Re: Enhancement request, add a new command to fill the rest of staff with blank space
Dear Ian, I'd like to emphasize David's response about you continuing to user V2.14.2 in the long-term. I never said that this is what I intend to do. I started to use LilyPond two weeks ago, and because I use Debian, I installed it with a simple apt-get install lilypond, without checking if a newer version exists. When David told me about the difference of version, I already had a number of finalized scores (that are not for a long-term use, and moreover I'm more or less in a hurry). I tried to install 2.16.0, and I noticed that the overall layout of my scores had changed for worse. So I just downgraded the package. I know I could have asked for help, and/or could have submitted a bug report, but I did not have enough time to do so. There is absolutely nothing stopping using V2.16.2 on Debian, as far as I know. Indeed, 2.16.2 has been released a few days ago. Last time I checked (May 2th) it was 2.16.0. There are several advantages and very few disadvantages to doing this: o V2.16.2 is the latest stable release, if you do have a problem, it is easier for developers to check it out and reproduce it than with a historic stable release like 2.14.2. This means that you're more likely to get a response here or on the bugs list. o Using V2.16.2 will make it easier to upgrade to future stable releases of LilyPond. o There are a load of enhancements in V2.16.2 which make LilyPond easier to use and program, particularly in conjunction with some of the editors such as Frescobaldi, LilyPondTool in JEdit, Eclipse, and even (Lord, help us) Emacs and Vim. o The V2.16.2 documentation's better and more complete even than the docs for V2.14.2. If there are some things that don't work the same way in 2.16.2, they are most likely covered by using convert-ly. I agree with all your points. I promise that I'll use 2.16.2 when possible. Please note that I'm an Emacs user, so I would have placed the (Lord, help us) elsewhere... ;-) Please add a subject line to your posts. I'm breaking my own personal rule here that I don't generally reply to such posts. I've just had to spend extra time hunting down your original post to find out what it's about. You will perhaps notice, if you look at my few posts on the mailing list (Note between bars, Two questions, Breathes placement, Set midi volume per voice?, Modern custodes?), that there is only one without a subject, namely the one you are replying to. I just forgot to add one, I'm sorry for this. Maybe you could give us a better indication of who you actually are? Most of us on the LilyPond lists are reasonably friendly and house-trained, and it feels more comfortable talking to a human name than a mailbox alias. I'm sorry, I understand your point, but I don't really see how and why this could be helpful. I personally prefer a relative anonymity, given in particular that the posts on this list will be archived in the long term. This is quite natural on the Internet. Perhaps I should consider creating myself a new identity with a real first name? By the way, ghe is not shorter than Ian, and can be pronounced (unlike kvz for example) ;-) Best, --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Modern custodes?
Is there a way to use the custodes feature of LilyPond, but with modern glyphs (for example normal notes with the \teeny size), instead of the funny medieval glyphs? I see in: http://lilypond.org/doc/v2.16/Documentation/notation/ancient-notation_002d_002dcommon-features#custodes that four styles are supported (vaticana, medicaea, hufnagel, mensural), but using any of these in a modern score would not be appropriate I think. I had used mensural ones and they worked (i.e. were helpful for singing), but i'd also like to see normal ones supported by LilyPond. I just grepped through the LilyPond sources. Custodes seem to be handled by three files: lily/custos.cc , lily/custos-engraver.cc , and scm/define-grobs.scm . But I do not see how to adapt them to handle other custode styles. Does anyone have an idea on how to do this? Given that the code in the C/C++ files does not depend on the particular custode style chosen, I guess that it is not necessary to modify them, and that adding another style can be done by defining or adapting a Scheme function. Best, --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:
Thank you again, Thomas!
Well, you could do the following, although it might be not be the same
as \hfill in Tex.
Indeed, there are a few differences, notably in the fact that the amount
of space is not calculated automatically, and in the fact that it cannot
be inserted between two elements (for example to put the final bar at the
end of the staff instead of shortening the staff). But, as I said, it is
already a good solution, and I think I will live with it.
\version 2.14.2
spaceRight =
#(define-music-function (parser location space)(number?)
