Large set of parts
Hi all, Does anyone have any suggestions on how to produce a large set of parts from an existing score? Each instrument's music is saved as a variable separate from the score staves. So I need to create a \score and \staff for 31 parts. Do I create 31 separate files? Can I do something with bookparts so end up in a single output file? Thanks, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is lilypond really suitable for composing?
One of my professors suggested sketching a piece on a 4 staff system when composing/orchestrating. I did try doing this in lilypond with the idea that snippets and phrases from each staff would be stored as variables which could then be used in the full score. So sort of working backward from a reduction to a full score. For the purpose of orchestrating it worked alright, but even working with a reduced score, lilypond is not an efficient tool for composing/creating. -Nathan On Thu, Mar 22, 2018 at 11:08 AM, jtruc34 <daverio.jo...@gmail.com> wrote: > That may seem like a stupid question, but I've been using LilyPond with > Frescobaldi for a year and a half, but I start to ask myself if it is as > efficient as if I had used another tool like Musescore. > > I explain: I don't have at all a powerful computer, and I think that an > essential feature that I have to have to compose efficiently is to see what > I've written in real-time. There is such a feature in Frescobaldi name > "continuous engraving" (or something like that, my version is not in > English), but on my slow computer and with a big project such as a 20-pages > quartet or symphony, it takes at least 40 to 50 seconds to render. > > In addition, it would be great to hear the music out of the midi file by > clicking on the preview (like on almost every WYSIWYG music software) but > Frescobaldi's midi player is pretty useless for that. > > I'm not saying that LilyPond and Frescobaldi are bad, it's probably just me > who don't know the right tools or the right way to use them. I'm asking to > find a way to make my workflow more convenient to compose. > > Do you have any suggestions? > > Thanks! > > > > -- > Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is lilypond really suitable for composing?
I've been using lilypond for a much shorter time, but my impression is that lilypond excels when you know exactly what you want to input. It's also difficult to work on different parts of the score unless you set up some sort of system to break the piece into smaller chunks. So I've been doing more work at the piano than I used to, then creating my score in lilypond based on my hand written sketch. Honestly, working at the piano has been more efficient than doing similar work in musescore. On Mar 22, 2018 11:41 AM, "jtruc34"wrote: > That may seem like a stupid question, but I've been using LilyPond with > Frescobaldi for a year and a half, but I start to ask myself if it is as > efficient as if I had used another tool like Musescore. > > I explain: I don't have at all a powerful computer, and I think that an > essential feature that I have to have to compose efficiently is to see what > I've written in real-time. There is such a feature in Frescobaldi name > "continuous engraving" (or something like that, my version is not in > English), but on my slow computer and with a big project such as a 20-pages > quartet or symphony, it takes at least 40 to 50 seconds to render. > > In addition, it would be great to hear the music out of the midi file by > clicking on the preview (like on almost every WYSIWYG music software) but > Frescobaldi's midi player is pretty useless for that. > > I'm not saying that LilyPond and Frescobaldi are bad, it's probably just me > who don't know the right tools or the right way to use them. I'm asking to > find a way to make my workflow more convenient to compose. > > Do you have any suggestions? > > Thanks! > > > > -- > Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simple midi player
Hi Ben, So far I've relied on the vim functionality that comes with lilypond (found in lilypond's 'vim' directory). I am simply more comfortable and feel more productive with vim's modal editing, navigation, visual block mode, buffers and windows, etc. It's also already configured to my preferences. I'm glad Frescobaldi supports split editors, but it kind of makes my head spin: the tabs don't line up with the editor panes; I have to think about if clicking on a tab or link will change focus to a different pane or cause a pane to switch to a different file, and in either case, the feedback isn't great. I'm currently working on a band project which I've organized into 9 different files, so multiple windows/buffers is an important feature. Setting lilypond as the make program enables the use of vim's quickfix list, which is very handy and lilypond includes multiple macros to support this. Reading ftplugin/lilypond.vim may give some ideas on further customization. Using vim for lilypond comes with its own issues though. The biggest one I've encountered so far is that syntax highlighting can cause vim to lag, although this seems to be a general weakness of vim. It's somewhat better for me using gvim vs a terminal emulator. Automatic indentation is imperfect (lilypond 2.18.2 - I don't know if this has been touched in the development version). I don't own a midi keyboard, but if you rely on midi input I don't think that's going to work in vim. Automatic engraving is probably also not an option. Frescobaldi's definition linking is very useful, but I'm guessing this might be feasible in vim with ctags, I haven't tried yet. The truth is, I'm very new to lilypond, so I'm still figuring out how everything works, let alone workflow - although I'm consistently getting better thanks to practice and a knowledgeable community. Your videos on lilypond and Frescobaldi have been very helpful, I wish I could return the favor! Take care, Nathan On Mon, Mar 5, 2018 at 9:28 PM, Ben <soundsfromso...@gmail.com> wrote: > > On 3/5/2018 6:22 PM, Nathan Sprangers wrote: > > Yes, Frescobaldi is very nice, but it's not vim. I find myself in > situations often enough where vim would be faster/more convenient for me. I > don't know if you're aware, but lilypond comes with vim support > (highlighting, macros, etc). The beauty of lilypond being text based is you > can customize your environment. Frescobaldi is a very good option and has > served me well, but it's not the only option. > > Thanks, > -Nathan > > >> > > >> > Can anyone suggest a simple midi player that can begin or cue playback >> from a specified measure/beat? I would like to be able to work using vim >> and a pdf reader. I've been using VLC for midi playback, but it only >> indicates a timestamp, not a measure/beat. >> > >> > Thanks, >> > Nathan >> > ___ >> > lilypond-user mailing list >> > lilypond-user@gnu.org >> > https://lists.gnu.org/mailman/listinfo/lilypond-user >> >> > > > Nathan, > > I've used Vim for several years now, for text editing and WordPress / > LaTeX projects, but never really got it working well with LilyPond. > Instead, I've stuck with Frescobaldi and I have a good workflow now. > > But I'm curious: do you have any LilyPond-specific snippets in your .vimrc > file that help you with inputting music? > > Can you share some tips or advice on how you use Vim with LilyPond? I'd be > interested to hear a brief overview of your workflow - maybe I should give > Vim another chance ;) > > Thanks! > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simple midi player
Thank you, this is a fantastic suggestion! For the benefit of others following this thread, on Debian at least, midish comes with a simple command line player, smfplay, which takes a starting measure number as a command line argument. Thanks, Nathan On Mon, Mar 5, 2018 at 7:27 PM, Guy Stalnaker <jimmyg...@gmail.com> wrote: > http://www.midish.org > > From the manual (if you use *nix operating systems): > > 7.1 Moving within the song > > The following selects the current position in the song to measure number > 3: > > g 3 > > This will make ``p <http://www.midish.org/manual.html#func_p>'' and ``r > <http://www.midish.org/manual.html#func_r>'' commands start at this > particular position instead of measure number 0. Furthermore all track > editing function will process the track starting at this position.] > > Sounds like what you were looking for. > > Regards. > > Guy Stalnaker > jimmyg...@gmail.com > > On Mon, Mar 5, 2018 at 6:16 PM, Guy Stalnaker <jimmyg...@gmail.com> wrote: > >> There are a lot of tools on this page: >> >> http://linux-sound.org/midi.html >> >> Neither of you indicated the operating system you use. >> >> Regards >> >> Guy Stalnaker >> jimmyg...@gmail.com >> >> On Mon, Mar 5, 2018 at 5:32 PM, Hwaen Ch'uqi <hwaench...@gmail.com> >> wrote: >> >>> Greetings All, >>> >>> I should like to piggy-back onto Nathan's question, though as an emacs >>> user. I have been using timidity, which is directly mentioned in the >>> documentation, but I too would like the ability to fast-forward or >>> rewind or to start at a particular place. >>> >>> Hwaen Ch'uqi >>> >>> >>> On 3/5/18, Nathan Sprangers <nathan.r.sprang...@maine.edu> wrote: >>> > Yes, Frescobaldi is very nice, but it's not vim. I find myself in >>> > situations often enough where vim would be faster/more convenient for >>> me. I >>> > don't know if you're aware, but lilypond comes with vim support >>> > (highlighting, macros, etc). The beauty of lilypond being text based >>> is you >>> > can customize your environment. Frescobaldi is a very good option and >>> has >>> > served me well, but it's not the only option. >>> > >>> > Thanks, >>> > -Nathan >>> > >>> > On Mon, Mar 5, 2018 at 3:11 AM, Jacques Menu Muzhic < >>> imj-muz...@bluewin.ch> >>> > wrote: >>> > >>> >> Hello Nathan, >>> >> >>> >> Frescobaldi/SimpleSynth provides this, what’s the advantage of using >>> >> vim/a >>> >> pdf reader? >>> >> >>> >> JM >>> >> >>> >> > Le 5 mars 2018 à 03:10, Nathan Sprangers < >>> nathan.r.sprang...@maine.edu> >>> >> a écrit : >>> >> > >>> >> > Hello all, >>> >> > >>> >> > Can anyone suggest a simple midi player that can begin or cue >>> playback >>> >> from a specified measure/beat? I would like to be able to work using >>> vim >>> >> and a pdf reader. I've been using VLC for midi playback, but it only >>> >> indicates a timestamp, not a measure/beat. >>> >> > >>> >> > Thanks, >>> >> > Nathan >>> >> > ___ >>> >> > lilypond-user mailing list >>> >> > lilypond-user@gnu.org >>> >> > https://lists.gnu.org/mailman/listinfo/lilypond-user >>> >> >>> >> >>> > >>> >>> ___ >>> lilypond-user mailing list >>> lilypond-user@gnu.org >>> https://lists.gnu.org/mailman/listinfo/lilypond-user >>> >> >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simple midi player
Yes, Frescobaldi is very nice, but it's not vim. I find myself in situations often enough where vim would be faster/more convenient for me. I don't know if you're aware, but lilypond comes with vim support (highlighting, macros, etc). The beauty of lilypond being text based is you can customize your environment. Frescobaldi is a very good option and has served me well, but it's not the only option. Thanks, -Nathan On Mon, Mar 5, 2018 at 3:11 AM, Jacques Menu Muzhic <imj-muz...@bluewin.ch> wrote: > Hello Nathan, > > Frescobaldi/SimpleSynth provides this, what’s the advantage of using vim/a > pdf reader? > > JM > > > Le 5 mars 2018 à 03:10, Nathan Sprangers <nathan.r.sprang...@maine.edu> > a écrit : > > > > Hello all, > > > > Can anyone suggest a simple midi player that can begin or cue playback > from a specified measure/beat? I would like to be able to work using vim > and a pdf reader. I've been using VLC for midi playback, but it only > indicates a timestamp, not a measure/beat. > > > > Thanks, > > Nathan > > ___ > > lilypond-user mailing list > > lilypond-user@gnu.org > > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Simple midi player
Hello all, Can anyone suggest a simple midi player that can begin or cue playback from a specified measure/beat? I would like to be able to work using vim and a pdf reader. I've been using VLC for midi playback, but it only indicates a timestamp, not a measure/beat. Thanks, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Disable extra space around StaffGroup?
