Re: Espacio entre la última nota y la barra de compás.
On Sun, 12 Aug 2012 02:00:49 +0200, Antonio Soler wrote: Saludos. Estoy en este momento trabajando en una partitura que incluye una línea de texto como indicador de repeticiones. Me gustaría obtener mayor espacio entre la última nota de cada compás y la barra de compás que sigue para poder acomodar bien tanto la lína de texto como la cantidad de repeticiones, tal como en el ejemplo del siguiente link: https://dl.dropbox.com/u/47673640/ejemplo.png Este ejemplo lo hice agregando una corchea más al compás y colocando un silencio invisible. Sé que no es la solución más elegante, y estropea la salida MIDI, por lo cual busco la manera de agregar más espacio por medio de un override. Miré el manual de funcionamiento interno, pero al parecer todavía no soy muy experto, pues las soluciones que probé (modificar la a-list de BarLine) no funcionaron. Gracias por su ayuda. PD: Lamento las molestias ocasionadas por el mail incompleto de antes. Lo envié sin querer. In short, I'm forwarding him to the spanish mailing list. Antonio, ante todo bienvenido a Lilypond. Esta lista de correo es exclusivamente en inglés, ya que sus miembros son de todas partes del mundo, y muy pocos van a entender tu pregunta. Si te manejas bien en inglés, te aconsejo que reescribas tu mensaje en ese idioma. También tienes la posibilidad de escribir en la lista de correo en español: https://lists.gnu.org/mailman/listinfo/lilypond-es en cuanto a tu pregunta, probablemente necesitas usar \textLengthOn . más información aquí: http://lilypond.org/doc/v2.14/Documentation/notation/writing-text por último, siempre es conveniente que adjuntes el código que te causa problemas, para que sea más fácil ayudarte, según estas directrices: http://lilypond.org/tiny-examples.es.html Saludos, Vicente Solsona ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: point and click (was: Alpha-release of Frescobaldi 2.0)
So in the future it may become possible to drag a note to a different octave, or to draw slurs between notes by dragging, or to right-click a slur and select "Down" or "Dashed" or whatever. All without needing any change to LilyPond itself. if you allow me to make a feature request, the slur tweaking and the object moving tools in lilypondtool are very useful timesavers. it would be really cool to have such features in frescobaldi. besides that, many thanks and congratulations for creating such a neat tool. now that it's cross-platform, it can become THE lilypond editor for a lot of people. -- greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel installation of different Lilypond version
On Sat, 15 Jan 2011 13:28:44 +0100, Helge Kruse wrote: Hello, I have installed several versions of Liylpond in parallel. That's useful if you migrate to a newer version to use it's features. But I can't modify all sources at once. That's why I need to install the current version while keeping the old. When I try to install lilypond-2.13.46-1.mingw.exe it requests me to uninstall the old version. How can I circumvent this? Best Regards, Helge I don't know if it's the best method, but in Windows I simply rename the old lilypond directory to e.g "C:\Program Files\Lilypond_2.12 and install the new one to C:\Program Files\Lilypond. when I want to use 2.12, I rename the new directory to \Lilypond_2.13 and the old to \Lilypond, i.e, the "active" installation is always C:\Program Files\Lilypond and the "inactive" ones are renamed. It's a bit hairy, but it does the trick for me... greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond cameo
dear lilyponders, just received this from planet.linuxaudio.org: http://createdigitalmusic.com/2010/12/utterly-brilliant-fan-made-jonathan-coulton-music-video-with-lilypad-notation-cameo/ the following comments in the original video page (http://vimeo.com/17419652) are remarkable: Q. "Brilliant. Love the guitar solo! Sibelius or Finale?" A. "LilyPond" ~(:-D greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to parenthesize a time signature
On Thu, 09 Dec 2010 01:36:23 +0100, Jonathan Wilkes
wrote:
Greetings Lilypouncers,
Is there a quick way to parenthesize a simple time signature?
I'm not sure whether this is standard or not, but I used it once or
twice at the beginning of a score that shows an excerpt from, say, the
middle of a piece, to make it clear that the time signature also
applied to the music leading up to the excerpt. (I think I used it a
long time ago in a copy job for a musicologist, but I can't be sure.)
Thanks,
Jonathan
it is possible to put it between square brackets:
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Staff-notation#Time-signature-in-parentheses
a *very* rough method to put it into "rounded" parenthesis could be:
---8<-
\version "2.12.3"
#(define ((parenthesize-time up down) grob)
(grob-interpret-markup grob
(markup #:override '(baseline-skip . 0) #:number
(#:line (
#:vcenter "("
(#:column (up down))
#:vcenter ")" )
\relative c'' {
\override Staff.TimeSignature #'stencil = #(parenthesize-time "2" "4")
\time 2/4
a4 b8 c
}
---8<-
you can hopefully tweak it further to suit your needs...
greetings,
Vicente
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Re: How to create a coda with a gap?
