Articulated tremolo problem
Hello,
I discover that articulate can now treat : based tremolos. But when I use
it with :'s without number (see attached), the log generates warning messages
saying non-interger tremolo, and the midi file doesn't produce tremolos on
these notes. What's wrong?
Regards
Haipeng
\version 2.18
\include articulate.ly
mu = \relative c' {
\clef treble \time 4/4
\tempo 4=120
c1:16 | d4: e8: f: g2:32 |
}
\score {
\unfoldRepeats \articulate {
\new Staff { \mu
} } \midi { } }
___
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Basic command line question
Hello, I have not used command line for several years. Now I'd like to use musicxml2ly, and have forgotten how I invoked it in 2008. I first run cmd.exe on XP, changing to d:\my documents, then musicxml2ly overture.xml. But the prompt said that musicxml2ly is not an internal or external command or executable or batch processing file. I know I'm wrong, but don't know how to do. Could anyone point out the basic command line running method to correctly invoke things like musicxml2ly, svn etc? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re: Re: Re: problem still exists in the latest 2.15 version
Thank you. Then, how to report this bug? My score is too big to find the real culprit, but this problem is a regression since 2.15.xx (I can't remember). Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re: problem still exists in the latest 2.15 version
I tried again on my Win7 64 machine, which has Intel I5 processor and 16GB RAM for midi sequencing. The problem persists. Strange! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Re: Re: problem still exists in the latest 2.15 version
Thank you, just received. I reinstalled 2.14.2 and compiled the score successfully. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: problem still exists in the latest 2.15 version
I remember someone replied me at this list, not bug list. I'm running Win xp and 7 64 bit (two machines), Lilypond 2.15.30 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: Again, compilation error
Thanks, but 2.12 and 2.14 seem ok to compile it. I compiled it using 2.13.58 when I last edited it on April 17 last year (2011). So it may be a regression. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Re: recompilation failure, strange
Sorry, I forgot to say, that I press enter on the file marked -score.ly. the overture ly contains music, and mydefs.ly contains many macros. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
midi problem on tied notes
Hello,
I have tried 2.13.8 for many times, and constantly get midi problem on tied
notes. The output plays tied notes repeatly. Could anyone fix this problem?
Regards
Haipeng
\version 2.13.6
#(ly:set-option 'point-and-click #f)
\header {
tagline = ##f
title = \markup { \bold Prelude }
subtitle = \markup { \italic \fontsize #-1 { For Two Broken Souls } }
composer = \markup { \bold { Hu Haipeng } }
date = March 20, 2004
copyright = 2004, All Rights Reserved
}
#(define-markup-list-command (paragraph layout props args) (markup-list?)
(let ((indent (chain-assoc-get 'par-indent props 2)))
(interpret-markup-list layout props
(make-justified-lines-markup-list (cons (make-hspace-markup indent)
args)
\markuplines {
\paragraph {
This piece was written during March 19-20, 2004, dedicated to my ex-girlfriend. It''s a tragical lovesong, after 5 years' stop of composition.
}
\override-lines #'(par-indent . 4) \paragraph {
About the recording: This was made on April 17 of the same year, with a storm recorded later (in the evening of 29) preceded by.
}
}
upper = \relative c'' {
\clef treble \key b \minor \time 3/4
\tempo \markup { \bold \italic Larghetta elegiaco }
\times 2/3 { b8\( e fis } b,4. b8 |
\times 2/3 { a8 b a } fis2\) |
{ e8\(\arpeggio b' a fis e\arpeggio d |
fis2.\)\arpeggio } \\
{ b, g2\arpeggio s4 |
r8 d(\p\ b a fis_M'S a)\! }
|
%5
\times 2/3 { b'8\( e fis } b,4. b8 |
\times 2/3 { a8 b a } fis2\) |
{ e8\(\arpeggio a fis d e8.\arpeggio b16 |
b2.\)\arpeggio } \\
{ b2\arpeggio a4\arpeggio |
fis2.\arpeggio }
|
%9
{ \times 2/3 { fis8\(\arpeggio a b } d4. d8 |
\times 2/3 { e8 d e } fis2\)\arpeggio |
\times 2/3 { fis,8\(\arpeggio a b } d4. d8 |
\times 2/3 { e8 b' a } fis2\)\arpeggio } \\
{ fis,2\arpeggio b fis4 |
cis g4 d fis,2\arpeggio |
fis,2\arpeggio b fis4 |
cis g4 d fis,2\arpeggio } \\
{ s2. | \voiceFour r2 a'' fis a,4\pp |
s2. e4\rest e8\rest e16\rest e32\rest a fis a,32\p a fis a,4 }
|
%13
\times 2/3 { fis, d a8\(\arpeggio a a, b b, } d b fis d4.\arpeggio d d,8 |
\times 2/3 { e b g e8\arpeggio d d, e e, } fis cis ais fis4.\arpeggio fis fis,8 |
\times 2/3 { g e b g8\arpeggio fis fis, g g, } a fis d a4\arpeggio ~ \times 2/3 { a fis d a8 fis fis,-- a a,-- } |
%16
b fis dis b a2-\)^\markup { \bold \italic Con fuoco } \times 2/3 { a a,8\( fis fis, a a, } |
b fis dis b a2-\) \times 2/3 { a a,8\( fis fis, a a, } |
b fis dis b a4- ~ \times 2/3 { b fis dis b a8\)^\markup { \bold \italic Molto rit. } e, e,( fis fis, } \times 2/3 { a a, b b, d d,) } |
%19
\times 2/3 { e b g e\(^\markup { \column { \bold \italic Appassionato \bold \italic A tempo } } fis fis, d d, } b fis d b4. b b,8 |
\times 2/3 { a e a,8 b b, a a, } fis dis b a fis2\) |
e b e,8\( b' b, a a, fis fis, e cis a g e d d, |
fis d a fis2.\) |
\times 2/3 { b fis b,8\( e e, fis fis, } b, fis dis b a4. b b,8 |
\times 2/3 { a e a,8 b b, a a, } fis dis c a fis2\) |
%25
\times 2/3 { e b e,8\( d d, e e, } fis cis a fis4 ~ \times 2/3 { fis cis a fis8 e e, fis fis, } |
\times 2/3 { a e cis a^\markup { \bold \italic Accel. } fis fis, a a, } b fis d b4 ~ \times 2/3 { b fis d b8 a a, b b, } |
\times 2/3 { d b fis d b b, d d, } e b g e4 ~ \times 2/3 { e b g e8 d d, e e, } |
\times 2/3 { fis cis a fis e e, fis fis, } a fis d a4^\markup { \bold \italic Rit. } ~ \times 2/3 { a fis d a8 fis fis,- a a,- } |
b gis eis d b16-^\markup { \bold \italic Con forza, patetico } b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- b gis eis d b- |
b gis eis d b8-.-\) r8 r4 r4 |
%31
\time 4/4
r2^\markup { \bold \italic Languido } r8 b,,,\(\mp d e |
fis4. a8 fis4. e8 |
cis4--\)^\markup { \bold \italic Rit. } r \clef bass a fis cis r\fermata |
%34
\time 3/4
b fis d^\markup { \bold \italic Malinconia } r r |
{ \times 2/3 { b8\( e fis } b,4. b8 |
\times 2/3 { a fis a } b2\) |
\times 2/3 { b8\( e fis } b,4. b8 |
\times 2/3 { a8 fis a } b2\) |
\times 2/3 { a8\( fis a } b2\) |
\times 2/3 { a8\( fis a } b2\) |
a2.-\(^\markup { \bold \italic Flebile } | fis |
b\)^\markup { \bold \italic Pesante } | b | b ~ | b\verylongfermata } \\
{ g e4 fis d2 |
e cis4 fis d2 |
gis e4 fis d2 |
e c4 fis d2 |
e c4 fis d2 |
e c4 fis d2 |
e c2.- ~ | e c
fis d2. | fis d b | fis d b ~ | fis d b\verylongfermata }
\bar |.
}
lower = \relative c' {
\clef bass \key b \minor \time 3/4
{ fis4 d fis |
e dis b2 } \\
{ d8( cis b2) |
cis8( b a4) b, }
|
e, b' e2\arpeggio a cis g'4\arpeggio |
d, a' d2\arpeggio r4
Chinese cadenza
Hello, The attached picture is a Chinese character san, having many meanings, e.g., distribute/discard, disseminate, come loose, dispel, dispersal, scattered, etc. The top grass head (a horizontal line interrupted with two vertical lines) is used in Chinese music to represent a cadenza much looser than Western music (mostly like a piacere). So I'd like to override time signature to this sign. But since I can't see, I don't draw PS myself. Also, the lines are thicker then this picture. Could anyone help me to draw it? Regards Haipeng attachment: san.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
dragon boat Tune collision
Hello,
I published this score (not this file, since I merge my settings into it
now)) to WIMA as its first Chinese music. But the editor gave me some points on
collision:
- avoiding slurs overwriting note shapes or performance directions, for
example the right hand phrasing slur bar 18-21
However, 18-21 is the same as 3-6. Why it has collision?
- barlines overwriting dynamic indications, for example bar 11 and 12
Why? How to avoid it automatically in the future?