Hi Torsten, Thank you, that makes so much sense now. I was definitely struggling to understand how the various spacing settings work together, especially between VerticalAxisGroup and StaffGrouper. Thanks, Nathan On Wed, Feb 21, 2018 at 5:49 AM, Torsten Hämmerle <torsten.haemme...@web.de> wrote: > Nathan Sprangers wrote > > If it helps, my interest is in creating band scores, which usually place > > an > > extra bracket or brace around certain families (such as the clarinets, > > cornets, etc in Holst's First Suite for Military Band > > http://imslp.org/wiki/First_Suite_for_Military_Band, > _Op.28_No.1_(Holst,_Gustav)), > > but there is typically no extra space around these staff groups. > > > Hi Nathan, > > Concerning the spacing "around" staff-groups: > By default, LilyPond tries to keep staff-groups closer together in general. > When stretching has to be applied this becomes particularly obvious. > > As in Holst's example (Military Band, i.e. Wind Band), it is common to have > uniform vertical spacing just ignoring groups or sub-groups. > > This can be achieved fairly easy: > By setting VerticalAxisGroup.staff-staff-spacing of \Staff (a single > stand-alone stave, the lowest level in grouping hierarchy) to the values > found in the staff-grouper (in my example, I've used the default values). > > \layout { > \context { > \Staff > \override VerticalAxisGroup.staff-staff-spacing = > #'((bavsic-distance . 9) > (minimum-distance . 7) > (padding . 1) > (stretchability . 5)) > } > } > > If set, these values will be automatically used even within different > groups > in the hierarchy. > Background: VerticalAxisGroup.staff-staff-spacing is *not* specified by > default and do by default, the spacing values will be "inherited" depending > on the level of hierarchy. > > > To demonstrate this, I've chosen a very small global-staff-size and > deliberately forced stretching. Using Acrobat Reader's measuring feature, > I've marked the gaps between the staves (see attached PDF). > > *Default vertical spacing* - vertical spacing between groups differs > depending on grouping level. > test-uniform-vertical-spacing-default.pdf > <http://lilypond.1069038.n5.nabble.com/file/t3887/test- > uniform-vertical-spacing-default.pdf> > > *Uniform vertical spacing* by explicitly setting > Staff.VerticalAxisGroup.staff-staff-spacing > test-uniform-vertical-spacing-proof.pdf > <http://lilypond.1069038.n5.nabble.com/file/t3887/test- > uniform-vertical-spacing-proof.pdf> > > In the second example, applying the layout changes just on in the \Staff > context, there is absolutely the same vertical distance between all staves, > ignoring any grouping. > > Cheerio, > Torsten > > > > > > > -- > Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Disable extra space around StaffGroup?
Hi Ben, Thanks for the link, that might work for me. Do you happen to know, does lilypond modify these parameters of the previous staff when it sees '\new StaffGroup'? If it helps, my interest is in creating band scores, which usually place an extra bracket or brace around certain families (such as the clarinets, cornets, etc in Holst's First Suite for Military Band <http://imslp.org/wiki/First_Suite_for_Military_Band,_Op.28_No.1_(Holst,_Gustav)>), but there is typically no extra space around these staff groups. Thanks, Nathan On Tue, Feb 20, 2018 at 12:43 PM, Ben <soundsfromso...@gmail.com> wrote: > On 2/20/2018 12:24 PM, Nathan Sprangers wrote: > > Hi, > > The spacing settings I've found so far all relate to the space after a > staff our staff group, but lilypond creates extra space above a staff group > as well. Is there an engraver or something that can be turned off to > disable this? I'd like to be able to keep all the other features of a staff > group. > > Thank you, > Nathan Sprangers > > > > Hi Nathan, > > Perhaps this thread could be of help? > > http://lilypond.1069038.n5.nabble.com/controlling-the- > spacing-above-a-context-td162071.html > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Disable extra space around StaffGroup?
Hi, The spacing settings I've found so far all relate to the space after a staff our staff group, but lilypond creates extra space above a staff group as well. Is there an engraver or something that can be turned off to disable this? I'd like to be able to keep all the other features of a staff group. Thank you, Nathan Sprangers ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
partcombine bug when using quoteDuring?
When both voices in \partcombine finish a \quoteDuring at the same time, only one voice is rendered for subsequent notes. \version "2.18.2" \addQuote "melody" \relative c'' { a4 a a a d d d d } \addQuote "alto" \relative c'{ f2 f g2 g } \partcombine { \quoteDuring #"melody" s1 \quoteDuring #"melody" s1 } { \quoteDuring #"alto" s1 % This does not get rendered: \quoteDuring #"alto" s1 } If the last line is changed to notes, they are rendered but the \quoteDuring for the same measure in the first expression is not. Lilypond does not throw any errors or warnings when compiling these examples. Using the << \\ >> construct does not cause this issue. If the quote durations overlap, there is no bug: \partcombine { \quoteDuring #"melody" s1 \quoteDuring #"melody" s1 } { \quoteDuring #"alto" s2 % No problem: \quoteDuring #"alto" s1. } Thanks, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "Text spanner"-ish thing with text in the middle
On 2017-10-27 21:37, James Harkins wrote: I couldn't find this quickly: for an unmetered section, I'd like to indicate duration by tuplet-style brackets, only not a tuplet (no change to note durations) and with arbitrary text markup in the middle, e.g. if a tuplet goes :- 3 -: I'd like :--- 10" ---: TextSpanner seems to assume text at the beginning or end, but not the middle. hi james, you can hijack an ordinary tuplet by setting the duration ratio to 1/1 and modifying the text: { \once \override TupletNumber.text = \markup \normal-text { "10\"" } \tuplet 1/1 { c'4 c'4 c'4 c'4 } } (sorry for the double message, forgot to hit "reply all" on the first one it seems) nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating a 11-line system
On 2017-09-22 00:55, Ståle Ødegården wrote: Thank you, this is excactly what I was looking for! I have another challenge: making the key signature also mimic a standard PianoStaff setup. I have a partial solution with «\override KeySignature.flat-positions = #'((-10 . 10))» and similar, but I don’t want the «extra» accidentals in the middle. How do I do this? hi Ståle, you can intercept the stencil and tell it to print the default key signature twice with different translations: { \override Staff.StaffSymbol.line-count = #11 \override Staff.KeySignature.stencil = #(lambda (grob) (let ((stencil (ly:key-signature-interface::print grob))) (ly:stencil-add (ly:stencil-translate-axis stencil 3.5 Y) (ly:stencil-translate-axis stencil -3.5 Y \override Staff.Clef.stencil = #ly:text-interface::print \override Staff.Clef.text = \markup \combine \raise #2 \musicglyph #"clefs.G" \lower #2 \musicglyph #"clefs.F" \clef alto \key es \minor c'1 } nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating a 11-line system
On 2017-09-21 14:05, Ståle Ødegården wrote: Hi! I wonder how I can create a 11-line system with both treble and bass clefs present. I have two ideas, but I can’t make any of them work: - Create a PianoStaff or ChoirStaff and force the spacing between them to be _excactly_ one line apart - then add the extra line - Create lots of extra lines in a single staff and set up the two clefs to mimic a PianoStaff What could be the best solution to this problem? hi Ståle, personally i'd go with the second idea. this part of the notation manual concerns staff modification: http://lilypond.org/doc/v2.18/Documentation/notation/modifying-single-staves the main tricky part is modifying the Clef stencil, which can be done using a markup: { \override Staff.StaffSymbol.line-count = #11 \override Staff.Clef.stencil = #ly:text-interface::print \override Staff.Clef.text = \markup \combine \raise #2 \musicglyph #"clefs.G" \lower #2 \musicglyph #"clefs.F" \clef alto c'1 } nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Non-Standard Rhythmic Durations
On 2017-06-26 20:47, Brin Solomon wrote: Hey all, I'm working on an algorithmic piece where all the rhythmic durations are an integer number of eighth notes long. I'm using Completion_heads_engraver to handle the bar lines, but I'm running into trouble when I need to write notes that are five eighth notes long. Is there a way to send an arbitrary rhythmic value (i.e. one that can't be described with the 8, 4, 4., etc system) to the Completion_heads_engraver, or do I need to enter all the "half note plus an eighth" rhythmic values by hand without automatic note splitting? hi brin, i'd say that's kinda outside the scope of lilypond, although you could probably put it together with scheme magic. instead, you should check out abjad (http://abjad.mbrsi.org/), which is perfect for that kind of thing. nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Export to ?????
