Re: percussion definition
alistair zaldua skrev: I was curious to know whether it was possible to set up and define a percussion clef from scratch. Read the section about Percussion staves in the manual (section 7.4.3 in stable version) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic accidental rule
Stefan Thomas skrev: then no natural sign will be printed before the c, How can I change it? \set Staff.autoAccidentals = #'( Staff (same-octave . -1) (same-octave . 0) (any-octave . 0) ) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic accidental rule
Stephen Lavelle skrev:
So { c cs cs c } would, when rendered, have a sharps on the two middle
notes, and a natural on the fourth.
Something like this:
\version 2.10.20
myAccidentals = {
\set Staff.autoAccidentals = #'(
Staff
(same-octave . -1)
(same-octave . 0) )
}
\relative c'' {
\myAccidentals
c4 cis cis8 cis c c
}
?
Unfortunately the internals documentation of the property
autoAccidentals is currently wrong. I'll look into it.
-Rune
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Re: Automatic accidental rule
Rune Zedeler skrev: Something like this: Btw, notice that this will probably break in 2.12 - but will be easily repaired. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Automatic accidental rule
Stephen Lavelle skrev:
(after remembering to put it in each voice)
Ofcourse, if you want it globally, you can do the setting once and for
all in the layout-block:
\version 2.10.20
\layout {
\context {
\Staff
autoAccidentals = #'( Staff (same-octave . -1) (same-octave . 0) )
extraNatural = ##f
}
}
\relative c'' {
c8 cisis cisis cis cis cis c c
}
-Rune
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Re: Anything I should know about multiple voices in a single drum staff?
Kevin Partington skrev:
http://www.nabble.com/file/p15998012/drum.ly drum.ly
You have:
\new DrumVoice = 1 { s1 *2 }
\new DrumVoice = 2 { s1 *2 }
You need to change the spacings to last for the whole duration of the
piece. If you have 20 measures, write s1*20, etc.
If you do not then your created drum voices will be dead when the split
part has been reached, and new Voices will be created.
-Rune
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Re: Better Midi, anyone?
Graham Percival skrev:
moltorit = ... scheme that prints out molto rit, and tweaks
whatever options you want for your new midi code...
That won't work.
If I read the rules of the artemis context correctly, the solution must
work for any lilypond file.
I assume that the organizers are using some sort of simplified
lilypond-structure to represent music, so that e.g. rall. always will
be entered the same way - e.g. with -rall. and not \markup{\italics
rall.}.
Probably there is also some way of identifying different voices, etc.
But the rules do not really specify any of this, afaics.
I really do not understand why they choose full-blown .ly as the format
for this competition.
-Rune
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Re: Additive time signatures
I have added a snippet that sets the beam grouping automatically. Needs loads of cleanup, but works. http://lsr.dsi.unimi.it/LSR/Item?u=1id=395 -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Text script below spanner?
How do I move the text script below the cresc spanner?
Setting script-priority do not work.
\relative c'' {
f^\ g^Flying! c f\!
}
-Rune
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Re: Text script below spanner?
Rune Zedeler skrev:
\relative c'' {
f^\ g^Flying! c f\!
}
Whoops forgot to attach image.
-Rune
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Re: Text script below spanner?
Mats Bengtsson skrev: See section Vertical collision avoidance in the 2.11 manual. Ah thanks! Perhaps we should think about a better name for that section. The title is correct - it describes how lilypond internally avoids vertical collisions. But when you do not see a collision on your score then you do not read a section about avoiding collisions. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text script below spanner?
Mats Bengtsson skrev: Or at least, add a see also 5.5.5 Vertical collision avoidance from 1.8.1.2 Text scripts. I think that would do it, actually. Then, you should add the corresponding links from all other objects that appear outside staffs, I don't agree. Section 1.8.1.2 talks about how to order scripts vertically. I consider the explanation given in that section half. Did you actually read section 1.8.1.2 before you wrote your reply? such as dynamics, piano pedals, bar numbers, rehersal marks, to mention a few. These sections do not talk about vertical spacing at all. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text script below spanner?
Rune Zedeler skrev: Section 1.8.1.2 talks about how to order scripts vertically. Sorry, I was reading section 1.3.1.1 Articulations and ornamentations thinking that I was reading 1.8.1.2. Silly me. In 1.3.1.1 we have The vertical ordering of scripts is controlled with I think that from /this/ explanation it would make sense to make a reference to 1.8.1.2. Sorry for the confusion. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text script below spanner?
Rune Zedeler skrev: In 1.3.1.1 we have The vertical ordering of scripts is controlled with I think that from /this/ explanation it would make sense to make a reference to 1.8.1.2. Sorry for the confusion. AAARGH, to 5.5.5. Good night. :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Concave beams (was: free LilyPond advertising)
Han-Wen Nienhuys skrev:
This is pretty obvious for single-voice notes; for chords it gets
hairier: which part of the chord notes do we use to decide this?
I think we should look at both top notes and bottom notes. We should
only make the beam horizontal if they agree that the pattern is concave.
(I.e. form a pattern of the top notes. Form another pattern of the
bottom notes. If both patterns are concave then make the beam horizontal)
If we have something like { \stemUp c d e g f } Then we do not want a
horizontal beam.
-Rune
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Re: Old Bass Clef
Ledocq-Boccart wrote: By the way...what are these skills precisely? The Feta font has been made in METAFONT. See the .mf-files in the source. http://metafont.tutorial.free.fr/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.1 Pitches
Citat Mats Bengtsson [EMAIL PROTECTED]: - In Accidentals, I wouldn't refer to Nordic and Germanic languages, since both Swedish, Danish, Norwegian and German use -iss and -ess (admittedly the same concept, but a different spelling). This is not correct. In Danish we do not use -ss at all. That would be a spelling mistake. We only use the -is and -es endings (except for es and as, ofcourse). I am pretty convinced that the same is true for German. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: manual staff switch
Ole Schmidt skrev: thank you very much, now I understand how it works- unfortunatly I need the note to be tied ~ like below Hmm, that's a bug. I have reported it on the bug-list. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: percussion clef transposes?
Ole Schmidt skrev: is it a normal behaviour that the \clef percussion transposes like in the following snippet? It does not transpose. It behaves like a C clef. What did you expect? Did you read the section about percussion notation in the nr? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: percussion clef transposes?
Ole Schmidt skrev: when I compile the following snippet I get what you can see in the pdf... It does not transpose. It behaves like a C clef. Yep. As I said, it behaves as a C-clef (having central c on the middle line). If you are using a tuned percussion instrument then you should not use the percussion clef. The percussion clef means that the instrument is NOT tuned. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: again: extra accidental-style
Citat Stefan Thomas [EMAIL PROTECTED]: I've read Your messagea concerning the new accidental style and I must say, this is exactly what I'm searching for. Could this problem be solved? Or have You found another solution for Yourself? We are working on a solution. It will hopefully (and probably) appear in 2.12. If you know how to build lilypond yourself, you can check out dev/rune from git, - a temporary (but fully working) version. Added accidental-styles 'neo-modern and 'neo-modern-cautionary. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: again: extra accidental-style
Citat Stefan Thomas [EMAIL PROTECTED]: could You be so kind to tell me, what this dev/rune from git means? At the moment, I don't understand the meaning of it. In this case unfortunately I don't think you will be able to use this approach. You will need to be able to build lilypond yourself, which is a quite major thing. As said, 2.12 will probably include the new code, so I suggest you wait :+) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: syntax for minor triad sus 2
Kieren MacMillan skrev: Maybe you mean G#m(add9) which is a minor chord with added ninth. gs:m5.9/ds I do not really like that the 5 must be there. Not a bug, but definitely a missing feature. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different pitches with the same rhythm
Stefan Thomas skrev:
\score { \clef bass
\Stefan { c d e } \Stefan { d e f } \Stefan { e f g } }
Oh, sorry, that does not work. I should have seen it in the previous mail.