Regards
Haipeng
\version 2.13.3
#(ly:set-option 'point-and-click #f)
#(ly:set-option 'delete-intermediate-files #t)
\paper {
ragged-bottom = ##f
ragged-last-bottom = ##f
}
\header {
tagline = ##f
title = \markup { \override #'(basline-skip . 2) \center-column { \override #'(font-name . 仿å®_GB2312) \fontsize #4 \bold é¾è¹è° } { \fontsize #4 \bold Dragon Boat Tune } }
subtitle = \markup { \override #'(baseline-skip . 2) \center-column { \override #'(font-name . 仿å®_GB2312) \fontsize #2 \italic æ¹åæ°ææ¹ç¼æ² } { \fontsize #2 \italic Transcription of A Hubei Folk Song } }
composer = \markup { \override #'(baseline-skip . 2) \center-column { \bold \fontsize #3 \override #'(font-name . 仿å®_GB2312) è¡æµ·é¹ \fontsize #3 \bold Hu Haipeng } }
copyright = © 2007, All Rights Reserved
}
allegretto = \markup { \bold \italic Allegretto }
andante = \markup { \bold \italic Andante }
rubato = \markup { \bold \italic Rubato }
rit = \markup { \bold \italic Rit. }
ritenuto = \markup { \bold \italic Ritenuto }
atempo = \markup { \bold \italic A tempo }
str = \change Staff = rh
stl = \change Staff = lh
upper = \relative c'' {
\clef treble \time 4/4 \key bes \minor
\showStaffSwitch
\tempo \rubato
{ f8(\arpeggio des16 des des8 f des\arpeggio ees4.)\upmordent\fermata } \\
{ s2 s8 \set fontSize = #-2 ees32. f64 ees32 f ees4 \unset fontSize } \\
{ \voiceFour bes f2\arpeggio bes ges\arpeggio\fermata }
|
{ f''8( des16 des des8 f16. aes32 des,8 ees4.)\upmordent\fermata^Simile } \\
{ des bes2\arpeggio des bes\arpeggio\fermata }
|
\tempo 4=80
\time 2/4 \oneVoice f, bes, f8\(^\markup { \column { \bold \italic Andante \bold \italic Dolce } } des bes f16 des bes f des bes f8 f des bes |
des bes f ees bes ges4-\upmordent des16 ees |
{ f16 aes f ees des ees des bes } \\
{ des aes4 aes8 r8 }
|
\oneVoice bes f des2\) |
bes f des16.\( f'32 bes, f16 bes f des f,8 ees16 des |
bes g ees8 des bes g4\upmordent bes g ees8 |
aes ees c2\) |
\stl des,16\( \str des' des, \stl f,, \str des'' des, bes f des4\) |
\stl f,16\( \str f' f, \stl f, \str des'' des, bes f des4\) |
{ des16\( ees f8 ees\upmordent des |
des16 bes ees des bes8\) aes16\( bes |
des^\rit bes ees des bes8\) r8\fermata } \\
{ s4 \set fontSize = #-2 ees32 f ees16 s8 \unset fontSize s2 s2 } \\
{ \voiceFour bes f4 bes f4 |
bes ges4 ges ees8 r8 |
bes f a ees f des8 s8 }
|
\tempo \rubato
\time 3/4 \oneVoice bes16.\(( f'32) bes,8 des32( ees) des( ees) bes8\) r f'\( |
\grace { f16( } aes8.-) f16 ees8 f ees16( des) bes8\) |
\grace { e,16\(( } f8-) ees16 des ees16 des bes8\) r4\shortfermata \bar ||
\tempo \allegretto 4=96
\time 2/4 f'' bes, f8\( des bes f16 des bes f des bes f8-. f des bes-. |
des bes f ees bes ges4-\upmordent des16 ees |
{ f16 aes f ees des ees des bes } \\
{ des aes4 aes8 r8 }
|
\oneVoice bes f des2\) |
bes f des16.\( f'32 bes, f16 bes f des f,8 ees16 des |
bes g ees8 des bes g4\upmordent bes g ees8 |
aes ees c2\) |
\stl des,16\( \str des' des, \stl f,, \str des'' des, bes f des4\) |
\stl f,16\( \str f' f, \stl f, \str des'' des, bes f des4\) |
{ des16\( ees f8 ees\upmordent des |
des16 bes ees des bes8\) aes16\( bes |
des^\rit bes ees des bes8\) r8\fermata } \\
{ s4 \set fontSize = #-2 ees32 f ees16 s8 \unset fontSize s2 s2 } \\
{ \voiceFour bes f4 bes f4 |
bes ges4 ges ees8 r8 |
bes f a ees f des8 s8 }
|
\tempo \rubato
\time 3/4 \oneVoice bes16.\(( f'32) bes,8 des32( ees) des( ees) bes8\) r f'\( |
\grace { f16( } aes8.-) f16 ees8 f ees16( des) bes8\) |
\grace { e,16\(( } f8-) ees16 des ees16 des bes8\) r\shortfermata f'32( bes des ees) |
\time 2/4 f des f,8\(^\atempo f16 f f ees des ees |
f bes, ges8 { ees4-\upmordent } \\ { \set fontSize = #-2 ees32. f64 ees32 f ees8 } \unset fontSize des16 bes |
bes f des16. f'32 bes,16 bes des8 ees aes, f16 des |
bes f des4.\) aes16\( bes |
ees bes f8-. des-. bes-.\) aes16\( bes |
ees bes ges8-. des-. bes-.\) r8 |
des f, des16\( bes8 bes16 des8 f, des16. des'32 |
bes g ees8^\rit des bes g4\upmordent^Simile bes g des8 |
aes ees c2\) |
\tempo \andante 4=84
r16 f'\(\p des' bes f, f' bes, f, des' bes f,\) |
r ees\( bes' ges ees, ees' ges, ees,\) des\(\mf ees
Re: Better MIDI
Dear Peter: And I've now fixed the permissions on the download link there. Sorry for the bother before. Thank you very much, but I still can't access the here link. The web can't find the page, even though I registered. How to get the file? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strange programming error for strange glyph
Hello,
This file is my orchestration assignment. But I can't continue, because...
Please see the programming errors in the log file. I looked through the file,
but it seems no error. What's wrong with my file?
Haipeng
\version 2.12.2
#(set-default-paper-size a4)
\header {
tagline = ##f
title = \markup { \fontsize #4 \bold Sonata op.10, no.1 }
composer = \markup { \fontsize #3 \bold L. V. Beethoven }
arranger = \markup { \fontsize #2 \bold Arr. Hu Haipeng }
}
%{ for my defs
marks = {
\tempo \markup { \bold \italic Allegro molto e con brio } 4=180
s2.*105 \bar ||
}
%}
oboeI = \relative c'' {
\clef treble \time 3/4 \key c \minor
c4.\f r8 r4 | R2. |
r2 c4\p |
c2( b4) |
b4.\f r8 r4 | R2. |
r2 d4\p |
d2( c4) |
}
oboeII = \relative c' {
\clef treble \time 3/4 \key c \minor
ees4.\f r8 r4 | R2. |
r2 ees4\p |
ees2( f4) |
f4.\f r8 r4 | R2. |
r2 aes4\p |
aes2( g4) |
}
clarinetI = \relative c'' {
\clef treble \time 3/4 \key d \minor
\transposition bes
a4.\f r16 a( f'8. d16 |
a'8. f16 d'8. a16 f'4 |
f-.) r a,,\p |
a2( a4) |
bes4.\f r16 cis( g'8. e16 |
bes'8. g16 e'8. bes16 g'4 |
g-.) r cis,,4\p |
cis2( d4) |
}
clarinetII = \relative c' {
\clef treble \time 3/4 \key d \minor
\transposition bes
d4.\f r16 a'( f'8. d16 |
a'8. f16 d'8. a16 f'4 |
f-.) r d,,\p |
d2( e4) |
e4.\f r16 cis'16( g'8. e16 |
bes'8. g16 e'8. bes16 g'4 |
g-.) r g,,4\p |
g2( f4) |
}
bassoonI = \relative c {
\clef bass \time 3/4 \key c \minor
c4.\f r8 r4 | R2.*3 |
f4.\f r8 r4 | R2. |
r2 d'4\p |
d2( ees4) |
}
bassoonII = \relative c, {
\clef bass \time 3/4 \key c \minor
c4.\f r8 r4 | R2.*3 |
d4.\f r8 r4 | R2*3 |
}
hornI = \relative c' {
\clef treble \time 3/4 \key g \minor
\transposition f
d4.\f r8 r4 | R2.*3 |
fis4.\f r8 r4 | R2*3 |
}
hornII = \relative c' {
\clef treble \time 3/4 \key g \minor
\transposition f
bes4\f r r | R2.*3 |
ees4.\f r8 r4 | R2*3 |
}
#(set-global-staff-size 16)
\score {
\new StaffGroup = woodwinds
% \new MarkLine = marks { \marks }
\new StaffGroup
\new Staff = oboe 1 {
\set Staff.instrumentName = Oboe I
\set Staff.shortInstrumentName = Ob. I
\oboeI
}
\new Staff = oboe 2 {
\set Staff.instrumentName = Oboe II
\set Staff.shortInstrumentName = Ob. II
\oboeII
}
\new StaffGroup
\new Staff = clarinet 1 {
\set Staff.instrumentName = \markup { Clarinet in B \smaller \flat I }
\set Staff.shortInstrumentName = Cl. I
\clarinetI
}
\new Staff = clarinet 2 {
\set Staff.instrumentName = \markup { Clarinet in B \smaller \flat II }
\set Staff.shortInstrumentName = Cl. II
\clarinetII
}
\new StaffGroup
\new Staff = bassoon 1 {
\set Staff.instrumentName = Bassoon I
\set Staff.shortInstrumentName = Bn. I
\bassoonI
}
\new Staff = bassoon 2 {
\set Staff.instrumentName = Bassoon II
\set Staff.shortInstrumentName = Bn. II
\bassoonII
}
\new StaffGroup
\new Staff = bassoon 1 {
\set Staff.instrumentName = Horn in F I
\set Staff.shortInstrumentName = Hn. I
\hornI
}
\new Staff = bassoon 2 {
\set Staff.instrumentName = Horn in F II
\set Staff.shortInstrumentName = Hn. II
\hornII
}
\layout { }
}
\score {
\new StaffGroup = strings
\new Staff = oboes {
\set Staff.midiInstrument = oboe
\unfoldRepeats %{ \marks %} \oboeI \oboeII
}
\new Staff = clarinets {
\set Staff.midiInstrument = clarinet
\unfoldRepeats \clarinetI \clarinetII
}
\new Staff = bassoons {
\set Staff.midiInstrument = bassoon
\bassoonI \bassoonII
}
\new Staff = horns {
\set Staff.midiInstrument = french horn
\hornI \hornII
}
\midi { }
}
# -*-compilation-*-
Processing `f:/My Documents/composition/orchestration exercises/6/a/sonata
Op.10 Nr.1 1.ly'
Parsing...
Interpreting music... [8]
Preprocessing graphical objects...
Interpreting music...
MIDI output to `/My Documents/composition/orchestration exercises/6/a/sonata
Op.10 Nr.1 1.mid'...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+100D, file d:/Program
Files/LilyPond/usr/share/lilypond/current/fonts/otf/CenturySchL-Roma.otf
continuing, cross fingers
programming error: FT_Get_Glyph_Name () error: invalid argument
Building small Lilypond (compiler only) for Pocket PC running Win Mobile, possible?
Hello, Is it possible to build a mini Lilypond package for small PPC running Windows Mobile? I'm about to buy a new braille notetaker from USA. My old one is in pure DOS mode, and I transfer .ly files from/to it via 3.5 floppy. The newest braille computer uses Windows Mobile 6.1, which means there are lots of applications for me. I know there're PPC versions for Linux, but Win version can be very small, since there's no command line in this system, tools such as convert-ly, etf2ly, midi2ly, etc, are not possible. The RAM is 64MB and Flash 128MB, Intel 400MHZ processor (probably), with CF card, USB and ActiveSync support. I think this is because I want to simply do compilation of music I just wriote and listen to the MIDI when I am out of home, because there may be many errors every time I get home to try my writing, but my mother limits me ,the time of using PC (there're very complicated reasons, concerning us two, the two deans of my local conservatory and also the education policy limitation of China). Could someone help me? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
new version and syntax changes, ghostscript crash
Hi, I downloaded 2.11.51, and there are two problems: 1) some syntaxes are changed such as \sustainOn and \sustainOff. I have no time to re-read the manuals, but the news page has no indication of it at the top. So \setTextCresc and \setHairpinCresc are also obsolete. Could someone provide a list of the syntax changes? 2 the compilation is successful, but a dialog box comes up: gs.exe encounters a problem and needs to be closed. I don't know whether the PDF is ok. But why gs.exe has this error? REGARDS Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilPond not working, XP
Hi, I guess this is because of the compilation error when building the binary. I uninstalled 2.11.50, and delet the bin folder which still contains a .dll file. Then the reinstalled 2.11.49 can work well. Perhaps the problem is in that .dll file, because someone said he also can't run 2.11.49. I always delete programs completely, sometimes even dlete items in the registry. So, for XP users, you/we have to wait for the next version. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
EasyLilypond and DNS server problem
Hi, I meant to try some GUI interfaces to ease my editing. My screen reader can't work in Lilypondtool, so I wanted to try EasyLilypond. But the download process always can't work, it seems the address is blocked by my local server. I use a DSL bandwith, I don't know the name of my server. Is there a way to break such block? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Terrible question...
Sorry, the \include line is redundant. I forgot to delete it. Haipeng S ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strange error when creating context (was: re: terrible question...)
Hello,
Now the strange warning comes, saying it can't create the CHordMarks context.
I used something like a Dynamics context, and also changed the context name to
\new Dynamics. Although other piano pieces can use Dynamics,, this exercise
can't, always saying can't create new Dynamics or ChordMarks. Why?