On 2017-05-25 00:45, Don Gingrich wrote: I've been looking and looking and I cannot find any useful references to export file formats from LilyPond. Now, I will agree that LilyPond's PDF output is very good looking and is actually my preferred sheet music, But the sad reality it that there are people who do exist who use tools other than LilyPond, and that occasionally it becomes necessary to exchange files with these poor benighted souls. ;-) hi don, if you'll forgive me for self-promotion, i'm a contributor to an open source project (https://ncodamusic.org/) which aims to support translation between a number of music formats, including lilypond import and export. it's early in development, so definitely not helpful to you in its current state. but i know you're not the only person interested in this, so i just wanted to put this on the radar. nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpin endings
On 2017-04-21 05:39, David Nalesnik wrote: Instead of using a markup, why not use ly:line-interface::line (available from 2.19.27)? This gets thickness from the grob--and any other line attributes you want, so you can create dashed hairpins, whatever. There's no need adjust thickness in this case. Hi David, Thanks for the info. I still prefer markups for this kind of thing because more people understand them and they're (somewhat) better documented. Less ly:foo stuff I have to look up, the better. Good to know the proper way though! Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Hairpin endings
On 2017-04-20 20:42, Andrew Bernard wrote: I posted a while ago with a query about hairpins, to which no response. Would there be any way to have hairpins that don't start, or end in the other direction, with the lines converging to the same point? I have need from time to time of hairpins where the end points are still separated, rather than coming to a termination together. Sure this can be done with a whiteout box, but that is always fiddly and the position tends to move when the score is repaginated etc etc. In the same way as the 'height' property allows you to specify the separation at the open end, it would be useful to have some property for this sort of thing at the pointy end. Yes, definitely not Common Era engraving practice, but this keeps coming up in the New Complexity scores I work with. hi andrew, check it out: #(define ((open-hairpin left-open right-open) grob) (let* ((stencil (ly:hairpin::print grob)) (X-ext (ly:stencil-extent stencil X)) (Y-ext (ly:stencil-extent stencil Y)) (width (interval-length X-ext)) (height (interval-length Y-ext))) (ly:stencil-translate (grob-interpret-markup grob (markup (#:path 0.1 (list (list 'moveto 0 (* height (- 0.5 (* 0.5 left-open (list 'lineto width (* height (- 0.5 (* 0.5 right-open (list 'moveto 0 (* height (+ 0.5 (* 0.5 left-open (list 'lineto width (* height (+ 0.5 (* 0.5 right-open (cons 0 (interval-start Y-ext) { c'1\> c'1 c'1\! \once \override Hairpin.stencil = #(open-hairpin 1.0 0.5) c'1\> c'1 c'1\! \once \override Hairpin.stencil = #(open-hairpin 0.5 0.0) c'1\> c'1 c'1\! } respects height, but not thickness. anyone know how to convert a thickness value into staff spaces? nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to create measure with only slashes
On 2017-01-19 18:19, Rob Torop wrote: I'dlike to create a measure that has 4 forward slashes in it (only). This does almost what I want except of course it has the rest at the start: \repeat percent 4 { r4 } Is there a way to get just 4 slashes? Hi Rob, Here's how I do it: { \override Rest #'stencil = #ly:percent-repeat-item-interface::beat-slash \override Rest #'thickness = #0.48 \override Rest #'slope = #1.7 \repeat unfold 16 { r4 } } Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tips on quick entry
On 2017-01-06 13:39, Samuel Speer wrote: Hello list, It takes me ages to enter the note data into LilyPond. Last night I spent almost an hour a page just getting notes and lyrics in. Does anyone have any tips for quick entry? I do have a midi keyboard but haven't tried it much. It seems slow because I have to switch back and forth with the computer keyboard to do articulations, durations, etc. Hi Samuel, Composing and arranging directly into LilyPond is always going to be slow (since you're doing more than just note entry). But if you're just transferring music from paper to LilyPond, you can get pretty efficient. It's important to have a workflow that doesn't involve switching windows and typing "lilypond prelude.ly" in the terminal and whatnot. Use Frescobaldi or a similar setup with your editor of choice. Don't feel the need to wait for LilyPond to compile, especially for large scores. My approach is to keep typing music continuously. I hit Ctrl+M (Frescobaldi) every few bars or so, leave it on in the background while I keep transcribing, and maybe glance at its results. It's largely a matter of practice -- get really comfortable with LilyPond's syntax so you can confidently type a large chunk of music in without needing to look at the compiled output. Proofreading comes after the initial sprint through the music, and point and click is essential for that. Oh yeah, and I suggest using \language "english". Save a few characters. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overlapping Characters in markup
On 2016-12-23 08:07, Br. Samuel Springuel wrote: [...] While \translate works, and I can manipulate the offsets via trial and error, I'm stumped as to the units. I found the documentation for the function (lilypond.org/doc/v2.18/Documentation/notation/align) and it's companion \translate-scaled, but some idea as to the units (for either function) would be useful for coordinating this faked character across the project. Hi Samuel, Sorry, I was wrong -- you should use \translate-scaled, not \translate. As far as I can tell, \translate uses staff spaces. \translate-scaled also uses staff spaces, but multiplied by the magnification of the font size relative to a font size of 0. It doesn't seem that \translate-scaled is aware of any font metrics like em size. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Overlapping Characters in markup
On 2016-12-22 20:10, Br. Samuel Springuel wrote: If I wish to create a markup command that combines two characters from different fonts (the normal Roman font of the file and another font which provides special glyphs) in an overlapping fashion, how would I go about doing that? Thus far I have the following which has both characters, but no overlap: [...] Hi Samuel, \combine will overlay characters, and \translate lets you nudge things around to get them aligned properly. \markup { \combine V \translate #'(0.3 . 0.4) \override #'(font-name . "greextra") } Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is there a short way of forcing a particular octave?
On 2016-12-21 11:55, Kieren MacMillan wrote: Hi David, I can't see the point in avoiding any methodology that makes things easier and more reliable. I agree 100%. Which is exactly why I abandoned \relative and use only \absolute. ;) I also stopped using \relative a few years ago (I think it was in response to one of your posts here). No regrets here. It's alright for simple monophonic melodies, but it gets in the way when engraving anything with chords or polyphony. Also, if you break your music into sections and assign them to variables, you have to either 1) work out how octaves interact when juxtaposing these sections or 2) use a hybrid of absolute mode for structure and relative mode for note entry. The main downside to absolute mode is that wrapping stretches of music in \transpose is inconvenient, creating distracting structures in the code that don't reflect the music. As an example, try typesetting a line that ascends over several octaves without an abundance of apostrophes and commas in the source. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Override SystemStartSquare width?
On 2016-11-16 16:16, dtsmarin wrote: Hello, How can I extend the square bracket to fill the gap? (see attached image) <http://lilypond.1069038.n5.nabble.com/file/n196731/uglysquare.png> Hi Dmitris, Bad news. Looks like SystemStartSquare is hardcoded at 0.8 staff spaces (source: System_start_delimiter::line_bracket in system-start-delimiter.cc). It's possible to fix, but it will probably require Scheming. However, my attempt at reproducing looks different from your screenshot: \new StaffGroup \with { systemStartDelimiter = #'SystemStartBracket } << \new StaffGroup \with { systemStartDelimiter = #'SystemStartSquare } << \new StaffGroup \with { systemStartDelimiter = #'SystemStartSquare } << \new Staff { c'4 } \new Staff { c'4 } >> \new Staff { c'4 } >> \new Staff { c'4 } Apparently something in your code has squashed the delimiters together. Was that intentional? It would be helpful to see a minimal working example showing how to reproduce the screenshot. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to get irrational tuplets inside a regular meter like 9/8
On 2016-11-08 15:02, mclaren wrote: Whatever Lilypond is doing internally, there's some arbitrary limit to the numbers it uses. Time signatures above some large value cause a crash. Too many tuplets of too many different kinds causes Lilypond to crash. Hi mclaren, So you found bugs in LilyPond. In fact, I can reproduce the time signature issue in 2.19.50, since this code causes LilyPond to hang: { \time 99/1 s1 } You don't need to go on a whole rant about how it's stupid or unmusical, and you don't need to accuse LilyPond of being backed by a conspiracy of programmers out to destroy music. It's a mistake, plain and simple, and it was overlooked because nobody has reported it before, and nobody has reported it before because such time signatures are extremely rare. I certainly would not expect to see them outside of "score as art" works, such as some of Tom Johnson's graphic scores or John Stump's infamous parody engravings. I agree that these limitations are flaws in LilyPond that should be fixed. Maybe if you could grow up and stop being so entitled and accusative, the dev team would be willing to accommodate these needs, prioritization issues notwithstanding. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cross staff and beaming
On 2016-11-05 08:05, Andrew Bernard wrote: This is a question about cross staff stems and beaming. Referring to the attached example, can this be done by any means in lilypond? Am I missing something obvious? Is there perhaps any way to have beams from the bass and from the treble be made to coincide so as to get something like this, as a sort of fake out? Lilypond of course does its level best to avoid beams from the staves colliding. I am wondering if there is any way to override this behaviour, of course normally desirable, but here it would be useful. Hi Andrew, There's a hack for this that works very well, if I may say so myself. I don't think I ever posted it to the list and it's lost on an old hard drive, but it shouldn't be hard to recreate. This is a kind of cross-staff stem, the twist being that the stems being joined have opposing directions. Copy-paste the Scheme code for cross-staff stems, which has a check to ensure that the two stems that you're joining 1) have the same direction and 2) have horizontal positions are within a certain margin of error of each other (I think it was 0.01 staff spaces). Remove the first check and widen the margin as necessary. All you need to do then is manually shift one of the note columns until the stems connect, and it Just Works. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two different time signatures with different tuplets in 'em
On 2016-11-05 23:35, mclaren wrote: Urs Liska's and Andrew Ho's page break code works well on most examples I've worked through, but it doesn't work here. Hi mclaren, I hate to correct you, but the correct names are Hans Liska and Andrew Ho. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can't get page breaks for 7 over square root of 71 meter
On 2016-11-03 17:36, mclaren wrote: The problem comes from Lilypond's bizarre assumption that at some point all the barlines in the score will line up. In this case, clearly the barlines in the 7/sqr(71) staff will never line up with any of the other barlines in the score. Therefore Lilypond can't ever break the page. Hello mclaren, LilyPond does not allow you to break in the middle of note events by default. The solution is to remove Forbid_line_break_engraver from the Voice context, as described in the docs here: http://lilypond.org/doc/v2.18/Documentation/notation/line-breaking \layout { \context { \Voice \remove "Forbid_line_break_engraver" } } I admit to posting this without making much effort to understand your code, so apologies if this is does not solve the problem. I also agree with Urs' comment on your tone. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stencil questions (adding text and defining line style)
On 2016-09-21 11:49, Urs Liska wrote: Concretely I want to add a text element at a certain position to a (ly:stencil-add construction. Hi Urs, grob-interpret-markup is the way to create text. You can position it with ly:stencil-translate, and add it to another stencil using ly:stencil-add: (ly:stencil-add your-current-stencil (ly:stencil-translate (grob-interpret-markup grob (markup "Hey")) '(2 . 3))) ly:stencil-combine-at-edge is also really handy if you want to position a stencil relative to bounding box of another one, like "place this thing vertically centered so its left edge is 0.1 staff spaces away from the right edge of this other thing." The other thing I didn't find is: how can I create a dashed (or otherwise styled) line stencil with make-line-stencil? I don't think it's possible, but you can use draw-dashed-line / draw-dotted-line in a grob-interpret-markup. More generally: how can I learn more about these things? Searching lilypond.org seems to only point to snippets and no real explanations. I've generally relied on examining examples in the LSR to learn about this sort of thing. The "Scheme functions" section of the Notation and Internals manuals is helpful, but a lot of the functions are not clearly documented, and they're definitely not presented in a manner that's conducive to step-by-step learning. Since it's pretty tough to use stencils, as you can see I resort a lot to markups. They're not the perfect solution, but they're better documented and easier to use. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Open Sound control?