(let* ((amount (+ space 0.5))
(space-right `(extra-space . ,amount)))
#{
%% Maybe additional layout-objects must be affected!?
\once \override Score.BarLine #'space-alist #'right-edge = #`(extra-space .
,$space)
\once \override Score.KeySignature #'space-alist #'right-edge = $space-right
\once \override Score.KeyCancellation #'space-alist #'right-edge =
$space-right
\once \override Score.TimeSignature #'space-alist #'right-edge =
$space-right
#}))
hfill = \spaceRight #20
{
%\spaceRight #30
%\key d\major
a4\( b c d~(
%\breathe
\hfill\break
%\time 8/8
%\clef alto
%\key cis\major
d4 b) c\) d \bar |.
\hfill
}
I see, I guess that the \once is there to prevent that the \spaceRight
takes effect on all the staffs, which is indeed better. (But I don't
understand why \override BarLine had to be changed.)
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:
Alas, I use 2.14.2... Why? Because I use Debian, and the version of LilyPond in testing is 2.14.2. I tried to install the 2.16.0 from Debian experimental, but for some reason the overall layout of my scores was changed, for worse. Perhaps I should have tried to fix the problem instead of downgrading, but I did not have the time to do so. --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Modern custodes?
Is there a way to use the custodes feature of LilyPond, but with modern glyphs (for example normal notes with the \teeny size), instead of the funny medieval glyphs? I see in: http://lilypond.org/doc/v2.16/Documentation/notation/ancient-notation_002d_002dcommon-features#custodes that four styles are supported (vaticana, medicaea, hufnagel, mensural), but using any of these in a modern score would not be appropriate I think. --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Set midi volume per voice?
Is it possible to set the volume of the midi tracks for each different track?
Till now I have:
one = { a b c d }
two = { d e f g }
global = { \key b \minor }
\score {
\new Staff
\new Voice = vone { \voiceOne \global \one }
\new Voice = vtwo { \voiceTwo \global \two }
\midi {
\context { \Staff \remove Staff_performer }
\context { \Voice \consists Staff_performer }
}
}
I think I found a way to do this:
\score {
\new Staff
\new Voice = vone { \voiceOne \global s8\ \one }
\new Voice = vtwo { \voiceTwo \global s8\ \two }
\midi {
\context { \Staff \remove Staff_performer }
\context { \Voice \consists Staff_performer }
}
}
I would be happy to hear about cleaner ways to achieve the same effect
(for instance to set the volume of individual tracks/voices in the \midi
block).
Best,
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
[no subject]
Is it possible, with LilyPond, to have something like the \hfill effect
in TeX, that is, fill the rest of the staff with blank space?
If I type:
{ a b c d \break a b c d \bar |. }
the layout is ugly because the notes are spread over the whole staff. I
know that:
\layout {
ragged-right = ##t
ragged-last = ##t
}
will give a better output, but then the staffs are only one measure long.
What I would like to have is something like:
{
a b c d
\repeat unfold 14 { s1 } \break
a4 b c d \bar |.
\repeat unfold 16 { s1 } \break
}
but without the added measure bars.
Thanks in advance,
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Set midi volume per voice?
Thank you, Nathan!
Use midiMinimumVolume and midiMaximumVolume to set the volume ranges of
each staff or voice.
They don't seem to have any effect if you don't place any dynamics.
This is exactly the information I was missing.
\score {
\new Staff \with {
midiMinimumVolume = #0.0
midiMaximumVolume = #0.5
} {
c'4\f c' c' c' c' c' c' c'
}
\new Staff \with {
midiMinimumVolume = #0.5
midiMaximumVolume = #1.0
} {
g'4\f g' g' g' g' g' g' g'
}
\midi { }
}
This works, but if I try to used voices instead of staffs, as in:
\score {
\new Staff
\new Voice \with {
midiMinimumVolume = #0.0
midiMaximumVolume = #0.5
} {
c'4\f c' c' c' c' c' c' c'
}
\new Voice \with {
midiMinimumVolume = #0.5
midiMaximumVolume = #1.0
} {
g'4\f g' g' g' g' g' g' g'
}
\midi { }
}
then something gets wrong: only the first note seems to be affected by the
forte indication (I use 2.14.2). This is fixed either by giving a
*different* name to the two voices, or by using
\midi {
\context { \Staff \remove Staff_performer }
\context { \Voice \consists Staff_performer }
}
Thanks again,
--ghe___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:
Thank you, Thomas!
