No time signature?
I'm new to Lilypond. I've been looking for a way to typeset music without time signatures. This is because I'm transcribing chants that often use _recitativ_ and rarely follow any strict meter--the rhythm of the chant is completely text-driven. Hello Alyozhik, When I'm doing metreless chant from parts of the world where people have names like Alyozhik, I remove the Bar_number_engraver and Time_signature engraver in the layout block and \set Score.timing = ##f in a global definition. The second takes care of both timing and bar lines. If you look here http://www.holycross-hermitage.com/kliros/lilysource/kliros.ly You will find lots of tricks for making this kind of music, including one that lets you cruise through the whole piece without even adding invisible bars for line breaks. This is defined as \chant. However, it messes up the spacing just a wee little bit, so I almost always go back and put the line breaks when I'm done. БъВъПъ -- Пантелеимонъ, монахъ + + + + + + + + + + Господи Їисусе Хрïсте, помилуй мѧ грѣшнаго. + + + + + + + + + + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lyric extenders in 2.11
Hello. I am using 2.11.57. I've noticed that LyricExtenders don't work with \lyricmode anymore unless you explicitly set the associatedVoice in the lyrics context. It used to automatically take the highest voice in the top staff. Is this an intentional change or a bug? Or an intermediate step toward a \lyricmode that finds the longest melisma from among the voices and acts accordingly (hint, hint)? \lyricmode will accept the name of a Staff context as the associatedVoice but \lyricsto won't. This means that if you have a piece where each staff has only one voice in it, you must either use \lyricmode or, if you want \lyricsto, you must use an otherwise superfluous nested a Voice context. If this was an intentional change, I'll be naming a lot of staves and sticking in a lot \set associatedVoice thingies. So it's only temporary, right? [8^) Thanks for lilypond. -- Monk Panteleimon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyric extenders in 2.11
On Wed, Sep 10, 2008 at 12:20:30AM +0200, James E. Bailey wrote: I use lyrics quite a bit, and I don't really understand what you mean. Can you provide a short (1 measure) example that demonstrates what you're talking about? Sure! Your using the development version too, right? 2.11.something? But here's the example: http://www.holycross-hermitage.com/kliros/lilysource/example.ly You'll see that the lyric extenders won't work under \lyricmode unless the line \set associatedVoice = top is uncommented. This voice-association used to happen automatically back in 2.10. Now, if you switch from \lyricmode to \lyricsto, you'll see that the extenders won't work even with the associatedVoice line included, because \lyricsto won't accept the name of a Staff as it were that of a Voice. So, if you want lyric extenders in 2.11 (barring \addlyrics) you must either - Have your voices inside Voice contexts (even if there's only one per staff) and use \lyricsto or - Use \lyricmode with \set associatedVoice = something -- Monk Panteleimon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
rgb?
Hello. It seems that I recall an exchange on this list (not long ago) regarding the possibility of discontinuing support for x11-colors because, it was said, there are now many different ways to color objects in lilypond. I believe rgb was mentioned. But I can't seem to find rgb in the (2.11) docs. Can someone kindly point me to the appropriate page, or else give me an example of coloring something according to rgb in LP 2.11? Thank you very much. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA www.holycrosskliros.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Overlapping Horizontal Brackets
Hello.
I am preparing a musicological document in which one figure shows
overlapping tetrachords. I want to do \stopGroup and immediate \startGroup (with
the bracket on the other Y side of the staff) on the same note, but LP
won't do it. It looks like analysis brackets can be nested, but not
overlapping.
What's the best way to go about this? I found several things in archives
about drawing brackets as spanners without HorizontalBracket engraver,
but is there a simpler way to just override the Horizontal
Brackets behavior?
Here's my minimal example:
\version 2.11
\header{title=Overlapping Tetrachords }
\score {
\relative c''
{ \set Score.defaultBarType =
\override Score.HorizontalBracket #'bracket-flare = #'(0 . 0)
\override Score.RehearsalMark #'direction = #-1
g1\startGroup \mark\markup\tiny{1} a \mark\markup\tiny{1} b
\mark\markup\tiny{1/2,etc.}
%The important part:
c\stopGroup % \startGroup on the same note is what I want to do, but
can't
% with Bracket on top like this:
\once\override Score.HorizontalBracket #'direction = #1
d\startGroup^\markup{I want this bracket to start on the C} e
f\stopGroup }
\layout{ ragged-last = ##t
\context { \Staff \consists Horizontal_bracket_engraver }
}
}
I also couldn't find a way to get the \mark inside the bracket instead
of outside, but that's secondary.
Thank you.
--
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line-width in \markuplines
Hello. According to the 2.11 docs (8.1.9), I should be able to change the line width in \markuplines using \override #'(line-width . X) but it doesn't seem to work. example: http://www.tcgalaska.com/kliros/ly/esauWood.ly Is it a bug? -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minimum after-BarLine space in 2.11
Mats Bengtsson wrote:
Sorry, I was just confused when I wrote my previous answer.
Also, I hadn't actually tried any example in LilyPond. If you do,
you will soon realize that:
- None of the commands given below do anything useful, since you have to
replace BarLine by Score.BarLine.
When I added the Score. context-indicator (?) to Kieren's
original suggestion, it had the intended result. I think that Kieren
had probably assumed I would put it in \layout{} but I wasn't doing
that, so I added Score. and it worked.
Here's the tweak in full for inside \score{{}} :
\override Score.Barline #'space-alist #'next-note =
#'(semi-fixed-space . 1.2)
I suppose that it would work with just BarLine if it were
placed inside the \layout block after \context { \Score ...
Right?
