Nalesnik's Roman number analysis code
Mr. Nalesnik: thank you for making public your scheme code
for writing Roman Numeral/figured bass analysis:
http://comments.gmane.org/gmane.comp.gnu.lilypond.general/70354
This code has been invaluable to me for writing examples for a music
theory course.
I have one small issue, and that is, when I want to
put three Arabic numerals that are to be in one vertical line
after a roman number, the numbers are not rendered this way,
as demo-ed by my attached sample lilypond file.
Yes, I know that the figured bass 6 5 3 is usually abbreviated
as 6 5, but for the purposes of instruction, I find it desirable to
sometimes have all three Arabic numbers.
Is there a way that your code can be expanded to accommodate
three Arabic numbers in one vertical column?
I see that your above post is dated March of 2012, and
so perhaps, you have some more recent code that has
been made available?
Thank you again for your code. Ivan.
P.S. For those you would like to run my sample lilypond file, you
need to download the rN.ly file from the above link,
edit out everything after ... %%% EXAMPLE %%% ...
and include this file in the same directory.
\include english.ly
\include rN.ly % Used as is, except delete everything after EXAMPLE
\score {
\new Staff = f_major \with { \remove Time_signature_engraver }
{
\time 4/4
\key f \major
\clef treble
\voiceOne { c'' e' g' bf'1 }
}
\addlyrics{
\markup \rN { V 6 5 3 }
}
}
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When a singer speaks rather than sings.
In a vocal part I am notating, while the singer mostly sings notated pitches, there are a few parts where the singer will speak text in notated rhythm. When this is done is scores that I have seen, sometimes it is done with just stems, flags and beams (but no note heads) such as in the Charles Ives song Charlie Rutlage. I have also seen it just written with the note heads as xs on a stave (such as with a percussion score). How does one go about implementing either method in lilypond? I do prefer the latter, though. Thank you for your help. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Why do these chords not line up vertically?
In this example, why does the lowest voice not line
up vertically with the first five chords?
What do I need to do to make this voice line up?
Thank you for your help.
\version 2.16.0
\include english.ly
\score {
\new Staff
{
\time 4/4
\clef treble
\voiceOne
{
\stemUp
bf'1 ef''1 ef''1 gs''1 af''1 cs'''1
}
\voiceTwo
{
\stemUp
g'1g'1 c''1c''1 f''1 f''1
}
\voiceThree
{
b1 e'1 e'1 a'1a'1d''1
}
}
}
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Re: Why do these chords not line up vertically?
I wrote: In this example, why does the lowest voice not line up vertically with the first five chords? What do I need to do to make this voice line up? Ok, if I remove the \stemUp commands the lowest voice does line up vertically. However, when I remove the \stemUp commands, I get the clashing note warning messages appended below. Yes, the resulting lilypond output is now satisfactory, but all of these warning messages are disconcerting. Why are these messages here? What am I doing wrong? Thank you again for your help. GNU LilyPond 2.16.0 Processing `atonal_post_01.ly' Parsing... Interpreting music... Preprocessing graphical objects... atonal_post_01.ly:26:42: warning: ignoring too many clashing note columns bf'1 ef''1 ef''1 gs''1 af''1 cs'''1 atonal_post_01.ly:26:35: warning: ignoring too many clashing note columns bf'1 ef''1 ef''1 gs''1 af''1 cs'''1 atonal_post_01.ly:26:28: warning: ignoring too many clashing note columns bf'1 ef''1 ef''1 gs''1 af''1 cs'''1 atonal_post_01.ly:31:7: warning: ignoring too many clashing note columns g'1g'1 c''1c''1 f''1 f''1 atonal_post_01.ly:31:14: warning: ignoring too many clashing note columns g'1 g'1 c''1c''1 f''1 f''1 atonal_post_01.ly:26:21: warning: ignoring too many clashing note columns bf'1 ef''1 ef''1 gs''1 af''1 cs'''1 Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `atonal_post_01.ps'... Converting to `./atonal_post_01.pdf'... Success: compilation successfully completed ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stem directions in music for voice and guitar
Thanks to everyone who responded.
Mark Stephen Mrotek carsonm...@ca.rr.com writes:
When I write polyphony for the piano I use
{ %here pitches for top voice
}
\\
{ %here pitches for bottom voice
}
Yes, your solution works and I have used it in the past.
I was trying to figure out how to use the named voices technique
as I was told it might be better for the polyphonic guitar
music that I write. And Mr. Nick Payne showed me how to do
just that.