Haipeng
\version 2.11.49
%% Layout to produce ChordMarks context
%% for doing harmony exercises
%% Chord marks are entered as text markups
\layout {
\context {
\type Engraver_group
\name ChordMarks
\alias Voice
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists Script_engraver
\consists Text_engraver
\override TextScript #'font-size = #2
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
}
\context {
\PianoStaff
\accepts ChordMarks
}
}
Dmaj = \markup { \bold D }
DmajTwo = \markup { \concat { \bold { D \sub 2 } } }
DmajSixArrow = \markup { \concat { \bold { D \sub 6 } } \arrow-head #X #RIGHT ##t }
DmajSixFiveArrow = \markup { \concat { \bold { D \sub \column { 6 5 } } } \arrow-head #X #RIGHT ##t }
DmajSeven = \markup { \concat { \bold { D \sub 7 } } }
DDVIIseven = \markup { \concat { \bold { DDVII \sub { 7 \raise #1 -- } } } }
bthreeDDVIIseven = \markup { \concat { \flat \bold { 3 DDVII \sub { 7 \raise #1 -- } } } }
Smin = \markup { \bold s }
SminSix = \markup { \concat { \bold { s \sub 6 } } }
SixFive = \markup { \bold { \column { 6 5 } } }
SixFiveArrow = \markup { \concat { \bold { \column { 6 5 } } } \arrow-head #X #RIGHT ##t }
Tmin = \markup { \bold t }
TminSix = \markup { \concat { \bold { t \sub 6 } } }
Six = \markup { \bold 6 }
harmony.log
Description: Binary data
\version 2.11.49
\include chords.ly
#(ly:set-option 'point-and-click #f)
\header {
tagline = ##f
title = \markup { \fontsize #2 Ex. 36-551 }
}
IupperI = \new Voice { \voiceOne
\relative c'' {
\clef treble \key fis \minor \time 4/4
\override MetronomeMark #'stencil = ##f
\tempo 2=60
cis2\mark \markup { \bold \fontsize #2 1 } fis ~ | fis4 eis fis cis ~ |
cis b2 a4 | gis2 b ~ |
b4 a b d ~ | d cis2 e4 ~ |
e d cis2 ~ | cis4 cis2 b4 ~ |
b a2 gis4 | fis1 \bar || \break
}
}
IupperII = \new Voice { \voiceTwo
\relative c' {
fis1 | gis2 fis |
fis1 | eis2 gis |
fis1 ~ | fis ~ |
fis | e2 d ~ |
d b | a1 \bar ||
}
}
IlowerI = \new Voice { \voiceOne
\relative c' {
\clef bass \key fis \minor \time 4/4
a2 cis ~ | cis1 |
d2 dis | cis1 |
cis2 b | cis1 |
b2 cis | fis,1 ~ |
fis2 eis | fis1 \bar ||
}
}
IlowerII = \new Voice { \voiceTwo
\relative c, {
fis2 a | b a |
b bis | cis eis |
fis d4 b | a2 ais |
b a | ais b |
bis cis | fis,1 \bar ||
}
}
Ichords = {
\textLengthOn
s2_\Tmin s_\Six |
s_\DmajTwo s_\TminSix |
s_\Smin s_\DDVIIseven |
s_\Dmaj s_\SixFive |
s2_\Tmin s4_\SminSix s4_\Smin |
s2_\TminSix s4_\DmajSixArrow s4_\SixFiveArrow |
s2_\Smin s2_\TminSix |
s2_\DmajSixFiveArrow s2_\Smin |
s2_\bthreeDDVIIseven s2_\DmajSeven |
s1_\Tmin \bar ||
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = choir aahs
\new Staff = rh \IupperI \IupperII
\new Staff = lh \IlowerI \IlowerII
\new ChordMarks = chords \Ichords
\layout { }
\midi { }
}
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re: terrible question for a distinctive chord name system
Dear Werner:
THank you for your advice. Here's my first exercise for suspension notes. I
don't know whether the result looks satisfying. Could you all help me?
\version 2.11.49
\include mydefs.ly
#(ly:set-option 'point-and-click #f)
\header {
tagline = ##f
title = \markup { \fontsize #2 Ex. 36-551 }
}
IupperI = \relative c'' {
\clef treble \key fis \minor \time 4/4
\override MetronomeMark #'stencil = ##f
\tempo 2=60
cis2\mark \markup { \bold \fontsize #2 1 } fis ~ | fis4 eis fis cis ~ |
cis b2 a4 | gis2 b ~ |
b4 a b d ~ | d cis2 e4 ~ |
e d cis2 ~ | cis4 cis2 b4 ~ |
b a2 gis4 | fis1 \bar || \break
}
IupperII = \relative c' {
fis1 | gis2 fis |
fis1 | eis2 gis |
fis1 ~ | fis ~ |
fis | e2 d ~ |
d b | a1 \bar ||
}
IlowerI = \relative c' {
\clef bass \key fis \minor \time 4/4
a2 cis ~ | cis1 |
d2 dis | cis1 |
cis2 b | cis1 |
b2 cis | fis,1 ~ |
fis2 eis | fis1 \bar ||
}
IlowerII = \relative c, {
fis2 a | b a |
b bis | cis eis |
fis d4 b | a2 ais |
b a | ais b |
bis cis | fis,1 \bar ||
}
Ichords = {
s2_\markup { \bold t } s_\markup { \bold 6 } | s_\markup { \bold D2 }
s_\markup { \bold t6 }
s_\markup { \bold s } s_\markup { \bold DDVII \translate #(cons 0 1)
\column { - 7 } } | s_\markup { \bold D } s_\markup { \bold { \column {
6 5 } } } |
s2_\markup { \bold t } s4_\markup { \bold s6 } s4_\markup { \bold s }
| s2_\markup { \bold t6 } s4_\markup { \bold D6 \arrow-head #X #RIGHT ##t }
s4_\markup { \bold \column { 6 5 } \arrow-head #X #RIGHT ##t } |
s2_\markup { \bold s } s2_\markup { \bold t6 } | s2_\markup { \bold D
\column { 6 5 } \arrow-head #X #RIGHT ##t } s2_\markup { \bold s } |
s2_\markup { \bold \smaller \flat 3 DDVII \translate #(cons 0 1) \column
{ - 7 } } s2_\markup { \bold D7 } | s1_\markup { \bold t } \bar ||
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = choir aahs
\new Staff = rh { \voiceOne \IupperI \voiceTwo \IupperII }
\new Staff = lh { \voiceOne \IlowerI \voiceTwo \IlowerII }
\new ChordSymbols = chords \Ichords
\layout {
\context {
\type Engraver_group
\name ChordSymbols
\alias Voice
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists Script_engraver
\consists Text_engraver
\override TextScript #'font-size = #2
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
}
\context {
\PianoStaff
\accepts ChordSymbols
}
}
\midi { }
}
\version 2.11.49
\include mydefs.ly
#(ly:set-option 'point-and-click #f)
\header {
tagline = ##f
title = \markup { \fontsize #2 Ex. 36-551 }
}
IupperI = \relative c'' {
\clef treble \key fis \minor \time 4/4
\override MetronomeMark #'stencil = ##f
\tempo 2=60
cis2\mark \markup { \bold \fontsize #2 1 } fis ~ | fis4 eis fis cis ~ |
cis b2 a4 | gis2 b ~ |
b4 a b d ~ | d cis2 e4 ~ |
e d cis2 ~ | cis4 cis2 b4 ~ |
b a2 gis4 | fis1 \bar || \break
}
IupperII = \relative c' {
fis1 | gis2 fis |
fis1 | eis2 gis |
fis1 ~ | fis ~ |
fis | e2 d ~ |
d b | a1 \bar ||
}
IlowerI = \relative c' {
\clef bass \key fis \minor \time 4/4
a2 cis ~ | cis1 |
d2 dis | cis1 |
cis2 b | cis1 |
b2 cis | fis,1 ~ |
fis2 eis | fis1 \bar ||
}
IlowerII = \relative c, {
fis2 a | b a |
b bis | cis eis |
fis d4 b | a2 ais |
b a | ais b |
bis cis | fis,1 \bar ||
}
Ichords = {
s2_\markup { \bold t } s_\markup { \bold 6 } | s_\markup { \bold D2 } s_\markup { \bold t6 }
s_\markup { \bold s } s_\markup { \bold DDVII \translate #(cons 0 1) \column { - 7 } } | s_\markup { \bold D } s_\markup { \bold { \column { 6 5 } } } |
s2_\markup { \bold t } s4_\markup { \bold s6 } s4_\markup { \bold s } | s2_\markup { \bold t6 } s4_\markup { \bold D6 \arrow-head #X #RIGHT ##t } s4_\markup { \bold \column { 6 5 } \arrow-head #X #RIGHT ##t } |
s2_\markup { \bold s } s2_\markup { \bold t6 } | s2_\markup { \bold D \column { 6 5 } \arrow-head #X #RIGHT ##t } s2_\markup { \bold s } |
s2_\markup { \bold \smaller \flat 3 DDVII \translate #(cons 0 1) \column { - 7 } } s2_\markup { \bold D7 } | s1_\markup { \bold t } \bar ||
}
\score {
\new PianoStaff
\set PianoStaff.midiInstrument = choir aahs
\new Staff = rh { \voiceOne \IupperI \voiceTwo \IupperII }
\new Staff = lh { \voiceOne \IlowerI \voiceTwo \IlowerII }
\new ChordSymbols = chords \Ichords
\layout {
\context {
\type Engraver_group
\name ChordSymbols
\alias Voice
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\consists Script_engraver
\consists Text_engraver
\override
Terrible question about a distinctive chord name system
Hi,
I think this question is extreme a big challenge to you all, but is very
urgent for me.
I can't go to New England Conservatory, because I was forced by the two
unabled deans to learn the piano when entering my local conservatory. This
stopped me from learning composition, so I have no formal piece to submit. I
have not finish the harmony course. Now I want to learn it with my original
composition teacher. I want to do the exercises myself, without talking to my
mother to transcribe the results. Most of Chinese composition teachers accept a
harmony textbook published in 1940s or 1950s by the pre Soviet Union, thus the
Sbosobin edition. This edition uses a very distinctive chord naming
system--functional chord name system. For example, the tonic major triad is
written as T, subtonic triad is S, and dominant is D. Chords share two notes of
both T and S or D and T are prefixed by two function letters and then the root
step and optional Arabic numbers. The convention is as follows:
(the plus and minus are optional, above the chord name letter or the number (if
it exists))
C major functional chart
Natural chords:
three major triads
f a c' c' a' g'g' b' d''
S T D
vice triads
d f a a c' e'e' g' b' b' d'' f''
SII TSII DTIIi DVII-
most unstable most stable most unstable
Other chords:
c' e' gis'
T+
Invertions
e' g' c''
T6
g' c'' e'' % common
T6
4
g' c'' e'' % at cadence
K6
4
g b d' f' b d' f' g' ...
D7 D6
5
b d' f' a' b d' f' aes'
DVII7- dVII7--
g b d' f' a'
D9
g b f' e'
D13
7
The must common out-of-tonality chords (Dominant's dominant):
d' fis' a' c''
DD7
fis' a' c'' e''
DDVII7-
fis' aes' c'' ees'' or fis' aes' c'' dis''
b3DDVII7--
aes' c'' d'' fis'' aes' c'' ees'' fis''
b5DD4b3DDVII6--
3 5
Other altered chords:
\relative c' { g des' f b dis }
b5#5D7
\relative c { f des' aes' des }
b1SII6
or SN6 or N6
Sometimes the invertion comes immediately after the origin, the prefix is
omitted:
\relative c { c g e' c' e c' g' c }
T 6
When leaving tonality (a Chinese call, shown below, you'll know what it
means), an arrow is shown:
\relative c { c g' e' c' cis g' e' bes' d f d' a' }
TDVII7- arrow SII
Is there a way to write these chord names? Must I have to use markup
function? That's too complicated!
Regards
Haipeng
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Lilypond and CPU cost, system resource exhaust... (was: Strange error causes Lilypond refus...)
