almost right, except for the distance between the slashes. They should be a bit closer together. regards, Peter van Kranenburg ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: headless notes
If you search in the LilyPond index, i.e. the index of the user manual, then you will find what you search for if you look for hiding or invisible or removing or transparent. If you look at the manual for version 2.11, you have to look in the index for the Learning Manual to find these. /Mats James E. Bailey wrote: I'm trying to get headless notes that I can attach a glissando to. I've gotten as far as \once \override Voice.NoteHead #'stencil = ##f dis2.\fermata but that doesn't really work and gives errors. Is there another way to set the note head to invisible? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pedal bracket too short
Please always tell what LilyPond version you use. A possibly related bug
was fixed in version 2.11.40 or 2.11.41.
/Mats
Stefan Thomas wrote:
Dear Lilypond-users,
I don't know why, but in the below quoted example is the pedal bracket
shorter than expected. I find it strange, that it works fine with
text-stylle pedal.
How can I solve the problem?
re = \change Staff = rechts
li = \change Staff = links
standardped = { \override Staff.PianoPedalBracket #'style = #'bracket
\set Staff.pedalSustainStyle = #'mixed }
rechts = \relative c { \repeat unfold 2 {
\clef bass r2 r4 r8 s8 e16~ e2... }}
links = \relative c, {\clef bass r2 r4 r8 \standardped
\context Voice = A { \times 4/5 { ais! ais'! 32\p\ ( cis!
\re f a! c\! ) }|
\li R1} {s8 \sustainDown s16 s2... \sustainUp }
\clef bass r2 r4 r8 \set Staff.pedalSustainStyle = #'text
\context Voice = A { \times 4/5 { ais,! ais'! 32\p\ ( cis!
\re f a! c\! ) }|
\li R1} {s8 \sustainDown s16 s2... \sustainUp }
}
\score {
\new PianoStaff
\new Staff = rechts \rechts
\new Staff = links \links
}
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Re: Problems defining a BraceStaff
It seems that you forgot to include your new context into the context
hieararchy, see section Defining new contexts in the manual for
instructions
on how to do that using the \accepts keyword.
/Mats
John Zaitseff wrote:
Dear LilyPond users,
I have searched the LilyPond documentation, lilypond-user mailing list
archives and the LilyPond snippet repository---all without success...
The question is: how do I define a BraceStaff that is exactly like a
ChoirStaff, except that braces are used instead of brackets at the start of
systems? In particular, I tried to define the following in my stylesheet
(which gets included into all my documents):
\layout {
\context {
\type Engraver_group
\name BraceStaff
\alias ChoirStaff
\description
Just like @code{ChoirStaff} but with a brace (SystemStartBrace)
instead of a bracket (SystemStartBraclet) at the start of
each system.
\consists System_start_delimiter_engraver
systemStartDelimiter = #'SystemStartBrace
}
}
\midi {
\context {
\type Performer_group
\name BraceStaff
\alias ChoirStaff
}
}
When compiling a file with these lines, LilyPond 2.10.33 does not complain
about the definitions, but it DOES complain that it cannot find them:
warning: can't find or create new `BraceStaff'
I'm attaching a sample LilyPond document to illustrate this problem. Any
help is appreciated, as this little problem has already taken rather a lot
of hours of my time... :-)
Yours truly,
John Zaitseff
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Sweden
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Email: [EMAIL PROTECTED]
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Re: Problems defining a BraceStaff
Do you want both the default ChoirStaff and the BraceStaff in the same
score (or in the same .ly file)? Otherwise, the easiest solution is just to
redefine the ChoirStaff context in the files where you want the brace
instead of the bracket:
\layout{
\context{
\ChoirStaff
systemStartDelimiter = #'SystemStartBrace
}
}
Otherwise, I think you only included your new context type halfway into the
context hieararchy. You also have to tell which contexts are accepted
within
your new context.
Actually, instead of creating a new context from scratch, as you have
attempted to do, it's often easier to use an existing context type as a
starting point, for example
\layout{
\context {
\GrandStaff
\name BraceStaff
\alias ChoirStaff
\remove Span_bar_engraver
}
\context {
\Score
\accepts BraceStaff
}
}
(The default definition of ChoirStaff is a bit complicated, since there's an
extra context type InnerChoirStaff involved, for some technical reasons, so
it's a bit harder to use that as a starting point.) If you haven't
already looked
in the file ly/engraver-init.ly, I recommend you to do so. It's the best
way to
understand how these things really work.
/Mats
John Zaitseff wrote:
Dear LilyPonders,
Mats wrote:
The question is: how do I define a BraceStaff that is exactly like a
ChoirStaff, except that braces are used instead of brackets at the
start of systems? In particular, I tried to define the following in my
stylesheet (which gets included into all my documents):
\layout {
\context {
\type Engraver_group
\name BraceStaff
\alias ChoirStaff
% [...]
\consists System_start_delimiter_engraver
systemStartDelimiter = #'SystemStartBrace
}
}
It seems that you forgot to include your new context into the context
hieararchy, see section Defining new contexts in the manual for
instructions on how to do that using the \accepts keyword.
Oops! I've redefined it as:
\layout {
\context {
\name BraceStaff
\type Engraver_group
\alias ChoirStaff
\consists System_start_delimiter_engraver
systemStartDelimiter = #'SystemStartBrace
}
\context {
\Score
\accepts BraceStaff
}
}
LilyPond now finds the definition correctly, but it still doesn't use
SystemStartBrace. My main \score block is of the form:
\score {
\new BraceStaff
\new Staff = upper
% [...]
\new Staff = lower
% [...]
\layout {
}
}
If I replace BraceStaff with ChoirStaff \with { systemStartDelimiter =
#'SystemStartBrace }, it all just works. And putting the line containing
\alias to end of the context doesn't help.
What am I doing wrong? I can't help but think it must be fairly simple...
Thanks in advance!