But it has nothing to do with the transformations being used.
If you try to just do
\score { \clef bass c' d' e' f }
Then you'll notice that that does not work either.
The pair of curly braces after the \score-statment just mean that they
enclose the score. You still need to add an extra pair of braces to mark
that your music is sequential, like this:
\score {
{
\clef bass
\Stefan { c d e } \Stefan { d e f } \Stefan { e f g }
}
}
-Rune
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Re: different pitches with the same rhythm
Valentin Villenave skrev: In the LSR? Might be worth giving it a shot. I uncommented the code, so users can see the full Prelude if they want to (besides, it's cool to finally use the Large Snippet feature once in a while). Dear valentin, Please test your code before you publish it to the LSR. The new version is even more messed up than the old one. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different pitches with the same rhythm
Stefan Thomas skrev: as far as I understood this topic, one must have experiences with writing programs. Not at all. But one of the great things about lilypond is that /if/ you do have experience with writing programs then you can take the experience to a whole new level. The topic of this thread is about how to do some special task automatically - in this case how to make lilypond automatically use the same rhythm for different pitches. It is absolutely not neccesary to be able to implement things like this in order to use lilypond for writing music. I think you should take a look at the tutorial on the documentation-page of www.lilypond.org. Regards, Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different pitches with the same rhythm
Stefan Thomas skrev:
thanks for Your fast answer, but I think this stuff is a little bit
to complicated for me, at least at the moment.
Yeah, this is one of those old snippets that has been modified over time
as the lilypond syntax was changed - getting more and more messed up as
different persons have corrected it.
I have cleaned it up, rewritten the function using the much improved
capabilities of lilypond compared to how it worked when the snippet was
originally written.
I have added it to the LSR, but for some reason (perhaps because it
takes up more than one page? Graham?) it cannot be seen.
Hopefully more readable, the new source code is here:
%%% BEGIN %%%
% This file demonstrates how to typeset different pitches with the
% same rhythm.
% It defines a function, defineTransform,
% that you can use to make transformation functions.
% Call it like this:
% \defineTransform #'myTransformation { c'4 c'8 c'8 d'16 d' d' d' c'
d' }
% You have now defined a transformation with the name myTransformation.
% The rhythm in the transformation must be specified with notes c' d' e'
f' g' etc.
% After having defined the transformation, you can call it like this:
% \myTransformation { e gis }
% To insert the rhythm from the transformation,
% where c' is substituted with e and d' is substituted with gis
%%% The following scheme function is just some mumbo-jumbo
%%% That you should add at the top of your program:
defineTransform =
#(define-music-function (parser location name pattern)
(symbol? ly:music?)
(letrec ((trans-rec
(lambda (pitches)
(lambda (music)
(let* ((es (ly:music-property music 'elements))
(e (ly:music-property music 'element))
(p (ly:music-property music 'pitch)))
(if (pair? es)
(ly:music-set-property!
music 'elements
(map (trans-rec pitches) es)))
(if (ly:music? e)
(ly:music-set-property!
music 'element
((trans-rec pitches) e)))
(if (ly:pitch? p)
(let* ((o (ly:pitch-octave p))
(n (ly:pitch-notename p))
(i (+ (* 7 o) n))
(pes (ly:music-property (list-ref pitches i) 'elements))
(pnew (ly:music-property (car pes) 'pitch))
)
(ly:music-set-property! music 'pitch pnew)
))
music)
(primitive-eval
`(define ,name
(define-music-function (parserb locationb pitchseq)
(ly:music?)
(let* ((pitches (ly:music-property pitchseq 'elements))
(n (ly:music-property pitchseq 'name)))
(if (not (equal? n 'SequentialMusic))
(ly:warning 2nd arg of transform must be SequentialMusic, got ~a n)
((,trans-rec pitches) (ly:music-deep-copy ,pattern)))
(make-music 'SequentialMusic 'void #t)))
%%% To illustrate, here follows the Bach Prelude in C major,
%%% Typeset using defineTransform:
% This is the unabridged version of the whole Prelude.
% If we were to implement it in the documentation, we
% might have to consider commenting about 80% of it. -vv
\include deutsch.ly
%%% This defines one measure of the prelude,
%%% using the five notes c' d' e' f' g' instead of the real notes:
\defineTransform #'makePreludeMeasure \transpose c c' \repeat unfold 2 {
\context Staff = up {r8 e16 f g e f g }
\context Staff = down {r16 d8.~d4 } \\ { c2 }
}
%%% This is the last two measures - defined normally:
ending =
{ \context Staff = up s1*2 }
{ \context Staff = up r8 f,16 a, c f c a, \stemUp c \change Staff = down
a, f, a, f, d, f, d, \change Staff = up \stemNeutral
r8 g16 h d' f' d' h d' h g h d f e\prall d e g c'1^\fermata \bar |.
}
\context Staff = down
\new Voice {
\stemUp \tieUp r16 c,8.~c,4~c,2 r16 h,,8.~h,,4~h,,2 c,1 \bar |.
}
\new Voice {
\stemDown \tieDown c,,2~c,, c,,~c,, c,,1_\fermata
}
\header {
title = Praeludium in C major
composer = J. S. Bach
}
\score {
\transpose c c' \context PianoStaff
\new Staff = up { \clef G }
\new Staff = down { \clef F }
{
\tempo 4 = 80
%%% The first measure should use notes c e g c' e' :
\makePreludeMeasure {c e g c' e' }
%%% Etc. :
\makePreludeMeasure {c d a d' f' }
%we get the idea now.
%comment the following block if the snippet is
too long.
\makePreludeMeasure {h, d g d' f' }
\makePreludeMeasure {c e g c' e' }
\makePreludeMeasure {c e a e' a' }
\makePreludeMeasure {c d fis a d' }
\makePreludeMeasure {h, d g d' g' }
\makePreludeMeasure {h, c e g c' }
\makePreludeMeasure {a, c e g c' }
\makePreludeMeasure {d, a, d fis c' }
Re: Beam damping
Thomas Scharkowski skrev: is it possible to produce horizontal beams somehow? \override Beam #'damping = #10 does not work, as already reported last year: The value #10 is not big enough Try \override Beam #'damping = #+inf.0 :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different pitches with the same rhythm
Valentin Villenave skrev: Gosh... the point is, my computer is broken (again) and I really had *no* way to check the code. Sorry. I forgot. Thanks to your thorough work, I'll correct it right now. If I may ask you one more favor, can you please check what *exactly* was messed up? Probably some inconsistent manual corrections - and wrong alignments of curly brackets. Notice that the variables \enda \endb and \endc was /still/ not used in the version that you published. Might help improving convert-ly... Convert ly is not (and should not be) meant to automatically correct advanced scheme functions. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: different pitches with the same rhythm
Valentin Villenave skrev: scroll down to music-box.ly Absolutely; you might as well have mentioned the LSR implementation of the same trick: http://lsr.dsi.unimi.it/LSR/Item?u=1id=289 I searched to LSR for music-box, and as it didn't show up anything I assumed that the snippet had not been added to the LSR. Though, looking at it, I see that it has been somewhat messed up. Somebody has shortened it, so that it only contains the two first measures, but the variables that contain the end of the prelude (enda, endb and endc) are still defined without being used. I would vote for reverting the example to the whole prelude. It is more illustrative that way. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: open hihat
Kieren MacMillan skrev:
\version 2.11.33
\paper{ ragged-right=##t }
drumStuff = \relative
{
\override TextSpanner #'dash-fraction = #1
\override TextSpanner #'bound-details #'left #'text = \markup {
\musicglyph #scripts.open \hspace #0.2 } c'4 c c c |
c\startTextSpan c c c |
c c\stopTextSpan c c
}
\score
{
\drumStuff
}
Unfortunately it does not work if you use a DrumStaff. This looks like a
bug.