Not sure I understood correct.
Though, how about:
\version 2.16.2
Alas, I use 2.14.2...
spaceRight =
#(define-music-function (parser location space)(number?)
(let* ((amount (+ space 0.5))
(space-right `(extra-space . ,amount)))
#{
%% Maybe additional layout-objects must be affected!?
\override Score.BarLine #'space-alist #'right-edge = #space-right
\override Score.KeySignature #'space-alist #'right-edge = #space-right
\override Score.KeyCancellation #'space-alist #'right-edge = #space-right
\override Score.TimeSignature #'space-alist #'right-edge = #space-right
#}))
{
% commented settings for testings
\spaceRight #30
%\key d\major
a\( b c d~(
%\breathe
\break
%\time 8/8
%\clef alto
\key cis\major
d4 b) c\) d \bar |.
}
... and this example segfauts, with the following error:
string:3:73: error: GUILE signaled an error for the expression beginning here
\override Score.BarLine #(quote space-alist) #(quote right-edge) = #
space-right
Unbound variable: space-right
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:
You didn't mention your version. ;)
Yes, sorry for that, my fault.
Try the following version.
Though, 2.16.2 returned better Slurs/PhrasingSlurs at linebreak:
\version 2.14.2
spaceRight =
#(define-music-function (parser location space)(number?)
(let* ((amount (+ space 0.5))
(space-right `(extra-space . ,amount)))
#{
%% Maybe additional layout-objects must be affected!?
\override Score.BarLine #'space-alist #'right-edge = $space-right
\override Score.KeySignature #'space-alist #'right-edge = $space-right
\override Score.KeyCancellation #'space-alist #'right-edge = $space-right
\override Score.TimeSignature #'space-alist #'right-edge = $space-right
#}))
{
\spaceRight #30
%\key d\major
a\( b c d~(
%\breathe
\break
%\time 8/8
%\clef alto
\key cis\major
d4 b) c\) d \bar |.
}
Thanks a lot, this seems to work indeed! Actually I was dreaming of
something like \hfill\break in TeX, so that I could either do
notes \bar |. \hfill \break
or
notes \hfill \bar |. \break
for example, but your solution is already very good.
Though, I'm a little surprised about the 2.14.2 _segfault_.
Compiling the initial 2.16-code with LilyPond 2.14.2 should return:
Unbound variable: space-right
That's ok, and expected, but a segfault?
Indeed, I was a bit surprised to see this too. It's the first time I see
LilyPond segfault (but I did not use it much till now). I looked at bit
closer at the error message, and it seems that the origin of the segfault
is actually not (only) in the unbound variable:
Parsing...
string:3:73: error: GUILE signaled an error for the expression beginning here
\override Score.BarLine #(quote space-alist) #(quote right-edge) = #
space-right
Unbound variable: space-right
[three more like this]
Interpreting music...