On Wed, 24 Nov 2010 21:17:46 +0100, Dominic Neumann
wrote:
Hi,
I want to produce a special Coda which does not reside on a new line but
is separated by a gap. You can find the original in the attached file
"examplecoda.jpg".
I already tried for a long time but the result isn´t exactly what I want.
Below you can find a minimal example code which I used to create the
attached file "codalilypond.jpg".
Maybe there is an easy command for creating such a coda gap, but I
couldn´t find it.
you could just attach the segno to the skip instead to the barline:
[...]
\stopStaff
s1^\markup { \musicglyph #"scripts.segno" }
[...]
There are still some problems:
1. The second clef is smaller than the first one.
use:
\override Staff.Clef #'full-size-change = ##t
before your \clef
2. The second time signature has a natural symbol in it which should not
be there.
see:
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Pitches#Preventing-natural-signs-from-being-printed-when-the-key-signature-changes
3. The segno sign is for too high.
does the above solution for the segno placement help? you can use also
#'extra-offset to finetune the position
4. The first volta bracket doesn´t have an end line.
can't figure that out ATM...
Can you please help me with that?
Thanks
Dominic
HTH
greetings,
Vicente
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Re: making a TextSpanner not re-print the text after a line break
On Thu, 11 Nov 2010 10:58:13 +0100, Steve Yegge wrote: I've got a text spanners with a relatively long string for its #'bound-details #'left #'text property, and the spanner spans several line breaks. The result is something like long spanner text ... \break long spanner text ... \break long spanner text .. whereas I'd prefer it to be long spanner text ... \break ... \break .. I didn't see a way to control this behavior, though. Did I miss something obvious? Thanks, -steve use: \override TextSpanner #'(bound-details left-broken text) = ##f greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: voice sharing the same note on different staves
On Thu, 04 Nov 2010 05:07:34 +0100, Colin Campbell wrote:
> wrote:
please remember to forward to the list.
also please review your examples before posting. your example contains
syntax errors.
there's no E flat in your example. the only common note between voices 2
and 4 is an F (if I've interpreted your example correctly). Here's how I
would "mix" that F (result attached):
I believe the OP was using english.ly for note names, so the common note
is in fact an E-flat, spelt ef rather than es in the default nederlands
note names.
regards,
Colin
heck you're right. there's a thing called english which happens to be a
language which happens to be supported by lilypond (and probably even
there's someone out there who happens to speak it)
:-S
the original example posted by Ken is strictly incorrect and still
contains syntax errors though, but never mind. sorry for my confusion. I'm
used to the default note names in dutch and my "internal" parser warns me
when it reads "strange" constructs like {bf} or {ef,16}
:)
here's my suggestion then:
8<-
\version "2.12.3"
\include "english.ly"
\new PianoStaff <<
\new Staff = "up" <<
\clef treble
\key a \minor
\time 3/8
\new Voice {\voiceOne \relative c'' { g16 a bf f' bf, c } }
\new Voice {
\voiceTwo \relative c'
{
\change Staff = down \stemUp ef,16 f g a g a
}
}
>>
\new Staff = "down" {
\clef bass
\key a \minor
\time 3/8
\new Voice {
\voiceFour \relative c {
\mergeDifferentlyDottedOn
\mergeDifferentlyHeadedOn
e f4.
}
}
}
>>
8<-
greetings,
Vicente
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Re: voice sharing the same note on different staves
On Wed, 03 Nov 2010 19:01:18 +0100, Ken wrote: Hi, I tried looking in archives for a solution to my problem but I'm not sure quite how to put in a search description. I'm writing a 3-part piece for the piano. 3 voices. In one measure, I have the second and third (voiceFour in lliypond because the stems are down) share the same note. The second voice is a 16th note while the third voice is a dotted quarter. I'd like to have the note in the bass stave and have 2 stems, one up and one down. The up one is beamed with the rest of the notes of the second voice. How do I do this? Thanks! Ken doesn't \mergeDifferentlyHeadedOn and \mergeDifferentlyDottedOn do what you want? greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: voice sharing the same note on different staves
On Wed, 03 Nov 2010 19:01:18 +0100, Ken wrote: Hi, I tried looking in archives for a solution to my problem but I'm not sure quite how to put in a search description. I'm writing a 3-part piece for the piano. 3 voices. In one measure, I have the second and third (voiceFour in lliypond because the stems are down) share the same note. The second voice is a 16th note while the third voice is a dotted quarter. I'd like to have the note in the bass stave and have 2 stems, one up and one down. The up one is beamed with the rest of the notes of the second voice. How do I do this? Thanks! Ken and probably \change Staff = "down" too? greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: voice sharing the same note on different staves
On Wed, 03 Nov 2010 20:23:51 +0100, Ken wrote:
Not quite.