--
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minimum after-BarLine space in 2.11
It appears that 2.11 leaves has minimum space after a barline, allowing the first note of a measure to be set closer to the barline than in 2.10. In my case this makes the beginning of some measures look crammed against the barline, especially where lyrics are also involved. I have refered to the program reference and have been unable to find a property that controls the minimum amount of space after a barline. I tried kern, thin-kern and space-alist (all of it, changing only first-note fixed-space), but to no avail. Any suggestions? Thanks. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Horizontal (I mean vertical) Lyric spacing in 2.11
On Fri, Nov 02, 2007 at 06:44:46AM +1000, Joe Neeman wrote: OK, I will set VerticalAlignment #'max-stretch = 0 by default. This has the disadvantage that it will sometimes put lots of whitespace between systems, but that was the default in 2.10 anyway. Thank you. I take it that's the same as setting keep-fixed-while-stretching. The white space between systems is better than inside them, in this case, even if we have to end up with single systems on a page. I don't think there's a better option without having a special way to space lyrics that are being read by more than one staff. In fact, I think that having ChoirStaff fixed while others are not is demonstrated in Nicolas Sceaux's example here: http://nicolas.sceaux.free.fr/tmp/choirstaff001.png All the choir staves are evenly spaced while the bass staff (not a vocal part) is lower. It looks the rest of the system is spaced differently above. It also doesn't have a big funky white space like in untweaked LP 2.11 with stretched systems: http://www.tcgalaska.com/kliros/images/funkyWhite.png [8^) -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Horizontal Lyric spacing in 2.11
Am Mittwoch, 31. Oktober 2007 schrieb Till Rettig: I actually LIKE the 2.11 system! I have no problem with it insofar as it redistributes the systems over a different number of pages and solves some problems with the header. But it doesn't really take lyrics into account (yet). And Reinhold Kainhofer (observantly) says: I just tried one of my choir scores (ChoirStaff with two stanzas written between the two staves for SA and TB) with the current git version. The lyrics are tied to the S voice, but in 2.10.x, the lyrics were still centered between the two staves. Now in 2.11, the lyrics seem to be glued to the SA staff (when using ragged-bottom=##f and ragged-last-bottom=##f), so they are quite far away from the TB, which make the scores absolutely unusable for choir use. Amen, brother. That's what I'm stressin. Here it seems like there is more space between the staves of a system than between two systems. Yup. And since a ChoirStaff is for choirs, I repeat my question: Would anyone *want* this to be the case for *any* type of of multi-voice vocal music? Even if you have polyphony instead of chorale, would you want a big white space while the basses wait for their entry? I know it's possible to fix it with a tweak. I'm pointing out my problems with it because I assume that making something funky and then explaining a recondite tweak to fix it is not the ideal order of things. Discussion of this kind of issue is what development versions are for, correct? If I'm thinking poorly again, please let me know. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
my dumb subject line
Speaking of poor thinking, I meant to say Vertical* spacing in 2.11 ga-hernk. Fr.P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 59, Issue 78
Message: 6 From: Till Rettig [EMAIL PROTECTED] Subject: Re: Better vertical spacing in 2.11 adversely affects lyric spacing I think its not that easy. I would use ChoirStaff as well for polyphonic music with only one voice per system, but as well I do songs, like the SATB example in de appendix, but with only one voice in the middle. It appeared somehow logical to me to use ChoirStaff for that two. But if we have it well enough documentated, we could have a VocalStaff and a ChoirStaff with different spacing. I am curious to know whether anyone who does a lot of vocal music (of any variety) actually thinks that the current (2.10) vertical lyric spacing is problematic. Was it changed on its own merit or as part of other changes? Even with the keep-fixed-while-stretching set to ##t to fix the distance from the lower staff, I still altered my engraver-init.ly in 2.11 to match 2.10's, since some of the systems wound up too heavy on the bottom. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[EMAIL PROTECTED]: Re: Better vertical spacing in 2.11 adversely affects lyric spacing]
On Tue, Oct 30, 2007 at 12:25:45PM +1100, Joe Neeman wrote: On 10/30/07, Monk Panteleimon [EMAIL PROTECTED] wrote: Lyrics should be equidistant from higher and lower staves, right? I'm not sure -- I wrote the code but I don't usually use lyrics. It was suggested to me (I can't find the email) that lyrics should stay close to the staff to which they are attached. That is generally true, but the reasoning defeats itself in any homorhythmic choral score. The lyrics are attached to *all* the voices, from the lowest to highest. The bass has to read the same words as the soprano. With this sort of spacing, if the tenor gets into the ledger lines, it will become necessary to reprint the lyrics just so that the bass can read them. It also just looks wierd The system (words included) is a unit ... so why all the white space right in the middle? It starts competing with between-system-space, and this gets confusing. I redid my example file to make the problem more obvious. Same url: http://www.tcgalaska.com/kliros/2.11LyricSpacing.ly My real-music examples look worse than this, since more space is added, apparently, for the slurs and for higher notes in the \voiceOne of the lower staff. Please note that the systems on the *second* page look fine, like in 2.10. So when lilypond stretches the systems (to better fill the page) it leaves the lyrics close to the staff above. Sorry, but even when explained that way it just looks bad. One wonders what all that space is doing there. I'd like to hear the opinions on this of people who use lyrics in polyphonic music (each voice with its own staff) or individual vocal parts within an instrumental score. I suspect that they will correspond with my own, even without everyone singing the same words at the same rhythm. I even tried compiling a single-line melody-only type chant with 2.11, and I found that here also the spacing is adverserly affected. It's good to have the lyrics that close to a single staff (although I didn't think they were far enough to be a problem, or even to think about it) but the general spacing of the systems doesn't seem improved when you look at the whole thing, lyrics included. I would end up overriding the pageBreak, or I I would try to add space around the header somehow to push the system to the next page. In the status-quo lilypond horizontal lyric-spacing (which is excellent) the extra space derived from having fewer systems on a page seems to be divided between the height of each system and the distance between them. The lyrics remain spaced evenly between staves as before the extra space appeared. Please, please leave it that way if possible. It works so well as it is. This is described, along with the relevant overrides, in the 2.11 manual (the section on vertical spacing). Thank you. I'll check that out. All the other new stuff looks great, especially the top-level \pageBreak. Right on. Thanks for all your work, and pardon my long-windedness. PS. Incidentally, the associatedVoice concept, while useful for aligning melismata, is also the source of a few other glitches with lilypond lyrics. I'd like to offer my general observations in hope of helping the developers, but I'll save it for another email. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + - End forwarded message - -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\set associatedVoice = #ALL (???)