Preprocessing graphical objects...Segmentation fault
It produces a rather ugly backtrace:
#0 0x00461b71 in ?? ()
#1 0x004d285b in ?? ()
#2 0x004d8912 in ?? ()
#3 0x004d285b in ?? ()
#4 0x004d9f23 in ?? ()
#5 0x004dac6e in ?? ()
#6 0x004335be in ?? ()
#7 0x004336ca in ?? ()
#8 0x004d285b in ?? ()
#9 0x004daca1 in ?? ()
#10 0x005df3df in ?? ()
#11 0x005e7397 in ?? ()
#12 0x004d285b in ?? ()
#13 0x006137b8 in ?? ()
#14 0x00575f4c in ?? ()
#15 0x004c4d1f in ?? ()
#16 0x005ae592 in ?? ()
#17 0x0045e04c in ?? ()
#18 0x0045e270 in ?? ()
#19 0x0045bc26 in ?? ()
#20 0x7792df6e in ?? () from /usr/lib/libguile.so.17
#21 0x005783e7 in ?? ()
#22 0x006549f2 in ?? ()
#23 0x006589bb in ?? ()
#24 0x004fabd4 in ?? ()
#25 0x004f9021 in ?? ()
#26 0x7792e783 in ?? () from /usr/lib/libguile.so.17
#27 0x77981719 in scm_c_catch () from /usr/lib/libguile.so.17
#28 0x7798189e in scm_catch_with_pre_unwind_handler () from
/usr/lib/libguile.so.17
#29 0x7792df6e in ?? () from /usr/lib/libguile.so.17
#30 0x7792e36c in ?? () from /usr/lib/libguile.so.17
#31 0x726c2251 in scm_srfi1_for_each () from
/usr/lib/libguile-srfi-srfi-1-v-3.so
#32 0x7792e994 in ?? () from /usr/lib/libguile.so.17
#33 0x7792e36c in ?? () from /usr/lib/libguile.so.17
#34 0x7792ecfb in ?? () from /usr/lib/libguile.so.17
#35 0x0050a50a in ?? ()
#36 0x7794542f in ?? () from /usr/lib/libguile.so.17
#37 0x7791c87a in ?? () from /usr/lib/libguile.so.17
#38 0x77981719 in scm_c_catch () from /usr/lib/libguile.so.17
#39 0x7791cdcb in scm_i_with_continuation_barrier () from
/usr/lib/libguile.so.17
#40 0x7791ce60 in scm_c_with_continuation_barrier () from
/usr/lib/libguile.so.17
#41 0x77980494 in scm_i_with_guile_and_parent () from
/usr/lib/libguile.so.17
#42 0x779454e5 in scm_boot_guile () from /usr/lib/libguile.so.17
#43 0x0040f6f3 in ?? ()
#44 0x7588aead in __libc_start_main (main=optimized out, argc=optimized out,
ubp_av=optimized out, init=optimized out, fini=optimized out,
rtld_fini=optimized out, stack_end=0x7fffe308) at libc-start.c:228
#45 0x00413ebd in ?? ()
#46 0x7fffe308 in ?? ()
#47 0x001c in ?? ()
#48 0x0002 in ?? ()
#49 0x7fffe5b2 in ?? ()
#50 0x7fffe5c4 in ?? ()
#51 0x in ?? ()
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Set midi volume per voice?
Hi list,
Is it possible to set the volume of the midi tracks for each different
track?
Till now I have:
one = { a b c d }
two = { d e f g }
global = { \key b \minor }
\score {
\new Staff
\new Voice = vone { \voiceOne \global \one }
\new Voice = vtwo { \voiceTwo \global \two }
\midi {
\context { \Staff \remove Staff_performer }
\context { \Voice \consists Staff_performer }
}
}
This generates a MIDI file with two tracks, 'vone' and 'vtwo'. I know
that it is possible to get one of the tracks play louder than the other
with for example:
one = { a\ b c d }
two = { d\ e f g }
But is it possible to do this in the \score definition, that is, without
touching the definitions of 'one' and 'two'?
Thanks!
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
In 2.16, you just put the accidental style definition into the
layout block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
URL:http://packages.debian.org/search?keywords=lilypond shows
Lilypond 2.16 in experimental.
Hmmm... I just installed the package 2.16.0 from Debian experimental,
but it did not help. I had the same error type with a \context {
\Score accidentalStyle = #'forget }:
Nobody said that 2.16 allows you to invent your own syntax.
Indeed... Sorry, as I said earlier I just started using LilyPond two days
ago.
It is \accidentalStyle forget or possibly the old #(set-accidental-style
... or whatever it was can be written unchanged in the \layout block.
You are correct again, \accidentalStyle forget works (but
#(set-accidental-style 'forget) does not).
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Breathes placement
I have a question about the placements of breathe symbols.
When measure bars are placed automatically, and when a \breathe is
placed at the end of a measure, it seems that it is placed *after* the
bar, before the first note of the next measure.