Here's the fragment
\new PianoStaff <<
\new Staff = "up" <<
\clef treble
\key a \minor
\time 3/8
\new Voice [\voiceOne \relative c'' { g16 a bf f' bf, c } }
\new Voice {\voiceTwo \relative c' { ef,16 f g a g a } }
>>
\new Staff = "down" {
\clef bass
\key a \minor
\time 3/8
\new Voice { \voiceFour \relative c { ef4. } }
}
>>
Not sure what common notation should be but it seems to me that the E
flat
in the lower staff should have an up and down stem with the up stem
beamed
with the rest of the notes in voice 2.
Thanks for the prompt reply. Btw, I tried various permutations of your
suggestions. The closest I got was the E flat of the second voice with a
\noBeam
Note heads merged correctly. Stems all correct. Except for the no beam.
Ken
On Wed, Nov 3, 2010 at 1:45 PM, Vicente Solsona
wrote:
please remember to forward to the list.
also please review your examples before posting. your example contains
syntax errors.
there's no E flat in your example. the only common note between voices 2
and 4 is an F (if I've interpreted your example correctly). Here's how I
would "mix" that F (result attached):
---8<--
\version "2.12.3" % should also work on 2.13
\new PianoStaff <<
\new Staff = "up" <<
\clef treble
\key a \minor
\time 3/8
\new Voice {\voiceOne \relative c'' { g16 a b f f' b f, c } }
\new Voice {
\voiceTwo \relative c'
{
e \change Staff = down \stemUp f,16 f g a g a
}
}
>>
\new Staff = "down" {
\clef bass
\key a \minor
\time 3/8
\new Voice {
\voiceFour \relative c {
\mergeDifferentlyDottedOn
\mergeDifferentlyHeadedOn
e f4.
}
}
}
>>
---8<--
greetings,
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Re: more vertical positioning
On Mon, 01 Nov 2010 14:27:10 +0100, Stephan Elliot Perez wrote: How can I move other objects? I would like, for example to move dynamic symbols and text into the system itself. I know how to move text around within a markup with /lower and /hspace , but not through other objects. There is probably a section of the notation reference I need to read, but I am not sure which... Thanks in advance, Stephan surprisingly: http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Moving-objects :) greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Horizontal shift
On Sat, 23 Oct 2010 02:35:24 +0200, PMA wrote: Hi List. I have a LilyPond score in which an arpeggiated chord tends to be preceded by a rest. And too often, the arpeggio glyph overlaps its preceding rest. How can I shift horizontally -- either the rest slightly leftwards, or the arpeggio glyph itself ever-so-slightly rightwards? I tried "-\tweak #'X-offset #-1" just before "\arpeggio", but LilyPond hated this. Have I overlooked something obvious? Thanks in advance! Pete try something like this: \once \override Arpeggio #'extra-offset = #'(-1 . 0) \arpeggio greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: help with moving dynamic marks needed
On Mon, 18 Oct 2010 12:43:18 +0200, James wrote: On 18/10/2010 06:21, Xavier Scheuer wrote: 2010/10/18 Janek Warchoł: I've tried doing some things described here, but i don't understand them well enough and it didn't work like i wanted :( The reason is that while the previous example in the documentation *does* move the symbol around, it doesn't actually change the spacing algorithm, and the spacing is still calculated 'as if' the symbol was where it originally was before you tried to move it. The '\tweak' does cause the symbol to be moved as well but the spacing is calculated based on the final location of where the symbol ends up not where it was to start with. This was why (as Janek pointed out) the example has been changed in a later 2.13.x version of the documentation and will also be in the forthcoming 2.14. James exactly. and this is precisely the usefulness of extra-offset IMO, just that it was used in the wrong example :). What is the most elegant solution for moving the dynamic marks in such a way that LilyPond could calculate vertical system spacing with knowledge that dynamics are moved? Janek, note that this line in your code raises an error: fis4 d4 d'4-> \tweak #'extra-offset #'( 2 . 4) ^\f d4-> extra-offset does not affect spacing and can't be "tweaked" afaik (you'd have to \override it to work); in your case, you have to tweak X-offset and Y-offset, which actually do affect spacing: fis4 d4 d'4->-\tweak #'X-offset #-2.7 -\tweak #'Y-offset #2.5 ^\f d4-> | HTH. greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Howto have the number of volte printed out above an end-repeat bar?
On Tue, 12 Oct 2010 19:58:18 +0200, Gilles Filippini wrote: Looking for another method :/ I think the following code does it, but putting the music inside a function is probably not a good idea. Maybe some scheme specialist can help you better, I'm surpassed beyond that... Well, it does the trick :) Not sure there's a better way without digging into engravers. Thank you very much for your time Vicente! _g. glad it helped (and that I learned a couple of things too :-) greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup placement
On Mon, 11 Oct 2010 22:02:51 +0200, David Santamauro wrote: my personal experience is that the most productive thing I've done in Lilypond is learning to search in the documentation :) Yes, searching is important and I have been doing that all day. This is my first big scoring with lilypond and it is at times a bit overwhelming. yes, it may be at first, but as you keep getting used to it you'll surely find that the reward compensates the effort :) greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Howto have the number of volte printed out above an end-repeat bar?