I think I remember the lilypond essay saying that part of the objective with lilypond is to make the program correspond as closely as possible to the logic of real music. I'd like to point out one small place where it doesn't, in hopes that the observation will be useful to the developers. Every line of lyrics in lilypond has and associatedVoice. Even when entering lyrics in lyricmode, lilypond by default uses the highest voice in the score to align syllables and figure out lengths for syllable extenders. The problem with this is that in an awful lot of real vocal music, namely all homorhythmic (chorale style) arrangements for choir (this accounts for lots and lots of choral works baroque and later, and certainly for most of church hymnody) the lyrics aren't really associated with one voice, but with all of them at once. In such music, the syllables of the words generally start and end simultaneously in each voice, but the melismata do not. Lilypond doesn't know that. It thinks that every line of lyrics belongs rhythmically and ornamentally to a single melodic line. This necessitates rather frequent overrides of both syllable-alignment and LyricExtender length. I'm not a programmer, but I imagine it must be possible to make something called \set associatedVoice = #ALL , which would work like this: The thing controlling the Lyric context takes account of the notes. For each syllable, it looks around and says Any melismata out there? If there aren't, well then fine. If it turns out that there are, it left-aligns the syllable, according to duration (I'm assuming lyricmode here, since lyricsto would contradict my premise). After that it says now which of you melismata takes up the longest horizontal space during this beautiful moment of ornamental juxtaposition? and whichever melisma takes the most space gets the LyricExtender extended according to the space needed for its notes. And everyone lives happily ever after in a well-aligned and beautiful choral score. Would that be difficult? It seems to me that the various note-bearing contexts already do that with one another, or with something higher. They all take account of one another, or they're all tied to the same musical moment, or something like that. Can the lyrics come too, rather than tagging along behind a single string of notes (like they don't really do in real choral music) ? Muchas Gracias. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better vertical spacing in 2.11 adversely affects lyric spacing
On Tue, Oct 30, 2007 at 10:17:13AM -, Trevor Daniels wrote: Joe Neeman wrote 30 October 2007 01:26 If someone can suggest a better default algorithm for the placement of lyrics in stretched systems, I'd be happy to hear it (although probably not until 2.13). The idea behind the default algorithm is correct for lyrics which are associated with a single staff containing a melody line, but is not so good for lyrics which are associated with several staves Aslos, it would seem to me that lyrics should be close to their staff, * but not in such a way as to add empty space above the staff below. -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Lyrics in stretched systems, 2.11 (was:Better vertical ... )
Okay. Thanks to Joe Neeman and the manual, I can now fix the problem for
my own purposes by doing
\context ChoirStaff \with { \override VerticalAxisGroup
#'keep-fixed-while-stretching = ##t }
That seems to get the spacing back to normal. It doesn't cause any
collisions (that I've seen). It even works after introducing a new
Lyrics context right below the first. All is nicely spaced.
For what it's worth, I think that this keep-fixed behavior should be true
by default for the ChoirStaff context, if that's possible. It's good
all-around, even if you plan to have multiple lyric lines for all or part of
the piece. If it's not default, I think everyone who uses ChoirStaff
will just tweak it this way.
But it just case y'all don't think so, how could I do this in my layout
block (which I have in a separate file) so that I don't have to edit all my
files for use with future versions?
--
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Better vertical spacing in 2.11 adversely affects lyric spacing
It appears that 2.11 is trying to keep single staves from occupying their own (last) page. That's a good idea too but, at least in my case, it seems to be doing so at the expense of good lyric spacing in a ChoirStaff. Lyrics should be equidistant from higher and lower staves, right? Instead they are winding up close to the top staff and far from the bottom. In this file: http://www.tcgalaska.com/kliros/2.11LyricSpacing.ly you can see that if you compile it with 2.11, the page breaks before the last system, but the lyrics get stuck to the top staff. With 2.10, the lyrics are centered between the two, even if you put a \pageBreak before the penultimate staff. I do hope that this will be fixed by the next stable release so that I can use nifty top-level \pageBreak that is the boast of lilypond 2.ll. [8^) -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA [EMAIL PROTECTED] + IC + XC + + + + + NI + KA + ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lyric-ties within a word (spacing/hyphenation issue)
Hello, Lilypond list.
I would like to use lyric ties on syllables within a single word,
without the syllables looking -- for the presence of hyphen-less space
-- like two short words.
The problem is that there seems to be a minimum amount of space between
the syllables that are tied, and it doesn't seem affected by LyricSpace.
Nor can one put hyphens between tied syllables, e.g [ hy~ -- phen ]. So,
they look like
separate words.