On 2016-08-13 06:52, bb wrote: https://de.wikipedia.org/wiki/Open_Sound_Control is sayed to replace MIDI. Is this something usefull for lilypond? Can one save osc files like MIDI files? OSC replaces one particular use of MIDI, which is for real-time communication between software or hardware devices. OSC is much more general than MIDI, making few assumptions about the kind of musical content being conveyed, and pretty much every application of OSC uses its own sub-protocol. For example, here is the command reference for scsynth, an app that makes heavy use of OSC: http://doc.sccode.org/Reference/Server-Command-Reference.html Any app that wants to talk to scsynth will have to know these commands. OSC has found use in music notation -- INScore (for animated/interactive scores) and IanniX (an OSC sequencer that acts as its own kind of graphic score). But these apps are nothing like LilyPond. SuperCollider has an "OSC Score" format which encodes a bunch of timed OSC messages. I'm not sure how standardized it is, but it's as close as OSC gets to the MIDI file. Again, the process of reading and writing these scores requires some agreed-upon sub-protocol suited to your specific application. It's a cool protocol, and very much alive. But it's not very useful to LilyPond. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: I am not top posting
On 2016-07-23 21:05, Robert Edge wrote: I have no idea why, but this interface won't let me ask a question. It says I am top posting. I am not top posting. I have not quoted anything. How do I send a message to this list? Sometimes if you have ">" symbols in LilyPond code, the list gets confused. If that happens, put this at the top of the message: I'm not top posting. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Segmentation fault with a bad systemStartDelimiter
Hi list, A bad value for StaffGroup.systemStartDelimiter appears to cause a segmentation fault: \version "2.19.45" \new StaffGroup \with { systemStartDelimiter = #'aaa } { c'4 } $ lilypond test.ly GNU LilyPond 2.19.45 Processing `traiettorie_ohshit.ly' Parsing... Interpreting music...Segmentation fault (core dumped) Is this the right place to report this sort of thing? Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Flute Accompaniment
On 2016-06-26 11:14, Br. Gabriel-Marie | SSPX wrote: In my piece I have a piano staff with the music on the bottom staff. In the upper staff it is supposed to be notes for recorder or flute accompaniment. In the original the flute notes and its staff are all a bit smaller in size. What do you call those smaller notes? I want to make the entire top staff + the notes just smaller so it is obvious to the singers not to try and sing the accompaniment. How do I do that? Hello, Try adding the following \with block to your Staff: \new Staff \with { fontSize = #-3 \override StaffSymbol.staff-space = #(magstep -3) \override StaffSymbol.thickness = #(magstep -3) } { % Music follows here } it's been a while since I used LilyPond so this knowledge might be a bit out of date... I think in the development version there's a new way to do this. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond statistics
On 2016-04-07 21:51, Dave Higgins wrote: Is there any way to generate statistics for a file? Things like, let say, a concordance or the number of a's b's or bes's, or repeated markup's? (I know I can do stuff like this with grep, but that's very singular.) Try event-listener.ly (http://lilypond.org/doc/v2.18/Documentation/notation/saving-music-events-to-a-file). It gives you a "database dump" of all the events in a file. You can either process this output with other programs, or use a custom fork of event-listener.ly that does the statistics for you. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use jazz fonts in LilyPond?
On 2016-03-06 16:10, Nathan Ho wrote: On 2016-03-06 15:10, Eric Albert wrote: I've been working from Leigh Verlag's page on faking a Real Book page in LilyPond (thanks to Kieren for the link): http://leighverlag.blogspot.ca/2015/12/mimicking-real-book-look.html That page answers many of my questions. I still have some font questions. Please forgive my ignorance of both LilyPond (this is my first project) and fonts in general (no experience other than changing fonts inside a Microsoft Word document). Can I use any jazz character font set with LilyPond? Or is there a magic order that the symbols need to be in? Music fonts are not very well standardized. The only layout standard is SMuFL, which was developed in 2013 -- too new to be used in LilyPond, Sibelius, or Finale. The consequence is that in general, you can't take a music font intended for one program and use it in another because different programs expect different layouts. The Jazz Font plug won't fit into the LilyPond socket, and you'll have to use an adaptor. The Jazz Font website claims compatibility with Sibelius and Finale. To my knowledge, I don't think anyone has written a LilyPond adaptor for one of those two formats. Crap, I completely misread the post. I see you meant using the chord symbols. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use jazz fonts in LilyPond?
On 2016-03-06 15:10, Eric Albert wrote: I've been working from Leigh Verlag's page on faking a Real Book page in LilyPond (thanks to Kieren for the link): http://leighverlag.blogspot.ca/2015/12/mimicking-real-book-look.html That page answers many of my questions. I still have some font questions. Please forgive my ignorance of both LilyPond (this is my first project) and fonts in general (no experience other than changing fonts inside a Microsoft Word document). Can I use any jazz character font set with LilyPond? Or is there a magic order that the symbols need to be in? Music fonts are not very well standardized. The only layout standard is SMuFL, which was developed in 2013 -- too new to be used in LilyPond, Sibelius, or Finale. The consequence is that in general, you can't take a music font intended for one program and use it in another because different programs expect different layouts. The Jazz Font plug won't fit into the LilyPond socket, and you'll have to use an adaptor. The Jazz Font website claims compatibility with Sibelius and Finale. To my knowledge, I don't think anyone has written a LilyPond adaptor for one of those two formats. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Funny LilyPond Score
On 2016-03-01 11:03, Abraham Lee wrote: Fellow Pond Dwellers, Here's a laugh for everyone today. I was browsing through the sea of scores on the web and stumbled across this one [1]. Enjoy! Funny! I was going to ask where you found this, but I answered my own question: https://opensource.com/life/16/2/lilypond-scores-beautiful-music Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: music writing
On 2016-02-27 11:25, Robert Sabourin wrote: how do you over ride the security in place? i get a message that this did not come from an apples store so it will not be installed. Hi Robert, Please use "Reply All" in mailing list conversations, thanks! Sorry, I don't use a Mac. Perhaps others on the list will be able to help you. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: music writing
On 2016-02-27 10:51, Robert Sabourin wrote: will this program work on an apple computer? i have an i-mac. Hi Robert, Welcome to LilyPond! Yes, the program is available for Mac: http://lilypond.org/macos-x.html Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Exited with return code -1073741819.
On 2016-02-25 16:23, MING TSANG wrote: I transcribe a score SA-TB + piano contains 118 measures. I enter the last measure and I got the error message. If I comment out measure #118, the compile went OK. I double check measure 118 and there is no code error. What is the error message "Exited with return code -1073741819." mean ? What to do to resolve. I am running frescobaldi -lilypond in window 10. In the past I remember encountering a very strange bug where LilyPond would segfault on a file for no apparent reason. If I changed any note, the error went away, and reverting would restore the segfault. There wasn't anything extraordinary about the file either: it was just a page of conventional music notation. Fortunately it only happened with a very particular unfinished engraving, so I just went on with music entry and it never happened again. Maybe you're encountering the same bug. Whatever the case is, I don't think we can do much to help you without any code. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tie across voices
On 2016-02-12 15:37, Joseph N. Srednicki wrote: In the following three-beat example, I am trying to tie the upper-voice note in the second beat with the lower-voice note of the third beat. My example seems to work somewhat, but the notes of the upper and lower voices of the second and third beats do not align vertically as they should. Can someone please explain how to align the upper and lower voices in the second and third beats or another approach to the problem of coding the tie across voices? I tried using \shiftOn to align the voices, but I was unsuccessful. I used Google to search and found the snippet located at http://lsr.di.unimi.it/LSR/Snippet?id=8 [1]. I tried to follow this snippet as an example. Hi Joseph, Here's how you fix the shifting problem: \language "english" \relative c' {\key d\major \time 3/8 << { fs8 b d } \\ { cs,8 es b' } \\ { \override NoteColumn.force-hshift = #0 \hideNotes s8 b8~ b8 } >> } Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: overlaying noteheads in different voices
On 2016-02-08 19:27, Charles O. Lawrence wrote: How do I get the dotted half low a in voice 2 to overlay (blot out? I don't know the proper terminology) the eighth low a in voice 1? I searched the LSR, but came up empty, probably because I don't know the proper lilypond terminology for this notation. Hi Charles, I don't advise doing this because it is possible to interpret the eighth note as dotted. But if you must, you're looking for \mergeDifferentlyHeadedOn and \mergeDifferentlyDottedOn. See http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices#collision-resolution Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very fast typesetting regardless of beauty?
On 2016-02-03 17:51, Isaac Reilly wrote: Hi all, I'm working on a graphical music editing program. The final output (with Lilypond, of course) is going great, but for editing the music in real-time it's way too slow. Can you give me advice or point me toward a resource on speeding up Lilypond by turning off features? For instance, I don't care about stem length, beam slant, collisions between noteheads and anything else, collisions between markup elements, or spacing between staves. And since it will always be rendering to a single page wide enough to hold it all on one line, I'd like to turn off the line break calculations. What do you suggest? Hi Isaac, I hate to be the bearer of bad news, but LilyPond doesn't seem to be the right tool for real-time engraving. Maybe take a look at guidolib (http://guidolib.sourceforge.net/), which is specifically intended for real-time engraving. INScore (http://inscore.sourceforge.net/) is a very cool environment that employs guidolib for animated, interactive scores. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Is this an error?