On Tue, 12 Oct 2010 01:00:28 +0200, Gilles Filippini
wrote:
I thought I could trigger the mark using a function and a global
variable, but that doesn't work as expected. It seems the function is
evaluated only once while setting the "toto" part instead of being
evaluated in the context of each score:
%---
repeatMark =
#(define-music-function
(parser location volte)
(number?)
(if repeat-mark-visible
#{
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once \override Score.RehearsalMark #'font-size = #0
\mark \markup $(string-join (list "repeat" (number->string volte)
"times"))
#}
#{ #}
))
toto = \relative c'' {
\mark \default
d1
\mark \default
\repeat volta 3 {
c b
}
\repeatMark #3
a
\mark \default
g
}
#(define repeat-mark-visible #t)
\score {
\toto
}
#(define repeat-mark-visible #f)
\score {
\unfoldRepeats {
\toto
}
}
%---
Looking for another method :/
I think the following code does it, but putting the music inside a
function is probably not a good idea. Maybe some scheme specialist can
help you better, I'm surpassed beyond that...
%---
\version "2.12.3"
repeatMark =
#(define-music-function
(parser location volte visible)
(number? boolean?)
(if visible
#{
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once \override Score.RehearsalMark #'font-size = #0
\mark \markup $(string-join (list "repeat" (number->string volte)
"times"))
#}
#{ #}
))
totito =
#(define-music-function
(parser location visible)
(boolean?)
#{
\relative c'' {
\mark \default
d1
\mark \default
\repeat volta 3 {
c b
}
\repeatMark #3 #$visible
a
\mark \default
g
}
#})
\score {
\totito ##t
}
\score {
\unfoldRepeats {
\totito ##f
}
}
%---
greetings,
Vicente
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Re: Howto have the number of volte printed out above an end-repeat bar?
On Mon, 11 Oct 2010 23:57:42 +0200, Vicente Solsona wrote: afaik \unfoldRepeats is intended mainly for the output... sorry I meant "afaik \unfoldRepeats is intended mainly for the midi output..." ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duplicate dynamics on same staff
On Tue, 12 Oct 2010 00:06:26 +0200, James Wilkinson wrote: On 10/11/10 5:22 PM, Graham Percival wrote: On Mon, Oct 11, 2010 at 04:32:48PM -0400, James Wilkinson wrote: On 9/23/10 6:00 PM, Vicente Solsona wrote: if the dynamics are the same, it's better to write them just once. thus you: 1) save typing 2) help lilypond so it does't need to waste time guessing obvious things and it can concentrate on the big stuff :) you just need to create a third voice with spacers and all the common marks, in parallel with the other two: I'm not at all certain that's a good idea. The dynamics won't be present in MIDI (which is probably no great loss), but more importantly, it messes up the semantics for no particularly good reason. 8-( When I first brought this up, that answer seemed to be the consensus, so I gave it a go. Now I don't know what to do. If there's a better way, I'd love to hear it. Or am I back to my original idea of having Lilypond remove the duplicate dynamic marks on its own? thanks for me it's still a good idea. you have two voices sharing the same dynamics. probably there's other way, but it definitely works for me, and lilypond allows it. not such a big deal I think. greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duplicate dynamics on same staff
On Mon, 11 Oct 2010 22:32:48 +0200, James Wilkinson wrote: [...] if the dynamics are the same, it's better to write them just once. thus you: [...] you just need to create a third voice with spacers and all the common marks, in parallel with the other two: Took me a while to get around to it. Works like a champ. Thanks glad it helped :) Is there somewhere in the docs that I should have spotted this before doing it wrong the first time? I think I took the idea from the piano centered dynamics template in the learning manual. I don't recall if this is spotted somewhere els. greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Howto have the number of volte printed out above an end-repeat bar?
On Mon, 11 Oct 2010 21:40:30 +0200, Gilles Filippini
wrote:
To me the "standard" way would be to have the Volta_engraver doing this
for me, and taking care not to do it when inside \unfoldrepeats {}.
afaik \unfoldRepeats is intended mainly for the output...
maybe you could just override the visibility of the mark when using
\unfoldRepeats:
\version "2.12.3"
music = \relative c'' {
\repeat volta 4 { ais b c d a b c d}
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once \override Score.RehearsalMark #'font-size = #0
\mark \markup "4x"
}
\score
{
\new Staff {
\music % the mark woild be visible
\once \override Score.RehearsalMark #'transparent = ##t
\unfoldRepeats {\music} % the mark
}
}
the problem is that surprisingly (at least for me) this prints the last
mark and not the first :-S
this could be a bug. If nobody disagrees, I'll report that to the bug list.