Behold:
\version 2.10
% Of course, I could just do this:
\score { \relative c''
{ c b }
\addlyrics
{ plen- -- teous }
\layout{ ragged-right = ##t }
}
% But I'd rather combine this:
\score { \relative c''
{ c b }
\addlyrics
{ plen- -- te~ous }
\layout{ ragged-right = ##t }
}
%with something like this:
% (I've used a middle-dot here, which I think works better than a hyphen
in this case.)
\score { \relative c''
{ c b }
\addlyrics
{ plen- -- te·ous }
\layout{ ragged-right = ##t }
}
%But that makes this (even without any LyricSpace):
\score { \relative c''
{ c b }
\addlyrics
{ plen- -- \override LyricSpace #'minimum-distance = #0 te~·ous }
\layout{ ragged-right = ##t }
}
%%%
My intention, btw, is that these syllables should be less articulated
than if they had each an 8th note,
but slightly more than if we simply pronounced them tyus.
Thank you very much for lilypond and all of the assistance I have
received from this list.
--
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Hermitage of the Holy Cross
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RE: definition for metrelessness (help?)
On Thu, Mar 22, 2007 at 10:02:17AM -0400, Geoff Horton wrote: A _slightly_ cleaner option might be to leave barAlways set and put a \noBreak in those spots where a break is unacceptable. If there aren't many, that might be cleaner. But still not very clean, unfortunately. Hmmm... That does sound better, although still not quite there, since I would have to put a lot of them in melismata. How does LP know not to break the line between beamed notes? It seems that you can allow the beam to break with \allowBeamBreak. So would it be possible to *disallow the break it for situations other than beams -- melismata and certain note sequences for example? Could we adapt whatever-gets-overriden-by-allowBeamBreak to work on non-beam scenarios? -- Monk Panteleimon Hermitage of the Holy Cross Wayne, WV, USA ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
defintion for metrelessness (help?)
I have a little definition (here called chant) which, together with my
standard \layout
block let's me write unmetred music ad infinitum without having to
(explicitly) add
invisible barlines whenever I want the line to break. This
potentially really useful, since otherwise I have to recompile my .ly's
often, decide where the break is best and put it there.
There are a couple of problems which keep me adding the explicit \breaks
amyway, however, and if anyone could help work them out I would be so
happy that I would submit my definition to the LSR without delay.
(ahem..) The definition:
%
chant = {
\set Score.defaultBarType =
\override Score.SpacingSpanner #'strict-note-spacing = ##t
\set Score.barAlways = ##t
}
% and in the layout block (but this part's not at issue) :
\layout { ragged-last = ##t
\context { \Staff
\remove Time_signature_engraver
\remove Bar_number_engraver }
}
%
The problems with the chant definition are 2, so here's the probably
harder one first:
I want the linebreaks to be just slightly more picky, something like
what happens with Forbid_linebreak_engraver (sic?) only referring to
what the adjacent note values around the break, so that:
1. Lines don't break between notes of duration shorter than a quarter-note,
e.g. between a dotted-quarter and an eighth and
2. Lines don't break in the middle of a melisma whose whole duration is
less than one whole-note.
Possible?
N.B. I am aware that I could just set the t.signature for some
denominator higher than 8 (rather than doing BarAlways)
The problem with this is that Znamenny Chant is so metrically
irregular and syncopated that I would be getting bar-overflow all the
time. It wouldn't fit even into a 1/4 t.signature.
I'll leave the second problem for another message.
Many many thanks.
--
Monk Panteleimon
Hermitage of the Holy Cross
Wayne, WV, USA
http://www.holycross-hermitage.com
http://www.holycrosskliros.org
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tuplet brackets attached to lyrics
Hello.
I wonder if anyone has a better way to do what I've done in snippet below, i.e.
to attach tuplet brackets to lyrics in sections where notes are hidden.
I had hoped to do this in \layout like this:
\layout { \context { \Lyrics \consists Tuplet_engraver } }
But it didn't work, so I tried adding
\override TupletBracket #'bracket-visibility = ##t
and that didn't help either.
Here's what I finally did.
\version 2.10.2
\score { \context Staff \relative c'
{ \hideNotes g'4
\override TupletBracket #'extra-offset = #'(-.5 . -7)
\override TupletNumber #'extra-offset = #'(-.5 . -7)
\times 2/3 { g g g } g
}
\context Lyrics \lyricmode {
la4 \times 2/3 { la4 la la } la
}
\layout{ ragged-last = ##t }
}
%%%THE END
If there *is a way to get them to print as part of the \Lyrics context, I'd
like to know about it.
[8^)
By the way, the suggestions for spacing the ison-letters were both very good.
Thanks a lot.
Fr. P
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Re: Lyrics Questions
Vivian wrote:
2: Extenders. I'm not using /lyricsto or /addlyrics because the rhythms in
my music are too complex. Instead I'm just entering all the lyrics with
duration values and then printing them in a Lyrics context. How can I (or
can I) add extenders manually? At the moment nothing I've tried has worked,
and there is no mention of this in the manual or in the archives (as far as
I can see.)
I enter lyrics with duration values in a Lyrics context (without \lyricsto or
\addlyrics) and the extenders still work fine. Have you tried just entering
the lyric extenders as you would with \lyricsto or \addlyrics?
Lilypond will pick a voice to associate the lyrics with, but you can associate
the lyrics with any voice by doing \set associatedVoice = #name-of-voice
The extenders will conform to that voice (no \lyricsto or \addlyrics required).
You can switch the associatedVoice at any time, or if you want to arbitrarily
define the length of an extender, you can do
\once \override LyricExtender #'minimum-length = #8.
This last trick I find to be necessary when the voice that needs the extender
is *below* the Lyrics context.
In that case \set associatedVoice does nothing to the LyricExtenders. I'm not
sure why.