Yours truly,
John Zaitseff
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Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: pedal bracket too short
I have just tried your example with the latest version of the source
code and
it seems that the problem remains. It seems related to
http://lists.gnu.org/archive/html/lilypond-devel/2008-02/msg00172.html
but the problem remains even though that patch has been applied in the
version I tried. Reinhold, can you take a look?
/Mats
Stefan Thomas wrote:
I use version 2.11.38
Is the problem with the vertical position of the pedal-bracket also
solved in the newest version?
2008/2/29, Mats Bengtsson [EMAIL PROTECTED]
mailto:[EMAIL PROTECTED]:
Please always tell what LilyPond version you use. A possibly
related bug
was fixed in version 2.11.40 or 2.11.41.
/Mats
Stefan Thomas wrote:
Dear Lilypond-users,
I don't know why, but in the below quoted example is the pedal
bracket
shorter than expected. I find it strange, that it works fine with
text-stylle pedal.
How can I solve the problem?
re = \change Staff = rechts
li = \change Staff = links
standardped = { \override Staff.PianoPedalBracket #'style =
#'bracket
\set Staff.pedalSustainStyle = #'mixed }
rechts = \relative c { \repeat unfold 2 {
\clef bass r2 r4 r8 s8 e16~ e2... }}
links = \relative c, {\clef bass r2 r4 r8 \standardped
\context Voice = A { \times 4/5 { ais! ais'! 32\p\ ( cis!
\re f a! c\! ) }|
\li R1} {s8 \sustainDown s16 s2... \sustainUp }
\clef bass r2 r4 r8 \set Staff.pedalSustainStyle = #'text
\context Voice = A { \times 4/5 { ais,! ais'! 32\p\ (
cis!
\re f a! c\! ) }|
\li R1} {s8 \sustainDown s16 s2... \sustainUp }
}
\score {
\new PianoStaff
\new Staff = rechts \rechts
\new Staff = links \links
}
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Signal Processing
School of Electrical Engineering
Royal Institute of Technology (KTH)
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
mailto:[EMAIL PROTECTED]
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Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Re: lilypond and mac under leopard -- the simple solution!
Ivo Bouwmans wrote: I asked for a link on the Lilypond download page, just to avoid problems like Claude is experiencing, and I don't know why no link has been made yet... Does the development team have any objections to my LilypondScript? Please let me know! The problem is rather that nobody feels really responsible for that part of the web pages. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: \articulation and -\articulation
Han-Wen Nienhuys wrote:
2008/2/26, Graham Percival [EMAIL PROTECTED]:
These are both valid:
{
c'2-\accent
c'2\accent
}
Should we keep the - version in the docs at all? Does it really add
anything (especially since most people use the plain \ version) ?
It's necessary for some constructions, with music functions IIRC,
\tag #'foo -\staccato
and I'm certain its necessary for the abbreviations,
\tag #'foo -.
Yes, in this case it's necessary also when you don't have any \tag, for
example
c4-. is obviously something completely different than c4.
/Mats
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Re: Midi problem
David Fedoruk wrote: MIDI doesn't indicate exactly what the instruments will sound like. The exact sounds depend on the General MIDI instruments the person playing the file back has available on their computer. This is not the full story. You are right that different MIDI instruments, soundcards and MIDI software use different so-called instrument patches, which determine what each instrument will sound like. However, there are possibilities to specify such things as pedaling in a MIDI file and even though the MIDI standard isn't really any standard, i guess that most MIDI players will understand them. The MIDI output in LilyPond is fairly primitive and pedaling is just one of many aspects that are not implemented in the MIDI output from LilyPond. /Mats The way the playback sounds to you will not be the way it sounds when it is played back on other computers. MIDI is not very exact in that respect. Cheers David Hi, I know the Dynamic context created in piano template allows Midi output to play piano pedaling. But when I write piano piece, the Midi can't reflect my pedaling, and the sound is still dry. This is not because of my player, because when I play some Midi files created by other softwares such as Finale, the pedaling is here. Why? How to make my Midi file really have pedaling output? Haipeng 已 经 超 过 100 万 台 电 脑 安 装 了 网 易 有 道 免 费 英 汉 词 典 ， 点 击 此 处 可 以 快 速 下 载 ___ 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 -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Additive time signatures
Kurt Kroon wrote:
(I'm not sure if one can extend this last one in LilyPond to more complex
examples, like when the numerator is an additive expression, and the
denominator is a single digit, e.g. (3+2+3)/8.)
I was mistaken ... it *is* possible to extend the syntax (which seems
completely reasonable, in retrospect). I've borrowed (and stretched) the
compound-time-signature snippet as follows:
\version 2.10.33
#(define (compound-time grob one two three num)
(interpret-markup
(ly:grob-layout grob)
'(((baseline-skip . 2)
(word-space . 2)
(font-family . number)))
(markup
#:line ( #:column (one) + #:column (two num) + #:column (three)
Where did you get inspiration to this solution? The examples I can find in
LSR and the manual, all set stencil to #ly:text-interface::print and make
an appropriate markup which they assign to the text property.
I hope you have seen http://lsr.dsi.unimi.it/LSR/Snippet?id=192
for example. Even though your solution is very elegant if you know
what you're doing, I think the type of solution currently found in
LSR and documentation may be easier to understand and also easier
to generalize to other situations where you want to override the default
layout of a grob.
\relative {
%% compound time signature hack
\time 8/8
\override Staff.TimeSignature #'stencil
= #(lambda (grob) (compound-time grob 3 2 3 8))
#(override-auto-beam-setting '(end 1 8 8 8) 3 8)
c8 c c f f d d bes g c c f d c f e
}
\layout {
\context {
\Staff
\consists Measure_grouping_engraver
}
}
It isn't quite right -- the measure grouping should be 3+2+3, not 3+3+2,
which I attribute to my perfunctory reading of the section on overriding the
auto-beam setting -- but I'm positively gobsmacked at how close it is. If I
manually beamed what I wanted (instead of trying to have LilyPond do it for
me), Lily would do it exactly as I expected it.