Hi, I restarted my comuter and then add a virtual RAM to a volume o my hard disk, settg the size varying from 1GB to 2GB. Then the score can be compile, but very slow, with some errors because of my music codes. But I'm wondering why Lilypond takes so many CPU usage and need such a large memory to work. What does the error message in the previous email mean?Could someone tell me how Lilypond works and why it takes off so many system resources? I ever removed my pagfile.sys to let my hard disk larger. Other programs can work fine, but LP can't :-) But whatever, I'll thank you all for working hard on this software. I'm deciding whether I must go to New England Comservatory in USA to study composition, because the deans of my school refused me from learning this when I entered it as their only blind in 1999. Lilypond is the only tool for me to write music. It really helped me a lot! SINCERELY Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
re: Lilypond and CPU cost, system resource exhaust...
Dear Trevor: Thank you for your help! I now understand the real problems. I'm using Kaspersky Lab, a bad anti-virus software, which takes lots of system resource (someone made a distorted Chinese translation, Ka ba sji, means preventing from working normally and then crash!). It damaged my system, causing my computer crash to a Dos mode I don't know what's the exact name of such situation, but the screen is much like a original Dos env, or the env when the computer has no operating system stored) after the shutting down music played, and then I have to press the switch to stop the machine. My Avi to DVD converter also causes the virtual RAM low, perhaps because of it. So I must have to add a pagefile.sys. Por Staff change, I forgot to add a righthand change before the last high note of the gliss, so when the next block comes (defined as IharprhC), it confuses Lilypond. No bug. I firstly used f, but then realized mf is more logical, but I forgot to delete f. Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
different rehearsal mark settings in score and part
Hi,
I'm now working on a extreme serious piece, the suite about the earthquake.
So I want my score to be very formal.
I don't know how the remove empty staff function works. I added rehearsal
marks only above piccolo and violin I parts, but I don't know whether the marks
will let the parts appear during their silence. If no, the rehearsal marks will
disappear from my score. I ever read the score of The Rite Of Sprin in braille.
The transcribe's note said that the rehearsal marks are above the top of the
score and also the topmost string part. If the marks disappear, how to add
marks to other staves? If the \mark command hasn't appear in a part before,
will the rehearsal number be correct when writing on them when they become the
topmost score and string staves?
To make things clear (I can't express this very clearly in English), here's
the thing I want:
\version 2.11.47
pic = \relative c'' { R1*10 \mark \default | R1*20 %{ should I add a \mark
\default even though it will not appear? %} | }
fl = \relative c'' { R1*10 | c1 \mark \default %{ can it be [2]? %} | \repeat
unfold 19 { c1 } | }
cl = { R1*30 | }
..
vI = \relative c' { c1 \mark \default | R1*29 | }
vII = \relative c' { c1 | R1*29 | }
vl = \relative c' { R1*10 | c1 \mark \default | c1 | R1*18 | }
..
I also created a marks variable containing all rehearsal marks, and will
use it for printing parts:
marks = { s1*10 \mark \default | s1*20 \mark \default | }
Will the marks of this line mess up the irregular marks I wrote for producing
full score? And, if I wrote c1 \mark \default | R1*29, will the second mark
appear in bar 11 (part version)? Must I split rests into R1*9 | R1*20?
In full score, I also don't know when the line breaks, so if I add marks in
other lines before break, it will cause visual mistake. Can I use the Dynamic
context as in piano score with marks (and therefore not write marks at other
places) and then place it before piccolo and violin I? Will it disappear when
the below staff is empty? Must I create a alias staff context instead?
Sorry for troubling you so much, because I can't check these myself!
Sincerely
Haipeng
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git question
Hi, I have no time to learn GIT. I saw Reinhold's Orchestrallily has a dev version, but in git access method. I quickly searched the manual, enter $ git clone ssh://../orchestrallily.git. The first time I ran it, it asked me for password. The second time, It said the dir is already existing, and I can't go any further. On the webpage of that package, there is a git+ssh://... link, when I pressed enter, the browser can't reach the destination. Could someone tell me how to get it? I'm now busy learning a language for writing plugin for Sibelius, so that I can probably write a plugin to convert Sibelius file into braille. I also have tasks of playing the piano and compose a symphonic suite for the terrible earthquake (this is my plan). Sorry for troubling you so much! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
SORRY
Dear list First of all, I'll tell yo- my full name--Hu Haipeng. I often refer it only for the first time I write to an address, so... I'm very very sorry! The paper.scm does have an error! It was accidentally found because I wanted to see whether I have added PA4 based sizes. I found two royals, the second of which must be atlas. I forgot to overwrite it when copying the line from clipboard. I only modified the size. Yesterday I have replied to Vallentin (I don't know which Vallentin). Sorry for this! Sincerely Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
contribute paper.scm
Hi,
I saw some people discussing what paper size to use one or two days before.
I'm also suffered from the paper size, and don't know how to handle them when
writing oversized large orchestral scores like Mahler and Schoenberg did. Thank
someone, who pointed out the Wikipedia. I'm attaching my paper.scm, with most
of the sizes copied from the page. Some may perhaps never be used in music
output, but I added them as a preparation for accidental use. Hope it will be
useful!
(please note: I'm using my small braille computer to work on Lilypond code,
so I may accidentally type invalid dot by mistake, when entering spaces or
executing copy, paste and overwrite commands. If there are errors, please let
me know.)
Haipeng
paper.scm -- manipulate the paper and layout block.
source file of the GNU LilyPond music typesetter
(c) 2004--2007 Han-Wen Nienhuys [EMAIL PROTECTED]
(define-public (set-paper-dimension-variables mod)
(module-define! mod 'dimension-variables
'(pt mm cm in staff-height staff-space
page-top-space
between-system-space between-system-padding
line-width indent short-indent paper-width paper-height horizontal-shift
staff-space line-thickness ledgerline-thickness
blot-diameter left-margin right-margin)))
(define (calc-line-thickness staff-space pt)
;; linear interpolation.
;; !! synchronize with feta-params.mf
(let*
((x1 (* 4.125 pt))
(x0 (* 5 pt))
(f1 (* 0.47 pt))
(f0 (* 0.50 pt)))
(/
(+
(* f1 (- staff-space x0))
(* f0 (- x1 staff-space)))
(- x1 x0
(define-public (layout-set-absolute-staff-size-in-module module staff-height)
(let*
((pt (eval 'pt module))
(ss (/ staff-height 4))
(factor (/ staff-height (* 20 pt)))
(setm! (lambda (sym val)
(module-define! module sym val
(setm! 'text-font-size (* 12 factor))
(setm! 'output-scale ss)
(setm! 'fonts
(if tex-backend?
(make-cmr-tree factor)
(make-century-schoolbook-tree factor)))
(setm! 'staff-height staff-height)
(setm! 'staff-space ss)
(setm! 'line-thickness (calc-line-thickness ss pt))
;; sync with feta
(setm! 'ledgerline-thickness (+ (* 0.5 pt) (/ ss 10)))
;; sync with feta
(setm! 'blot-diameter (* 0.4 pt))
))
(define-public (layout-set-absolute-staff-size sz)
Function to be called inside a \\layout{} block to set the staff
size. SZ is in points
(layout-set-absolute-staff-size-in-module (current-module) sz))
(define-public (layout-set-staff-size sz)
Function to be called inside a \\layout{} block to set the staff
size. SZ is in points
(layout-set-absolute-staff-size (* (eval 'pt (current-module)) sz)))
(define-safe-public (set-global-staff-size sz)
Set the default staff size, where SZ is thought to be in PT.
(let* ((current-mod (current-module))
(pap (eval '$defaultpaper current-mod))
(in-layout? (or (module-defined? current-mod 'is-paper)
(module-defined? current-mod 'is-layout)))
; maybe not necessary.
; but let's be paranoid. Maybe someone still refers to the
; old one.
(new-paper (ly:output-def-clone pap))
(new-scope (ly:output-def-scope new-paper)))
(if in-layout?
(ly:warning (_ set-global-staff-size: not in toplevel scope)))
(layout-set-absolute-staff-size-in-module new-scope
(* sz (eval 'pt new-scope)))
(module-define! current-mod '$defaultpaper new-paper)))
(define-public paper-alist
;; don't use decimals.
;; ISO 216 has a tolerance of +- 2mm
'((a10 . (cons (* 26 mm) (* 37 mm)))
(a9 . (cons (* 37 mm) (* 52 mm)))
(a8 . (cons (* 52 mm) (* 74 mm)))
(a7 . (cons (* 74 mm) (* 105 mm)))
(a6 . (cons (* 105 mm) (* 148 mm)))
(a5 . (cons (* 148 mm) (* 210 mm)))
(a4 . (cons (* 210 mm) (* 297 mm)))
(a3 . (cons (* 297 mm) (* 420 mm)))
(a2 . (cons (* 420 mm) (* 594 mm)))
(a1 . (cons (* 594 mm) (* 841 mm)))
(a0 . (cons (* 841 mm) (* 1189 mm)))
(b10 . (cons (* 31 mm) (* 44 mm)))
(b9 . (cons (* 44 mm) (* 62 mm)))
(b8 . (cons (* 62 mm) (* 88 mm)))
(b7 . (cons (* 88 mm) (* 125 mm)))
(b6 . (cons (* 125 mm) (* 176 mm)))
(b5 . (cons (* 176 mm) (* 250 mm)))
(b4 . (cons (* 250 mm) (* 353 mm)))
(b3 . (cons (* 353 mm) (* 500 mm)))
(b2 . (cons (* 500 mm) (* 707 mm)))
(b1 . (cons (* 707 mm) (* 1000 mm)))
(b0 . (cons (* 1000 mm) (* 1414 mm)))
;; Below are two extended sizes defined in DIn 476
(4a0 . (cons (* 1682 mm) (* 2378 mm)))
(2a0 . (cons (* 1189 mm) (* 1682 mm)))
;; Below are ISO 269 standard C series
(c10 . (cons (* 28 mm) (* 40 mm)))
(c9 . (cons (* 40 mm) (* 57 mm)))
(c8 . (cons (* 57 mm) (* 81 mm)))
(c7 . (cons (* 81 mm) (* 114 mm)))
(c6 . (cons (* 114 mm) (* 162 mm)))
(c5 . (cons (* 162 mm) (* 229 mm)))
(c4 . (cons (* 229 mm) (* 324 mm)))
(c3 . (cons (* 324 mm) (* 458 mm)))
(c2 . (cons (* 458 mm) (* 648
re: *.midi vs. *.mid
Hi, I'm using Windows Xp, and I can give a suggestion to those who use Xp. In fact, Windows Media Player can open .midi file automatically. If you hope to change its extension manually, please open any folders and press Alt-T to bring up the tools menu. Then choose Folder options, ctrl-tab once, to the viewing option page. Then go to the advanced settings below, use arrow keys to navigate to every options you wish to change. One of them is hide extensions of know files (I translate it from CHinese, I don't know the words in English version of Xp),. The default is on, change it to off to display all extensions. This is annoying sometimes, but I prefer it because I can't see the icons, and I'm afraid I'll open or delete files I don't wish to open or delete. At this time, go into the folder and find the .midi file, press f2 to rename the extension to .mid. I'm using the way a blind does, I don't know whether you have more efficent ways. Please point out if There are errors for my method. Thank you! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: All Ye People Clap your hands (was Re: lilypond-user
Dear Gilbert
So this is the first time I offer help in this list!
Perhaps I can introduce a way I always do with my large orchestral scores with
part amount from 24 to 42. I get this experience because I ever did it in my
Braille Music Editor, which is very hard to turn a *listenable braille music
file* (this is it's only advantage) into Finale--I now give up that foolish
tool. It's very complicated and stupid probably, but can really result a very
good Midi output. Please, if you won't see any confusing errors when compiling
for PDF, add only \layout in your main score file, then make a separate file
named foo-midi.ly, and merge parts with the same sound into one staff. For
example, piccolo and three flutes and alto flute (this must do additional
transposition to make them sound in concert pitch, because when merging, the
\transposition may also effect other parts, which are now become Voice in one
part. Please see my attachment of the midi generator for my trial: First
Symphony--DOOM). The maximum amount of parts is 16, although there will be a
single warning. You can reject all lyrics contexts in this file (Oh, I
remember, if you are doing with a score for voice only, just make two \score
blocks like the piano template does, then reject lyricx in the \midi one, if
your staff amount is under 16), then add only \midi { } at the end. After
compiling, delete the ugly PDF file and ignore all warnings and errors which
didn't occur in the file you want to produce .pdf.