Can you post a minimal example for this? And in which version? For me
that is not the case and it is like you want it:
\relative c' { c d e f \breathe g a b c }
Indeed, my question was not precise enough. Here is a minimal example:
\relative c' { c d e f2 \breathe g4 a b c }
In spite of the fact that there are too many notes in the first measure, I
would prefer to see the \breathe just after f2 (where it would naturally
be put I guess), not just before g4. This situation happens in psalm
scores, in which the exact rythm is not always obeyed.
In this minimal case
\relative c' { c d e f2 \breathe \bar | g4 a b c }
would work, and move the bar after f2, but there is a large space between
f2 and the \breathe.
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Breathes placement
Trevor Daniels wrote:
Indeed, my question was not precise enough. Here is a minimal example:
\relative c' { c d e f2 \breathe g4 a b c }
For the printed score it can be done like this:
\relative c' { c d e f2*1/2 \breathe s4 g a b c }
Thomas Morley wrote:
You could try to scale durations:
\version 2.16.2
\relative c' { c4 d e f2*1/2 \breathe \once\hideNotes g4 g4 a b c }
\relative c' { \repeat unfold 9 c }
\relative c' { c4 d e f2*1/2 \breathe s4 g4 a b c }
\relative c' { \repeat unfold 9 c }
Thanks, this seems to fix the problem indeed. But is there a more
systematic way of doing this, instead of typing *1/2 ... s4 each time?
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Breathes placement
the main problem with your input is, that you have overfull measures. {
c d e f2 } are 5/4 in a 4/4 measure. That means, Lilypond draws and
starts this f2 in the first measure, but it is still played in the
second. Therefore, the breathing mark is placed where the f2 is over.
How can you breathe, when the note is still sung? Are you sure, that
these note durations are intended?
Yes, I know that these are overfull measures; actually most measure bars
are not even drawn (I have \context { \Score defaultBarType = empty },
with a few \bar | here and there). These are indeed the intended
durations; in the kind of (liturgical) music I want to typeset the exact
rythms are not always respected.
I found an alternative way of achieving the same effect, which has the
advantage that it is not necessary to repeat the indications for each
voice:
... \time 5/4 c d e f2 \breathe \bar \time 4/4 ...
If you want to stick to traditional notation practice, such overfull
measures should not occur. Instead, you would write:
{ c d e f ~ f }
If you want this to be done automatically, you can have a look here:
http://www.lilypond.org/doc/v2.16/Documentation/notation/displaying-rhythms#automatic-note-splitting
Thank you for the pointer, but alas it is not what I want to do...
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
In other words, is there a way to combine the benefit of a \time indication (which puts possible line breaks and natural ligatures between the notes) with the benefit of a \cadenzaOn? What about \time 1/4 \override Score.BarLine #'stencil = ##f or something similar?? This is indeed very close to what I try to do, but alas, it does not work (or perhaps I did not understand something): it simply prevents bars from being drawn altogether. So it means that when I do want to put a bar somewhere I cannot do it: a \bar | will have no visible effect. --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
Yes, I tried this, too. But it has two drawbacks: (a) All the places where line breaks can occur must be indicated with \bar . This is a bit annoying, but it could be tolerable. (b) What is far less tolerable is that, if I understand things correctly, all the natural ligatures between the notes disappear and need to be indicated explicitly with [ and ] for example. \autoBeamOn restores automatic beaming within the cadenza. Thanks, but it does not work so well (or perhaps there is another parameter that needs to be set): with \cadenzaOn and \autoBeamOn, all successive eighth notes are linked with beams; in other words, the \time given has no effect. I tried to use, with \time 4/8, \set beatStructure = #'(2 2), to group eighth notes two by two, but it does not work. Moreover, line breaks are not automatically inserted (albeit as I said above this could be tolerable). --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar |
\repeat unfold 32 { c4 g'8 g } \bar |.
}
\layout {
\set Score.defaultBarType = #
}
Great! I'm using LilyPond 2.14.2 on Debian, so this has to be written as:
\layout { \context { \Score defaultBarType = empty } }
And the span bars even adapt automatically to the staff bars :)
Thank you very much!