Try:
#(override-auto-beam-setting '(end 1 8 8 8) 3 8)
#(override-auto-beam-setting '(end 1 8 8 8) 5 8)
\set Staff.beatGrouping = #'(3 2 3)
Does this qualify to be added to the compound-time snippet?
And if so, am I the one who's supposed to add it?
I think it's a good general idea to let each snippet illustrate one main
concept
and that the overall approach is easier to grasp from the current
compound-time
snippet. Since you already have snippets 261 and 192 in LSR, I'm not
sure about
the added value of your example (possibly you might want to add
auto-beam and
beatGrouping settings in 192).
On the other hand, don't hesitate in general to add new snippets in LSR,
that's the whole point of LSR.
/Mats
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Re: GDP: NR 1.1 comment
Right! GrandStaff contexts are often used in orchestral scores, for example, to group a number of staves together, such as the string parts. In LilyPond, the GrandStaff and PianoStaff contexts appear in the same way in the context hierarchy. We discussed more or less the same issue back in November, see http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00150.html /Mats David Fedoruk wrote: Piano music is not the only place to use a GrandStaff is it? Is not a full orchestral score written on a Grand Staff? And the full score of a String Quartet is it not also a Grand Staff? I am not 100% sure I'm right here either. I thought that GrandStaff meant more than one staves bound together because they made up a greater whole. In Lilypond I thought that PianoStaff was inside the GrandStaff hierarchy as child of the GrandStaff the way GrandStaff is of \score. As i say, I'm not sure that I'm exactly correct here, but if I am then GrandStaff still has uses aside from the far more specific case of PianoStaff. Cheers David I just noticed that the staff contexts of the examples in 1.1.3.5 are PianoStaff. In 1.6 there is only mentioned GrandStaff. Which one is the preferred one to be used? I would mention both in 1.6, but I think we should develop guidelines which context names to use. Maybe the PianoStaff is (at least to others than English native speakers) more understandable? So the context would be called PianoStaff in 1.6.1 but I would also mention that there is a GrandStaff context? So far I have understood that they are both equal. Is this true? In version 2.11, the only difference between the two is that PianoStaff contains the instrument name engraver. In version 2.10 and earlier, there were more differences. The PianoStaff then produced a fixed distance between the staves, since the cross-staff slurs and beams didn't work otherwise. This limitation has been fixed in 2.11. Ok, good to know. So PianoStaff should maybe be the default, so nobody will be wondering why the instrument name won't show up... What for is the GrandStaff then? Till /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scheme variables and chordmode
Unfortunately, there are some limitations on what you can do,
syntactically,
within a #{ ... #} construct and you have hit upon one of these limitations.
If you read section Building complicated functions in the manual, you will
see how to handle such cases using pure Scheme constructs.
/Mats
Timothy S. Nelson wrote:
Hi all. I'm a programmer, but a scheme beginner. I'm using the
following code.
dostroke = #(define-music-function (parser location chord length)
(ly:music? num
ber?)
#{
\chordmode { e,$length:5.8 }
#}
)
I presume you can all see what I'm trying to achieve here.
However, I
can't get it to work, because it says Parsing...ERROR: Unbound variable:
length:5.8. The other variations I've tried all also give errors.
Is there some way I can do this using chordmode, or do I have to do it
the long way?
Thanks,
-
| Name: Tim Nelson | Because the Creator is,|
| E-mail: [EMAIL PROTECTED]| I am |
-
BEGIN GEEK CODE BLOCK
Version 3.12
GCS d+++ s+: a- C++$ U+++$ P+++$ L+++ E- W+ N+ w--- V- PE(+) Y+++
PGP-+++ R(+) !tv b++ DI D G+ e++ h! y-
-END GEEK CODE BLOCK-
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Comments in GDP, Was: comments
Did you search for Comment in the index of the Tutorial? However, you are right that it seems to be missing in the NR, where it also should be included for completeness. /Mats James E. Bailey wrote: Maybe I'm still sleepy (it's early), but I'm not finding the section on comments in the new documentation. Specifically, something that deals with http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Working-on-text-files#Working-on-text-files but in the documentation for 2.11. I realise is hasn't changed, but since I only ever download the current docs, it's just slightly more of a hassle to have to go to the website for it. (I just did a search for the word comment both in the pdf I downloaded and the all in one big page version of the 2.11 documentation). ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: again: funktionsbezeichnung
Here's an alternative solution that defines a markup command to add the
slash
to any character.
\version 2.10.0
% Inspired by slashed-digit from scm/define-markup.scm:
#(define-markup-command (slashed-char layout props ch) (char?)
A character, with slash.
(let*
((mag (magstep (chain-assoc-get 'font-size props 0)))
(thickness
(* mag
(ly:output-def-lookup layout 'line-thickness)
(chain-assoc-get 'thickness props 1.6)))
(char-stencil (interpret-markup layout props ch))
(num-x (interval-widen (ly:stencil-extent char-stencil X)
(* mag 0.1)))
(num-y (ly:stencil-extent char-stencil Y))
(is-sane (and (interval-sane? num-x) (interval-sane? num-y)))
(slash-stencil
(if is-sane
(ly:make-stencil
`(draw-line
,thickness
,(car num-x) ,(car num-y)
,(cdr num-x) ,(cdr num-y))
num-x num-y)
#f)))
(ly:stencil-add char-stencil slash-stencil)))
\relative c'{ b d f 1^\markup { \slashed-char #D \super 7 } }
/Mats
Marc Hohl wrote:
On Thursday 28 February 2008 10:20:30 Stefan Thomas wrote:
Dear lilypond-users,
is it possible, to build the funktionsbezeichnung? I mean the slashed
letter D7. It is the (bit strange but common ) symbol for the diminished
chord in germany's harmony classes.
Thanks for any advice.