Hope this will help you! If someone has more economy way, please share!
Haipeng
\version 2.11.42
\include sym1.ly
\score {
\new StaffGroup = orchestra
\new Staff = flutes {
\set Staff.midiInstrument = flute
\unfoldRepeats { { \tempocontrol } \\ { \transpose c f \piccolo } \\ { \transpose c' f \fluteI } \\ { \transpose c' f \fluteII } \\ { \transpose c' f \fluteIII } \\ { \altoflute } }
}
\new Staff = oboes {
\set Staff.midiInstrument = oboe
\unfoldRepeats { { \transpose c' g' \oboeI } \\ { \transpose c' g' \oboeII } \\ { \transpose c' g' \oboeIII } \\ { \enghorn } }
}
\new Staff = clarinets {
\set Staff.midiInstrument = clarinet
\unfoldRepeats { { \transpose c c' \clarinetI } \\ { \transpose c c' \clarinetII } \\ { \transpose c c' \clarinetIII } \\ { \bassclarinet } }
}
\new Staff = bassoons {
\set Staff.midiInstrument = bassoon
\unfoldRepeats { { \transpose c c' \bassoonI } \\ { \transpose c c' \bassoonII } \\ { \transpose c c' \bassoonIII } \\ { \contrabassoon } }
}
\new Staff = horns {
\set Staff.midiInstrument = french horn
\unfoldRepeats { \hornI \hornII \hornIII }
}
\new Staff = trumpets {
\set Staff.midiInstrument = trumpet
\unfoldRepeats { \trumpetI \trumpetII \trumpetIII \trumpetIV }
}
\new Staff = trombones {
\set Staff.midiInstrument = trombone
\tromboneI \tromboneII \tromboneIII \basstrombone
}
\new Staff = tuba {
\set Staff.midiInstrument = tuba
\tubaI \tubaII
}
\new Staff = timpani {
\set Staff.midiInstrument = timpani
\unfoldRepeats { \timpaniI \timpaniII }
}
\new DrumStaff = percussion { \unfoldRepeats { \midiPercussion } }
\new Staff = harp {
\set Staff.midiInstrument = orchestral strings
\unfoldRepeats { \harprh \harplh }
}
\new StaffGroup = strings
\set StaffGroup.midiInstrument = string ensemble 1
\new Staff = violins { \unfoldRepeats { \violinI \violinII } }
\new Staff = viola { \unfoldRepeats { \viola } }
\new Staff = violoncello { \unfoldRepeats { \cello } }
\new Staff = contrabass { \unfoldRepeats { \contrabass } }
\midi { }
}
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function error--confusing!
Hi,
I modified my def for Chinese font file selection, to define a function for
bilingual display:
cheng = #(define-music-function (parser location chisize chinese engsize
english)
(number? string? number? string?)
#{ \markup {
\override #'(baseline-skip . 2) \center-align {
\bold \fontsize #$chisize \override #'(font-name . 仿宋_GB2312) $chinese
\bold \fontsize #$engsize $english } }
#})
It seems right according the Notation Ref. But when I use it in the following
header markups, it produces a lot of errors:
\header {
dedication = \cheng #2 #至武海雁 #2 #Dedicated to Wu Haiyan
title = \cheng #4 #乐诗三章 #4 #Poem In Three Parts
composer = \cheng #3 #胡海鹏 #3 #Hu Haipeng
copyright = © 1997, All Rights Reserved
tagline = \markup \fill-line { \override #'(font-name . 仿宋_GB2312)
\fontsize #2 \bold 19998年月 }
}
The error messages are:
Processing `f:/my documents/composition/poem in three parts/threepoe.ly'
Parsing...
string:1:33: error: syntax error, unexpected \markup
parseStringResult = \notemode {
\markup {
string:3:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:3:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:4:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpd \lilyvartmpe } }
string:4:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpd \lilyvartmpe } }
string:1:33: error: syntax error, unexpected \markup
parseStringResult = \notemode {
\markup {
string:3:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:3:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:4:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpd \lilyvartmpe } }
string:4:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpd \lilyvartmpe } }
string:1:33: error: syntax error, unexpected \markup
parseStringResult = \notemode {
\markup {
string:3:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:3:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpb \override #(quote (font-name .
浠垮甛x8b_GB2312)) \lilyvartmpc
string:4:6: error: unknown escaped string: `\bold'
\bold \fontsize #lilyvartmpd \lilyvartmpe } }
string:4:12: error: unknown escaped string: `\fontsize'
\bold
\fontsize #lilyvartmpd \lilyvartmpe } }
I think it is perhaps because of chisize, chinese are not things Lily know,
and us the following:
cheng = #(define-music-function (parser location fontsize text)
(number? string?)
#{ \markup {
\override #'(baseline-skip . 2) \center-align {
\bold \fontsize #$fontsize \override #'(font-name . 仿宋_GB2312) $text
\bold \fontsize #$fontsize $text
} }
#})
but the error still exists.
I'm not familiar with Scheme, so I can't find a way to debug and create a new
function. Could anyone help me?
Haipeng
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strange problem of variable definition and more error messages
Hi,
I just finished typesetting one of my very early piece. I want to ease the
writing when every time using Chinese font ile simfang.ttf, so I put an
override font-name line in mydefs.ly. I have defined lots of things used very
often in this file. But the log file says this override is wrong. When I used
it from time to time in my input file, it's correct. Please tell me how to do
that?
BTW, the log file gives a lot of warnings of cannot find start of
(de)crescendo, but all of my \cresc and \dim has corresponding \! signs. There
is also a programming error for midi output, which confused me very much! Why?
SINCERELY
Haipeng
\version 2.11.44
\include mydefs.ly
#(ly:set-option 'point-and-click #f)
\header {
title = \markup { \override #'(baseline-skip . 2) \center-align { \simfang \bold \fontsize #4 å°è¡£ç»æ²ââåè° \bold \fontsize #4 First Suite } }
composer = \markup { \override #'(baseline-skip . 2) \center-align { \simfang \bold \fontsize #3 è¡æµ·é¹ \fontsize #3 \bold Hu Haipeng } }
copyright = © 1998, All Rights Reserved
tagline = \markup \fill-line { \simfang \fontsize #2 \bold 1998å¹´ä¹æ }
}
upperI = \relative c'' {
\clef treble \key c \major \time 3/8 \tempo 4.=60
g8\(^\allegretto c d | e a g | e d c | e4.\) |
g,8\( c d | e a g | e c a | d4.\) |
g,8\( c d | e a g | f d e | a,4\) a8\( |
b4 c8 | d f e | d a g | c4.\) |
c^\rit | e, c g | e c g ~ | e c g \bar |.
}
lowerI = \relative c {
\clef bass \key c \major \time 3/8
c16 e g c g e | c e g c g e | c e g c \clef treble e g | c g e c \clef bass g e |
c e g c g e | c e g c g e | a, e' a c a e | g, d' g b g d |
c e g c g e | c g' c e c g | e gis b d b gis | f a c d c a |
d, f g b g f | b, d f g f d | g, d' f g f d | c e g a g e |
c4. | c, c' | c c' ~ | c c' \bar |.
}
dynamicsI = {
s4.*16\mf s4.\dim s4. s4.\! s4.
}
\score {
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = upper
#(set-accidental-style 'piano 'Score)
\upperI
\new Dynamics = dynamics \dynamicsI
\new Staff = lower { \lowerI }
\header {
piece = \markup { \override #'(baseline-skip . 2) \center-align { \simfang \fontsize #2 \bold åå¥æ²Â·åè°ä¸»é¢ \fontsize #2 \bold Prelude, theme of friendship } }
}
\layout {
\context {
\type Engraver_group
\name Dynamics
\alias Voice
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override DynamicLineSpanner #'Y-offset = #0
\consists Script_engraver
\consists Dynamic_engraver
\consists Text_engraver
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\consists Skip_event_swallow_translator
\consists Axis_group_engraver
}
\context {
\PianoStaff
\accepts Dynamics
}
\context {
\Score
\override Glissando #'breakable = ##t
\override TextSpanner #'breakable = ##t
\override DynamicSpanner #'breakable = ##t
}
}
}
\pageBreak
upperII = \relative c'' {
\clef treble \key g \minor \time 2/4 \tempo 4=80
g2\(^\andante | bes | c4 bes8 c | d4 f |
c4. d8 | c4 a | g4. f8 | d2\) |
g2\( | bes | c4 bes8 c | d2 |
f4 g8 f | d f c e | d2 ~ | d\) |
g4\( g | f d | c d | c a |
g f | bes c | d2 ~ | d\) |
g,4\( g' | f d | c d | c a |
g bes | f8 g a4\upmordent | \grace { a16 } g2^\rit ~ | g\) \bar |.
}
lowerII = \relative c' {
\clef bass \key g \minor \time 2/4
g4 bes d | f bes d | ees, g c | d f a |
c g' c | d f a | g, g' bes | d a' c |
g bes d | f bes d | ees, g c | d f a |
bes, d f bes | d f bes c g' c | d f a | { d' c } \\ { a2 } |
g4 bes d | f bes d | ees, g c | d a' c |
g bes d | f c' f | bes d f | a d f |
g, bes d | f a d | ees g c | d f a |
ees g bes | d f a | g, d' g b | g,2 \bar |.
}
dynamicsII = {
s2*8\mp s2*4\cresc s2*4\!\mf
s2*10 s2*5\dim s2\!\p
}
\score {
\new PianoStaff
\set PianoStaff.connectArpeggios = ##t
\new Staff = upper
#(set-accidental-style 'piano 'Score)
\upperII
\new Dynamics = dynamics \dynamicsII
\new Staff = lower { \lowerII }
\header {
piece = \markup { \override #'(baseline-skip . 2) \center-align { \simfang \fontsize #2 \bold æ¼«æ¥ \fontsize #2 \bold Walking } }
}
\layout {
\context {
\type Engraver_group
\name Dynamics
\alias Voice
\consists Output_property_engraver
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\override DynamicLineSpanner #'Y-offset = #0
\consists Script_engraver
\consists Dynamic_engraver
\consists Text_engraver
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
write score like Tchaikovsky
Hi, I want to add some verses above the score, like Tchaikovsky did in his The Seasons. Even more, I don't add them at the beginning of a piece, but at the beginning of a certain theme with or without pre line or page breaking. I know liypond-book can do it, but there seems to be no way for me to do his. the Latex is not for Windows, and Miktex website is blocked in China. I don't know whetherthere are other softwares can do it. Texinfo is for Unix and Cygwin, and my screen reader can't support cygwin or Uwin shell, and also, the lcommands I entered will not be responsed. Sometimes I entered markups, but they are limited to b follow a note or rest. If I use mutiple \score and insert markupsamong them without page break, Lily seems to consider it as errors. How can I do? Is there a software for pure Windows to work with Lilypond-book? KInd Regrds Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
two problems
Hi, I encountered two problems when using Lilypond on Windows. First, the 2.11.44 documentation tarball seems have problms. I don't know how to build bz2 file using Windows, my way is to unpack the files to a doc folder using Winrar. But the tarball (from the time I began to learn Lily) always has some files duplicated in name, which causes the program asks for rename or ignore from time to time. The tarball this time I got has even serious problem which cause Winrar stops to unpack, saying reading error. Please tell me how to build this tarball correctly? Second, Lilypad always display Chinese characters in a corrupted code. Can I find a way to let it just display English rather than the language my computer's platform is using? REGARDS Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
beaming problem
Hi,
This is the opening of my capriccio for violin and piano. I use the easy
tuplet writing method to set tuplet span to a quarter length, and my manual
beaming in the braces are correct (as I know). But the log file gave a lot of
warnings saying something I don't understand, perhaps a beaming problem. Could
anyone tell me what's the matter?