greetings,
Vicente
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Re: markup placement
On Mon, 11 Oct 2010 20:51:19 +0200, David Santamauro wrote: Is it possible to move objects like that markup with the proper directives? If it is and is documented, please point me to the relevant snippets or section in the manual. forgot that. you can read about that in the Learning Manual 4.5.1 "Moving objects" http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Moving-objects#Moving-objects and more generally about text in the Notation Reference 1.8 "Text" http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Text#Text my personal experience is that the most productive thing I've done in Lilypond is learning to search in the documentation :) greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup placement
On Mon, 11 Oct 2010 20:51:19 +0200, David Santamauro
wrote:
[...]
r2 \mark \markup { \teeny "div." } cs'4\downbow e'4
[...]
why do you use a rehearsal mark? by attaching the "div." to the rest, the
result is closer to what you want, isn't?
r2-\markup { \teeny "div." } cs'4\downbow e'4
you can then finetune the alignment for instance manually with
#'extra-offset.
greetings,
Vicente
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Re: Howto have the number of volte printed out above an end-repeat bar?
On Mon, 11 Oct 2010 14:22:36 +0200, Gilles Filippini
wrote:
From the answers I've had I infer that there is no standard way of doing
that.
well, with Rehearsal Marks you can print almost whatever you want over a
bar line. how far is that from the "standard" way?
The answer the closest from what I expected is to use a rehearsal mark
(thanks to Vicente).
I forgot to fwd my first messsage to the list, sorry. I just reccomended
to use a manual Rehearsal Mark.
Unfortunately it doesn't work when the end-repeat
bar is the last bar of the score:
% This score doesn't have "x4" printed out
\score {
\relative c'' {
\repeat volta 4 { c1 }
\mark #"x4"
}
}
\version "2.12.3"
\score {
\relative c'' {
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
\override Score.RehearsalMark
#'self-alignment-X = #RIGHT
\repeat volta 4 { c1 }
\mark #"x4"
}
}
remember, the manuals and the lsr are your biggest friends most of the
time. learn them by heart :)
greetings,
Vicente
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Re: lyrics first word starts on second note of piece
On Wed, 06 Oct 2010 21:06:39 +0200, Chip Wiegand wrote:
I am having an issue with getting a lyric to align the first word to
the first note of the piece. I have even commented out all the lyrics
except the first two words of the two stanzas, but only the first word
of each stanza appears and it is under the second note of the piece. I
have included the code for the song below.
Regards,
Chip W
Chip, please read this before posting code examples:
http://lilypond.org/tiny-examples.html
I think your problem comes from applying \global to the \lyrics context.
It looks like the autobeaming settings in \global are interfering with the
lyrics.
this tiny example works as expected:
\version "2.12.3"
global = {
#(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
#(override-auto-beam-setting '(end * * * *) 2 4 'Staff)
#(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
}
staffMelody = \relative c'' {
\global % OK, it sets your desired autobeaming
g8 g g a16 b
}
theChords = \chordmode { g2 }
verseI = \lyricmode {
\set stanza = #"1. "
Are you just my im
}
\score {
<<
\context ChordNames { \theChords }
\new Staff {
\context Voice = "voiceMelody" { \staffMelody }
}
\new Lyrics = "lyricsI" {
% \global <--- DOESN'T SEEM A GOOD IDEA. LYRICS CAN'T BE
"BEAMED"
\lyricsto "voiceMelody" \verseI
}
>>
}
greetings,
Vicente
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Re: \tempo
On Tue, 05 Oct 2010 22:27:40 +0200, Mario Moles
wrote:
Hi lilyponders!
How i can for \tempo=40-42 ?
Cheers!
use markups. I guess you mean something like this:
\tempo \markup {
\concat {
\general-align #Y #DOWN \note #"4" #1
" = 40-42"
}
}
did you look in the manual? there's a pretty similar example there.
greetings,
Vicente
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Re: Re: conditional formatting
On Mon, 04 Oct 2010 23:11:01 +0200, Marten Visser
wrote:
Hi Vincente, thanks for the suggestion. However, I do not only want to
delete a music expression (which can be tagged), but an entire staff,
namely the tabStaff. I wouldn't know how to create code removing a staff
by tagging it.
you're right. I thought that what you requested could be done with tags
because I once did something similar and there were tags involved.
but I've looked in my file again and found an alternative and perhaps
simpler
way which you may find useful: the trick is to use two different \book
sections;
then Lilypond generates two pdfs in one move, so you don't need to specify
any
condition at all:
%8<--
%
% input file tst.ly generates tst.pdf for the piccolist and tst-1.pdf for
the guitarist
\version "2.12.3"
piccolo = \relative c'' {
c d e f
}
guitar = \relative c' {
a b c d
}
staffPiccolo = \new Staff {
\piccolo
}
staffGuitar = \new Staff
{
\guitar
}
staffTabGuitar = \new TabStaff
{
\guitar
}
\book
{
% creates tst.pdf for the piccolist
<<
\staffPiccolo
\staffGuitar
>>
}
\book
{
% creates tst-1.pdf for the guitarist
<<
\staffPiccolo
\staffGuitar
\staffTabGuitar
>>
}
%8<--
I hope I've understood you better this time :)
Dmytro's suggestion looks more promising, though I haven't been able to
generate code that does the job so far. When I code
that looks very interesting and can be very useful if you find the way.