Stefan
Hi Stefan,
I tried
h d f 1^\markup { D \hspace #-2.5 / \super 7 }
You can adapt the negative horizontal space between the letter D and the
slash.
Marc
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Re: again: funktionsbezeichnungen
I have already answered that, last time you sent a similar question
to the mailing list, see
http://lists.gnu.org/archive/html/lilypond-user/2007-12/msg00195.html
/Mats
Stefan Thomas wrote:
Dear Marc, dear Mats,
thanks for Your advices. They both worked well. I tried:
\version 2.11.38
verkuerzter = \markup { D \hspace #-2.5 /
\sub 5 \super 7 }
\new Staff \relative {c1_\verkuerzter }
But how can I change the horizontal position of the number 7?
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Re: Additive time signatures
Search for time signature note in the mailing list archives, and you will find, for example http://lists.gnu.org/archive/html/lilypond-user/2006-04/msg00123.html /Mats Joseph Wakeling wrote: Kurt Kroon wrote: (I'm not sure if one can extend this last one in LilyPond to more complex examples, like when the numerator is an additive expression, and the denominator is a single digit, e.g. (3+2+3)/8.) I was mistaken ... it *is* possible to extend the syntax (which seems completely reasonable, in retrospect). I've borrowed (and stretched) the compound-time-signature snippet as follows: Is it possible to express time signatures so that the denominator is an (arbitrary) _note_, as used in e.g. Orff and other contemporary composers? e.g. 3/8 displaying as a 3 over an eighth-note/quaver. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: shifting whole measure rest
See http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00673.html /Mats David Bobroff wrote: I want to shift a full measure rest downwards below the staff. This is to keep it from overlapping cue notes in the staff. I *can* use #'extra-offset to move it but it doesn't have a ledger line above it to indicate that it is a whole rest. It's just a floating box. How can I get a centered whole measure rest below the staff? -David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: \articulation and -\articulation
Graham Percival wrote:
That's not specific to articulations, though. For example,
dynamics are (normally) always below notes, while slurs depend
on the stem direction. I've added a note to mention that in NR
3.whatever.
Yes and no! There are two aspects that are specific to articulations:
- The default setting is different from articulation to articulation
(i.e. it's not the same for all Script grobs).
- For some articulations, the default direction is relative to the
stem direction.
/Mats
Patrick: it's worth adding a pointer to scm/script.scm, though.
I'd do it in the same paragraph as the formula link to
controlling direcition and posiitons.
Cheers,
- Graham
On Tue, 26 Feb 2008 09:54:41 +0100
Mats Bengtsson [EMAIL PROTECTED] wrote:
There's one particular aspect of controlling directions that's
specific for articulations, namely that each separate articulation
has its own rule for the default direction. Some articulations, like
\fermata, are always above the
stave, some others like \marcato are always on the opposite direction
compared
to the stem, and so on. (These default values are controlled by the
settings of
direction or relative-direction in scm/script.scm).
/Mats
Graham Percival wrote:
These are both valid:
{
c'2-\accent
c'2\accent
}
Should we keep the - version in the docs at all? Does it really add
anything (especially since most people use the plain \ version) ?
It might be good as an introduction to ^ and _, but OTOH we
can do ^ and _ with items that don't have any -, such as
ties ~.
Cheers,
- Graham
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SE-100 44 STOCKHOLM
Sweden
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
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Email: [EMAIL PROTECTED]
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Re: strange warning
Just as the previous warning you asked about, this is just a warning telling that LilyPond didn't manage to produce a layout that fulfills all its design rules. This time it's related to the vertical spacing between the score lines, that ended up slightly too tight. Looking at the output I don't think it's a problem though and I have never seen any example where it does, even if you get this warning. /Mats hhpmusic wrote: Hi, This is the opening of my first grand sonata describing the life of the great boatmen in Three Gorges of Yangtze River. After Processing the file, the log file has a strange warning sometimes I meet only in orchestral output: warning: Can't fit systems on page -- ignoring between-system-padding Could someone tell me what's wrong with my file? Haipeng ?? ?? 100 ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? http://event.mail.163.com/chanel/click.htm?from=NO_25domain=163 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \book output file name
Anh Hai Trinh wrote: I'm having two \book blocks to produce a full score file and parts file. Is it possible to suffix each book output filename specifically, instead of the generic -1, -2, etc. ? --AT I figured I should factor out the common stuff and putting the \book block into separate .ly files. Note that then there's no need for any explicit \book block at all. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text script below spanner?
See section Vertical collision avoidance in the 2.11 manual.
/Mats
Rune Zedeler wrote:
Rune Zedeler skrev:
\relative c'' {
f^\ g^Flying! c f\!
}
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Re: Text script below spanner?
Rune Zedeler wrote: Rune Zedeler skrev: Perhaps we should think about a better name for that section. Or at least, add a see also 5.5.5 Vertical collision avoidance from 1.8.1.2 Text scripts. I think that would do it, actually. Then, you should add the corresponding links from all other objects that appear outside staffs, such as dynamics, piano pedals, bar numbers, rehersal marks, to mention a few. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fingering inside staff
Please read the section on fingering again, especially the part on fingeringOrientations. Note that these only work when the notes are part of a chord. If you want it to happen on a single note, you therefore have to make it a single note chord, such as c-48 /Mats Francisco Vila wrote: Hello all, Is it possible to place fingerings inside the staff (or outside, but just next to the notehead), and at a maximum distance of the notehead of, say, two staff spaces? I would like to set this voice-wide, not for a single fingering. Thank you, -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: publish separate drum exercises in one pdf file
ismaehkloa wrote: I am transcribing my daughter's hand written drum exercises into lilypond. I'd love to be able to have each week's exercises on one pdf page. I am working in windows and have problems running lilypond-book (I think). It shouldn't be any problem. However, you can also do these things purely in LilyPond. I can do nice individual pdfs and pngs, just not merge them onto one pdf. Why merge PDF files? I hope you know that you can have any number of \score blocks in the same .ly file and that they will be merged together into a single PDF file. An even simpler alternative is to typeset them all in the same \score, and just add \break between each new exercise to get start it on a new line. If you search the mailing list archives, you should also be able to find tricks to get automatic numbering of the different exercises, for example. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: \articulation and -\articulation
There's one particular aspect of controlling directions that's specific for
articulations, namely that each separate articulation has its own rule for
the default direction. Some articulations, like \fermata, are always
above the
stave, some others like \marcato are always on the opposite direction
compared
to the stem, and so on. (These default values are controlled by the
settings of
direction or relative-direction in scm/script.scm).