Haipeng
\version 2.11.42
#(ly:set-option 'point-and-click #f)
\header {
tagline = ##f
title = \markup { \fontsize #2 Capriccio For Violin And Piano }
composer = \markup { \fontsize #3 \bold Hu Haipeng }
copyright = © 2008, All Rights Reserved
}
stu = { \change Staff = upper }
stl = { \change Staff = lower }
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = violin
rit = \markup { \bold \italic Rit. }
atempo = \markup { \bold \italic A tempo }
tempoline = \relative c {
\time 3/4 \tempo 4=88
R2.*11 |
r2 \tempo 4=84 r4 |
\tempo 4=88 R2.*7 |
\tempo 4=82 r4 \tempo 4=76 r \tempo 4=72 r |
\tempo 4=88 R2.*4 |
}
violin = \relative c' {
\clef treble \key fis \minor \time 3/4 \tempo 4=88
R2. | R2. |
\textSpannerUp
\override TextSpanner #'bound-details #'left #'text =
\markup { \upright Sul G }
fis8.\(\f^\startTextSpan^\markup { \bold \italic Con fuoco } cis16 cis'4. e8 |
cis8. a32 b cis4 ~ cis16 b\upmordent a fis |
a8. b16 fis4. e8 |
fis16 e cis4.\) r4 |
fis8.\( cis16 cis'4. fis8 |
e16\upmordent cis a b cis4 ~ cis16 b a fis |
a8.\ b16 fis4\) a8.\( b16 |
fis4\) a8--\( ~ \times 2/3 { a16 b-- a-- } fis8--\) r16 fis'\(\!\sf ~ |
fis2 e4 |
fis32 e cis8.\ ~ cis4.\)\!^\stopTextSpan r8 |
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 4/6 { a,16[\pp^\markup { \bold \italic Leggiero } fis' cis' cis fis, a,] a[ fis' cis' cis fis, a,] a[ fis' cis' cis fis, a,] } |
\times 4/6 { a[ e' cis' cis e, a,] cis[ a' e' e a, cis,] cis[ a' e' e a, cis,] } |
\times 4/6 { d[ a' fis' fis a, d,] d[ a' fis' fis a, d,] d[ b' fis' fis b, d,] } |
\times 4/6 { cis[ gis' e' e gis, cis,] gis[ e' cis' cis e, gis,] gis[ e' cis' cis e, gis,] } |
\times 4/6 { a[ fis' cis' cis fis, a,] a[ fis' cis' cis fis, a,] a[ fis' cis' cis fis, a,] } |
\times 4/6 { a[ e' cis' cis e, a,] cis[ a' e' e a, cis,] cis[ a' e' e a, cis,] } |
\times 4/6 { d[ a' fis' fis a, d,] d[ a' fis' fis a, d,] cis[ a' fis' fis a, cis,] } |
\times 4/6 { cis[ a' fis' fis a, cis,] c[\\(^\rit dis fis a c dis] fis[ a c dis fis\)\! r] } |
a a,8-\(\ff^\atempo fis fis, fis fis,4 e e,8 b b, |
cis cis, b b,16 a a, e e,8 fis fis, \times 2/3 { a a,8 b b, cis cis,\) } |
a' a,8-\( fis fis, fis fis,4 \times 2/3 { e e,8 b b, e e, } |
cis cis,8 b b,16 a a, fis fis,8 a a,4 fis fis,8\) |
}
upper = \relative c'' {
\clef treble \key fis \minor \time 3/4 \tempo 4=88
\showStaffSwitch
\set tupletSpannerDuration = #(ly:make-moment 1 4)
s2.*9^\markup { \bold \italic Appassionato } |
s2 a4 | s a b |
r8 e, cis--\( fis cis-- gis e-- cis gis cis,-- e cis gis cis--\) |
fis cis a fis8.\(^\markup { \bold \italic Con fuoco } cis cis,16 cis' a fis cis4. e e,8 |
cis a fis cis8. a a,32 b b, cis a fis cis4 ~ cis a fis cis16 b b, a a, fis fis, |
a fis d a8. b b,16 fis d a fis4. e e,8 |
fis cis gis fis16 e e, cis gis e cis8 ~ cis gis e cis2\) |
fis cis a fis8.\( cis cis,16 cis' a fis cis4. fis fis,8 |
e cis a e16 cis cis, a a, b b, cis a fis cis4 ~ cis a fis cis16 b b, a a, fis fis, |
a fis d a8. b b,16 fis d a fis4\) a fis cis a8.\( b b,16 |
fis cis a fis4\) a fis dis a8\(^\rit ~ \times 2/3 { a fis dis a16 b b, a a, } fis dis a fis8\) r16 fis fis, |
a' fis d a8-\(^\atempo fis d a fis fis d a fis4 e b gis e8 b gis e b |
cis a e cis\ b b,16 a a, e cis e,8\!\ fis fis, \times 2/3 { a cis, a8 b b, cis cis,\) } |
a' fis d a8-\(\! fis d a fis fis d a fis4 \times 2/3 { e b gis e8 b b, e e, } |
cis a fis cis8 b b,16 a a, fis cis a fis8 a fis cis a4 fis fis,8\) |
}
lower = \relative c, {
\clef bass \key fis \minor \time 3/4
\showStaffSwitch
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 4/6 { fis16\( cis' fis \stu a b cis } \times 4/5 { fis16[ e cis b a] cis[ b a \stl fis cis]\) } |
\times 4/6 { fis,16\( cis' fis \stu a b cis } \times 4/5 { fis16[ e cis b a] cis[ b a \stl fis cis]\) } |
\times 4/6 { fis,16\( cis' fis \stu a b cis } \times 4/5 { fis16[ e cis b a] cis[ b a \stl fis cis]\) } |
\times 4/6 { e,16\( cis' fis \stu a b cis } \times 4/5 { fis16[ e cis b a] cis[ b a \stl fis cis]\) } |
\times 4/6 { d,16\( a' fis' \stu a b d } \times 4/5 { fis16[ e d b a] b[ a fis \stl d a]\) } |
\times 4/6 { cis,16\( gis' e' \stu gis cis e } \times 4/5 { gis16[ fis e cis gis] e'[ cis gis \stl e cis]\) } |
\times 4/6 { fis,16\( cis' fis \stu a b cis } \times 4/5 { fis16[ e cis b a] cis[ b a \stl fis cis]\) } |
\times 4/6 { e,16\( cis' fis \stu
fermata
Hi, Another qestion is, how to write a femata on the barline? Is there a way to write it not using the offset or any other horizontal moving commands which I can't handle without a sighted people? SIncerely Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
font selection problem
Hi, I attempted to use CHinese words in my music, but my computer only has ttc files for Chinese fonts. I downloaded simsun.ttf yesterday, but after pasted it to c:\windows\fonts folder, Lilypond still considered the ttc one when I override font-name to simsun. The ttc one is undeletable, and I daren't to use unlocker assistant to force it to be deleted. Then I rename the simsun.ttf to simsun2.ttf, then select it using Lilypond, it didn't recognize it and use the Ms-gothic.ttc. I then renamed it back and change font-name to simsun.ttf, but Lilypond still use gothic.ttc. How can I do? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
a terrible question
Hai,
The question I'm asking is very advanced. Some of you probably know the
Beijing opera or other kinds of folk dramatic music in CHina. If I use the
elements of these kinds of music in an instrumental score such as violin or
cello music (Tan Dun did it already, but surely by hand), there must be some
graphical lines. The Scheme tutorial I found is a PS file, and after converted
to text (only this way can I read it), the texts are messed up and unreadable,
especially the blocks for syntax learning. So I don't know whether I can draw
pictures using Scheme codes and how to do.
Since I'm blind, I can't draw a JPG file to show what I want. Just give two
examples to show two kinds of lines I want:
Function 1: c1\growingTrill\fermata
This trill is a line shows that the frequency must grow gradually, like this:
c8^Ad Libtum d c d \times 2/3 { c8 d c } d16 c d c... and more fast since a
fermata is here.
Function 2: to define a trill spanner style, which is as a straight line at
first, but after a while begins the normal till waves. OR, more advanced, the
waves are note ascending, but a inverted one (thus, I don't want the trill be
written on note b). Then:
c2\startTrillSpan % straight line
c2\stopTrillSpan % begin trill or inverted one as defined previously
or directly using c1\straightTrill as difined to make such a kind of trill
(the length of the straight line can be changed freely but not collides othe
grobs) on a single note
More things are slow glissando line or zigzag line to let the player play a
zigzag wave while sliding up or down.
My god! The question seems too hard to be answered! Can anyone help me?
By the way, can anyone tell me where a text or html version of Scheme
tutorial is. If you can't solve this, I can learn Scheme and solve it myself
(unless Scheme can't draw figures).
Haipeng
___
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lilypond-user@gnu.org
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pizzicato problem
Hi, There is a small question: can I write Bartok pizzicato in LilyPond? How to do? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
strange error
Hi, I'm coping the opening of my violin concerto (just an experiment to try
braille music software in 2006). The log file gives an error of init.ly, which
I can't deal with. I checked my input file, and can't make sure everything is
right. Could you please tell me what the error means?