On 2016-01-29 07:54, Joseph Breton wrote: AMDG I am just learning using OOolilypond. The following code prints out b flat and not b natural. Try as I might, I have not been able to remedy the problem. Any suggestions? Thanks. melody = \relative c' { \key g \major \time 3/4 b } \score { \new Staff \melody \layout { } \midi { } } Hi Joseph, This compiles fine for me. The weird output must mean that your language is set to deutsch, norsk, suomi, or svenska. Please check for a \language command. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Learning more complicated lilypond coding
On 2016-01-29 14:54, Charles O. Lawrence wrote: For my edification in learning more complicated lilypond coding techniques, could one of you gurus post a sample of how to code the attached measure. The complication, for me at least, is the fact that the r8 should come AFTER the bass clef. With this code \relative c' {\clef treble \time 2/4 \clef bass r8} the initial treble clef disappears. Perhaps this behavior is the norm, but I would like the r8 to appear after the mid measure bass clef, as shown in the image. I'm sure it can be done. What say you. Hi Charles, I think this LSR snippet should work for you: http://lsr.di.unimi.it/LSR/Item?id=792 Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: simplifying chromatic scale notation
On 2016-01-25 21:35, Paul Morris wrote: On Jan 25, 2016, at 4:19 PM, musicus <tomtom-ilm...@web.de> wrote: See attached. Comments, suggestions are very welcome ;) Hi musicus, I think you’re right that standard notation is not as good as it could be for such chromatic music, and you have an interesting approach for improving it. I agree with what others have said about the ambiguity of the notes though. One idea would be to use triangle shapes for the accidental notes to better clarify their relation to the “natural” or rather in-the-key, non-accidental, notes. Like a diatonic-staff version of Reed’s Twinline: http://musicnotation.org/system/twinline-notation-by-thomas-reed/ [1] There's http://www.simplifiedmusicnotation.org/. They offer a commercial plugin for Sibelius, but I also have a LilyPond implementation for it lying around somewhere. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: unterminated tie
On 2016-01-15 11:49, Mark Stephen Mrotek wrote: Hello: I cannot find the "unterminated tie" in the following measures. r4 q2 | r4 <f~ aes~ ces~>2 | q2. | r4 <f'~ aes~ ces~>2 | r4 <f~ aes~ ces~>2 | % this line highlighted. Hi Mark, Check your octaves on the f. If you're in relative mode, the second f on this line ends up an octave higher. If you're in absolute mode, f is of course an octave lower than f'. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: unterminated tie
On 2016-01-15 12:26, Mark Stephen Mrotek wrote: Nathan, Thank you for your reply and the observation. I did not mention that the second f is after a clef change - bass to treble - so the ' is necessary. Since it compiles correctly, perhaps it is just a "glitch" in the program. Hi Mark, Clef changes do not affect pitch; they only change the way pitches are displayed. Are you trying to engrave a cross-clef tie? If so, this snippet might help you: http://lsr.di.unimi.it/LSR/Item?id=326 But I can only grasp at straws here. As Malte pointed out, your example isn't complete. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bravura svg font
On 2016-01-07 02:57, Paul Booker wrote: Thanks Nathan, Since posting, I've scanned the bug and devel groups, and it would appear I am not being fashionable in wanting to do this. The trend seems to be toward woff fonts for svg, is that the case? Yes and no. The openlilylib font project mostly supersedes the SMuFL implementation. I haven't been keeping up on the project (since I haven't been using LilyPond much lately), but I'd wager it is superior for the specific case of typesetting music in Bravura/Profondo. When the site gets back up, I suggest you use their work. However, the LilyJAZZ dynasty still lives on. The most serious use is probably Robert Piéchaud's commercial font November. The least serious use is the recent Christmas font adaptation by Leigh Verlag :) Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bravura svg font
On 2016-01-06 11:23, Paul Booker wrote: Hi, I'm a new use of lilypond-windows on Win 8.1 64bit and Win 7. First of all, thanks for wonderful software; I'm generating many snippets for educational purposes. My main problem so far is getting the bravura alternative font to appear. I don't mind trying a few things, but this problem has me stumped. Hi Paul, I'm responsible for this issue as the maintainer of the SMuFL implementation. Thanks for reporting the bug; I'll get on this tomorrow. By the way, there is another way to get Bravura (and a whole host of other fonts) in LilyPond. It should be available at fonts.openlilylib.org but that site seems to be down for the moment. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bravura svg font
On 2016-01-07 15:49, Simon Albrecht wrote: In case others be interested: <http://leighverlag.blogspot.de/2015/12/a-small-holiday-gift.html> Nice and funny :-) Thanks, Abraham (and Mark)! Yours, Simon There aren't enough novelty music fonts out there. Once I was a kid and I entered "Take Me Out to the Ballgame" in Finale PrintMusic, then edited it in Paint to make the noteheads baseballs and to make the clefs wear little baseball caps. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When to Use Pound Signs
On 2016-01-05 20:55, Colin Campbell wrote: On 16-01-05 09:47 PM, Andrew Bernard wrote: According to the Unicode Standard 6.2, this is u0023, which is designated Number Sign, and also known equivalently as: pound sign, hash, crosshatch, octothorpe I have always called it octothorpe, mostly because it is just such a great word! I wonder if the spaces delimited by the lines are thorpes? I' also carpent for a living, though. Fun fact -- the term "octothorpe" was completely fabricated and doesn't have an etymology. It started out as an in-joke at Bell Labs: http://dougkerr.net/Pumpkin/articles/Octatherp.pdf A lot of young people today call the symbol a "hashtag." Some might scoff at this since a hashtag is an application of a hash and not the symbol itself, but hey, metonymy is metonymy. Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Child quote
On Mon, Sep 28, 2015 at 8:28 AM, Menu Jacqueswrote: > Hello folks, > > My grand-son, 6 years and a half old, discovered what he named a rainbow in > the first LP score I’ve done for him. The goal is for him to copy it by hand > on empty staves. > The rainbow is actually a fermata… \markup { \combine \with-color #(x11-color "purple") \musicglyph #"scripts.ufermata" \fontsize #1 \combine \with-color #(x11-color "blue") \musicglyph #"scripts.ufermata" \fontsize #1 \combine \with-color #(x11-color "green") \musicglyph #"scripts.ufermata" \fontsize #1 \combine \with-color #(x11-color "yellow") \musicglyph #"scripts.ufermata" \fontsize #1 \combine \with-color #(x11-color "orange") \musicglyph #"scripts.ufermata" \fontsize #1 \with-color #(x11-color "red") \musicglyph #"scripts.ufermata" } ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Time signature denominator as a note rather than number?
On Tue, Sep 15, 2015 at 7:12 PM, ViniWolfling <vinicius.mascaren...@icloud.com> wrote: > Hi everybody, > > Anybody know how to put a note instead of a number in the denominator? Or at > least /if/ it can be done? For example: > > <http://lilypond.1069038.n5.nabble.com/file/n181175/time_signature_with_notes.png> > > Thanks in advance! Hello, Have a look at this LSR snippet: http://lsr.di.unimi.it/LSR/Item?id=642 Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: Beauty of programming languages
On Thu, Sep 10, 2015 at 12:50 PM, Kieren MacMillan <kieren_macmil...@sympatico.ca> wrote: > Hi Nathan, > >> Most music I work with now is not conventionally notated, >> so I haven't found much use for LilyPond recently. > > What kinds of things do you do? > How *is* it notated? > > You may be the perfect [kind of] person to help make her the best notation > application ever. =) > Most of it has no notation at all -- freely improvised (no written notation), or purely electronic (no human performers). Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: Beauty of programming languages
On Thu, Sep 10, 2015 at 11:59 AM, Tim Reeves <tim.ree...@tokamerica.com> wrote: > Age: 49 > Amateur hornist. > Typesetting of existing parts, occasionally creating simple exercises, > fingering charts, etc. Not a regular user, but like to keep up on > development. > I use Frescobaldi every time for some time now, and I've been using LP for > roughly eight years. > Age: 18 Composition and piano student. I have been using LilyPond on-and-off for about six years, nowadays mostly for arrangements and transcriptions. Most music I work with now is not conventionally notated, so I haven't found much use for LilyPond recently. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: set barlines manually
On Wed, Aug 26, 2015 at 12:40 PM, Mátyás Seress serima...@gmail.com wrote: Hi all, how can I set barlines completely manually throughout a whole sheet music? If you have no time signatures, remove Time_signature_engraver and use \cadenzaOn. You can place bars with \bar |. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Randomness in layout
On Fri, Aug 21, 2015 at 4:16 AM, Malte Meyn lilyp...@maltemeyn.de wrote: Am 21.08.2015 um 12:55 schrieb Malte Meyn: I think that it should be possible to redefine ( to tweak every slur with some randomness. Here you go: You can also do \relative { \override Slur.eccentricity = #(lambda (grob) (* 0.5 (random:normal))) c'2( d) c( d) ... } To address the OP, I have experimented with this before with wobbly noteheads, with the motivation of creating a generative jazz font: http://lsr.di.unimi.it/LSR/Item?id=859 It was a fun Scheme exercise, but I never followed through with the rest of the font. I just handwrite my lead sheets these days. I think the best way to make an engraving look dirtier would be to use LilyPond normally and apply some sort of post-processing. Perhaps convert to raster, add noise and distortion, and autotrace. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sibelius 8
On Wed, Jun 24, 2015 at 9:27 AM, Urs Liska u...@openlilylib.org wrote: Sibelius 8 has arrived - and gives an implicit answer to the questions that have arisen after they let their collected development competence go ... http://www.sibeliusblog.com/news/sibelius-8-is-here/ Corpses for sale, only $670 each. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A Chord Question
On Sun, Jun 21, 2015 at 4:27 PM, William Marchant wmarch...@eastlink.ca wrote: Using the \chordmode function, when I enter a:m7.5- I get as shown in the documentation. The guitarist in our group would very much like to stay with the notation he is used to. Namely . Hi William, Have a look at http://lilypond.org/doc/v2.19/Documentation/notation/displaying-chords#customizing-chord-names, which contains all the info you'll need for customizing the chord name system. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Polyphonic notes slur solution
On Sun, Jun 21, 2015 at 12:22 AM, rsfjr rsfj...@gmail.com wrote: I placed a \override Staff.Arpeggio.direction = 1 at the code, so that the arpeggio parenthesis would be at the right. It works OK, but, can it be mirroed? The parenthesis is pointed out the note pair. Tried the \shape command and nothing was changed. This should do the trick: \override Staff.Arpeggio.stencil = #(lambda (grob) (ly:stencil-scale (ly:arpeggio::brew-chord-slur grob) -1 1)) Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Polyphonic notes slur solution
On Fri, Jun 19, 2015 at 11:48 PM, rsfjr rsfj...@gmail.com wrote: Hello, I am trying to overcome an issue. I need to place some slurs in a polyphonic pair, connecting the noteheads. Is there any workaround? Hi rsfjr, LilyPond doesn't support vertical slurs. What you're looking for is \arpeggioParenthesis + \arpeggio: http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio Cross-voice arpeggios are supported via Staff.connectArpeggios. Unfortunately, cross-voice arpeggios *and *\arpeggioParenthesis don't work together (!), requiring us to excavate the inner workings of \arpeggioParenthesis and adapt them to the Staff context. It's details like this that make me hate LilyPond sometimes :) The final outcome: \new Staff \with { \consists Span_arpeggio_engraver } { \set Staff.connectArpeggios = ##t \override Staff.Arpeggio.stencil = #ly:arpeggio::brew-chord-slur \override Staff.Arpeggio.X-extent = #ly:grob::stencil-width { b'\arpeggio } \\ { g'\arpeggio } % And, of course, the slur's too short vertically and there's no simple override to fix it... } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Assertion failed!
On Fri, Jun 12, 2015 at 8:10 AM, Daniel Rosen drose...@gmail.com wrote: Hello all, When I try to attach a balloon to a whole note, like this: %%% Snippet begins \version 2.19.21 \new Voice \with { \consists Balloon_engraver } { \balloonGrobText #'Stem #'(3 . 3) \markup { I'm a Stem } g1 } %%% Snippet ends I get the attached pop-up window. Is this an issue on my end, or is it a bug? Definitely a bug. On my system the score compiles, but produces four warning: Found infinity or nan in output. Substituting 0.0 warnings and the PDF output looks weird (the staff is at the top of the page and the note overlaps the clef). Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Formatting Titles...