Here's an example:
%%% Begin Example
\version 2.10
words = \lyricmode { la4 __ la \set associatedVoice = #bass la2 __
%But the extender won't be long enough unless you:
\once \override LyricExtender #'minimum-length = #33
la1 __ la8 la la }
\score { \context ChoirStaff
\context Staff = top {
\context Voice = tenor \relative c' { \clef G_8
a8( b) a4 a2 a1 a8 a a }
}
\context Lyrics \words
\context Staff = bottom {
\context Voice = bass \relative c { \clef bass
a4 a8( b) c8( d e d) f( e d c b a g a) e'8 e e }
}
}
%%% The end
%%% Богу Нашему Слава,
%%% и благословение его со всеми лилипондникими
Monk Panteleimon
Hermitage of the Holy Cross
Wayne, WV, USA
www.holycross-hermitage.com
www.holycrosskliros.org
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markup height measured from staff?
Hello. I would like to create a custom \markup command that puts a letter at a specified distance from the staff rather than from a note. It must be horizontally aligned with a note, but take its vertical position from the staff. I've looked through the \markup command overview and nothing seems to do that. Any ideas? Fr. P -- There is no knowledge that is not impoverished, however great it may be; But heaven and earth cannot contain the riches of faith. - St. Isaac the Syrian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup height measured from staff?
Hello! I would like to create a custom \markup command that puts a letter at a specified distance from the staff rather than from a note. On 12/09/2005 01:51:26 PM, Kieren MacMillan wrote: What about putting an invisible note in a separate voice, at a known position (e.g., top line of the staff), and attaching the \markup to that? Thank you. That would be good if the markup where used once or twice in a score, but this is for ison or drone notes that are used in Byzantine Chant. They are often noted by a letter above the staff which appears only when the note changes.This happens at irregular intervals, like chord changes although generally less regular and less frequent. If I just attach them to the notes, this gives an uneven appearance in places where the changes are closer together, and I'm trying to avoid tweaking them all with #'extra-offset until they sort of look even. The markup I'm looking for should be something that acts visually more or less like lilypond's chord-letters but has no midi output. I would just use the chords if it weren't for the midi output and the fact that I can't (afaik) visually format the chords. Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.10 questions
Thanks for the reply!
The finger-crossing bezier thing happens with some files but not others. The
ones it happens with aren't particularly short, so I need to know what it's
responding to in order to reproduce it in a short file. Can I assume it has
to do with the more specific error that comes right before?
If so, here goes:
In at least one case it has to do with a LyricExtender in a newly added lyrics
context. (The top voice splits of and keeps his vowel while the others go one
with more words):
warning: programming error: Spanner LyricExtender is not fully contained in
parent spanner VerticalAxisGroup
The section in question is something like this:
%in a voice that later winds up being \voiceOne in a ChoirStaff:
tenor = { a4 b c d e f g
{ g g e1~ e e e e e e e e e }
\new Lyrics \lyricmode {
\set alignAboveContext=top
% Top is name of the staff tenor is on %%
Wait4 for me!1*10 __ }
g4 e f d c b a }
Thus the lyrics, ending with a long extender, go with some nested-bracketed
notes, since after his solo single note, the tenor returns to agreement with
the others.
Somehow LP doesn't like the LyricExtender hanging out up there, I guess.
Could something like this have to do with Bezier Intersections and crossed
fingers?
Thanks for all your work.
Fr. P
---BeginMessage---
Thanks for the reply!
The finger-crossing bezier thing happens with some files but not others. The
ones it happens with aren't particularly short, so I need to know what it's
responding to in order to reproduce it in a short file. Can I assume it has
to do with the more specific error that comes right before? If so, here goes:
In this case it has to do with a LyricExtender in a newly added lyrics
context. (The top voice splits of and keeps his vowel while the others go one
with more words):
warning: programming error: Spanner LyricExtender is not fully contained in
parent spanner VerticalAxisGroup
The section in question is something like this:
%in a voice that later winds up being \voiceOne in a ChoirStaff:
tenor = { a4 b c d e f g
{ g g e1~ e e e e e e e e e }
\new Lyrics \lyricmode {
\set alignAboveContext=top
% Top is name of the staff tenor is on %%
Wait4 for me!1*10 __ }
g4 e f d c b a }
Thus the lyrics, ending with a long extender, go with some nested-bracketed
notes, since after his solo single note, the tenor returns to agreement with
the others.
Somehow LP doesn't like the LyricExtender hanging out up there, I guess.
Could something like this have to do with Bezier Intersections and crossed
fingers?
Thanks for all your work.
Fr. P
On Saturday 02 December 2006 03:26, you wrote:
Monk Panteleimon wrote:
1. It looks like hairpinToBarline is set true by default. The changes
doc makes it sound like you have to turn it on to get it to work:
Yes, true. It's a bit late to fix it now, but thanks anyway! :)
I assume that it was intended to be set ##t by default, and the docs are
just phrased from a 2.8 point of view. If this is so (here's the
question) is it ##t by default because that's the common consensus of
traditional old-school engraving -- or is it just 'cause?
I think it was more of a just 'cause decision.
2. It looks like you can't put \tempo= inside \
midi{ } anymore.
...
The 2.10 manual (p 232) seems to say that only the \tempo command that
goes with the notes (producing a metronome mark unless forbidden to do
so) affects the tempo of the midi file. The manual's a little confusing
here actually, because the example shows the curly brackets empty for the
midi block, and tells us that in this example the tempo is set to 4=72.
How? By leaving it empty? So 72 is default? What am I missing?
Umm. Do you see that FIXME label right underneath the empty example?
That's the surest sign that the doc editor (i.e. me) has been slacking
off. In particular, he didn't do a search for FIXME signs just before
2.10 was released.