/Mats
Graham Percival wrote:
These are both valid:
{
c'2-\accent
c'2\accent
}
Should we keep the - version in the docs at all? Does it really add
anything (especially since most people use the plain \ version) ?
It might be good as an introduction to ^ and _, but OTOH we
can do ^ and _ with items that don't have any -, such as
ties ~.
Cheers,
- Graham
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Re: where is the local documentation?
Since the full documentation takes fairly large space, it's not included in the LilyPond installation package. Instead, there is a separate file with the full documentation, available at http://lilypond.org/web/install/. You will need some program to unpack the file, such as WinZip for Windows. /Mats Thimothe Arnauld wrote: i don't know where i must seek to find the local documentation... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: \articulation and -\articulation
What I talked about were the default rules that are used in Lilypond.
As soon as you specify \voiceOne / \voiceTwo (or specify them implicitly
using the {...} \\ {...} construct, then these default rules are
overridden
and instead all articulations are placed above (for \voiceOne) or below
(for \voiceTwo)
the stave.
/Mats
Arvid Grøtting wrote:
Mats Bengtsson [EMAIL PROTECTED] writes:
There's one particular aspect of controlling directions that's specific for
articulations, namely that each separate articulation has its own rule for
the default direction. Some articulations, like \fermata, are always
above the stave,
...except in two-staff four-voice polyphonic vocal music, where the
lower staff has its fermatas below the staff.
:-)
Example e.g. here:
http://forlag.studentersangforeningen.no/noter.html#_Nielsen_Aftenstemning
-- Arvid
(proving the rule, am I?)
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Re: Full bar rests in multi-voiced piano scores -- question and a suggestion
\time 2/4
\key c \minor
\voiceTwo
s4*2
| % bar 39
s4*2
| % bar 40
R2
| % bar 41
s4*2
| % bar 42
}
lhTwo = {
\clef bass
\time 2/4
\key c \minor
\relative c
\voiceTwo
\override Staff.NoteCollision #'merge-differently-dotted = ##t
\partial 16 \skip 16
s4*2
| % bar 39
s4*2
| % bar 40
s4*2
| % bar 41
\repeat volta 2 { g16[ fs ]
|
g16[ af f g ] ef[ f d ef ]
| % bar 41
c16-[ d ef g ] c'[ d' ef' b ]
| % bar 42
c'-[ b c' e ] af-[ g af e ]
| % bar 43
f-[ e f d ] g[ f ef d ]
| % bar 44
}
}
\score{
\context PianoStaff
\set PianoStaff.instrumentName = \markup { \large \bold { { 7 }}}
\context Staff = rh {
\context Voice = rhupper { \rhOne }
\context Voice = rhlower { \rhTwo }
}
\context Staff = lh {
\context Voice = lhupper { \lhOne }
\context Voice = lhlower { \lhTwo }
}
\layout {
\context { \RemoveEmptyStaffContext }
\context {
\Score
\override NonMusicalPaperColumn % this
actually works well! (∂œ)
#'line-break-system-details = #'((alignment-offsets .
(0 -12)))
}
\version 2.11.28
}
\midi { }
}
While its not all four voiced, almost all the time there is a need for
at least one extra staff. So, simply having them there means that I
don't have to add voices on the fly as much. This also serves well
when voices switch from one hand to the other alternately. At first I
assumed it was overkill but at this point I think its the way to begin
most scores. The only trick is in making sure you account for all the
skipped bars, otherwise things like repeat voltas cause problems. This
layout has worked very well for me and I'd suggest it as a beginning
point for anyone transcribing classical piano music.
As well, one of my problems in solving problems with Lilypond is that
so much of what I try to do with piano music is not unique to piano
music and is covered elsewhere in Lilypond, so I find myself having to
first figure out who else or what other kind of music might use this
particular feature. I look through almost all of Lilypond to solve
problems writing piano music. Perhaps some references could be
included pointing to the places where these problems are covered. The
rest issue I've asked about is one of the ones that have troubled me
currently. The piano section is small, but so much of the complexity
of writing it is covered elsewhere in Lilypond under other kinds of
music typesetting.
I am watching for those kinds of issues and will mention them as I
find them. This is the first of those issues.
cheers, and thanks
David
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Re: GDP: NR 1.1 comment
Quoting Till Rettig [EMAIL PROTECTED]: Hi, I just noticed that the staff contexts of the examples in 1.1.3.5 are PianoStaff. In 1.6 there is only mentioned GrandStaff. Which one is the preferred one to be used? I would mention both in 1.6, but I think we should develop guidelines which context names to use. Maybe the PianoStaff is (at least to others than English native speakers) more understandable? So the context would be called PianoStaff in 1.6.1 but I would also mention that there is a GrandStaff context? So far I have understood that they are both equal. Is this true? In version 2.11, the only difference between the two is that PianoStaff contains the instrument name engraver. In version 2.10 and earlier, there were more differences. The PianoStaff then produced a fixed distance between the staves, since the cross-staff slurs and beams didn't work otherwise. This limitation has been fixed in 2.11. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Full bar rests in multi-voiced piano scores -- question and a suggestion
to the other alternately. At first I assumed it was overkill but at this point I think its the way to begin most scores. The only trick is in making sure you account for all the skipped bars, otherwise things like repeat voltas cause problems. This layout has worked very well for me and I'd suggest it as a beginning point for anyone transcribing classical piano music. As well, one of my problems in solving problems with Lilypond is that so much of what I try to do with piano music is not unique to piano music and is covered elsewhere in Lilypond, so I find myself having to first figure out who else or what other kind of music might use this particular feature. I look through almost all of Lilypond to solve problems writing piano music. Perhaps some references could be included pointing to the places where these problems are covered. The rest issue I've asked about is one of the ones that have troubled me currently. The piano section is small, but so much of the complexity of writing it is covered elsewhere in Lilypond under other kinds of music typesetting. I am watching for those kinds of issues and will mention them as I find them. This is the first of those issues. cheers, and thanks David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing Signals, Sensors and Systems Royal Institute of Technology SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Error about paper block?