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar |
\repeat unfold 32 { c4 g'8 g } \bar |.
}
\layout {
\set Score.defaultBarType = #
}
You should also choose your \accidentalStyle judiciously.
You mean, put #(set-accidental-style 'voice)? I don't think I need this
at the moment, but thanks for mentioning it; it's one question less that I
will not ask to the list!
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
\relative c'
{
\repeat unfold 32 { c4 g'8 g } \bar |
\repeat unfold 32 { c4 g'8 g } \bar |.
}
\layout {
\set Score.defaultBarType = #
}
You should also choose your \accidentalStyle judiciously.
You mean, put #(set-accidental-style 'voice)?
No. The default accidental styles forget accidentals at the end of each
bar. But since your estimated reader does not get to _see_ the end of
each bar, that's not a good accidental style to use here.
Ah, I see, you are correct. So I should use #(set-accidental-style
'forget), am I right?
Is it possible to put this in the \layout section? I tried \context {
\Score accidentalStyle = #'forget }, but LilyPond complains: warning:
cannot find property type-check for `accidentalStyle' (translation-type?).
perhaps a typing error?.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
Not in 2.14 IIRC. You can use \displayLilyMusic on music setting the
accidental style and see whether you can hand-translate this into a
layout definition.
This looks a bit too complicated to me at the moment; I started using
LilyPond yesterday...
In 2.16, you just put the accidental style definition into the layout
block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
Thank you very much again!
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
In 2.16, you just put the accidental style definition into the layout
block and that's it.
Alas, 2.16 is not in Debian as far as I know... I can live with a
global = {
#(set-accidental-style 'forget)
...
}
definition at the moment.
URL:http://packages.debian.org/search?keywords=lilypond shows Lilypond
2.16 in experimental.
Hmmm... I just installed the package 2.16.0 from Debian experimental, but
it did not help. I had the same error type with a \context { \Score
accidentalStyle = #'forget }:
warning: cannot find property type-check for `accidentalStyle' (translation-type?). perhaps a typing error?
warning: doing assignment anyway
The \set Score.defaultBarType = # mentioned earlier worked, but produces
error messages:
programming error: Loose column does not have right side to attach to.
continuing, cross fingers
The \context { \Score defaultBarType = empty } worked perfectly.
Moreover, the positions of the bars in 2.16.0 seems to be less optimal
than in 2.14.2. So I downgraded to 2.14.2 again.
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Breathes placement
Hi list,
I have a question about the placements of breathe symbols.
When measure bars are placed automatically, and when a \breathe is placed
at the end of a measure, it seems that it is placed *after* the bar,
before the first note of the next measure. I would like them to be placed
after the last note of the measure to which they belong. I know that it
is possible to tweak their position with
\context { \Staff \override BreathingSign #'extra-offset = #'(-1.0 . 0.0) }
for example, but this does not really solve the problem, because the
breathe symbols that are correctly positioned by default (in the middle of
a measure) would also be affected by this setting.
I also tried to force the breathe symbol to be placed before the bar by
putting an explicit \bar | or \bar indication in the source file, but
LilyPond then puts it in an otherwise empty measure.
In short: is there a way to force LilyPond to put breathe symbols always
after the previous note, i.e. as close as possible to that note?
Thank you in advance!