If you replace \drumStuff with
\new DrumStaff \drumStuff
Then you get two spanners on top of each other.
I am currently on 2.11.32.rz
Can somebody on latest devel reproduce?
Moving to devel. Please remove lilypond-user@gnu.org when replying to this.
-Rune
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Re: ottava bracket
stefan thomas skrev: Dear lilypond-team, I think I have a rather simple question, but I can't solve it by myself. How can I move an ottava-bracket? To move it upwards, insert \once \override Staff.OttavaBracket #'padding = #2 before the #(set-octavation 1) Replace #2 with a value of your liking :-) I suggest you to read section 9, Changing Defaults, of the 2.10 manual. If you have other question pleace inform us which version of lilypond you are using! -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Graham Percival skrev: I wouldn't be opposed to adding a % added in 2.8.6 comment to snippets, though. Will the original version be available somewhere, or is it lost forever as soon as the convert-ly has been run? If the original is lost I do not see a need for a comment on when the snippet was introduced. No code is meant to be old, but it happens. Trust me, I've been doing the docs for over three years. That doesn't sound like a lot, but in lilypond-years, that's a huge change. That is true, and therefore I still think that the original version of snippets should be kept - so that it as possible to reconstruct how they originally looked. It is correct that in an ideal world snippets will keep looking the same. But experience shows that severe bugs - even bugs that are clearly visible in the manual - can be introduced into lilypond, and stay undiscovered for quite a lot of time. For instance still in latest stable the tabstaff will not use the lowermost string. This bug almost screams that it is present: http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Tablatures-basic#Tablatures-basic But still it survived quite a number of stable releases before it was noticed. So it is only in your dreams that you can even hope for all snippets at all times showing the right thing. When seeing a snippet that does something wrong it would be nice to know whether it is a bug in the snippet or a regression in lilypond. The easiest way would be to compare the output of the snippet with the output of snippet as it looked in the lilypond that it was made for. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Graham Percival skrev: That's why we want a user to volunteer to check the regression tests. It takes about 15 minutes a month, but it would drastically improve the stability of lilypond. Not all regressions are caught by the regression test. For instance we - for obvious reasons - have no it must be possible to use all strings on a tabstaff-regression test. And it so happens that none of the regression tests use the lowermost string. So even if (in your dreams) we had a user to check the regression tests the error would still not have been caught. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Valentin Villenave skrev: -- First rule of LSR is: do not add a \version line. -- Second rule of LSR is: do NOT add a \version line. What is the reason for this? The version line might be good information to have - at least in a comment. If a snippet stops behaving correctly, the original author of the snippet is gone, nobody any longer really remembers what the snippet was supposed to do - then the version line will give a hint on which ancient lilypond to use in order to see the snippet as the contributor intended. Automatically commenting out version lines - and automatically complaining if the snippet asks for a wrong version - should be quite simple. Some other comments: Why is it that you cannot preview a snippet from the database before you are logged in? And I really think that the author of each snippet should be visible from within the database. If you have a question regarding some code it is good to know who provided the snippet. If people really are against this, perhaps we could add an anonymous checkbox. But this should also affect the search feature so that you would not see anonymous snippets when searching on authors. I do not see the need for this, though. The tagging is great, of course :-) You did not really write anything about how far the implementation has gone. afaics you are unable to search on the tags - or use them in any way. What are the plans for this? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your Friendly Neighborhood LSR
Mats Bengtsson skrev: Regarding information on the original author, this would certainly be useful for the LSR maintainer, but there are also good reasons not to publish names on a public web page, at least not with an email address. Of course we should not automatically publish real names or email addresses. In order to add snippets to lsr you need to register yourself. And when doing so you provide a username. What I have in mind is just that this username should be visible. I do not suggest that the contributor is visible in the LSR - just in the database. Notice that the contributor is already stored today. You can search for snippets by a specific contributor: Go to https://lsr.dsi.unimi.it/list.php?type=snippet and enter a name in the author field. E.g. in order to find my snippets, enter rzedeler in the author field. The information is already there - it is just not visible. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: once again with a header, tie into polyphony question
Ole Schmidt skrev:
I want to have both of the first two notes tied -the d and the f-sharp.
How do I achieve that?
The problem is, that the Tie_engraver - that generates ties - lives at
voice level. That means that the Tie_engraver can only see notes in
the same voice - and therefore cannot tie notes from different voices
together.
The reason why the engraver does not live at Staff level is that this
would make ties in polyphony impossible. If you for instance have
e4 ~ e8 e8
//
c8 c8 ~ c4
Then - if the Tie_engraver were living at Staff level - it would see e
followed by c followed by e. Therefore the two e's that you try to tie
together would not be seen as neighbours, and the engraver would be
confused and produce bad results.
If you really REALLY really need to tie different voice together then
you can add the tie-engraver to BOTH staff and voice. And manually make
the ties that you are not interested in invisible.
It goes like this:
%%% BEGIN %%%
\version 2.10.25
\layout {
\context {
\Staff
\consists Tie_engraver
\override Tie #'transparent = ##t
}
\context {
\Voice
\override Tie #'transparent = ##f
}
}
tiesToVoice = {
\revert Staff.Tie #'transparent \override Staff.Tie #'transparent = ##t
\revert Voice.Tie #'transparent \override Voice.Tie #'transparent = ##f
}
tiesToStaff = {
\revert Staff.Tie #'transparent \override Staff.Tie #'transparent = ##f
\revert Voice.Tie #'transparent \override Voice.Tie #'transparent = ##t
}
{
\transpose c c' {
\tiesToStaff
e c 4 ~ e c 8 e c ~
{ e e e e |
\tiesToVoice
e4 ~ e8 e }
\\ { c8 c c c |
\tiesToVoice
c8 c ~ c4 }
}
}
%%% END %%%
I will add this to LSR as soon as I get the \revert \override -thing
checked. I do not understand why it cannot be replaced with \set.
-Rune
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Re: chordmode chord question
Henk van Voorthuijsen skrev:
In chordmode I am trying to get g bes es in some kind of spelling
What's wrong with \chordmode { es/g } ?
-Rune
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Re: How to put chords on a score automatically
Father Gordon Gilbert skrev:
My question is this: As I arrange this, I want to have the chords I am
creating displayed
I am not sure I understand.
Something like this?
%%% BEGIN %%%
\version 2.10.0
sop = { g' a' }
alt = { e' f' }
bas = { c' d' }
{
\new ChordNames \sop \alt \bas
\new ChoirStaff
\new Staff \sop
\new Staff \alt
\new Staff \bas
}
%%% END %%%
-Rune
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Re: Newbie question about variable durations
(going back on list)
Ben Fagin skrev:
I've revised my implementation to set up
variables using the make-pitch function instead of variables and it
works now. Thank you!