If you check carefully what line number LilyPond complains about,
you'll probably notice that it's the \layout block within the \book
block. As the following small example shows, it not related to
if you have any \paper block or not.
\book{
{c d e f R1*5 }
\layout{\context{\Score skipBars = ##t } }
}
What's even worse is that the layout block is completely ignored.
I have no idea about why this limitation exists in the syntax and
there doesn't seem to be any syntax available to specify a
\layout setting that applies to all \score:s in one \book but not
to the other \book:s. If you only have a single \score in every
\book, then the simple solution is to include the \layout within
the \book block. Also, if the same layout setting should apply
to all book blocks in the file, then you can move it to the top level
of the file.
Can any of the main hackers clarify this issue?
/Mats
Ben Lewis wrote:
When running Lilypond, I'm continually getting a notice about a \paper { ... }
block, when I have one at the top of my document. I'm preparing a file with
multiple \book { ... } sections, each with a \layout { ... } block. Is there
something special about this that I need to know?
~Ben
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Re: Repeats
Don't forget that it probably isn't obvious to most first time readers that a tremolo or measure repeat is even considered a repeat, i.e. they won't look in the section called repeats. Also, don't forget about \repeat unfold, which actually is very useful in some circumstances, but perhaps doesn't require a subsection of its own. /Mats Trevor Daniels wrote: Hi Ralph I'd go for the simpler structure: 1.4 Repeats 1.4.1 Repeat syntax 1.4.2 Normal repeats 1.4.3 Manual repeat commands 1.4.4 Tremolo repeats 1.4.5 Measure repeats This puts the syntax at the front, as you wanted, and removes the ugly, somewhat artificial, separation into Writing repeats and Other repeats. Also removing a level is good. You could add Writing before headings 2-5, to distinguish them from the syntax section but I don't think that's necessary. Trevor D -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Palmer, Ralph Sent: 21 February 2008 21:04 To: lilypond-user@gnu.org Subject: GDP: Repeats Hi, All - I'm currently working on rewriting Repeats in the Notation Reference, and I don't care for the existing structure. Currently, it looks like this: 1.4 Repeats 1.4.1 Writing repeats 1.4.1.1 Repeat syntax 1.4.1.2 Normal repeats 1.4.1.3 Manual repeat commands 1.4.2 Other repeats 1.4.2.1 Tremolo repeats 1.4.2.2 Measure repeats However, since Repeat syntax discusses the common syntax for all the repeats, it would seem to make more sense to take it out of the section dealing with normal. I'd like to suggest: 1.4 Repeats 1.4.1 Repeat syntax 1.4.1.1 Repeat syntax and types of repeats (introduction of the syntactic construct) (following types of repetition are supported . . .) 1.4.2 Writing repeats 1.4.2.1 Normal repeats (I'd prefer a better term than normal) 1.4.2.2 Manual repeat commands 1.4.2.3 Tremolo repeats 1.4.2.4 Measure repeats It might also make sense to split 1.4.1.1 into 1.4.1.1 Repeat syntax, followed by 1.4.1.2 Types of repeats supported. Comments, please? Ralph ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tempo marking fuction
Ledocq-Boccart wrote:
Hi,
Maybe these links will help!
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/lily-5ec9ac4df8.ly
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Moving-objects#Moving-objects
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Saving-typing-with-identifiers-and-functions#Saving-typing-with-identifiers-and-functions
Unfortunately, none of the above links provide much additional information
compared to what's already use by Anh. However, the one below includes the
line that he probably is looking for:
\once \override Score . RehearsalMark #'self-alignment-X = #LEFT
This gives the left alignment of the text marks.
/Mats
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Style-sheets#Style-sheets
best regards
Charlie
Anh Hai Trinh a écrit :
Hello,
I want to have a function that can put text tempo marking, e.g.
Allegro.
The manual suggests
tempoMark = #(define-music-function (parser location padding marktext)
(number? string?)
#{
\once \override Score . RehearsalMark #'padding = $padding
\once \override Score . RehearsalMark #'no-spacing-rods = ##t
\mark \markup { \bold $marktext }
#})
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Simple-substitution-functions#Simple-substitution-functions
But that put the text centered on the bar line and that's not right. Is
there a way to do it properly, i.e. left aligned with the bar?
Thanks,
AT
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Re: space system problem
As far as I can understand, this is a warning that the score lines might get too squeezed or to widely spaced compared to what the design rules in LilyPond would prefer. I haven't seen any case where the resulting layout looks really bad, though, so don't worry too much. /Mats hhpmusic wrote: Hi, Here is the first paragraph of my piece describing the great Three Gorges on Yantze River. But the log file said tried to space systems on bad number of pages. What does it mean? Haipeng ?? ?? 100 ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? ?? http://event.mail.163.com/chanel/click.htm?from=NO_25domain=163 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Several issues transcribing ancient notation (clefs, noteheads, spacing)
till wrote: 2. There is a lot of threads here on the list. You can play with all sorts of spacing but nothing is yet really convincing. The most simple workaround appears to be to scale all note durations to a singe duration, eg. 1/8, which can be achieved by appending the note duration: a\breve*1/8 will give a breve that takes only the space of 1/8. For the record, you made a typo (thinko?) here. The duration of a\breve*1/8 will be 1/8 of the duration of a breve, i.e. a quarter note. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doing \score { ...... } and \context Staff .... in scheme?