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Note between bars
Hi list, I looked carefully in the Lilypond manuals, but did not find a way to put a note (usually a full or a half note) between two bars, like this : |o|, or between two double bars, like this : ||o||. This notation is for example often used in psalmody, to mean that the same note should be used for a whole sentence, except its three or four last syllables, which are then noted with usual notes. For instance, the first verse of psalm 1 is Blessed is the one who does not walk in step with the wicked, and such a note is put under Blessed, with three different notes under with the wicked. Any ideas? Thanks in advance, --ghe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Note between bars
g...@sdf.org wrote: I looked carefully in the Lilypond manuals, but did not find a way to put a note (usually a full or a half note) between two bars, like this : |o|, or between two double bars, like this : ||o||. This notation is for example often used in psalmody, to mean that the same note should be used for a whole sentence, except its three or four last syllables, which are then noted with usual notes. For instance, the first verse of psalm 1 is Blessed is the one who does not walk in step with the wicked, and such a note is put under Blessed, with three different notes under with the wicked. Christ van Willegen wrote: Those are 'breve' notes. Look them up using the search box. Perhaps this will give an indication of how to write them: http://www.lilypond.org/doc/v2.17/Documentation/notation/writing-rhythms Carl Peterson wrote: Are you talking about a breve (using \breve instead of a duration, see http://lilypond.org/doc/v2.16/Documentation/notation/writing-rhythms)? You may also be looking at cadenzas, see http://lilypond.org/doc/v2.16/Documentation/notation/displaying-rhythms#unmetered-music To put multiple syllables under one note, use quotes, as in Blessed is the one who does not walk in step with the wicked. David Kastrup wrote: URL:http://www.lilypond.org/doc/v2.17/Documentation/notation/writing-rhythms#durations URL:http://www.lilypond.org/doc/v2.17/Documentation/notation/note-head-styles That was a fast answer! Many thanks, indeed I did not look carefully enough in the manual. --ghe___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Two questions
Hi list,
I have two questions, to which I did not find an answer in the manuals; I
apologize in advance if they are answered there.
(1) I try to typeset choir music, on two staffs, without bars. Most
sentences are separated by breathes (one above each staff), but sometimes
an explicit *span* bar needs to be included. In short, commas in the text
become breathes, and full stops become span bars. How can I do this? I
tried:
\context { \Staff \remove Bar_engraver }
but then the clefs disappeared on all lines except the first one. So I
tried
\context { \Staff \override BarLine #'transparent = ##t }
and
\context { \Staff \override BarLine #'stencil = ##f }
but in both cases it seems that the bars are still there, albeit invisible
(which means that some space is wasted and that the output does not look
optimal). Moreover, it seems that it is then not possible to put explicit
span bars when I actually need them, or to print the final bars.
(2) The second question is related to the first one: if an explicit bar is
put somewhere and if LilyPond determines that it should not be there
(because it is not aligned with the rythm), it prints a warning: barcheck
failed at: message. Is it possible to circumvent the problem, or to
disable these warnings?
Thanks in advance,
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Two questions
I have two questions, to which I did not find an answer in the manuals;
I apologize in advance if they are answered there.
(1) I try to typeset choir music, on two staffs, without bars. Most
sentences are separated by breathes (one above each staff), but
sometimes an explicit *span* bar needs to be included. In short,
commas in the text become breathes, and full stops become span bars.
How can I do this? I tried:
\context { \Staff \remove Bar_engraver }
but then the clefs disappeared on all lines except the first one. So I
tried
\context { \Staff \override BarLine #'transparent = ##t }
and
\context { \Staff \override BarLine #'stencil = ##f }
but in both cases it seems that the bars are still there, albeit
invisible (which means that some space is wasted and that the output
does not look optimal). Moreover, it seems that it is then not
possible to put explicit span bars when I actually need them, or to
print the final bars.
URL:http://www.lilypond.org/doc/v2.16/Documentation/notation/displaying-rhythms#unmetered-music
Yes, I tried this, too. But it has two drawbacks:
(a) All the places where line breaks can occur must be indicated with \bar
. This is a bit annoying, but it could be tolerable.
(b) What is far less tolerable is that, if I understand things correctly,
all the natural ligatures between the notes disappear and need to be
indicated explicitly with [ and ] for example.
In other words, is there a way to combine the benefit of a \time
indication (which puts possible line breaks and natural ligatures
between the notes) with the benefit of a \cadenzaOn?
(2) The second question is related to the first one: if an explicit bar
is put somewhere and if LilyPond determines that it should not be there
(because it is not aligned with the rythm), it prints a warning:
barcheck failed at: message. Is it possible to circumvent the
problem, or to disable these warnings?
URL:http://www.lilypond.org/doc/v2.16/Documentation/notation/bars#bar-lines
Go down and look for manual bar lines.
Thanks. It seems that this error message does not occur anymore with
\cadenzaOn.
--ghe
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