On Tue, Jun 9, 2015 at 11:11 PM, Marco Bagolin bagolin.ma...@gmail.com wrote: Hello all. I must to format titles. I write the following code: \header { dedication = \markup \override #'(font-name . Book Antiqua) \bold {Music from the Motion Picture} title = \markup \override #'(font-name . Book Antiqua) \fontsize #+2 { \bold TITLE} composer = \markup \override #'(font-name . Book Antiqua) \bold {COMPOSER} arranger = \markup \override #'(font-name . Book Antiqua) \italic {Arranged by MARCO BAGOLIN} tagline = } But what I wrote is not functioning correctly. italic and bold commands are ignored. Hi Marco, try this out: \header { dedication = \markup \override #'(font-name . Book Antiqua Bold) Music from the Motion Picture title = \markup \override #'(font-name . Book Antiqua Bold) \fontsize #+2 { TITLE} composer = \markup \override #'(font-name . Book Antiqua Bold) COMPOSER arranger = \markup \override #'(font-name . Book Antiqua Italic) Arranged by MARCO BAGOLIN tagline = } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scheme function
On Wed, Jun 10, 2015 at 7:17 AM, Víctor piratabonifa...@gmail.com wrote: Hi all: solfa = #(define-music-function (parser location framed number note) (string? string? string?) #{ ^\markup{ \box \pad-to-box #'(0 . 0) #'(0 . 2.2){ #framed } #number : \italic #note } #}) \relative c' { c4^\solfa C I do } I need this function to stop drawing the box when first argument is or stop printing the : when second or third argument are . I'm very new to Scheme and any help is very much apreciated. Regards, Víctor. Hi Victor, Here's one way to do it: solfa = #(define-music-function (parser location framed number note) (string? string? string?) (make-music 'TextScriptEvent 'direction 1 'text (markup (if (not (equal? framed )) (markup #:box #:pad-to-box '(0 . 0) '(0 . 2.2) framed) ) #:simple number (if (not (or (equal? number ) (equal? note ))) (markup #:simple :) ) #:italic note))) \relative c' { c1^\solfa C I do c1^\solfa I do c1^\solfa C do c1^\solfa C I } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Formatting tempo text
On Mon, Jun 8, 2015 at 9:03 PM, Marco Bagolin bagolin.ma...@gmail.com wrote: Hello all. How can I obtain what you can see in What_I_want.png file? My best result is in myresult.png file. The code I wrote is the following: \tempo \markup {\column {\line { \tiny {''Do You Want to smile?''}} \line {Moderate - rhytmic, but expressive}}} But I want to obtain the formattation as in What_I_want.png file with the title Do You Want to smile? not bolt and with the marks under the text. Thank you all for the help. Hi Marco, Markups can be unbolded with the \normal-text markup command, and the vertical order of rehearsal marks and tempo markings can be modified with the outside-staff-priority grob property. { \override Score.RehearsalMark.outside-staff-priority = #1000 \override Score.MetronomeMark.outside-staff-priority = #1500 \mark \markup \box 42 \tempo \markup { \column { \line { \tiny \normal-text { ''Do You Want to smile?'' } } \line {Moderate - rhytmic, but expressive } } } c'1 } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ostinato rhythm
On Sun, Jun 7, 2015 at 10:52 AM, Dan Eble d...@faithful.be wrote: % complete the bass ostinato on the same pitch as the preceding % quarter note ost = \notemode { r8 8~ 4 4 } Used like: | g4 \ost | a4 \ost | … This is good for avoiding some typing in a long piece. Can anyone improve on it? (For example, sometimes I need the same rhythm involving three separate pitches.) TIA. Hi Dan, Have a look at http://lsr.di.unimi.it/LSR/Item?id=654 Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-no-repeat and grace notes
On Sat, Jun 6, 2015 at 5:52 PM, Gilberto Agostinho gilbertohasn...@gmail.com wrote: Hi all, I found a little problem with the \accidentalStyle dodecaphonic-no-repeat. When there is a grace note between two identical pitches, the second one does not receive an accidental as it's suppose to: \version 2.19.15 \relative c' { \accidentalStyle dodecaphonic-no-repeat \textLengthOn cis4 b cis2^all fine here cis2 \grace{b8} cis2^no accidental } producing: http://lilypond.1069038.n5.nabble.com/file/n177554/lily.png Does anyone know any workaround for this? A manual workaround is to force the accidental using an exclamation point: \relative c' { \accidentalStyle dodecaphonic-no-repeat \textLengthOn cis4 b cis2^all fine here cis2 \grace{b8} cis2^no accidental cis2 \grace{b8} cis!2^manually added } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override stencil question
On Thu, Jun 4, 2015 at 2:41 PM, priosfilho pauloriosfi...@gmail.com wrote: Sorry, Nathan. I will try to make my point clearer. *Firstly*, I got the code developed earlier in this thread and altered the numbers of handles of path-gliss to four -- the original version came with the values (list 'curveto 0 0 (first handle) (second handle)). Thanks, this is what I was asking for. It seems that part of the problem is the mailing list wrapping long lines, so I'll attach the code. Regards, Nathan \version 2.18.2 glissWidth = #0.175 % global variable for glissando width #(define (radians-degrees theta) (* theta (/ 180 PI))) #(define (path-gliss handle) (lambda (grob) (if (ly:stencil? (ly:line-spanner::print grob)) (let* ((stencil (ly:line-spanner::print grob)) (X-ext (ly:stencil-extent stencil X)) (Y-ext (ly:stencil-extent stencil Y)) (width (interval-length X-ext)) (height (interval-length Y-ext)) (lefty (cdr (assoc 'Y (ly:grob-property grob 'left-bound-info (righty (cdr (assoc 'Y (ly:grob-property grob 'right-bound-info (deltay (- righty lefty)) (dir (if ( deltay 0) 1 -1)) ) (ly:stencil-translate (ly:stencil-add (grob-interpret-markup grob (markup (#:path glissWidth (list (list 'moveto 0 0) (list 'curveto (first handle) (second handle) (third handle) (fourth handle) width (* height dir)) (ly:stencil-translate ; the \rotate markup command doesn't let us pick a rotation center, so we resort to the stencil command (ly:stencil-rotate (grob-interpret-markup grob (markup #:arrow-head X RIGHT #t)) (radians-degrees ($atan2 (- (* height dir) (fourth handle)) (- width (third handle 1 0) (cons width (* height dir (if ( dir 0) (cons (interval-start X-ext) (+ (interval-start Y-ext) 0.1)) (cons (interval-start X-ext) (+ (interval-start Y-ext) height) #f))) #(define (add-gliss m) (case (ly:music-property m 'name) ((NoteEvent) (set! (ly:music-property m 'articulations) (append (ly:music-property m 'articulations) (list (make-music (quote GlissandoEvent) m) (else #f))) addGliss = #(define-music-function (parser location music) (ly:music?) (map-some-music add-gliss music)) \relative c' { \numericTimeSignature \tempo 4=52 \override NoteHead.font-size = #-1.5 $(add-grace-property 'Voice 'NoteHead 'font-size -4.5) \time 5/8 \override Score.GraceSpacing.spacing-increment = #7 \once \override Glissando #'bound-details = #'((right (attach-dir . -2) (end-on-accidental . #f) (padding . 1)) (left (attach-dir . 0) (padding . 0.))) \addGliss { \once \override Glissando #'stencil = #(path-gliss '(7 1 0 4)) \grace b16 a''4.~-} \tuplet 5/4 { a16 gis fis, e'- a,~ } \time 3/8 }___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override stencil question
On Thu, Jun 4, 2015 at 1:14 PM, priosfilho pauloriosfi...@gmail.com wrote: Thanks a lot, Nathan! This will really works fine. I just have one question now. I would very much appreciate if you could help me with that. I would like to have local control upon all the four variables of list 'curveto. With the set-arc function you created, I have control only upon the two last variables. Hi Paulo, I think we're miscommunicating here, because I didn't create the set-arc function. My code was developed from a version earlier in the thread -- I couldn't work off your code because it's broken. At the end of the definition of path-gliss, there's a mismatched )#f))) and the example doesn't invoke the path-gliss function at all. I'm sorry, but there's only so much I can do without a working example of what you're using! If you can provide that, I can complete the task of getting the arrowhead working in your code. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override stencil question
On Thu, Jun 4, 2015 at 11:06 AM, priosfilho pauloriosfi...@gmail.com wrote: Hi, I'm just new to Lilypond, not a programing knower, but just trying to follow some instructions on the forum so I can finally achieve really beautiful scores in a not-too-easy but definitely intelligent way. I wanted to make a curved glissando between two notes and this thread helped me a lot with that. I am able to redraw the curve to fit my intents but by now I am just missing an arrow at the end of it pointing to the second note's notehead. Hi Paulo, Can you show me the code you're using, or link to the thread you got it from? Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override stencil question
On Thu, Jun 4, 2015 at 11:35 AM, priosfilho pauloriosfi...@gmail.com wrote: Hey Nathan This is just the code developed in the thread plus more adjustable handles for curveto: Unfortunately this code isn't compiling for me. There are a few extra )'s in there. I created this from code earlier in the thread; maybe it'll help you: arc = #(list 0 0) % global variable to bezier curve handle glissWidth = #0.2 % global variable for glissando width #(define (set-arc x y) (set! arc (list x y))) #(define (get-arc) arc) #(define (radians-degrees theta) (* theta (/ 180 PI))) #(define (path-gliss grob) (if (ly:stencil? (ly:line-spanner::print grob)) (let* ((stencil (ly:line-spanner::print grob)) (X-ext (ly:stencil-extent stencil X)) (Y-ext (ly:stencil-extent stencil Y)) (width (interval-length X-ext)) (height (interval-length Y-ext)) (lefty (cdr (assoc 'Y (ly:grob-property grob 'left-bound-info (righty (cdr (assoc 'Y (ly:grob-property grob 'right-bound-info (deltay (- righty lefty)) (dir (if ( deltay 0) 1 -1)) (handle (get-arc))) ;- getting the handle value here (ly:stencil-translate (ly:stencil-add (grob-interpret-markup grob (markup ;(#: tiny (format ~a (ly:grob-properties grob))) ;(format ~a (cdr (assoc 'Y (ly:grob-property grob 'left-bound-info ;(#: tiny (format ~a handle)) (#:path glissWidth (list (list 'moveto 0 0) (list 'curveto 0 0 (first handle) (second handle) width (* height dir)) (ly:stencil-translate ; the \rotate markup command doesn't let us pick a rotation center, so we resort to the stencil command (ly:stencil-rotate (grob-interpret-markup grob (markup #:arrow-head X RIGHT #t)) (radians-degrees ($atan2 (- (* height dir) (second handle)) (- width (first handle 1 0) (cons width (* height dir (if ( dir 0) (cons (interval-start X-ext) (+ (interval-start Y-ext) 0.1)) (cons (interval-start X-ext) (+ (interval-start Y-ext) height) #f)) \new Staff \with { \override Glissando #'bound-details = #'((right (attach-dir . 0) (end-on-accidental . #f) (padding . 2.)) (left (attach-dir . 0) (padding . 0.))) \override Glissando #'stencil = #path-gliss } \transpose c c' { #(set-arc 2 -4) c2\glissando c''2 } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: change font name of just lyrics?