Fixed in the next release.
So, the only ways to set a tempo for the midi file without adding a
metronome mark are to add and a metronome mark, but make it invisible, or
else do that kind of longish thing with the scheme-indentifier in it,
wherewith convert-ly replaces the old \midi{ \tempo = ... } deal. Right?
Currently, yes.
Is there a shorter way, or can I somehow re-instate the 2.8 method in my
lilypond installation? I often make midi files, but rarely require a
metronome mark.
There was some discussion about having another way to set the tempo, but
the discussion fizzled out. Stay tuned for more info.
3. When I run 2.10 on any files (before or after convert-ly) I get lots
of messages that say programming error: no solution found for Bezier
intersection, continuing, crossfingers
Re: Bezier interserction error (2.10 questions)
Sorry. I didn't get my example right:
The bit of notes that go with the lyrics and the lyrics themselves are* inside
as they should be:
%in a voice that later winds up being \voiceOne in a ChoirStaff:
tenor = { a4 b c d e f g
{ g g e1~ e e e e e e e e e }
\new Lyrics \lyricmode {
\set alignAboveContext=top
% top is name of the staff tenor is on %%
Wait4 for me!1*10 __ }
g4 e f d c b a }
Fr. P
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(sponsored) feature request: Kievan Quadratic font for Lilypond
I have been considering how nice it would be if lilypond had appropriate grobs for setting music in the style of the Synodal Chant Books of the Russian Orthodox Church. Its looks like this: http://www.holycrosskliros.org/public_html/dload/toporki.png This adaption of western staff-notation was used in Russian Chant books from the mid 17th century until the beginning of the 20th. Many of these books are still printed today and used in Russian Orthodox Monasteries (like mine) and a few parishes. I mostly set chants in English and I would like to be able to reproduce the style of my sources at lilypond's level of quality. Of course, the desire is somewhat antiquarian, but there are also some real practical advantages to the quadratic notation, especially for very long, melismatic chants. If I someone can make the grobs necessary for this (there are around ten, not all in this example) then I think I could work out the spacing, line-thicknesses etc. If the developers wanted to include it in the Lilypond package, then with some help I could put together a kievan-init.ly and write a page or two for the documentation. So how much would it cost to have these symbols added to lilypond, and/or existing symbols appropriately altered? I'm asking the developers first, and then anyone else who is able to do this kind of thing. If I get a response with a cost-estimate I will send a written specification (pointing out things that might not be obvious) and start looking for others who are interested (if that's necessary). Thank you for your wonderful work and kind help. Monk Panteleimon Hermitage of the Holy Cross Wayne, WV USA http://www.holycrosshermitage.com/ http://www.holycrosskliros.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
automatic invisible unmetred linebreaks
Hello.
I am setting unmetred chant, using \set Score.timing = ##f.
Previously I have always inserted
\bar \break
wherever I wanted a linebreak without a barline.
Now I have discovered that I can use barAlways and defaultBarType = to
insert invisible barlines between all the notes, which makes the linebreaks
happen more or less automatically. Using this method would make my work a lot
quicker, but the slurs look funny because they are avoiding the invisible
barlines.
Can I make the slurs ignore the invisible barlines?
Also, I thought that \bar took up no space at all, but now I'm not sure. Are
the invisible barlines taking up space; and if so is it possible to change
the padding on all invisible barlines without also changing the padding on
visible ones?
I'm running Lilypond 2.10 on Linux
Here's an example file :
\version 2.10
\score {
\relative c'' { \set Score.timing = ##f \set Score.barAlways = ##t \set
Timing.defaultBarType = \key g
\major \autoBeamOff
b4 c8([ d]) b4.( g8) a([ c]) b([ a]) g4( a) b4 c8([ d]) e4 d8([ c]) d4 c b4.(
a8) g([ a]) b4 a b8([ c]) d2
d4 c b8([ c]) d4 e d c8([ b]) d4( c) b g8([ a]) b4 c8([ d]) b4 b8([ g]) a([ c
b a]) g4 a b2
}
\layout { ragged-last = ##t \context { \Staff
\remove Time_signature_engraver \remove Bar_number_engraver }
}
}
Many thanks.
Fr. P
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2.10 questions
Many thanks to the all the diligent developers and users for 2.10 and the
previous versions.
I'm now running 2.10 on xubuntu (ubuntu 6.06) and I have several questions
about lilypond 2.10:
1. It looks like hairpinToBarline is set true by default. The changes doc
makes it sound like you have to turn it on to get it to work:
By setting hairpinToBarline, hairpins will stop at the barline preceding the
ending note.
I assume that it was intended to be set ##t by default, and the docs are just
phrased from a 2.8 point of view. If this is so (here's the question) is it
##t by default because that's the common consensus of traditional old-school
engraving -- or is it just 'cause?
2. It looks like you can't put \tempo= inside \
midi{ } anymore. Lilypond complains about it in my 2.8 files, and after I've
run convert-ly, I see it replace by something like this:
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 90 4)
}
}
The 2.10 manual (p 232) seems to say that only the \tempo command that goes
with the notes (producing a metronome mark unless forbidden to do so) affects
the tempo of the midi file. The manual's a little confusing here actually,
because the example shows the curly brackets empty for the midi block, and
tells us that in this example the tempo is set to 4=72. How? By leaving it
empty? So 72 is default? What am I missing?
So, the only ways to set a tempo for the midi file without adding a metronome
mark are to add and a metronome mark, but make it invisible, or else do that
kind of longish thing with the scheme-indentifier in it, wherewith convert-ly
replaces the old \midi{ \tempo = ... } deal. Right?
Is there a shorter way, or can I somehow re-instate the 2.8 method in my
lilypond installation? I often make midi files, but rarely require a
metronome mark.