greetings,
Vicente
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Re: conditional formatting
On Mon, 04 Oct 2010 01:03:30 +0200, Marten Visser wrote: Hello again, Typesetting my masterpiece :D, I ran into the following problem: I have a piece for piccolo and guitar. If I typeset the music for guitar, I'd like to have a tablature staff in addition to the notes, but If I typset for piccolo, I'd like to omit the tablature. Since the music is the same in either case, I prefer to have one file where I can make a definition at the very beginning of the document like I think you can do that with tags: http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Different-editions-from-one-source scroll down to "Using tags". greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scaling of non-text dynamic signs
On Sun, 03 Oct 2010 15:30:34 +0200, Marten Visser wrote: Hello, [...] In the following example, everything has been properly scaled down, except for the crescendo. Thanks for looking! please forget my previous reply! indeed the hairpin is not scaled in 2.12.3 either; as it has no "font-size", that's perfectly understandable :) , sorry for the noise. as Xavier posted, adjusting the height of the hairpin should do the trick. greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Scaling of non-text dynamic signs
On Sun, 03 Oct 2010 15:30:34 +0200, Marten Visser
wrote:
Hello,
[...]
In the following example, everything has been properly scaled down,
except for the crescendo. Thanks for looking!
==
%{
Example:
graphical dynamics do not scale
%}
\version "2.13.32"
% --- Notes --
musicalContent = #(define-music-function (parser location) ()
#{
e4 c' c8 c a4 |
s4\p s s\< s\f |
#}) % End of musicalContent
% Typesetting ---
\parallelMusic #'(MusicalData DynamicalData)
\musicalContent
\score { <<
\new Staff
\with {
instrumentName = "small"
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
}
{
\relative c' \MusicalData
}
\new Dynamics
\with {
fontSize = #-3
\override StaffSymbol #'staff-space = #(magstep -3)
\override DynamicText #'font-size = #-3
\override DynamicLineSpanner #'font-size = #-3
}
{
\DynamicalData
}
\new Staff
\with {
instrumentName = "normal"
}
{
\relative c' \MusicalData
}
\new Dynamics
{
\DynamicalData
}
>>
}
your example works fine in 2.12.3 by defining the Dynamics context as in
the template Learning Manual "A.2.4 Piano centered dynamics"
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/Piano-templates#Piano-templates
In 2.13, it is internally pre-defined, but I guess the definition is quite
similar. perhaps a regression?
greetings,
Vicente
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Re: bar lines followed by barlines on a new line
On Wed, 29 Sep 2010 19:17:56 +0200, Sam Domonkos wrote: I am definitely closer thanks to your visibility reference. The remaining problem seems to come when a \bar "|." is followed by a \bar "|." even if they are separated by a \break. To confirm this I tried \bar ".|" \bar "|." \bar ".|" \bar "|." ...and only the last is printed. the Notation Reference states that "Bar lines cannot be printed at start of line." perhaps this thread might be helpful: http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00908.html but I'm running out of ideas beyond that, maybe others can help you better... greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: bar lines followed by barlines on a new line
I would like to explicitly separate parts of music by having these bar
lines always at the beginning and end of parts, but they do not all
print.
the answer is probably at the Notation Reference 5.4.7 "Visibility of
objects" -> "Using break-visibility"
\version "2.13.14"
you seem to be using a highly experimental version ("pre-alpha" status).
consider upgrading to "2.13.34" ("alpha near beta" status).
greetings,
Vicente
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Re: separating music and guitar instructions
On Wed, 29 Sep 2010 09:11:45 +0200, Dmytro O. Redchuk
wrote:
Sorry for delay. I am still brave enough to add "this" to the tracker
but not
sure that this issue is clear enough, sorry.
Dmytro,
many thanks for taking the time to keep this alive :)
I am affraid, if this is _a question_ ("should or should not"), it's
still not
a valid issue report?
I definitely think it is, but we are mixing two things:
1) fingering indications are not displayed in *standard notation* if
entered with no angle braces, but they are displayed in *tablature*.
this is a Lilypond *feature*. Some users seem to be fine with it
(myself included) while some other may have some objections: Xavier
Scheuer finds it annoying, and David Kastrup observed:
"Would seem like a case for a context variable rather than hardwired"
We can discuss whether this is a real issue or it is fine as it is
now.
For me, it's not so important to raise a real issue. I "can live" with
this feature as it is now (but as Patrick Schmidt pointed, then the
Notation Manual must should be adjusted, but let's forget this for
now,
I can make a proper issue request later).