On Tue, May 26, 2015 at 10:34 AM, Joshua Nichols josh.d.nich...@gmail.com wrote: I've looked for a hack, but I haven't found one yet. I was wondering if y'all could expedite my question: I'd like to be able to change the default lyric font to a different font within the same font family. I have an expert font that has many different weights and a condensed form, and I'm not quite sure how to tweak just the lyrics. Here's the hack: #(define ((force-font font-name) grob) (grob-interpret-markup grob (markup #:override (cons 'font-name font-name) (ly:grob-property grob 'text \new Staff { c'4 d'4 e'2 } \addlyrics { \override LyricText.stencil = #(force-font Ubuntu) Li -- ly -- Pond } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: variable containing header
On Tue, May 26, 2015 at 5:23 AM, Gianmaria Lari gianmarial...@gmail.com wrote: I'm trying to define a variable containing the header but lilypond does not accept it. Am'I doing some error or is this forbidden? % my source \version 2.18.2 head = \header { title = The Third Position } \score { {a b c d} \head \layout {} } Thank you, g Unfortunately it's not possible :( The grammar simply doesn't allow assignment of \header objects to variables. As proposed here https://lists.gnu.org/archive/html/lilypond-user/2013-04/msg00184.html one workaround is to place the header in a separate file and use \include. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sometimes order is significant
On Mon, May 25, 2015 at 7:05 AM, Knute Snortum ksnor...@gmail.com wrote: I've noticed over the months I've been using LilyPond that there are some parts of the syntax that depend on order and some that don't. For example: { c'!8 } Everything about must be in the exact order -- the note letter, the octave indicator, the force accidental, and the rhythm. Are there others? Everything else I can think of can be in any order. { c---.~([ } And so on. Is this worth mentioning in the documentation somewhere? Specifically, I had to do a little experimenting to figure out where the forced accidental markers (!?) were places syntactically. This cheat sheet shows many note syntax elements in the correct order: http://joramberger.de/files/lilypond_sheet_2.18_en.pdf It seems that all the components starting with string number can be placed in any order. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sometimes order is significant
On Mon, May 25, 2015 at 2:38 PM, Nathan Ho when.possi...@gmail.com wrote: This cheat sheet shows many note syntax elements in the correct order: http://joramberger.de/files/lilypond_sheet_2.18_en.pdf It seems that all the components starting with string number can be placed in any order. Here's a more formal answer which can be found by delving into the LilyPond grammar. http://www.lilypond.org/doc/v2.18/Documentation/contributor/lilypond-grammar To oversimplify, a monophonic note is divided into a simple_event and any number of post_events. A simple_event breaks down like so: - pitch (note name + octave) - forced accidental markers - octave check - note duration and multiplier - \rest Beams, slurs, articulations, fingerings, etc. all fall under post_events, which can occur in any order. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rhytm
On Fri, May 22, 2015 at 2:13 PM, Gianmaria Lari gianmarial...@gmail.com wrote: I'm creating in lilypond a violin study.Every measures have the same rhytmic configuration. For instance the first measure is: g4. \tuplet 3/2 a8 (b8 c8) and the second... d4. \tuplet 3/2 e8 (f8 g8) Does exist any way to simply write the melody and apply to the melody this specific rhytm ? So I would write: g a b c d e f g ?? Thank you, g. Hi Gianmaria, Take a look at http://lsr.di.unimi.it/LSR/Item?id=654 Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question about copyrights and licenses on the LSR
On Sat, May 2, 2015 at 3:17 PM, David Bellows davebell...@gmail.com wrote: Hey all, I'm trying get everything organized and altogether legal and what-have-you with respect to my big music/software project the Platonic Music Engine (www.platonicmusicengine.com) which means that I need to make sure all the dependencies I'm using have the appropriate license and copyright information. I am using a few snippets hosted on the LSR but notice that at least these don't have any copyright notices or licenses and I don't see anything on the LSR about some general licensing thing that applies to all the submissions. It's all public domain. From http://lsr.di.unimi.it/LSR/html/whatsthis.html: The content of the database is public domain, so you can use it, copy it, modify and redistribute it with no obligation. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Height of start bar brace
On Sun, Apr 26, 2015 at 12:45 PM, Noeck noeck.marb...@gmx.de wrote: Hi, can I change the height of a start bar brace, like in \version 2.19.16 \new PianoStaff \new Staff { R1 } \new Staff { R1 } I would like to reduce the vertical size a little bit. For some reason this solution doesn't automatically center the bracket perfectly, but it's a start. \version 2.19.16 \new PianoStaff \with { \override SystemStartBrace.stencil = #(lambda (grob) (let* ((scale-amount 0.9) (stil (ly:system-start-delimiter::print grob)) (scaled-stil (ly:stencil-scale stil scale-amount scale-amount)) (extent (ly:stencil-extent stil Y)) (height (- (cdr extent) (car extent (ly:stencil-translate-axis scaled-stil (+ (* -0.5 (- 1 scale-amount) height) -0.3) ; adjust this to nudge it Y))) } \new Staff { R1 } \new Staff { R1 } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: the sound of brushes
On Tue, Apr 7, 2015 at 1:54 PM, PharaoS yves.hoche...@wanadoo.fr wrote: I am trying to get the sound of the jazz brushes with midi \drums { sn2^brush sn1 sn sn sn} gives me only short snaps. Is it possible to improve that This is a consequence of the MIDI player you're using, and not something that can be controlled by LilyPond. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Defining event classes
On Tue, Mar 31, 2015 at 4:41 PM, David Nalesnik david.nales...@gmail.com wrote: You need to add 'event' to types for your event to register. (I'd have to investigate why.) Also, 'music-event' should be replaced with 'general-music'. #(define bang-types '( (BangEvent . ((description . BANG!) (types . (general-music event bang-event)) )) )) Hope this helps! David Thanks David, that works perfectly. I hope that there'll be an easy, forward-compatible way to do all this in the future. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Padding inside \bracket markup?
On Tue, Mar 31, 2015 at 7:40 AM, Trevor Bača trevorb...@gmail.com wrote: Hi, Is there a way to pad bracketed markup ... % doesn't work \override #'(padding . 2) \bracket Foo ... analogously to parenthesized markup ... % does work \override #'(padding . 2) \bracket Foo ... with an \override, or equivalent? Trevor. Try this: \bracket \pad-around #2 Foo Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Having shortInstrumentName appear at start of score (instead of instrumentName)?
On Tue, Mar 31, 2015 at 12:46 PM, Trevor Bača trevorb...@gmail.com wrote: Hi, Let's say that I have a stylesheet that sets instrumentName values and shortInstrumentName values for a bunch of contexts in the normal way: \context { \Staff ... instrumentName = \markup { Flute } shortInstrumentName = \markup { Fl. } } \context { \Staff ... instrumentName = \markup { Oboe } shortInstrumentName = \markup { Ob. } } ... QUESTION: is there a way to have the shortInstrumentName values appear at the start of the score (meaning that the instrumentName values will never appear)? The question looks pathological. (Why would you set a value for instrumentName if you don't want instrumentName to appear in the score?) But the motivation is as follows. I have a complex score that I've broken into multiple chunks (meaning separate LilyPond files with separate score blocks). All chunks \include the same stylesheet. But I want instrumentName to appear at the start of only chunk 1 (because chunk 1 is the start of the actual sore). For chunks 2, 3, ... I'd like shortInstrumentName to appear at the start of each score (because each non-first score is actually modeling subsequent parts of the one actual score). I can't imagine that there would be a setting for this. But is there some sort of Scheme wizardry that can be put at the beginning of each of the non-first score chunks to say set instrumentName to the value of shortInstrumentName? This is pretty nasty but it does what you're trying to accomplish. shortInstrAsInstr = #(lambda (context) (ly:context-set-property! context 'instrumentName (ly:context-property context 'shortInstrumentName)) '()) \new Staff \with { instrumentName = Viola shortInstrumentName = Vla. \consists \shortInstrAsInstr } { c1 c1 \break c1 c1 } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Defining event classes
On Mon, Mar 30, 2015 at 1:44 PM, Nathan Ho when.possi...@gmail.com wrote: Hi list, What is the most up-to-date way to define my own event classes? I've looked at frameEngraver as a model but none of the old versions seem to be working. The most up-to-date one I could find (https://lists.gnu.org/archive/html/lilypond-user/2013-07/msg00373.html) gives me numerous Event class should be a list errors and the frames don't show up in the output, while this one (https://lists.gnu.org/archive/html/lilypond-user/2013-07/msg00554.html) spits out a few errors and segfaults. I'm using 2.19.17. Not hugely surprised to see that didn't get a quick answer :) With some trial and error and fumbling around I came up with the following code. Unlike the frame engraver code, this returns no errors or warnings, but the engraver doesn't seem to notice the BangEvent at all. If I change the listener to listen to music-event, then bang-trigger calls four times (once per note) seemingly ignoring the \bang. What's going on here? \version 2.19.17 #(define-event-class 'bang-event 'music-event) #(define bang-types '( (BangEvent . ((description . BANG!) (types . (bang-event music-event)) )) )) #(set! bang-types (map (lambda (x) (set-object-property! (car x) 'music-description (cdr (assq 'description (cdr x (let ((lst (cdr x))) (set! lst (assoc-set! lst 'name (car x))) (set! lst (assq-remove! lst 'description)) (hashq-set! music-name-to-property-table (car x) lst) (cons (car x) lst))) bang-types)) #(set! music-descriptions (append bang-types music-descriptions)) #(set! music-descriptions (sort music-descriptions alist?)) #(define (bang-trigger engraver event) ; use ly:warning as a quick hack to get it to show up in the output log (ly:warning hell)) #(define Bang_engraver (make-engraver (listeners (bang-event . bang-trigger bang = #(make-music 'BangEvent) \new Staff \with { \consists #Bang_engraver } { c1 c1 \bang c1 c1 } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Defining event classes
Hi list, What is the most up-to-date way to define my own event classes? I've looked at frameEngraver as a model but none of the old versions seem to be working. The most up-to-date one I could find (https://lists.gnu.org/archive/html/lilypond-user/2013-07/msg00373.html) gives me numerous Event class should be a list errors and the frames don't show up in the output, while this one (https://lists.gnu.org/archive/html/lilypond-user/2013-07/msg00554.html) spits out a few errors and segfaults. I'm using 2.19.17. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Name of a context
Hi list, How do I extract the name of a context in Scheme? That is, I want to be able to get foo from, say, \new Voice = foo. I don't see this in the context properties lists. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Name of a context
On Sun, Mar 29, 2015 at 3:44 PM, Urs Liska u...@openlilylib.org wrote: I *think* this is (ly:context-id context). Exactly what I was looking for, thanks. That's pretty confusing since everywhere else in the documentation, this string is referred to as the name of the context, whereas ly:context-name returns the type of context it is. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with repeat alternative endings that contain lyrics and leading rests