3. When I run 2.10 on any files (before or after convert-ly) I get lots of
messages that say programming error: no solution found for Bezier
intersection, continuing, crossfingers
The files still compile, but I wonder if it's okay to uncross my fingers now.
[8^)
4. (the dumbest question of all) Why 2.10? What's wrong with 3?
Thanks again. Please pardon my verbosity and probably my utter density
regarding all of the above.
Fr. P
PS. My, what lovely shapenote heads!
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Re: bracketed passages
On Thursday 28 September 2006 18:18, Graham Percival wrote: Hi, Could you add Mats' example to the Linux Snippet Repository? That way it will be easier for other people to find this neat trick. Done! And a neat trick it is indeed. Thanks again to all involved. Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bracketed passages
Dear Mats, Thank you, thank you, thank you! Your solution is perfect! In fact it looks like the brackets in the Russian quadratic-notation books (see attached). Lilypond keeps getting better and more useful the more I use it, and this list is quite helpful indeed. Fr. P fita Description: PNG image ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
fita-bracket png
Oh... No non-text attachments to email lists, right? Ok. Here's a Russian quadratic fita-bracket if anyone wants to see such a thing: http://www.holycrosskliros.org/public_html/dload/fita.htm Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
bracketed passages
Dear Lilypond users, I would like to place brackets around passages of music -- not around arpeggiated chords or notes in chords or anything like that, but a right-pointing bracket at the beginning of a passage, spanning the whole staff or system, and likewise a left-pointing one at the end of the passage. This is to indicate that the passage in question ( a long melisma called a fita) can be either sung or omitted at the discretion of a chanter or director. There is a not-very-attractive example of this kind of thing at the end of the 7th system in the piece of music posted here: http://www.rocmconference.org/music/V4-12_Lord-I-have-cried_Both-now.pdf Whoever engraved this piece in the early 20th c. used parentheses, but I would rather used something that looks close to a SystemStartBracket, but maybe thinner, and of course reversible for the close of the fita. * I have already tried doing this with markups, * using both parentheses and brackets. The problem with this method (besides all the trial-and-error tweaking of sizes and offsets) is that by the time the things are big enough to embrace the system, they are awfully fat and unsightly. Any suggestions will be greatly appreciated. Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[no subject]
In trying to use the OOoffice LP macro, I get: Parsing..ERROR: unbound variable: ly:parser-print-score I suppose this is because the templates are designed for LP 2.6 and I'm using 2.8. but I don't know what to change in the templates to make them work. Can someone tell me? Many thanks, especially to Samuel Hartmann. Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
special markup (almost there)
Dear Lilyputians,
I've almost got it (see attached)
Well, I've got into two commands, so that I can do
***
\markup{ \who{someone} \says #What he says }
***
I'd like to take it one step further to and combine them both into one
command with two args: (markup? string?). It's a small thing, but it would
let me take out the third command and (I think) the outer curly-brackets.
According to the 2.9 docs (chapter 12) this should be possible, but the
example of define-markup-command in said chapter has only one argument. Can
someone show me an example of a define-markup-command with two, a (markup?)
and a (string?).
Fr. P
\version 2.8.3
% The command who
#(define-markup-command (who layout props args) (markup?)
(interpret-markup layout
(cons (list '(font-size . 2) ) props)
( markup #:hspace 12 #:with-color (x11-color 'firebrick) #:italic args #:hspace 5 )
)
)
% The markup command says
#(define-markup-command (says layout props arg) (string?)
(interpret-markup layout
(cons (list '(font-size . 2) ) props)
(markup #:override '(line-width . 60) #:fill-line ( #:justify-string arg))
)
)
% The file that uses them:
\book{ \markup{ \who{Garaganidse:}
\says #After Christianity had been declared the state religion in 326, Christian music became established in Georgia - on the one hand from Syria and Palestine and on the other from Byzantium. Of course, the influence of the religious music of these lands was in this period entirely unavoidable. Original Georgian works were created as early as the fifth century, but from the seventh century, Georgian church songs began to be free from outside influence. During this time, when the influence of folk music was becoming great, polyphony gained entrance in large and increasing measure. The Georgian text and the principles of Georgian polyphony became the basis of a total nationalization of church songs. }
}
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help with custom markup command?
Hello.
I have been ambitiously reading the section on programmer interfaces and
the scheme tutorial in an attempt to make a special markup command. I'm not
getting very far, and I thought someone more clever and experienced might do
better. I also thought someone clever and experienced might quite
understandably say that will be fifty dollars, please, but anyway it's
worth a shot.
Here is what I am trying to do:
This is a bit of code that I use in a \book block, but outside of a score.
\markup \pad-markup #3 \large{ \with-color #(x11-color 'firebrick) \italic {
\hspace #9 Deacon:} \override #'(line-width . 60) \justify{ What the deacon
says. } }
I want to condense this into a command so that {what the deacon says}
constitutes the argument-in-question, whereas the rest of the formatting and
the {deacon} argument remain the same. \markup \deacon{what the deacon says}
would be fine.
Just plain \deacon{what the deacon says} would be even better. In fact it
would be splendid, if only I could figure out where and what and how
everything goes into the #(define ... scheme. Then I could alter that
definition for use with {what everyone else who isn't singing says}.
\rubric{some rubrics} etc. etc.
Right now I can't figure out where line-width and justification (both
important) should fit into the scheme demonstrated in the
#(define-markup-command chapter, nor am I certain that it wouldn't be better
to define it as its own kind of command, like #(define deacon( markup #:
etc... rather than something added to \markup.
I know that there is LaTex lilypond-book, but my attempts with that have
been less than encouraging and ultimately harder than just using the \markup
commands in lilypond.