2) what I'm actually reporting seems really a *bug* to me. Please let me
reformulate it with a more complete example:
%-8<
Summary: some fingering indications and fingering related commands are not
displayed
when entered in a separate expression
Type: Defect
Priority: Medium
\version "2.12.3"
music = \relative c'' {4 \stemUp }
fingerings = {
s4-1% it's displayed
s4\2% it's not displayed
s4-\rightHandFinger #2 % it's not displayed
\set fingeringOrientations = #'(down) % doesn't work
s4-2
\override Fingering #'staff-padding = #'() % *does* work
s4-3
\override Fingering #'add-stem-support = ##f % doesn't work
s4-1
}
\score {
<<
\new Staff \context Voice = "A" \music
\context Voice = "A" \fingerings
>>
}
%-8<
This is the real issue report I'd want to make.
I'm not a native english, and sometimes I express myself awfully. My
apologies for this. Please let me know if I can make the report clearer.
Many thanks again.
Greetings,
Vicente
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Re: Alternative brackets don't print
On Tue, 28 Sep 2010 21:31:03 +0200, Qian Li wrote:
Hi, folks.
I have a multistaff score that requires alternative brackets. I tried the
tweak for getting brackets to show in staves below the top staff (below:
I
may be putting it in the wrong place), but I'm not getting brackets at
all.
They do print in the individual parts.
What am I missing? In the attachments, document.ly is the file to run. I
also included sop.ly, which is a part that prints correctly. The volta
repeat appears on the last page. Thanks.
\new StaffGroup <<
\keepWithTag #'score
\new Staff { \with { \consists "Volta_engraver" } << \global
\Soprano >>}
\new Staff { << \global \Alto>> }
\new Staff { << \global \Tenor>> }
\new Staff { << \global \Baritone>> }
>>
>>
Qian
hello,
please always use tiny examples. help us helping you.
please read: http://lilypond.org/tiny-examples.html
I get volta brackets running Lilypond 2.12 on your example. Note that:
1) in your files, you never use the "\with { \consists "Volta_engraver" }"
section (or at least I can't find it), so the alternative brackets print
on top of the first staff as expected.
2) the version in your files is 2.10.10; if you are using this version of
Lilypond, please note that it is probably unsupported and you should
consider upgrading to the stable version 2.12.3 unless you have a really
good reason to stay in 2.10.
greetings,
Vicente
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Re: duplicate dynamics on same staff
On Thu, 23 Sep 2010 22:19:05 +0200, James Wilkinson
wrote:
\version 2.13.31
When I put two voices on the same staff that have identical markings
for dynamics and tempo, Lilypond prints them both, one above the
other.
[...]
Back to my original question: if Lilypond can see that one of these
things needs to be moved, how hard would it be to have it determine
that they are identical and just not print one of them?
if the dynamics are the same, it's better to write them just once. thus
you:
1) save typing
2) help lilypond so it does't need to waste time guessing obvious things
and it can concentrate on the big stuff :)
you just need to create a third voice with spacers and all the common
marks, in parallel with the other two:
8<---
\version "2.12.3" % should also work on 2.13
<<
\relative c'' {
a b c d
} \\
\relative c' {
c d e f
} \\
{
s4\f s4\> s4-"and markups too too" s4\p
}
8<---
greetings,
Vicente
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scaling a markup?
hello, a markup can be rotaded. I can't find information about how to scale it. is that possible at all? (this can be useful for instance when you put a \score inside a markup) greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Metronome mark style
Is posible tweak the metronome mark style? using markups in the tempo definition allows you to put virtually anything you want in the metronome mark. the Notation Reference is your biggest friend. see "1.6.3 Writing parts" and "1.8.2 Formatting text". greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: separating music and guitar instructions
this doesn't work
c4\3
It does! This avoids a string number indication in standard notation and
leads to a correct fret number in tablature. See Default tablatures in
the Notation Reference.
and this does:
4
This basically has the same effect but a string number indication is
added in standard notation.
a-ha, ok!
I don't use tablatures, so I didn't realize that, sorry for my confusion.
Then it makes sense to me.
But the original "issue" remains though:
should the following example (and the larger one in my first post) to be
expected to work? if yes (and I'm not doing something wrong), then there's
a bug.
%
music = { 4 }
fingers = {s4\2 s4-\rightHandFinger #2}
\score {
<< \new Staff \context Voice = "A" \music
\context Voice = "A" \fingers
>>
}
%
the quote:
"String numbers [, harmonics and right hand fingerings] *must* be
defined inside a chord construct even if there is only a single note."
is from the Notation Reference manual.
This should be adjusted!