Now that I think about it, you do not have to use make-pitch. You can
extract the pitch information from a note, like this:
%%% BEGIN %%%
\version 2.10.0
#(define (getpitch mus)
(ly:music-property
(car (ly:music-property
(car (ly:music-property mus 'elements))
'elements))
'pitch))
myPitchnames = #`(
(myowndeepceses . ,(getpitch #{ ceses, #} ))
(myownf . ,(getpitch #{ f' #}))
)
pitchnames = #(append pitchnames myPitchnames)
#(ly:parser-set-note-names parser pitchnames)
{
c' d' e' f' myowndeepceses2 g'4 a' myownf1
}
%%% END %%%
-Rune
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Re: Newbie question about variable durations
Ben skrev:
I thought I had this figured out, but now I'm stuck. My program generates midi
notes and converts them to lily variables (ie noteone = {ees'} ). What I need to
do next is add my durations onto them. It seems so simple but I get error after
error.
I don't understand what you are using it for.
Why will you put a single notename into a variable?
Could you elaborate a bit more on your project?
-Rune
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Re: Guitar Tab not using 6th string
Graham Percival skrev: It's only fixed in 2.11, not 2.10. I applied the 2.11 fix on the 2.10 branch. When (if) 2.10.34 comes out, it should be fixed. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: pitches second draft
I am working on splitting the pitch into pitchclass and pitch. - Pitchclasses not containing octave information. I am not nearly finished with this, and perhaps the whole thing will be rejected. But I think it would be a shame to do a lot of work on the Pitch documentation just before a change like this might occur. Surely the docs would have to be somewhat rewritten. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Straight-Slurs
[EMAIL PROTECTED] skrev:
Thanks for the suggestion, but glissandi go between the two notes,
whereas I'm needing the line to be above or below - exactly where a
slur would be.
I find it a bit difficult to understand what you want. Is it something
like this?
%%% BEGIN %%%
\new Staff \with {
\override Slur #'stencil = #ly:line-spanner::print
\override Slur #'style = #'line
}
{
c'-( b'-) c''-( b''-)
}
%%% END %%%
-Rune
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Re: On popular demand: Free Meter :-)
Rune Zedeler skrev:
\hardbar ||
(And btw don't think it would be possible with current lilypond)
Well, inspired by Mats' latest post, I see that it indeed is possible:
%%% BEGIN %%%
increaseBarNumber = \applyContext
#(lambda (x)
(let ((measurepos (ly:context-property x 'measurePosition)))
; Only increase bar number if not at start of measure.
; This way we ensure that you won't increase bar number twice
; if two parallel voices call increaseBarNumber simultanously:
(if ( 0 (ly:moment-main-numerator measurepos)) ; ugh. ignore grace part
(begin
(ly:context-set-property!
(ly:context-property-where-defined x 'internalBarNumber)
'internalBarNumber
(1+ (ly:context-property x 'internalBarNumber)))
(ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(1+ (ly:context-property x 'currentBarNumber)))
; set main part of measurepos to zero, leave grace part as it is:
(ly:context-set-property!
(ly:context-property-where-defined x 'measurePosition)
'measurePosition
(ly:make-moment 0 1
(ly:moment-grace-numerator measurepos)
(ly:moment-grace-denominator measurepos)))
% Named Increasing BAR
nibar = #(define-music-function (parser location x) (string?)
#{
\bar $x
\increaseBarNumber
#})
% Increasing BAR
ibar = \nibar |
{
\new Staff \with { \remove Time_signature_engraver } {
\cadenzaOn
#(set-accidental-style 'modern-cautionary)
\key a \major
\repeat unfold 2 {
c'8 dis' eis' eis' \ibar
c'4 dis' e' eis' \nibar ||
c' dis' eis'8 dis' eis' \ibar
c'1 dis' eis' eis'2 \nibar |.
}
}
}
%%% END %%%
Valentin, will you update LSR?
-Rune
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Re: letters instead of numbers in tab
anders stenberg skrev: I'll nead to get the freet- numbers in TAB changed to letters (a = 0, b=1, c=2, d=3, e=4, f=5, g=6, h=7, i= 8, k=9, l=10 et.c.). http://lsr.dsi.unimi.it/LSR/Snippet?id=331 -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: letters instead of numbers in tab
Rune Zedeler skrev: http://lsr.dsi.unimi.it/LSR/Snippet?id=331 Whoops, what I meant was http://lsr.dsi.unimi.it/LSR/Item?u=1id=331 -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: back-to-back repeats
steve berthiaume skrev: \bar :| %this repeat won't show up \break \bar |: \bar :|: \break -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accidental style
Sandeep Gupta skrev: I am trying to, for instance, show the accidental on the second a-sharp below. ... \cadenzaOn http://lsr.dsi.unimi.it/LSR/Item?id=327 -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Ted Walther skrev: Rune, can you update your free meter code? I'd like to do this: \hardbar || or \hardbar | and have it do the right thing, instead of making a new function for each different type of barline. I really do not see the need for this. (And btw don't think it would be possible with current lilypond) Why would you like to be able to say \hardbar || instead of \increaseBarNumber\bar || ? (ofcourse you could rename the \increaseBarNumber function to something shorter - e.g. \ibn thereby getting \ibn\bar ||) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Valentin Villenave skrev: I am certainly not committing anything; Rune might be, but his current work on the accidental code will probably change the whole thing in weeks. No I probably won't. I think having the example in lsr is enough. If we were to include it in the distro officially we should define a real free meter timing, and, when it was on, automatically increase bar number at all bar lines. Some more work, and with limited gain. but his current work on the accidental code will probably change the whole thing in weeks. Definitely not. The Free Meter only change the bar number and measure position. The accidental engraver uses these a lot but it does not define them in any way. The Free Meter thingy will probably keep on working for a long time without change. And if not then it won't be the accidental code that causes trouble :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Valentin Villenave skrev:
OK, it's corrected.
Sorry for the noise.
The snippet did not work with grace notes. (Am I the only one who think
that the representation of grace timing is a bit messy?)
Try with this:
%%% BEGIN %%%
increaseBarNumber = \applyContext
#(lambda (x)
(let ((measurepos (ly:context-property x 'measurePosition)))
; Only increase bar number if not at start of measure.
; This way we ensure that you won't increase bar number twice
; if two parallel voices call increaseBarNumber simultanously:
(if ( 0 (ly:moment-main-numerator measurepos)) ; ugh. ignore grace part
(begin
(ly:context-set-property!
(ly:context-property-where-defined x 'internalBarNumber)
'internalBarNumber
(1+ (ly:context-property x 'internalBarNumber)))
(ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(1+ (ly:context-property x 'currentBarNumber)))
; set main part of measurepos to zero, leave grace part as it is:
(ly:context-set-property!
(ly:context-property-where-defined x 'measurePosition)
'measurePosition
(ly:make-moment 0 1
(ly:moment-grace-numerator measurepos)
(ly:moment-grace-denominator measurepos)))
hardbar = {
\bar |
\increaseBarNumber
}
{
\new Staff \with { \remove Time_signature_engraver } {
\cadenzaOn
#(set-accidental-style 'modern-cautionary)
\key a \major
\repeat unfold 2 {
c'8 dis' eis' eis' \hardbar
c'4 dis' e' eis' \hardbar
c' dis' eis'8 dis' eis' \hardbar
c'1 dis' eis' eis'2 \hardbar
}
}
}
%%% END %%%
A funny detail: to find your snippet in the database, all I have to
do is enter the term: yeah :)
:-)
-Rune
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On popular demand: Free Meter :-)
c.m.bryan skrev: I'm working on a score where I am in cadenza mode, and inserting bar lines manually (\bar |). It seems that accidentals don't reset automatically on these barlines, i.e. a sharp isn't reprinted in the next bar. Is this the intended behavior, and if so, is there any way I can change that? This snippet defines a function, increaseBarNumber, that you can use to increase the bar number. That way you can have a Free Meter where you insert bars whereever you like, bar numbers counting correctly and accidentals behaving correctly. http://lsr.dsi.unimi.it/LSR/Item?u=1id=327 -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Valentin Villenave skrev:
Thanks for the snippet Rune.