Haipeng
\version 2.11.41
#(set-default-paper-size a4)
\header {
tagline = ##f
title = \markup { \fontsize #2 Violin Concerto }
composer = \markup \center-align { \fontsize #3 \bold Hu Haipeng \small (1984) }
copyright = © 2008, All Rights Reserved
}
mute = \set Staff.midiInstrument = muted trumpet
open = \set Staff.midiInstrument = trumpet
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = string ensemble 1
tempoA = \tempo 2=48
tempoB = \tempo 2=60
toptextA = \markup { \bold \italic Andante }
rit = \markup { \bold \italic Rit. }
toptextB = \markup { \bold \italic Con moto }
toptextC = \markup { \bold \italic risoluto }
str = { \change Staff = rh }
stl = { \change Staff = lh }
fluteI = \relative c''' {
\clef treble \key des \major \time 6/4 \tempoA
R1.*4^\toptextA |
\repeat tremolo 24 { aes32\mf bes } |
\repeat tremolo 16 { aes\ bes } \repeat tremolo 4 { aes bes } \times 4/7 { aes16 bes aes bes aes bes des\! } |
}
fluteII = \relative c'' {
\clef treble \key des \major \time 6/4 \tempoA
R1.*4^\toptextA |
\repeat tremolo 24 { f32\mf ees } |
\repeat tremolo 16 { f\ ees } \repeat tremolo 4 { f ees } \times 4/6 { f16 ees f ees f ae\! } |
}
oboeI = \relative c'' {
\clef treble \key des \major \time 6/4 \tempoA
R1.*4^\toptextA |
\repeat tremolo 24 { des32\mf ees } |
\repeat tremolo 16 { des\ ees } \repeat tremolo 4 { des ees } \times 4/7 { des16 ees des ees des ees f\! } |
}
oboeII = \relative c'' {
\clef treble \key des \major \time 6/4 \tempoA
R1.*4^\toptextA |
\repeat tremolo 24 { aes32\mf bes } |
\repeat tremolo 16 { aes\ bes } \repeat tremolo 4 { aes bes } \times 4/7 { aes16 bes aes bes aes bes des\! } |
}
clarinetI = \relative c'' {
\clef treble \key ees \major \time 6/4 \tempoA
\transposition bes
R1.*4^\toptextA |
\repeat tremolo 24 { g32\mf f } |
\repeat tremolo 16 { g\ f } \repeat tremolo 4 { g f } \times 4/7 { g16 f g f g f g\! } |
}
clarinetII = \relative c' {
\clef treble \key ees \major \time 6/4 \tempoA
\transposition bes
R1.*4^\toptextA |
\repeat tremolo 24 { ees32\mf f } |
\repeat tremolo 16 { ees\ f } \repeat tremolo 4 { ees f } \times 4/7 { ees16 f ees f ees f ees\! } |
}
bassoon = \relative c {
\clef bass \key des \major \time 6/4 \tempoA
R1.*4^\toptextA |
des aes'1.\mf ~ | des aes'2.\ des des'4 bes bes' aes aes'\! |
}
hornI = \relative c'' {
\clef treble \key aes \major \time 6/4 \tempoA
\transposition f
R1.*5^\toptextA |
ees c1.\mf\ |
}
hornII = \relative c'' {
\clef treble \key aes \major \time 6/4 \tempoA
\transposition f
R1.*5^\toptextA |
aes ees1.\mf\ |
}
trumpets = \relative c'' {
\clef treble \key ees \major \time 6/4 \tempoA
\transposition bes
R1.*6^\toptextA |
}
tromboneI = \relative c {
\clef bass \key des \major \time 6/4 \tempoA
R1.*6^\toptextA |
}
tromboneII = \relative c {
\clef bass \key des \major \time 6/4 \tempoA
R1.*6^\toptextA |
}
tuba = \relative c, {
\clef bass \key des \major \time 6/4 \tempoA
R1.*6^\toptextA |
}
timpani = \relative c {
\clef bass \key des \major \time 6/4 \tempoA
R1.*5^\toptextA |
des1.:32\mf\ |
}
miditimpani = \relative c {
\clef bass \key des \major \time 6/4 \tempoA
R1.*5 |
\repeat unfold 48 des32\mf\ |
}
percussion = \drummode {
\clef percussion \time 6/4 \tempoA
R1.*6^\toptextA |
}
midiPercussion =
\new DrumVoice {
\drummode {
\time 6/4 \tempoA
R1.*6 |
}
}
\new DrumVoice {
\drummode {
R1.*6 |
}
}
\new DrumVoice {
\drummode {
R1.*6 |
}
}
\new DrumVoice {
\drummode {
R1.*6 |
}
}
harprh = \relative c' {
\clef treble \key des \major \time 6/4 \tempoA
\showStaffSwitch
R1.*6^\toptextA |
}
harplh = \relative c, {
\clef bass \key des \major \time 6/4
R1.*6 |
}
celrh = \relative c' {
\clef treble \key des \major \time 6/4 \tempoA
\showStaffSwitch
R1.*6^\toptextA |
}
cellh = \relative c, {
\clef bass \key des \major \time 6/4
R1.*6 |
}
violinsolo = \relative c {
\clef treble \key des \major \time 6/4 \tempoA
#(set-octavation 1)
r2.^\toptextA r4 f2\(\p^\markup { \italic Dolce } ~ |
f ees des |
\times 3/2 { aes2 bes } f4 aes ees |
\times 3/2 { f2\ bes, } des2 #(set-octavation 0) f,4 |
aes2.\)\!\mf \times 2/3 { ees8\(\ f bes, } \times 2/3 { des4 f,8 } aes16 bes des f |
aes2.\!\f\trill\startTrillSpan ~ aes4\stopTrillSpan
Midi problem
Hi, I know the Dynamic context created in piano template allows Midi output to play piano pedaling. But when I write piano piece, the Midi can't reflect my pedaling, and the sound is still dry. This is not because of my player, because when I play some Midi files created by other softwares such as Finale, the pedaling is here. Why? How to make my Midi file really have pedaling output? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
space system problem
Hi,
Here is the first paragraph of my piece describing the great Three Gorges on
Yantze River. But the log file said tried to space systems on bad number of
pages. What does it mean?
Haipeng
\version 2.11.37
#(set-default-paper-size a4)
\header {
tagline = ##f
title = \markup { \bold Rhapsody--Kuei }
subtitle = \markup \center-align { \fontsize #1 For Large Orchestra and Chorus }
composer = \markup \center-align { \fontsize #3 \bold Hu Haipeng \small (1984) }
copyright = © 2008, All Rights Reserved
}
mute = \set Staff.midiInstrument = muted trumpet
open = \set Staff.midiInstrument = trumpet
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = string ensemble 1
tempoA = \tempo 4=52
tempoB = \tempo 2=60
toptextA = \markup { \bold \italic Adagio }
rit = \markup { \bold \italic Rit. }
toptextC = \markup { \bold risoluto }
str = { \change Staff = rh }
stl = { \change Staff = lh }
flutes = \relative c''' {
\clef treble \key f \minor \time 4/4
R1*7^\toptextA |
R1\mark \default | \time 3/2 r2 aes f c8\mp f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes4 r |
\time 4/4 R1*5 |
\time 3/2 r2 aes' f c8\ff f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes2 |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*8 | \time 3/2 R1.^\rit \bar ||
}
oboes = \relative c''' {
\clef treble \key f \minor \time 4/4 \tempoA
R1*7^\toptextA |
R1 | \time 3/2 r2 aes f c8\mp f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8\mp f des aes4. ~ f des aes4 r |
\time 4/4 R1*5 |
\time 3/2 r2 aes f c8\ff f c aes4. ~ f c aes2 |
\time 4/4 R1 | \time 3/2 r2 aes f des8 f des aes4. ~ f des aes2 |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*8 |
\time 3/2 aes f c8\ppp^\rit f c aes4. ~ f c aes4 r4 r2 \bar ||
}
clarinets = \relative c' {
\clef treble \key g \minor \time 4/4 \tempoA
\transposition bes
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \clef bass \time 3/2 r1 bes g ees2\p |
\time 4/4 d a f d bes g ~ |
d bes g~ ees c g\cresc |
f d~ a g d bes |
g ees c f d a\endcresc |
g d bes1\f ~ | \time 3/2 g d bes1. |
\time 4/4 g d bes1 | \time 3/2 g ees bes1. |
{ \time 4/4 f d1 | \time 3/2 d2 ees d } \\
{ \voiceThree bes2 a | bes g1 a f2 }
|
\oneVoice d bes g1\mf | g d bes |
ees c g\ | d~ bes f~2\!\ d a f |
d bes g2\!\p r | R1 |
R1 | R1 | \time 3/2 R1.^\rit \bar ||
}
bassoons = \relative c, {
\clef bass \key f \minor \time 4/4 \tempoA
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*3 | r2 c c'\mp\ |
f c'1\f ~ | \time 3/2 f c'1. |
\time 4/4 f c'1 | \time 3/2 des des'1. |
\time 4/4 aes'4.^a2 bes8 c2 | \time 3/2 f4 ees des2 c |
\time 4/4 f1\mf | ees |
des1\ | aes4.\!\ bes8 c2 |
f,2\!\p r2 | R1*3 | \time 3/2 R1.^\rit \bar ||
}
hornI = \relative c''' {
\clef treble \key c \minor \time 4/4 \tempoA
\transposition f
R1*7^\toptextA |
g4\p^\markup { \column { \italic tranquillo \smaller a2 } } c, ees2 | \time 3/2 f16 ees c4. ~ c1 |
\time 4/4 g'4 c, ees2 | \time 3/2 f16 ees c4. ~ c2. r4 |
\time 4/4 R1 |
r2 r8 c,8\(\mp\cresc ees f |
g bes4 g16 bes c8 ees4 c16 ees |
f8 c ees f g4 bes,\)\endcresc |
c g1\f ~ | \time 3/2 c g1. |
\time 4/4 c g1 | \time 3/2 c aes1. |
\time 4/4 bes g1 | \time 3/2 c~ g2 c aes bes g4 g d8 bes g |
\time 4/4 c g1\mf | ees c |
f c\ | ees bes2\!\ bes g |
c g2\!\p r | R1 |
g'4\pp^\markup { \column { \bold \italic tranquillo \italic mute \smaller a2 } } c, ees2 | f16 ees c4. ~ c2 | \time 3/2 R1.^\rit \bar ||
}
hornII = \relative c'' {
\clef treble \key c \minor \time 4/4 \tempoA
\transposition f
R1*7^\toptextA |
ees c4\p^\markup { \italic tranquillo } g, ees c g2 | \time 3/2 c g8 g ees4. ~ g ees1 |
\time 4/4 ees' c4 g, ees c g2 | \time 3/2 c aes8 aes ees4. ~ aes ees2. r4 |
\time 4/4 R1 |
r2 r4 ees c\p\cresc |
d bes4. g d8 g ees4. c g8 |
c aes2 d bes4 g, d\endcresc |
ees c1\f ~ | \time 3/2 ees c1. |
\time 4/4 ees c1 | \time 3/2 ees c1. |
\time 4/4 ees bes2 d bes | \time 3/2 ees c1 d bes4 bes g8 d bes |
\time 4/4 ees c1\mf | g ees |
aes f\ | g ees2\!\ d bes |
ees c2\!\p r2 | R1 |
ees' c4\pp^\markup { \bold \italic tranquillo \italic mute } aes, ees c aes2 | c aes8 aes ees4. ~ aes ees2 r2 \bar ||
}
trumpets = \relative c'' {
\clef treble \key g \minor \time 4/4 \tempoA
\transposition bes
R1*7^\toptextA |
R1 | \time 3/2 R1. |
\time 4/4 R1 | \time 3/2 R1. |
\time 4/4 R1*4 |
d d,4\ff^I II_III g, g, bes bes,2 | \time 3/2 c c,16 bes bes, g g,4. ~ g g,2. r4 |
\time 4/4 d' d, g, g, bes bes,2 | \time 3/2 c c,16 bes bes, g g,4. ~ g g,2. r4 |
\time 4/4 R1 | \time 3/2
feta fonts
Hi, I can't see the picture, and the Scheme codes are confusing. So I can't get the list of all glyphs in Feta fonts. Can anyone give me a list? Thank you! Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
my score and log file 2
Sorry, I didn't include my score in the previous mail. The score is here now.