Thank you very much.
Monk Panteleimon
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FW: help with custom markup command?
Yes, I've been looking at the 2.9 docs, and I see that they are quite clearly written, but it's still pretty hard for me, being a non-programmer. Maybe I can submit some more specific questions. Let's say in the smallcaps example in section 12.4.3 we wanted to employ the functions represented in lilypond syntax by \justify and by \override #'(line-width . 60) Where would they go? I tried imitating the syntax for the font-shape in the example, but that didn't work. I tried similar sytntax but replacing layout instead of props too. I couldn't get either justification or line-width to work in a simple markup written in scheme syntax (a-la 12.4.1) either. #:justify made the whole thing go south, and besides the text in those examples was all strings and strings don't justify in markups. I think I might be able to get it from there if someone can help me with that one question. Am I correct in my conclusion that only a #(define-markup-command (foo and not a foo = #(markup .. can take a (markup?). Thanks. Fr. P -Original Message- From: Graham Percival [mailto:[EMAIL PROTECTED] Have you read the 2.9 docs? This chapter has been almost entirely rewritten and is _way_ easier to understand. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
header fonts
Dear Micheal,
I use the code you give as not-working in your emails all the time to change
fonts in the header, except that the { } aren't necessary (although I don't
think that's the problem). I suspect that Goudy as you've written it might
not be the font's real name. Open the font file and see what's listed as
typeface name and use that exactly. Sometimes they have underscores, all
caps, strange things like that.
Monk Panteleimon
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melismatic left-alignment (and extenders) with \lyricmode
Okay... Having reviewed previous pieces, I see that even lyricmode doesn't get the extenders right for every melisma, but only attaches the lyrics to a single voice and its melismata (just like \lyricsto and \addlyrics). I just didn't have a piece that showed the limitations of this situation so clearly until now. It appears to me that the only way to get left-alignment and long enough extenders for all melismata regardless of voice is to be constantly using \set associatedVoice (or some abbreviated definition thereof). If there is a better way to do this, I'd love to know about it. Please forgive me if I've missed something utterly obvious. Thank you. Fr. Panteleimon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
melismatic left-alignment with \lyricmode
Dear Lilypond users and developers,
I am using 2.8.3 to engrave chant for TTB. I normally use \lyricmode for
such music because it gets the lyric-extenders right regardless of which
voice has the melisma. But now I am noticing that it isn't getting the
left-alignment right. Lyrics are only left-aligned under melismata if there
is a melisma in the topmost voice. Here is my example:
\version 2.8.3
global = { \set Score.timing = ##f \key bes \major }
\score {
\context ChoirStaff
\context Staff = top \clef G_8
\context Voice = tenone \relative c' { \voiceOne \global c4 d8([
c]) bes4( a) g a bes2 a g a \fermata }
\context Voice = tentwo \relative c { \voiceTwo \global f4 f f2 f4 f
f( g) g( f) f( ees) d2 \fermata }
\context Lyrics \lyricmode { In4 that day2 __ all4 his thoughts2 __
shall __ per -- ish. }
\context Staff = bottom \clef bass \relative c { \global
{ bes4 bes bes2 c4 c d( c) c( bes) c2 d \fermata }
}
\layout { \context { \Staff \remove Time_signature_engraver \remove
Bar_number_engraver }
\context{ \Lyrics \override LyricSpace #'minimum-distance =
#.8 }
}
}
As you can see, the lyrics that and day are left-ligned (i.e. when
tenor1 has the melisma) but thoughts shall perish are not left-aligned.
The last words are instead center-aligned under the first tenor's
half-notes.
Am I doing something wrong? I've not noticed this before. I know that I can
left-align specific lyrics with a \once \override maneuver, but I'd rather
avoid that since it would happen quite often.
Monk Panteleimon
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shape notes
Dear Lilypond users, Somehow the SacredHarpHeads have gotten very small in 2.8. The regular notehead (the one called #f in property-init.ly) is normally sized, of course, so one can't simply globally adjust notehead size or one ends up with big fat sol noteheads. Is there a way to get the shaped heads to normal size while leaving the standard #f head as it is? BTW, the sequence of shapes for the Sacred Harp four-shape system is still wrong in property-init.ly. In property-init.ly it goes : (#f #f mi #f fa la #f) But it *should* go (fa #f la fa #f la mi). That's the Sacred Harp system. What lilypond has goes sol sol mi sol fa la sol. Very funny scale, that. Muchas Gracias. Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: dotted phrasing slurs
Dear Friends, Thanks to all who have helped me to make dotted phrasing slurs, at the same intoducin gme to the Program Reference, which is very useful indeed. XB Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: dotted phrasing slurs
I think this would work for dotted phrasing-slurs if I knew what to put in
the blanks:
\once \override Slur #'(name of property) = #(name of variable)
That has worked with #'thickness on phrasing slur.
So can anyone fill in the blanks?
As for the slurs on lyrics, I read somewhere (by a 3rd party) that one can
insitute engravers in contexts where they don't belong by default. If I
understand correctly, that means I could put something in \layout{ \context{
\Lyrics } that would allow me to put a slur on lyrics.
Maybe I'll try putting them *under barlines (invisible if necessary).
XB,
Fr. P
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dotted phrasing slurs
Dear friends, How can I make a dotted phrasing slur? I have tried \phrasingSlurDotted and also several wild guesses beginning with \once \override Slur... Using \slurDotted before a phrasing slur makes the next non-phrasing slur to be dotted. I looked in the user archive, but encountered only opacity. Also, is it possible to have dotted slurs between lyrics (in order to persuade people not to breath between specific words)? Many thanks Fr. P ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