You're welcome
Approved (a few typos fixed, and HTML tags added).
Thanks.
Unfortunately I cannot modify the snippet after you approved it.
There was a bug in it so accidentals worked correctly but printed bar
numbers did not.
Will you please substitute code with:
%%% BEGIN %%%
increaseBarNumber = \applyContext
#(lambda (x)
(if (ly:moment?
(ly:make-moment 0 1 0 1)
(ly:context-property x 'measurePosition))
(begin
(ly:context-set-property!
(ly:context-property-where-defined x 'internalBarNumber)
'internalBarNumber
(1+ (ly:context-property x 'internalBarNumber)))
(ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(1+ (ly:context-property x 'currentBarNumber)))
(ly:context-set-property!
(ly:context-property-where-defined x 'measurePosition)
'measurePosition
(ly:make-moment 0 1 0 1)
hardbar = {
\bar |
\increaseBarNumber
}
{
\new Staff \with { \remove Time_signature_engraver } \cadenzaOn {
#(set-accidental-style 'modern-cautionary)
\key a \major
\repeat unfold 2 {
c'8 dis' eis' eis' \hardbar
c'4 dis' e' eis' \hardbar
c' dis' eis'8 dis' eis' \hardbar
c'1 dis' eis' eis'2 \hardbar
}
}
}
%%% END %%%
-Rune
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Re: GDP for kids :)
Valentin Villenave skrev: the SDPE! (Smallest Documentation Project Ever -- it works with Silly too, for what it's worth). LOL :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Logo for Lilypond
After we dropped the Cello-Woman, we haven't really had a logo. I suggest to use Valentin's happy LilyPond-note as a logo. I could start arguing a lot, but hope that it won't be nessesary. The note is just brilliant. Comments? http://valentin.villenave.info/lilypond/music_expression.png http://valentin.villenave.info/lilypond/polyphony_eng.png -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: length/page-splitting of subsections
Citat Valentin Villenave [EMAIL PROTECTED]: Rune: I think it's possible with some JScript tweaking (at least, some buzzword-compliant technologies allow to do this without frames). Maybe. I have just never seen it. Javadoc still uses frames, and about everything else I have encountered reloads the entire toc whenever you select a new entry in the toc. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Graham Percival skrev: LIMITED DISCUSSION To keep discussion focused and as un-confused as possible, this is a discussion *only* about the arrangement of subsections. Other parts of GDP will be discussed later. This means: - propose new/changed chapter/sections - propose renamings of chapter/sections - *do not* discuss new subsections or renamings of subsections. That will come later. Sorry I do not understand what you mean. How can we discuss arrangement of subsections without discussing new subsections or renaming of subsections? Btw: Chapters are the ones with one number, sections are the ones with two numbers and subsections are the ones with tre numbers, right? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Citat Graham Percival [EMAIL PROTECTED]: Just one general comment for the moment: I'd rather propose longer than shorter subsections. I think that there already is too much fragmentation at some places for the moment, which means that you never get the chance to see the full picture as a reader. Well, in its current state I find the each subsection has its own page version of the manual unusable, and therefore always uses the one big page manual. I suggest that we gives each section its own page containing section and all subsections. Ofcourse each section should still contain a table of links, but the links should stay on the same page (just as the one big page documentation does now). Given that all subsections for the same section live on the same webpage I agree with graham that further splitting would be a good idea. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrangement (third attempt)
Graham Percival skrev: Well, don't I feel like a complete newbie. :/Does anybody know how to make Thunderbird treat text like pure bloody text, and not change the displayed text when it sends an email out? thanks in advance. :( I don't know what you did wrong. I just copypasted the below from your wiki-page (using thunderbird, yes): * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature + 6.2.3 Transpose + 6.2.4 Instrument transpositions + 6.2.5 Ottava brackets o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations + 6.3.5 Automatic note splitting + 6.3.6 Aligning to cadenzas o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration + 6.4.7 Proportional notation (introduction) + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks o 6.6 Polyphony + 6.6.1 Chords + 6.6.2 Stems + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices + 6.6.5 Collision resolution + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel * 7 Decorating musical notation o 7.1 Connecting notes + 7.1.1 Ties + 7.1.2 Slurs + 7.1.3 Phrasing slurs + 7.1.4 Laissez vibrer ties + 7.1.5 Grace notes + 7.1.6 Analysis brackets o 7.2 Expressive marks + 7.2.1 Articulations + 7.2.2 Dynamics (absolute) + 7.2.3 Dynamics (crescendi) + 7.2.4 Breath marks + 7.2.5 Trills + 7.2.6 Glissando + 7.2.7 Arpeggio + 7.2.8 Falls and doits o 7.3 Staff notation + 7.3.1 System start delimiters + 7.3.2 Staff symbol + 7.3.3 Hiding staves + 7.3.4 Metronome marks + 7.3.5 Instrument names + 7.3.6 Quoting other voices + 7.3.7 Formatting cue notes o 7.4 Repeats + 7.4.1 Repeat types + 7.4.2 Repeat syntax + 7.4.3 Repeats and MIDI + 7.4.4 Manual repeat commands + 7.4.5 Tremolo repeats + 7.4.6 Tremolo subdivisions + 7.4.7 Measure repeats o 7.5 Educational use + 7.5.1 Balloon help + 7.5.2 Fingering instructions + 7.5.3 Blank music sheet + 7.5.4 Grid lines + 7.5.5 Shape note heads + 7.5.6 Easy Notation note heads o 7.6 Special use + 7.6.1 Special noteheads + 7.6.2 Improvisation + 7.6.3 Selecting notation font size + 7.6.4 Hidden notes + 7.6.5 Coloring objects + 7.6.6 Parentheses * 8 Instrument-specific notation o 8.1 Piano music + 8.1.1 Pedals + 8.1.2 Automatic staff changes + 8.1.3 Manual staff switches + 8.1.4 Staff switch lines + 8.1.5 Cross staff stems o 8.2 Chord names + 8.2.1 Introducing chord names + 8.2.2 Chords mode + 8.2.3 Printing chord names + 8.2.4 Figured bass o 8.3 Rhythmic music + 8.3.1 Showing melody rhythms + 8.3.2 Entering percussion + 8.3.3 Percussion staves + 8.3.4 Ghost notes o 8.4 Guitar + 8.4.1 String number indications + 8.4.2 Tablatures basic + 8.4.3 Non-guitar tablatures + 8.4.4 Banjo tablatures + 8.4.5 Fret diagrams + 8.4.6 Right hand fingerings
Re: GDP: rearrange manual
Trevor Bac(a skrev: As a first pass, I took a look at chapter 8 Advanced notation, because I've never been very comfortable with the distinction between basic, advanced and contemporary notation in the current structure. It seems like your comments are meant to the online 2.11 documentation, and not to the list that Gragam posted in the first message of this thread. Lots of the things you wrote are sort of already there. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrangement (third attempt)