It seems so :)
thanks and greetings,
Vicente
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Re: separating music and guitar instructions
On Mon, 20 Sep 2010 18:27:37 +0200, "Vicente Solsona" wrote: To sumarise: String numbers, harmonics and right hand fingerings *must* be defined inside a chord construct even if there is only a single note. you can attach finger numbers to single notes: a-1 b-2 c-1-2-3-4 % etc but you need to put the notes inside chords <> to attach string numbers, harmonics and right hand fingers, even if it's a single note: That is untrue. [...] sorry if I din't make myself clear, I'm not talking about guitar music layout, but just about lilypond syntax: this doesn't work c4\3 and this does: 4 the quote: "String numbers [, harmonics and right hand fingerings] *must* be defined inside a chord construct even if there is only a single note." is from the Notation Reference manual. greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: separating music and guitar instructions
On Wed 15 Sep 2010, 22:40 Xavier Scheuer wrote: On 15 September 2010 19:53, Vicente Solsona wrote: > It probably has something to do with the fact that string numbers and > right hand fingers must be put inside a chord, but skips cannot, but > I'm stuck here. This limitation that string numbers, right hand fingers (but fingeringOrientations too!) require to be put inside a chord construct _is_ annoying. Hi, Xavier! i feel like i can not understand what's wrong (i never typed guitar scores), To sumarise: String numbers, harmonics and right hand fingerings *must* be defined inside a chord construct even if there is only a single note. you can attach finger numbers to single notes: a-1 b-2 c-1-2-3-4 % etc but you need to put the notes inside chords <> to attach string numbers, harmonics and right hand fingers, even if it's a single note: \2> % etc There's surely a good internal reason for this, but from the user's perspective it's a bit odd. While I can perfectly live with that, it's (probably) also causing the issue which originated this post, so we could have a bug here (unless I'm doing something wrong). I would not like this "annoying and non-friendly limitation" was lost. every single fretted instrumentist in the world will thank you for that sooner or later :) Thank you! thank *you* greetings, Vicente p.s. I am not suscribed to #devel. please forward if appropiate. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help, please --- can not mode dot down .(
Hi! Here lilypond puts dots "in betweens noteheads", i need both of them (all of them) would be in spaces below noteheads: \version "2.13.33" % 2.12 does the same [...] It looks to me as if this strange behaviour is caused by the \voiceTwo-command. It also happens with \voiceFour. For now you could use \stemDown instead of \voiceTwo or: in 2.12.3 the result is incorrect no matter if you put \voiceX or nothing at all. \dotsDown also affects only one dot in the chord looks like a bug to me... greetings, Vicente ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord fingering
Hi,
How can I make this (a piano lefthand chord with fingering below the
staff) look better:
\relative c' { 1 }
You could use tweak:
\relative c' {
1
}
I think this does precisely what you want, unless you want to further
tweak a specific
number:
%%
\version "2.12.3"
\relative c' { 1_1_2_5 }
%%
and you have to write the numbers in reverse order...
greetings,
Vicente
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separating music and guitar instructions
dear list,
I'm trying to extend the example given in NR 5.1.2 "Creating contexts" to
separate
music and guitar annotations (a very neat feature btw), by funneling the
music
itself and another expression with guitar instructions, but I'm facing some
problems: fingerings do partly work, but string numbers, right hand
strokes and
some fingering commands do not (see examples below and attached images).
It probably has something to do with the fact that string numbers and
right hand
fingers must be put inside a chord, but skips cannot, but I'm stuck here.
Is this a limitation or am I doing something wrong here? perhaps this will
work in
2.13?
Many thanks in advance,
Vicente
%%%
\version "2.12.3"
music = \relative c'' {
4
\stemUp
}
fingerings = {
s4-1% prints ok, cool
s4\2% doesn't print, what if would be legal?
s4-\rightHandFinger #2 % doesn't print
\set fingeringOrientations = #'(down) % doesn't work
s4-2
\once \override Fingering #'staff-padding = #'() % *does* work, cool
s4-3
\once \override Fingering #'add-stem-support = ##f % doesn't work
s4-1
}
\score {
<<
\new Staff \context Voice = "A" \music
\context Voice = "A" \fingerings
>>
}
EXAMPLE END %%
the following code with the very same previous instructions attached to
the music itself works as expected:
%%%
\version "2.12.3"
music = \relative c'' {
4
\once \set Staff.fingeringOrientations = #'(down)
\once \override Fingering #'staff-padding = #'()
\stemUp
\once \override Fingering #'add-stem-support = ##f
}
\score {
\new Staff \context Voice = "A" \music
}
EXAMPLE END %%<><>___
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Re: Dash instead of 'm' for minor chords
I use the same system as Shamus, but I use the dash simbol instad the
minus symbol, because I find it to be a bit more polite. So I have then:
jazzyChordsMusic =
{
1-\markup {#(ly:export (ly:wide-char->utf-8 #x2013))} % Cm -> C-
% and so on...
}
I have jazzyChordsMusic and jazzyChordsAdd in a separate "jazzchords.ly"
file, so everytime I want my custom chord names (well, always :) ), I just
include that file.
Greetings,
Vincent
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