Nicolas Sceaux wrote: A score is a Score :-) Not if you want to attach a \header, \layout or \midi block to it, though it seems that Han-Wen has just added some support for doing that. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting tuplets using midi2ly
I'm afraid that the best available documentation is the source code. :-( The impression I've got from the mailing list is that most people who have tried to use midi2ly for any serious purpose have soon realized that it's just as quick to enter the .ly file directly. Especially considering the fact that you often spend just as much time editing slurs, articulations, dynamics and other features that are not represented in MIDI, as you spend on inputting the actual music. Regards /Mats Ledocq-Boccart wrote: Hi, Where can I find explanations about the effect of the options of midi2ly.py? What is quantize? What is the effect of explicit durations? etc... I mean I would like to understand the link between the options and its action on the structure of a midi file. As yet I feel to cut and try without understanding. Best regards Charlie Ledocq-Boccart a écrit : Thanks Mats! I have made some trials with various options settings: and I got something I could start with making manual corrections. I do not understand the effect of options like: --explicit-duration --start-quant=DURI did not see much effect --duration-quant=DUR With DUR=16 I get something acceptable (triplet of 8th are rendered as triplet of 16th , while--allow-tuplet=8*2/3); if DUR=8 notes of triplet are rendered as 4th. Best regards Charlie Mats Bengtsson a écrit : Don't have too high expectations on what midi2ly can do with the rhythm. As far as I know, it will only work reasonably well with MIDI files generated from other notation programs. /Mats Ledocq-Boccart wrote: Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ 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 -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TimeSignature as fraction: gap between numerator and denominator - solution
Werner wrote: (My opinion: That should be default layout.) The opinion of the main LilyPond developers is to use hand-engraved scores by the main German publishers as the inpiration when deciding on the layout, see for example http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Engraving#Engraving If you can find many such examples in your music library that supports your opinion, then you have a good basis to request such a change. Otherwise, I'm afraid that you have to accept that the current layout remains the default in LilyPond. As you have seen, it's possible to modify the layout as you wish and it's even possible to write a few lines of Scheme code to get a solution that automatically can handle all time signatures. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Measure repeats, phrasing slurs and dynamics
For the crescendo, see section Dynamics for a description on how to
attach
the dynamics to a parallel line of spacer notes. A similar trick can be
used also
for the phrasing slur, but in contrast to dynamics, the end of the slur
has to be
a real note, not a spacing note. To handle that, you can use an
invisible note.
The resulting example can look like
\version 2.10.0
{
% Version without the repeat, copied verbatim from your email:
cis'16\mp\( dis e gis cis, dis e gis cis, dis e gis cis, dis e gis
cis' dis e gis cis, dis e gis cis,\ dis e gis cis, dis e gis\) \!
\break
% Version with percent repeat:
\repeat percent 2 {
cis'16 dis e gis cis, dis e gis cis, dis e gis cis, dis e gis
} {s1\( s2 s4 \ s8. \hideNotes gis16\) \! \unHideNotes }
}
/Mats
Oscar van Eijk wrote:
Hi All,
I'm trying to write the following:
cis'16\mp\( dis e gis cis, dis e gis cis, dis e gis cis, dis e gis
cis' dis e gis cis, dis e gis cis,\ dis e gis cis, dis e gis\)
using a repeat:
\repeat percent 2 {
cis'16 dis e gis cis, dis e gis cis, dis e gis cis, dis e gis
}
Is there a way to to this, having the phrasing slur span 2 measures and
the cresc hairpin printed in the second measure?
Thnx in advance,
Oscar
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Re: Starting up lilypond (install)
If you search the mailing list archives, you will find that there are some problems with the OSX version of LilyPond on Leopard. As far as I can understand, you can only run it from the command line. However, in Windows XP, there shouldn't be any such problems. Based on your previous email, it seems that you have used LilyPond before, so I won't direct you to the Tutorial, as I would normally do when this kind of question pops up on the mailing list. However, for us to be able to understand what problem you experience in Windows, you would have to provide more details of exactly what you tried to do and what LilyPond version you used, the last stable 2.10.33 or the last development 2.11.40? Did you use the editor that's opened when you double click in the LilyPond icon or a LilyPond file, or did you use some other text editor (any text editor will do and the one included with LilyPond is fairly primitive). /Mats Rafael González wrote: This happened to me with my windows XP and my Apple leopard: I download tha latest version of lilypond. It does not want to save the initial test file. -- γγγ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Doing \score { ...... } and \context Staff .... in scheme?
Reinhold Kainhofer wrote:
...
Also, how can I create a staff in scheme? A staff is no music expression, is
it?
Finally a question I can answer, or rather that LilyPond can answer for you.
Just use the \displayMusic function. For example, run LilyPond on the
following
example and look at the printouts at the command line:
\displayMusic \new Staff{}
/Mats
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Re: TimeSignature as fraction: gap between numerator and denominator
It sounds as if you have stumbled across some font related bug. See the section on Time Signature in the manual, for an example of what layout LilyPond should give. What LilyPond version and what operating system do you use? Werner wrote: Hello, I used 4/4 instead of C via \override Staff.TimeSignature #'style = #'() but the cyphers were huge. So I added \override Staff.TimeSignature #'font-size = #-2 But while the cyphers now are smaller, the numerator-4 stands still very close on the top of the denominator-4 without any gap, both together in the (vertical) middle of the stave. I would prefer both ciphers (vertically) centered in the upper and lower half of the stave respectively (means the numerator between the third and fifth line of the stave, the denominator between the first and third line) by default. Is there any solution? Greetings Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with several parts, movements
Reinhold Kainhofer wrote:
My other problem comes from
the fact that if I give multiple piece names in the \header section, only
the last one is printed for all of them.