Very first I comment on the stuff I wrote below: When I wrote it I didn't really notice / think about the fact the the first five sections are left out. Probably some of my comments are not totally valid. Well, I will think some more, and post another message about the overall structure of the manual. First a general comment. I think it should be possible to read the manual from start to finish, understanding the stuff that you encounter. If understanding section B requires you to have read section A, this means that section A should come before section B in the manual. I think the old layout accomplished this relatively well. And the new definitely does not. * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips Yep. o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature Hmm, neither clefs nor key signatures affect pitches. They only affect how they are displayed. + 6.2.3 Transpose Well, yeah, transpose affects multiple pitches that is true. + 6.2.4 Instrument transpositions No, This subsection is very advanced (try reading it!) - I think it is way too early in the manual. I am not even sure, that I understand it properly. + 6.2.5 Ottava brackets No, again they do not affect pitches. They just affect how they are displayed. Summa summarum I only accepted the Transpose subsection in this section - and hence really do not think that this section has any purpose. And in all cases, it is way too early. The user has not even learned what the 4 in c4 means. o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations Yep. + 6.3.5 Automatic note splitting This does not work before the Bars section. I see no problem in simply moving this to there. + 6.3.6 Aligning to cadenzas I don't think that the user would be able to understand a single word of this subsection at this time. Scheme functions. Staves, Grand staves. And it has really nothing to do with rhythms. o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration I like the meter title, though I think it is a bit early. Does it make sence to have simultainous polymetric notation before polyphony? I think not. Also the Time administration subsection is very advanced. The meter section is easy to handle because you can read and understand the rest of the manual without ever reading this section. - You just won't be able to use anything but 4/4 meter if you don't read it. Therefore we could postpone it to a much later place. + 6.4.7 Proportional notation (introduction) No, this is too layout specific for this section. It has nothing to do with the musical content, only with how it is displayed. + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams I don't think that beams belong in this section - they belong together with phrasing slurs. I liked the old Connecting notes section. o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks Fine. Makes a lot of sense to put everything about bars together. o 6.6 Polyphony + 6.6.1 Chords Yep. + 6.6.2 Stems Currently, this subsection has nothing to do with polyphony. Furthermore it is layout specific, and should therefore be postponed. + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices ok. + 6.6.5 Collision resolution No, this should be postponed to some tweaking section. A Polyphony section should not contain layout-specific subsections. + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel Yep. * 7 Decorating musical notation The way I always thought of the distinction between basic and advanced notation is that the basic notation contained the parts that lilypond understands the musical meaning of whereas the advanced notation was the parts that lilypond does not know how to
Re: Why can't I get this to work (viola tuning)
Graham Percival skrev: I'm pretty certain that we won't have any stable releases for the next two weeks, and 2.12 will be coming out soon after that. Therefore I don't think it's worth re-opening this bug. It worked in 2.8 so it is a regression. Therefore I definitely think that it should be fixed in 2.10 even if 2.12 comes out soon. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Webern-style accidentals transposition
David F. Place skrev:
1.) accidentals before every note (including naturals)
2.) transposition without creating a key signature
%%% begin %%%
\version 2.10.0
webernAccidentals = {
% the 5s are just a value different from any accidental
\set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5)
(4 . 5) (5 . 5) (6 . 5))
\set Staff.extraNatural = ##f
#(set-accidental-style 'forget)
}
\layout {
\context { \Staff \remove Key_engraver }
}
\score {
{
\webernAccidentals
c' dis' cis' cis'
c' dis' cis' cis'
c' c' dis' des'
}
}
%%% end %%%
-Rune
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Re: Webern-style accidentals transposition
Citat Valentin Villenave [EMAIL PROTECTED]: Here's my snippet; it's more detailed than the other one, but since English isn't my native language, if someone can rewrite it somehow it should get much better. http://lsr.dsi.unimi.it/LSR/Item?u=1id=314 How do you manage to link to snippets so fast? When I add stuff, I have to wait for the nightly rebuild before I can link to my snippet. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Webern-style accidentals transposition
Citat David F. Place [EMAIL PROTECTED]: That does work, but it makes lilypond print a warning for every note. Are you sure that you removed the key_engraver as specified in my snippet? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adding / deleting staves on the fly
Citat Kieren MacMillan [EMAIL PROTECTED]: Is there any way to have \RemoveEmptyStaffContext in a layout, but specifically choose one Staff (or, better yet, section of measures of a Staff) that would still display regardless of content? Untested: Why not simply add an invisible note to each measure that you want to force to show? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: all sharps ?
Quoting Tao Cumplido [EMAIL PROTECTED]:
\key c \major
\transpose c a { music }
Should have been
\transpose c a {
\key c \major
... music ...
}
-otherwise the key signature would not be transposed.
-Rune
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Re: all sharps ?
Quoting Vasil Kadifeli [EMAIL PROTECTED]: And by the way, is there a way to play the tunes from a *.ly* file ? Yep, if you add a midi-block to the score, lilypond will create a midi-file that you can play. Read section 10.3 in the manual. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to screen-optimize stems
Quoting Han-Wen Nienhuys [EMAIL PROTECTED]:
\paper {
blot-diameter = 2 \pt
}
Unfortunately it does not work with bar-lines, though.
Oh, but you could simply add
\override Score.BarLine #'thickness = #100
problem solved :-)
I am not really sure whether this was a joke, sorry.
(Was it a joke?)
Well, the thickness isn't used for anything in barlines, so overriding thickness
will not change anything.
We have
Bar_line::compound_barline (Grob *me, string str, Real h,
bool rounded)
and
Bar_line::print (SCM smob)
..
return compound_barline (me, str, sz, false).smobbed_copy ();
Notice the hard-coded false.
So bar-lines are hardcoded to be made of non-rounded rectangles (that is, to be
outlined with a zero-width line).
I see to ways to solve the problem:
Either (a): Use rounded rectangles for bar-lines. That way my solution would
also work for bar-lines (perhaps one would have to increase the blot-diameter a
bit more.
Or (b): Add a lookup representing a line drawn with non-rounded ends and use
this for the bar-lines.
I will happily do this (b). Should I send a patch?
Notice that this will have no effect on the music on print. The only difference
will be how the music is rendered on screen. Representing lines as lines drawn
with a thickness rather as a filled rectangle makes it easier for the reader to
know what it is showing and therefore reproducing output nicely on screen.
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How to screen-optimize stems
Hehe, I found out there is a really simple solution of how to make stems
look nice in acroread.
In all its simplicity, add
\paper {
blot-diameter = 2 \pt
}
:-)
Now all stems appear to have same thickness in acroread.
Unfortunately it does not work with bar-lines, though.