On Tue, Mar 24, 2015 at 7:42 PM, Peter Heisen writepeterhei...@gmail.com wrote: Dear List, The LilyPond notation reference, section 2.1.2, (http://www.lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics) contains the following example of how to use lyrics in concert with repeat alternative endings. It compiles fine in version 2.18.2, showing both the first and second endings complete with lyrics: [...] In the following modified example, the first beat of each ending has been changed to a rest, and a syllable removed from the lyrics to match. Now when compiled, it shows two first endings and two second endings. Moreover the log contains the error warning: already have a volta spanner, ending that one prematurely. I have scoured the documentation and searched the list archives, and cannot find any mention of this. Can you help? It displays properly if you remove the \repeat ... \alternative structure from the lyrics: \score { \new Staff { \time 2/4 \new Voice = melody { \relative c'' { a4 a a a \repeat volta 2 { b4 b } \alternative { { r b } { r c } } } } } \new Lyrics { \lyricsto melody { Not re -- peat -- ed. Re -- peat twice. twice. } } } The reason is that the lyric code creates first and second endings that line themselves up with the first lyric event they see, and it's not aware of the rests going on in the Staff. So you get two misaligned volta repeat systems, causing the funky output. I'm not entirely sure how to enter the structure into the lyrics in a way that lines up with the staff. Either way, I feel that the code in the documentation is misleading. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problem with lyrics in alternative endings that contain leading rests
On Tue, Mar 24, 2015 at 7:42 PM, Colin Campbell c...@shaw.ca wrote: I can see that the problem seems to involve a lack of output, but perhaps a bit more input might clarify it a bit? Now that's what I call a minimal example! \drummode { sn8 bd8 r8 cymc8 } ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Score content spilling off left side of page
On Wed, Mar 25, 2015 at 1:37 PM, Stan Mulder st4588...@earthlink.net wrote: For some reason a score I made won't fit all the text on the left side of the page. I cannot find anything different about this score than previous ones. The first page looks okay, but it's the subsequent pages with the instrument abbreviations that are getting cut off with no margin at all. I'm not using margin commands. Not using the \paper block. I can't really upload a snippet because it is too much data, but here's a screnshot: http://tradjazzbands.com//media/Screenshot%20from%202015-03-25%2016:19:01.png Stan This is a known bug (https://code.google.com/p/lilypond/issues/detail?id=766). The solution is straightforward: just increase margin-left in the \paper block. If you also want the first system aligned with the others, use \paper { indent = 0 }. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Guitar chord mode no longer produces MIDI file with chords
On Wed, Mar 25, 2015 at 2:08 PM, David Bellows davebell...@gmail.com wrote: In the versions of Lilypond I've used up through 2.19.16 when I would compile the attached file the resulting MIDI file would play the entire chord. With 2.19.17 now only the root note is played. I don't really know where to look for this kind of information but I can't tell if this is the new expected result or a bug. In any case I'd like to get the full chords back if possible. Thanks. I was able to reproduce the issue, and it seems that ChordNames no longer produces MIDI output and what you were hearing is the Voice context you created. The workaround is to create two scores, one with a \layout block and another with the \midi block: theChords = \chordmode { f8:m c4:m f4:m c8:m f4:m c4:m g4 f4:m g4 c4:m f8:m f4:m \bar |. } \score { \new ChordNames \theChords \new FretBoards \theChords \new Voice { ... } \layout { ... } } \score { \new Staff \theChords \midi { } } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Redefine chord default position in chordmode
On Wed, Mar 25, 2015 at 8:40 AM, Calixte Faure calixte.fa...@gmail.com wrote: Hello Lilyponders! Typing \chordmode{ c f g } produces {c e g f a c g b d}, would it be possible to define that \chordmode{ f g } should be {a c f b d g} for all the piece? I know i could use \chordmode{ f/a g/b } but i wish to simplify the input, and ChordName to print F G and not F/A G/B. I'm a little unclear on what you're asking for and what your motivations are. It seems that you want to enter { c f g } into \chordmode, and have the music events generated as if you entered { c f/a g/b }, but then you want ChordNames to produce the output as if you entered { c f g }? Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adjacent double bars
On Sat, Mar 21, 2015 at 8:38 AM, John McWilliam jsmcwill...@gmail.com wrote: Bagpipe music has it's own conventions where each section or part of a tune is enclosed in either repeat bars or what I call double bars (\bar .| and \bar |.). The end of a part usually coincides with a line break. I have a problem with this and find that adjacent barlines with a break in between get overridden and one of the bar lines is eliminated. I have tried using \bar || instead but this does not help. See below: What you need is \defineBarLine: http://www.lilypond.org/doc/v2.18/Documentation/notation/bars \version 2.18.0 \defineBarLine :|.-.| #'(:|. .| :|.) \defineBarLine |.-.| #'(|. .| .|.) music = \relative c' { \key c \major \time 4/4 \bar .|: %Part 1 \repeat volta 2 { \partial 8 a8 a4. a8 b4. b8 c4. c8 d4. \break } %Part 2 \bar :|.-.| e8 |e4. e8 f4. f8 g4. g8 a4. a8 b4. b8 c4. \break %Part 3 \bar |.-.| a8 | a4. a8 b4. b8 c4. c8 d4. \bar |. \break }% end relative \score { \new Staff \music } Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Fine piano pedals notation
On Sun, Mar 8, 2015 at 9:28 AM, 良ϖ p2b@gmail.com wrote: Hello, Although I often read messages from this mailing list, this is likely to be the first message I post to it. I've engraved some piano music already but it's always been pre-contemporary music: Bach, Liszt or even Debussy. Now I'm having trouble with contemporary pedalling notation. I'm trying to engrave a free score of Takemistsu's Rain Tree Sketch. You can found a video with score here on Youtube or you can download a copyrighted copy on this page. This piece makes innovative use of all three pedals of the piano. I've tried to play a bit with this snippet but I'm not convinced by what I've got. I especially don't know how to symbolize half pedal to the best of my knowledge. Moreover, I'd like to change « simile » for an arrow →. So I'm seeking for help. As it's a free software, I believe I'll get a helpful answer soon from the community then I say « thank you! » in advance ;-) 胡雨軒 Hu YuXuan P.S: sorry for my English, I'm not native English-speaker. I don't have any solution to offer yet; I would just like to add that notations like this may also be found in John Adams' piano piece Phrygian Gates, which has a variety of fractional pedaling indications such as Ped/2 and Ped/4. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Are these triple-dots of augmentation possible?
On Mon, Jan 19, 2015 at 2:59 PM, Graham King lilyp...@tremagi.org.uk wrote: Here's a little thing that has got me stumped. Is it possible to add three dots to a note glyph, thus: O:. to signify that the duration of the note is to be multiplied by 9/4 ? And can this be done in such a way (i) that the dots avoid clashing with staff lines, and (ii) that the note glyph changes correctly under \shiftDurations ? i.e. so that, say: c1\wierdDots% displays the note above, \shiftDurations #1 #0 { c1\wierdDots } % displays a 3-dotted minim, and \shiftDurations #-1 #0 { c1\wierdDots } % displays a 3-dotted breve. (For simplicity it is safe to assume that the second argument to \shiftDurations will always be zero). Grateful, as always, for any insight, even if on this occasion it is just expert advice to give up! -- Graham Don't know if you still want to do this, but it's pretty easily achieved by modifying the earlier code that Mark posted (itself adapted from my SMuFL implementation): %%% \version 2.19.8 #(define (draw-l-dots grob) (let* ((count (ly:grob-property grob 'dot-count)) (dot (grob-interpret-markup grob (markup #:musicglyph dots.dot))) (dot-width ((lambda (ext) (- (cdr ext) (car ext))) (ly:stencil-extent dot X (ly:stencil-translate (ly:stencil-combine-at-edge (ly:stencil-combine-at-edge (ly:stencil-combine-at-edge '() X RIGHT dot) X RIGHT dot dot-width) Y UP dot (- 1 dot-width)) (cons dot-width 0 lDots = #(define-music-function (parser location music) (ly:music?) #{ \temporary \override Staff.Dots.stencil = #draw-l-dots % we use shiftDurations to add a dot to the note % 2/3 * 9/4 = 3/2 \scaleDurations #'(3 . 2) \shiftDurations #0 #1 $music \revert Staff.Dots.stencil #}) \new Staff { \time 2/2 \lDots c'4 d'4.. \time 4/2 \shiftDurations #-1 #0 { \lDots c'4 d'4.. } } %%% Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Levelling hairpins
On Fri, Feb 13, 2015 at 12:53 PM, Peter Gentry peter.gen...@sunscales.co.uk wrote: This is very true but the dynamics context is very cumbersome for this purpose alone. Surely there must be a simpler way to align hairpins. Hmm, how about a Scheme function that extracts all the dynamic events and moves them into a Dynamics context? I doubt I have the skills to write that, but it would be very convenient. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Augmentation Dot Appearance
On Thu, Feb 12, 2015 at 6:16 PM, thepocketwade thepocketw...@gmail.com wrote: Is it possible to change the appearance of augmentation dots? I'd like to use an open dot (think a degree symbol), to indicate adding 1/4 of note value. I've only seen this notation in Stuart Saunders Smith's pieces, but it seems useful. Thanks for your help. Here ya go: %%% \version 2.19.8 #(define (draw-semi-dots grob) (let* ((count (ly:grob-property grob 'dot-count)) (dot (grob-interpret-markup grob (markup #:musicglyph dots.dot))) (dot-width ((lambda (ext) (- (cdr ext) (car ext))) (ly:stencil-extent dot X))) (semi-dot (grob-interpret-markup grob (markup #:draw-circle (* 0.5 dot-width) 0.1 #f))) (stil (make-transparent-box-stencil '(0 . 0) '(0 . 0 (if (number? count) (let loop ((i count)) (if (= i 0) stil (begin (set! stil (ly:stencil-combine-at-edge stil X RIGHT semi-dot dot-width)) (loop (- i 1 semiDot = #(define-music-function (parser location music) (ly:music?) #{ \temporary \override Staff.Dots.stencil = #draw-semi-dots \scaleDurations #'(5 . 6) $music \revert Staff.Dots.stencil #}) \new Staff { \time 2/4 \semiDot c'4. d'8. \semiDot e'4. f'8. } %%% Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better sound file then MIDI
On Wed, Aug 6, 2014 at 11:58 AM, Abraham Lee tisimst.lilyp...@gmail.com wrote: Dirk, I've collected all my soundfonts into a MASSIVE compressed file (~2.5 GB). Here's the link where you can download it from my Google Drive account: https://docs.google.com/uc?export=downloadconfirm=6Ccwid=0B48p48kXy91YRUVqUGMzbl9PdGs This link is giving me a 403 error. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question for all LilyPond users (especially power users)
On Wed, Jul 9, 2014 at 1:01 PM, Jim Long lilyp...@umpquanet.com wrote: Does anyone know what font is used for the chordnames in Pat Metheny's anthology songbook, published by Hal Leonard? Here is a sample image linked from a seller's website: http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/2958319_03.jpg http://www.sheetmusicplus.com/title/Pat-Metheny-Songbook-sheet-music/2958319 Looks like Comic Sans. Personally, I would prefer a chordname font resembling the one in the Hal Leonard Real Books or the Chuck Sher New Real Book; this all serves to highlight how varied jazz lead sheets can be. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question for all LilyPond users (especially power users)
On Wed, Jul 9, 2014 at 1:01 PM, Jim Long lilyp...@umpquanet.com wrote: Does anyone know what font is used for the chordnames in Pat Metheny's anthology songbook, published by Hal Leonard? Here is a sample image linked from a seller's website: http://d29ci68ykuu27r.cloudfront.net/product/Look-Inside/large/2958319_03.jpg http://www.sheetmusicplus.com/title/Pat-Metheny-Songbook-sheet-music/2958319 Looks like Comic Sans. Personally, I would prefer a chordname font resembling the one in the Hal Leonard Real Books or the Chuck Sher New Real Book; this all serves to highlight how varied jazz lead sheets can be, typographically. Regards, Nathan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user