\version 2.11.37
\header {
tagline = ##f
title = Fantasie--Mémoire Du Canada
subtitle = Dediée a Karen Butler et Lin Ying
composer = Hu Haipeng
copyright = 2007, All Rights Reserved
}
mute = \set Staff.midiInstrument = muted trumpet
open = \set Staff.midiInstrument = trumpet
pizz = \set Staff.midiInstrument = pizzicato strings
arco = \set Staff.midiInstrument = string ensemble 1
solo = \set Staff.midiInstrument = violin
tutti = \set Staff.midiInstrument = string ensemble 1
tempoA = \tempo 2=52
tempoB = \tempo 2=60
toptextA = \markup { \bold Largo }
toptextB = \markup { \bold Con moto }
toptextC = \markup { \bold risoluto }
piccolo = \relative c''' {
\clef treble \key gis \minor \time 3/2 \tempoA
\transposition c''
R1.*15^\toptextA R1.\fermata \bar ||
\tempoB R1.*25^\toptextB
\set Score.markFormatter = #format-mark-box-numbers
\mark \default \bar ||
\key e \minor
R1.*7^\toptextC |
r1 r4 b\(\f |
}
flutes = \relative c'' {
\clef treble \key gis \minor \time 3/2
dis4\((\mf^I gis gis1) |
gis4( \grace { fis16[ gis] } fis8 dis b16 cis dis4. ~ dis2)\) |
gis,4\( cis cis2 ~ cis8 dis16 cis b8 gis |
fis4. gis16 fis dis1\) |
R1.*11 | \times 2/3 { gis'4\(\p fis dis } cis1\)\fermata \bar ||
\tempoB R1.*9^\toptextB
\times 2/3 { gis'2\(\mf dis'4 } cis1\) |
\times 2/3 { gis2\( cis4 } b1\) |
\times 2/3 { dis,2\( gis4 } fis1\) |
R1.*4 | \times 2/3 { r4 dis,\(\mp\^II fis }
\times 2/3 { gis b dis }
\times 2/3 { fis gis b\)\! } |
dis1\(\f\^A2 \times 2/3 { cis2 b4 } | gis2\)\! r2 r |
R1. | R | R |
gis2(\p^I fis) r | R1. |
\fatText R^\markup { \bold Flute 2 takes piccolo } \bar ||
\key e \minor
\emptyText R1. | r1 r4 b\(\f |
e1 ~ e8 d \times 2/3 { e8 b d } |
e1 ~ \times 2/3 { e8 d e } \times 2/3 { b d a } |
b1 ~ b8\) a\( \times 2/3 { b8 g a } |
b1 ~ \times 2/3 { b8 a g } \times 2/3 { e g d } |
e2\) r2 r |
r1 r4 b'\( |
}
oboes = \relative c'' {
\clef treble \key gis \minor \time 3/2 \tempoA
R1.*4^\toptextA |
dis4\((\mf^I gis \times 2/3 { gis2 gis4 ~ } gis2) |
ais8( \times 2/3 { gis16 ais gis } fis8 dis b16 cis dis4. ~ dis2)\) |
gis,4\( cis cis b2 cis4 |
dis \grace { cis16[ dis] } cis8 b gis1\) |
R1.*6 \times 2/3 { dis'4\(\mp^II cis b } gis1\) | R1.\fermata \bar ||
\tempoB R1.*9^\toptextB
\times 2/3 { gis2\(\mf dis'4 } cis1\) |
\times 2/3 { gis2\( cis4 } b1\) |
\times 2/3 { dis,2\( gis4 } fis1\) | R1.*5 |
b' gis1.(\mf | gis dis2) r r |
R1. | R |
dis1(\mp^I cis2) | R1. | R | R \bar ||
\key e \minor
R1.^\toptextC | r1 r4 b\(\f^I |
e1 ~ e8 d \times 2/3 { e8 b d } |
e1 ~ \times 2/3 { e8 d e } \times 2/3 { b d a } |
b1 ~ b8\) a\( \times 2/3 { b8 g a } |
b1 ~ \times 2/3 { b8 a g } \times 2/3 { e g d } |
e2\) r2 r | R1. |
}
enghorn = \relative c' {
\clef alto \key dis \minor \time 3/2
\transposition f
R1.*15 R1.\fermata \bar ||
R1.*25 \bar ||
\key b \minor
R1.*8^\toptextC |
}
clarinets = \relative c' {
\clef treble \key ais \minor \time 3/2 \tempoA
\transposition bes
R1.*14^\toptextA fisis cis1.\mp R\fermata \bar ||
\tempoB \times 2/3 { eis2\(\mp^cantabile_I gis4 } ais1 |
\times 2/3 { eis2 gis4 } ais2 eis' |
\times 2/3 { dis2 cis4 } ais1\) |
\times 2/3 { fis2\( gis4 } ais1 |
\times 2/3 { gis2 fis4 } dis2 fis |
gis1.\) |
ais eis1\mf \times 2/3 { gis dis4 ais eis cis gis } |
ais eis1 \times 2/3 { gis dis4 ais eis cis ais } |
eis gis,1. |
dis, ais\p | eis cis | cis gis |
{ ais2\mf^I ~ \times 2/3 { ais4 fis\ gis } \times 2/3 { ais cis dis\! } } \\|
{ dis1._II }
|
eis bis1 ais cis,2 |
ais dis,1. |
{ gis1 fis2 } \\ { bis,1. }
eis cis2 r2 r |
{ eis'1.(\mf | cis2) r r } \\
{ ais1. ~ | ais2 s2 s2 }
|
eis'1\(\mf^I \times 2/3 { dis4 eis cis } | ais2\) r r |
R1. | r1 ais2(\p^II | cis1.) | R \bar ||
\key fis \minor
R1.*7^\toptextC |
r1 r4 cis'\(\f |
}
bassoons = \relative c {
\clef bass \key gis \minor \time 3/2 \tempoA
R1.*14^\toptextA cis gis'1.\mp | R\fermata \bar ||
\tempoB R1.*6^\toptextB
b1\mf^a2 fis2 | gis1. | dis |
e cis'\p | gis dis' | dis fis' |
e cis'\mf\ | dis fis'1\!\f gis dis'2 |
e gis'1. | fis fis' | b fis'2 r2 r |
R1.*8 \bar ||
\key e \minor
R1.*8^\toptextC |
}
hornI = \relative c'' {
\clef treble \key dis \minor \time 3/2 \tempoA
\transposition f
R1.*10^\toptextA
{ b1\p\ dis2 | dis1. | gis\!\mf | fis } \\
{ gis,1. | ais | b1 dis2 | dis1. }
| R1. |
{ dis2\pp cis1\fermata } \\ { eis,\fermata } \bar ||
\tempoB R1.*6^toptextB
ais fis1\mf \times 2/3 { gis dis4 fis cis gis dis } |
ais fis1 \times 2/3 { gis dis4 ais fis
command line problem
Hi, Some days ago, I asked a person for using command line in Windows, and he suggested me to see a LilyPond post reply. But I have almost no knowledge of DOS, so I can't change the path, the command line prompt's default path is [c:\documents and settings\owner], and I can only use cd\ to back to the root directory Disk C. Please tell me: If my LilyPond is in [d:\program files\lilypond], and the MusicXml file (for example, symphony1.xml) I want to convert is in [f:\music scores], how to run Xml2ly when I go into the command line prompt? Regards Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
text encoding compatibility
Hi, I'm writing my piano transcription of a Chinese folksong. But when I typed the Chinese title and related header info, Lilypond reported error message of incompatible font. I think Lilypond is an English based program, so, can you make it free to accept other types of text such as Chinese, Japanese, Russian and Arabic languages? Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
a suggestion
Hi, I'm Hu Haipeng, the blind musician of China. I'm discussing an important thing with Werner, who suggests me to write to the maillist here. I have got a great progress during these few days since I began to learn Lilypond. But I find a problem at the appendix of the Notation Reference Manual. The diagram of articulations and ornaments is a picture, both the Lilypond syntax and the music signs are inaccessible to me. During the discussion, I know they are planning to rewrite the manual. So my suggestion is, it's better to make all things clear to all the people. Lilypond is written using ASCII, so it's the best way for blind to compose or read music without sighted people's help. I don't know whether there are many other blind people in European and American countries using Lilypond, but for me, this is a good thing. I wish that there may be a table of all syntax commands with brief discriptions, so that all the people can read and fully handle this wonderful music notation method. SINCERELY Haipeng ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
ask for help--I'm confused
(note: lcd means the first letters of Chinese spelling of the piece)
Hi, I'm Hu Haipeng. I just transcribed my transcription of a Chinese folksong
into Lilypond, but the result is bad. The first bar, I made 3 voices, the
second is a cue of the special mordent (but I haven't learn how to write
ornaments till now), the next bar has two and the third only one. It seems all
are right, but the log file said it can't create new staff. The Midi output is
correct, but when I OMR'd the music using SharpEye and brailled it using
Finale's plug-in, the result is really wrong. Before I add a \clef treble to
the first new staff, the left hand was above the right; but when added the clef
indication, all two hands seemed conbine to one. I can't see my output, and
don't know where the error is. I check my nested brackets, they seem all right
(but not sure). Can you help me?
SINCERELY
\version 2.11.36
\header {
title = Dragon Boat Tune
subtitle = Transcriptions of Hubei Folksongs, No.1
composer = Hu Haipeng
}
\score {
\relative c'' {
\new PianoStaff
\new staff { \clef treble \time 4/4 \key bes \minor
{ f8(^rubato_\mf des16 des des8 f des ees4.) } \\
{ s2 s8 ees32. f64 ees32 f ees4 } \\
{ \voiceFour bes f2\arpeggio bes ges\arpeggio }
|
{ f8(\p des16 des des8 f16. aes32 des,8 ees4.)^simile } \\
{ des bes2\arpeggio des bes\arpeggio }
|
\time 2/4 \oneVoice
f bes f'8^allegro_\mf f bes des16-. f bes des-. f bes des8 bes des f
}
\new staff { \clef bass \key bes \minor
bes,, f' des'2\arpeggio ees ges bes\arpeggio | bes f'\arpeggio ees g\arpeggio | bes f' des'8\arpeggio bes' des16-. bes des-. bes des8 f bes
}
}
\midi { }
\layout { }
}
lcd2.midi
Description: MIDI audio
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sorry and ask for help again
Sorry for my headlongness! I thought it will turn good, but no. The log file
still said it cannot create new staff, no matter where I placed \relative
(before or after \new staff { }). I'm sending you both the .ly and log files,
and, what does 18:33 and 18:13 before the error message ignoring too many
clashing notes mean?
SINCERELY
Haipeng
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files
These are my files.
lcd2.log
Description: Binary data
\version 2.11.36
\header {
title = Dragon Boat Tune
subtitle = Transcriptions of Hubei Folksongs, No.1
composer = Hu Haipeng
}
\score {
\new PianoStaff
\relative c,, {
\new staff { \clef treble \time 4/4 \key bes \minor
{ f8(^rubato_\mf des16 des des8 f des ees4.) } \\
{ s2 s8 ees32. f64 ees32 f ees4 } \\
{ \voiceFour bes f2\arpeggio bes ges\arpeggio }
|
{ f8(\p des16 des des8 f16. aes32 des,8 ees4.)^simile } \\
{ des bes2\arpeggio des bes\arpeggio }
|
\time 2/4 \oneVoice
f bes f'8^allegro_\mf f bes des16-. f bes des-. f bes des8 bes des f | f bes des ges bes ees4- des16 ees16
}
}
\relative c {
\new staff { \clef bass \key bes \minor
bes f' des'2\arpeggio ees ges bes\arpeggio | bes f'\arpeggio ees g\arpeggio | bes f' des'8\arpeggio bes' des16-. bes des-. bes des8 f bes | bes des ges bes ees- bes-. ees,-.
}
}
\midi { }
\layout { }
}
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correct octave
Sorry, the octave of rh is wrong, for I'm writing the file in my braille
computer with braille keys. I often miswrite ' to ,.
But the error is still here.
\version 2.11.36
\header {
title = Dragon Boat Tune
subtitle = Transcriptions of Hubei Folksongs, No.1
composer = Hu Haipeng
}
\score {
\new PianoStaff
\relative c'' {
\new staff { \clef treble \time 4/4 \key bes \minor
{ f8(^rubato_\mf des16 des des8 f des ees4.) } \\
{ s2 s8 ees32. f64 ees32 f ees4 } \\
{ \voiceFour bes f2\arpeggio bes ges\arpeggio }
|
{ f8(\p des16 des des8 f16. aes32 des,8 ees4.)^simile } \\
{ des bes2\arpeggio des bes\arpeggio }
|
\time 2/4 \oneVoice
f bes f'8^allegro_\mf f bes des16-. f bes des-. f bes des8 bes des f | f bes des ges bes ees4- des'16 ees16
}
}
\relative c {
\new staff { \clef bass \key bes \minor
bes f' des'2\arpeggio ees ges bes\arpeggio | bes f'\arpeggio ees g\arpeggio | bes f' des'8\arpeggio bes' des16-. bes des-. bes des8 f bes | bes des ges bes ees- bes-. ees,-.
}
}
\midi { }
\layout { }
}
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ask for help
Hi, I'm a Chinese blind musician, Hu Haipeng. I just began to learn Lilypond the day before yesterday. I found a problem about chord and tie. The syntax is chord notesnotevalue-tie. But in a lot of romantic piano music, some chords have only one or two notes to be tied and others not. It's not good to split them into several voices like the poor syntax in braille music notation. How can I do? An example from the third mov. of our Yellow River piano concerto by Ying Chengzong: (octave and other indications omitted) c e g c8~ c, e g c4. Actually, the only tied note is g. Sincerely___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