-Rune
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Re: jazz chords in LilyPond
PabloZum skrev: but D13 appears as D9/add13. That looks like a bug. I'll report it. For now you can use d:11.13 What to do for A7b9? a:9- There should be a list somewhere, like: I agree. http://lilypond.org/web/devel/participating/documentation-adding :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Steve Schow skrev: I use ghostscript to produce overture and finale PDF's which look spectacular on screen on windows. Would you please post a small pdf created by finale, so that we have something to compare? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Steve Schow skrev: Ok, here is a short example. snip loads of jpegs Would you please post a /pdf/ (or ps)? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Okay, I took a look. I understand why the viewers have problems with lilypond's pdfs: For some reason lilypond does loads of conversions to and from millimeters. I think it has something to do with lily defining one point to be 1/72.27 inch, whereas a postscript (and pdf) point is 1/72 inch. The reason for this is probably that lily used to use TeX as a backend, and TeX defines a point to be 1/72.27 inch. IMO we should take the consequence of abandoning TeX, and start to use ps-points as the main-reference, a 20pt staff having a line distance of 5 pps (5/72 inch). Any comments? (moving to devel, please post replys only there and not on user) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Problem
Rune Zedeler skrev: I understand why the viewers have problems with lilypond's pdfs: For some reason lilypond does loads of conversions to and from millimeters. Oh, I never learn not to post comments late at night. The above really had nothing (afaics) to do with the problem. It should be fairly easy to add a screen optimize option that replaces the soft rectangles of lilypond with hard linestrokes, thereby removing the problem. The attached image is grabbed from Acroread after replacing the draw_round_box ps-procedure with a procedure that does a line-stroke. (yeah, I know the ledgers are missing, this is a quick hack) Should I go on and try to make a patch that adds a screen-optimize-option? (main developers?) Please reply only on one of the lists, user or devel. -Rune inline: grab_from_acroread.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: file refuses to line or page break
Kieran Coulter skrev: This one really has me stumped! I've tried everything, and the file refuses to either a line or page break at the end of the 2nd last page of the included pdf. You have an error in one of the measures before - so the pageBreak command is located not at the exact point of the bar line but 3/80 of a measure /after/ the bar line. I see that you have no bar checks in your score. When typing stuff with so complex timing you really should add bar checks (|) at ALL bar positions. This way you will get a warning if you made an error. Please add all bar checks, and correct the error that leads to the 3/80 too long measure somewhere. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tremolo won't produce desired output
Neil Puttock skrev: Unfortunately that's even worse - it produces output similar to what I posted above, but with hemidemisemiquaver barring. Yikes. For now you can use \once \override Beam #'gap-count = 3 c32.*4[ e32.*4] which is also an ugly kludge though :-/ -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: beams in DrumStaff should be parallel to staff lines
Quoting Ziggy Leitner [EMAIL PROTECTED]: I have spent a bit of time trying to get the beams for a DrumStaff to stay parallel to the staff line instead of following the stem. Try reading the sections on tablatures. It contains some notes on how to make the beams horizontal. The same notesshould apply to drum staves. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [EMAIL PROTECTED] \line
sdfgsdhdshd skrev: In this link, i read how many systems you want before each fragment. What does system mean? This word is present several times in the main lilypond doc, but i can't figure its meaning related to lilypond. Read the glossary, that can be found from the main documentation page on the webpage. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Aligning relative to page
Romel Anthony S. Bismonte skrev:
Now, it would be nicer for the segue markup to be right-aligned to the
page, so I tried changing the markup to this:
Use fill-line for this.
\markup {
\fill-line {
\column {
\italic segue to
Something Else
} }
}
-Rune
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Re: Aligning relative to page
Valentin Villenave skrev:
but I already made it
clear that in an independent \markup the text formatting *is* relative
to the entire page, so you can't say it isn't.
This is not true.
In this example, the text ends up in the left margin.
%%% BEGIN %%%
\version 2.10.25
{ c d e f }
\markup {
\right-align This should be right aligned
}
%%% END %%%
I think it would be fairly easy to extend the markup language so that
the current position instead of being a point is an interval. That way
everything would work as it should, afaics.
I haven't looked at the code at all though.
-Rune
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Re: Absolutely evenly aligned table of chords ... with plenty of accidentals?
Trevor Bac(a skrev:
I'm picky about the spacing. So I want noteheads to align *vertically*
(between systems).
And I also want all barlines to align vertically between systems.
As Mats suggests: Use a multistaff-score.
%%% BEGIN %%%
\version 2.11.25
\include english.ly
\layout {
indent = #0
ragged-right = ##t
\context {
\Score
\remove System_start_delimiter_engraver
}
\context {
\Staff
\remove Time_signature_engraver
}
}
\new Staff {
\time 1/4
cs'' 4
cs'' ds'' 4
cs'' ds'' es'' fs'' 4
cs'' ds'' es'' fs'' gs'' 4
}
\new Staff {
cf'' df'' ef'' ff'' gf'' af'' 4
cf'' 4
cf'' df'' 4
cf'' df'' ef'' ff'' 4
}
\new Staff {
cs'' ds'' 4
cs'' ds'' es'' fs'' 4
cs'' ds'' es'' fs'' gs'' 4
cs'' ds'' es'' fs'' gs'' as'' 4
}
%%% END %%%
-Rune
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Re: aligning text with example
Eric Knapp skrev:
I want the numbers 7, 7, 3, 5, 3, and 5 to be the same vertically.
Lily has hugeproblems with vertical alignment - it usually takes a lot
of hacking.
In your case, the easiest is probably to put the numbers into a
lyrics-context:
\new Staff {
\set fingeringOrientations = #'(left)
c-18 d'-28 a-32 g-44
}
\addlyrics{
\override LyricText #'font-size = #-1
1 4 3 5
}
Alternatively one has to define his own context into which the scripts
go. See the section Piano centered dynamics in the manual just to see
how non-trivial this is.
If you want me to I will try and make a template where the scripts go
into their own context and thereby are vertically aligned.
-Rune
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Re: Merging scores in one pdf
sdfhsdfhsdfhs skrev: I did not find anything in the forum about it. Did you read manual section 10.1.4: Multiple scores in a book? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Connecting bar lines in ChoirStaff
Rune Zedeler skrev:
But what you /can/ do is to use a StaffGroup and then make the span bars
transparent apart from at the end of the measure
You could also automatically make single bars (|) invisible but still
show all other kind of bars - like this:
\version 2.10.25
mus = { \clef F c d e f c d e f c d e f c d e f \bar || c d e f c d e
f c d e f \bar |. }
\new StaffGroup {
\override StaffGroup.SpanBar #'stencil =
#(lambda (a)
(if (string=? (ly:grob-property a 'glyph-name) |)
(set! (ly:grob-property a 'glyph-name) )) (ly:span-bar::print a))
\new Staff \mus
\new Staff \mus
\bar |.
}
-Rune
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Re: square group brackets
Dewdman42 skrev: Hi everyone. I can't seem to figure out how to make a square looking group bracket. I also can't seem to figure out how to put a staff group bracket around only a single staff. This is a bit weird, but I cannot find a way to solve both your problems simultainously. The first problem is solved by \override StaffGroup.SystemStartBracket #'style = #'bar-line \override StaffGroup.SystemStartBracket #'thickness = #4 (of course you may alter the thickness to your liking) The second problem i solved by \override StaffGroup.SystemStartBracket #'collapse-height = #1 Unfortunately the c++-code contains an explicit check against the case that you have style=bar-line and only one staff. So the two solutions above do not work at the same time :-( I post a message on the devel-list to see if anybody knows why this check is in the code. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: square group brackets
Steve Schow skrev:
Here is what I used for first two staffgroups in one system and I have
attached resulting image.
You made a simple typo that is why it did not work:
\new StaffGroup
\override StaffGroup.SystemStartBracket #'style = #'bar-line
\override StaffGroup.SystemStartBracket #'thickness = #4
\new Staff {
...
\new StaffGroup
\override StaffGroup.SystemStartBracket #'style = #'bar-line
\override StaffGroup.SystemStartBracket #'thickness = #4
\new Staff {
In the 2nd staffgroup, you put the on the wrong side of the override.
-Rune
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Re: Connecting bar lines in ChoirStaff
Rune Zedeler skrev:
\new StaffGroup {
\new Staff {
\override StaffGroup.SpanBar #'transparent = ##t
\clef F c d e f c d e f \bar |.
\revert StaffGroup.SpanBar #'transparent
}
\new Staff {
\clef F c d e f c d e f
}
}
Sorry, a typo.
Try this:
\new StaffGroup {
\override StaffGroup.SpanBar #'transparent = ##t
\new Staff { \clef F c d e f c d e f }
\new Staff { \clef F c d e f c d e f }
\bar |.
\revert StaffGroup.SpanBar #'transparent
}
Not sure whether this will give problems with the lyrics though...