You need to add a separate score for each piece, and in each of these scores,
you can set the piece to something separate...
I guess what Rheinhold intended to say was that the piece has to be
specified in
a \header block that's included in the corresponding \score block, i.e.
\score{
{... the music ...}
\header{piece = Presto }
}
/Mats
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Re: GDP: info about controlling direciton / placement
Graham Percival wrote: The advanced term is grobs, but I'd rather avoid that here. For some reason I prefer controlling direction instead of controlling placement, although I can't give any reason for this. I'm not fully convinced that everybody will understand what directions refers to (can't a conductor give directions, for example?). I don't have a really good suggestion though, but if the title explicitly includes the words above and below or up and down, then I guess there won't be any risk of misunderstandings. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fermata
Reinhold Kainhofer wrote: Am Freitag, 15. Februar 2008 schrieb Victoria: Is there a way to do a fermata? I've spent upwards of 2 hours looking in the tutorial and just can't find it, if it's there. http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Articulations Also, if you had looked in the LilyPond index, which is the index of the manual, you would have found it immediately. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: convert-ly seems not working
Ledocq-Boccart wrote: Hi, I'm managing converting a *-midi.ly from 2.7.18 to 2.10.33 *-midi.ly is stored in C:\...\Lilypond\usr\bin. It's not a good idea to use this folder as your working directory! Please see http://lists.gnu.org/archive/html/lilypond-user/2007-01/msg00038.html for an example of how to use convert-ly. No answer found in the forums about the use of convert-ly Where did you look? Environment: is Lilypond 2.10.33 running on win XP. Formerly produced files *-midi.pdf, *-midi.ps and *-midi.log are erased. _1. using convert-ly:_ typingC:\...\bin\convert-ly --from=2.7.18 --to=2.10.33 *-midi.ly There's no need to specify the full path, see the link above. produces (?) *-midi.lywhich version remains 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfwith unchanged scores *-midi-logno important error but again recommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) _2.questions:_ - Have I missed something? Don't forget the flag -e if you want the changes to be done on the file. This is shown on the first lines in the section on convert-ly in the manual. - I wonder which syntax to be used fot specifying the --from and --to version: --help shows 2 possibilities as in ... convert-ly --from=2.5.10 --to 2.10.33 foo.ly example given The best is to always have a \version statement in the .ly file. Then, there's no need to manually specify the --from and -too. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: getting tuplets using midi2ly
Don't have too high expectations on what midi2ly can do with the rhythm. As far as I know, it will only work reasonably well with MIDI files generated from other notation programs. /Mats Ledocq-Boccart wrote: Hi, I'm managing converting a *.midi to a *-midi.ly *-midi is stored in C:\...\Lilypond\usr\bin. It contains a lot of triplets (f8 g a) Purpose is: avoid manualy modifying the *-midi.ly code to get all of the triplets! No answer found in the forums about the use of convert-ly Environment: is Lilypond 2.10.33 running on win XP. _ 1.using midi2ly_ typingC:\...\bin\midi2ly --key=2 --allow-tuplet=8*2/3 *.midi produces *-midi.lywhich version is given to be 2.7.18 (reading with jedit); applying lilypond.exe gives: *-midi.pdfshows the correct notes pitches (quite all 4-th) but without any triplet nor 8-th; *-midi-logrecommanding to use convert-ly ...2.7.18 ... (2.7.38 2.10.33) **this will part of another post** _2.questions:_ - How could I get the tuplets? - Have I missed something? Thanks for answering! Charlie ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: What term do you use? (redux)
Simon Dahlbacka wrote: FWIW, it seems that Finnish is the only? language that includes the note/rest part. (http://kainhofer.com/~lilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests http://kainhofer.com/%7Elilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests) And the swedish name for 128th would be hundratjugoåttondel and 256th tvåhundrafemtiosjättedel Right, so similarly to Danish, for example, words for the corresponding note and rest is: 128th rest: hundratjugoåttondelspaus 128th note: hundratjugoåttondelsnot 256th rest: tvåhundrafemtiosjättedelspaus 256th note: tvåhundrafemtiosjättedelsnot For the question about playing in a different octave, the verb is oktavera in Swedish. I'm not sure how I would express myself if I wanted a music typesetter to use a ottava bracket in the notation. /Mats /Simon 2008/2/18, Kurt Kroon [EMAIL PROTECTED] mailto:[EMAIL PROTECTED]: On 2/17/08 1:09 PM, Risto Vääräniemi [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] wrote: ... More stuff: Quarter notes and rests seem to be named as neljännesosanuotti and neljännesosatauko in the glossary. They are understandable but more common words are neljäsosanuotti and neljäsosatauko. Common as in: * Any Finnish person would understand immediately? or * Any Finnish _musician_ would understand immediately? I'm aiming for the second case -- a musically correct name, but if the Finn on the street can puzzle it out as a special use of ordinal numbers (which is how it looks to me, but that's only a guess because I don't speak Finnish), so much the better. More or less the same goes for 32th notes and rests. I don't think the names in the glossary are really used. I think it would be more proper to use kolmaskymmeneskahdesosanuotti (32-osanuotti, 1/32-osanuotti) for the 32th note and kolmaskymmeneskahdesosatauko (32-osatauko, 1/32-osatauko) for the 32th rest. ... Odd ... they're in the table under Duration names notes and rests, but not under the individual entry in the Glossary. It looks like I have more cleanup to do. Thanks! Kurt ___ lilypond-user mailing list lilypond-user@gnu.org mailto: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 -- = Mats Bengtsson Signal Processing School of Electrical Engineering Royal Institute of Technology (KTH) SE-100 44 STOCKHOLM Sweden Phone: (+46) 8 790 8463 Fax: (+46) 8 790 7260 Email: [EMAIL PROTECTED] WWW: http://www.s3.kth.se/~mabe = ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