Seems like it does not :-)
-Rune
-Rune
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Re: Connecting bar lines in ChoirStaff
Morten Lemvigh skrev:
Is it possible to connect the bar lines of different staffs on the very
end of a piece using ChoirStaff?
No because a ChoirStaff contains no span bars.
But what you /can/ do is to use a StaffGroup and then make the span bars
transparent apart from at the end of the measure:
\new StaffGroup {
\new Staff {
\override StaffGroup.SpanBar #'transparent = ##t
\clef F c d e f c d e f \bar |.
\revert StaffGroup.SpanBar #'transparent
}
\new Staff {
\clef F c d e f c d e f
}
}
Not sure whether this will give problems with the lyrics though...
-Rune
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Re: syntax of numeric variables
Germain G. Ivanoff-Trinadtzaty skrev:
Hi,
In the following code:
before = 14
after = 10
\markup { \with-dimensions #'(0 . 0) #'(-10 . 14) AZERTY }
The easiest is probably to use explicit cons instead of the shorthand
'-notation:
\markup { \with-dimensions #(cons 0 0) #(cons (- after) before) AZERTY }
alternatively the correct mumbo-jumbo is
\markup { \with-dimensions #'(0 . 0) #`(,(- after) . ,before) AZERTY }
-Rune
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Re: No GrandStaff possible around (rhythmic) staves?
\version 2.10.25
\layout {
\context {
\GrandStaff
\accepts RhythmicStaff
}
}
\new GrandStaff
\new Staff { c'4 }
\new Staff { c'4 }
\new RhythmicStaff { c'4 }
\new RhythmicStaff { c'4 }
-Rune
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Re: Music Fragments, HOWTO
Francois Planiol-Auger skrev:
I would be pleased to know how to put more short fragments on one line,
\version 2.10.25
musa = \markup \score {
{ c d e f }
\layout{ ragged-right = ##t }
}
musb = \markup \score {
\new Staff { c' d' e' f' } \new Staff { c' d' e' f' }
\layout{ ragged-right = ##t }
}
musc = \markup \score {
{ c d e f c' d' e' f' }
\layout{ ragged-right = ##t }
}
\markup \line {
\musa
\musb
\musc
}
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Re: Music Fragments, HOWTO
Francois Planiol-Auger skrev: Thanks. Unfortunately, it doesnt work well. Ich just copy-pasted this source. The result ist not on a line but every fragment is under the last. I use 2.10.20 That is weird - it works fine here (2.10.25). Can others reproduce? Otherwise I suggest you update to a newer version of lilypond. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Music Fragments, HOWTO
Francois Planiol-Auger skrev: I upgraded, but it is the same. This is sooo weird. What do others say? Anyone? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: looking for Turkish key sig workaround
Adam Good skrev:
and here's what I use in Lilypond to show that key signature:
\override Accidental #'glyph-name-alist = \makamGlyphs
\override Staff.KeySignature #'glyph-name-alist = \makamGlyphs
\set Staff.keySignature = #'(
(1 . 4/9)(-3 . 4/9)(3 . 1/9))
You do not specify which version you use.
In latest devel it does not work - the makamGlyphs is undefined.
Well, the procedure that typesets the glyphcs is
key-signature-interface::alteration-position.
P.t. you have to type in the entire thing again to edit it. The
following gives the key signature you are looking for.
This should imo be done in a better way - but for now you can use it:
\version 2.11.25
#(set! key-signature-interface::alteration-position
(lambda (step alter c0-position)
;; TODO: memoize - this is mostly constant.
;; fes, ges, as and bes typeset in lower octave
(define FLAT_TOP_PITCH 2)
;; ais and bis typeset in lower octave
(define SHARP_TOP_PITCH 3)
(if (pair? step)
(+ (cdr step) (* (car step) 7) c0-position)
(let*
((from-bottom-pos (modulo (+ 4 49 c0-position) 7))
(p step)
(c0 (- from-bottom-pos 4)))
(if
(or (and ( alter 0) (or ( p FLAT_TOP_PITCH) ( (+ p c0) 4)) ( (+ p
c0) 1))
(and ( alter 0) (or ( p SHARP_TOP_PITCH) ( (+ p c0) 5)) ( (+ p
c0) 2))
)
;; Typeset below c_position
(set! p (- p 7)))
;; Provide for the four cases in which there's a glitch
;; it's a hack, but probably not worth
;; the effort of finding a nicer solution.
;; --dl.
(cond
((and (= c0 2) (= p 3) ( alter 0))
(set! p (- p 7)))
((and (= c0 -3) (= p -1) ( alter 0))
(set! p (+ p 7)))
((and (= c0 -4) (= p -1) ( alter 0))
(set! p (+ p 7)))
((and (= c0 -2) (= p -3) ( alter 0))
(set! p (+ p 7
(+ c0 p)
\score{ {
\set Staff.keySignature = #'(
(1 . 1/2)(4 . 1/2)(3 . 1/4))
g'
} }
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Re: [layout tweaks] 1. fill-line
Germain G. Ivanoff-Trinadtzaty wrote:
Thank you Rune,
You are welcome.
% Here, the 'title' is output _almost_ at the center of the page
% (with a little shift to the right) while the 'index' is put
% 'gap' spaces away from 'title', on the left side.
Oh yeah, you are right.
This is caused by lilypond inserting word-space whitespace between
objects even if you force them to zero width.
This title-definition gives the desired result.
The myGap is in staff spaces, that are 1/4 of the staff size. I.e. in
20 pt staff, each unit is 5 pts. I am not sure, how the right way is
to convert this to centimetres from within the header-block.
title = \markup {
\override #`(word-space . ,myGap)
\fill-line { \line {
\with-dimensions #'(0 . 0) #'(0 . 0)
\right-align \fromproperty #'header:myIndex
\fromproperty #'header:myTitle
\with-dimensions #'(0 . 0) #'(0 . 0) \strut
}}}
-Rune
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Re: [layout tweaks] 1. fill-line
Sorry I missed the simple solution.
This one REALLY should work :-)
\version 2.10.1
\header
{
myIndex = No 210
myGap = #8.0
myTitle = |AZERTYUIOP|
mySubtitle = |AZERTYUIOP|
title = \markup {
\override #`(word-space . ,myGap)
\line \large {
\with-dimensions #'(0 . 0) #'(0 . 0)
\right-align \fromproperty #'header:myIndex
\fromproperty #'header:myTitle
\with-dimensions #'(0 . 0) #'(0 . 0) \strut
}}
subtitle = #mySubtitle
}
\score {c''}
\layout{}
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Re: [layout tweaks] 3. ragged last system right #true
Germain G. Ivanoff-Trinadtzaty wrote: ragged-bottomto stretch down all pages ragged-last-bottom to stretch down last page ragged-rightto stretch right all systems Is there a way to stretch all systems right BUT the very last one ? ragged-last (It's in section 11.5.4 of the manual: Line length) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [layout tweaks] 1. fill-line
Germain G. Ivanoff-Trinadtzaty wrote:
. I want to get title and subtitle centered on the page,
while index is placed on the left of title.
. I could not place index at a _fixed_ position from the _variable_
position of title's first character.
\version 2.10.1
\header {
thetitle = This is the title
index = 3.14159
subtitle = Subtitle
title = \markup \fill-line { \line {
\with-dimensions #'(0 . 0) #'(0 . 0)
\right-align \normal-text \normalsize \fromproperty #'header:index
\hspace #4.0
\fromproperty #'header:thetitle
\hspace #4.0
} }
}
\score {
{ c' d' e' f' }
}
-Rune
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