Then, David Kastrup d...@gnu.org wrote:
ivan.k.kuznet...@gmail.com writes:
(1) In the guitar part, even though I have \voiceOne marked with \stemUp
and \voiceTwo marked with \stemDown, why do the stems go down
in both voices?
Because there is only ever one voice. To create new voices, you need to
write ... \\ ... or explicitly \new Voice. If you write ...
that is just a way of rearranging the writing order in a single voice.
In this particular case, all of \voiceOne \stemUp \voiceTwo \stemDown
happen at the same musical time in the same voice. \voiceTwo takes
effect, and \stemDown does nothing more since it is already implied in
\voiceTwo.
Thank you for your explanation. So I was missing the
the \new Voice tags and brackets. To create this guitar
and voice example, I began working working from a piano choral
example that I had posted on this list and received some feedback on.
I got the example to work in that it did what I wanted, but
perhaps it was still not an example of lilypond best
practices. Although it is a four voice choral for piano, at
no time does this example use the \new Voice tag.
Appended is my working example for this choral. Should I be using
the \new Voice tag in this appended example? Might I be headed for problems
working this way without the \new Voice tag?
Thank you all again for your help and feedback.
\version 2.16.0
\include english.ly
\score {
\new PianoStaff
\new Staff = up
{
\clef treble
\time 4/4
\key cs \minor
\voiceOne
{
\stemUp
e'2 e'2 e'2 fs'2fs'2 e'2 ds'!2 ds'2cs'1
}
\voiceTwo
{
\stemUp
cs'2 cs'2 cs'2 d'2 bs2 cs'2 cs'2 bs2 gs1
}
}
\new Staff = down
{
\clef bass
\time 4/4
\key cs \minor
\voiceThree
{
gs2 gs2 a2 a2 gs2 gs2 gs2 fs2 e1
}
\voiceFour
{
cs2 b,2 a,2 fs,2 gs,2 gs,2 gs,2 gs,2 cs1
}
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
}
}
\midi {
\context {
\Staff
\remove Staff_performer
}
\context {
\Voice
\consists Staff_performer
}
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 96 4)
}
} % \midi
} % score
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stem directions in music for voice and guitar
Attached is the beginning of an arrangement for
voice and guitar. The guitar part is two part counterpoint
in which I would like to control where the steps go up or
down.
(1) In the guitar part, even though I have \voiceOne marked with \stemUp
and \voiceTwo marked with \stemDown, why do the stems go down
in both voices?
(2) Is this snippet considered an example of best practice, or
how might others structure a file for such a group of instruments?
Thank you for your help.
\version 2.16.0
\include english.ly
\score {
\new Staff = voice
{
\clef treble
\time 3/4
\stemDown
c''2 c''4
d''2e''4
e''8 d''8 c''8 b'4 a'8
b'2 r4
}
\new Staff = guitar
{
\clef treble_8
\time 3/4
\voiceOne
{
\stemUp
c'2 c'4
b2 a4
c'8 d'8 e'4 f'4
e'4 d'2
}
\voiceTwo
{
\stemDown
c2 c4
g2 c'4
r4 g'4 d'4
g'4. fs'4.
}
}
} % score
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Re: No time signature or bar lines
Thanks to everyone for all of the helpful information ! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
No time signature or bar lines
I need to create musical examples for instruction
and many of these ideally would have no bar lines
or time signatures. Appended is such an example.
(1) the example below is pretty much what I want expect
that there is space where the time signature would normally go
(I erase the time signature with
\override TimeSignature #'transparent = ##t but the space
is still there).
How can I get rid of this space?
(2) Are the \cadenzaOn and \cadenzaOff tags the standard way to
write musical examples without bar lines or are there
other ways that might be preferable in such examples?
Thank you for your help.
BEGIN EXAMPLE
\version 2.16.0
\include english.ly
\score { % score
\new Staff
{
\time 4/4
\key c \major
\clef treble
\cadenzaOn
a1b1
c'1 d'1 e'1 f'1 g'1 a'1 b'1
c''1 d''1 e''1 f''1 g''1 a''1 b''1
\cadenzaOff
}
\layout {
\context {
\Score
\override TimeSignature #'transparent = ##t
}
}
} % score
% END EXAMPLE %
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simple choral example: warnings/clashes and no midi
I am still relatively new to lilypond.
I have a simple four voice choral attached.
(1)
This example produces numerous warnings about
clashing notes which look like:
choral-beethoven-moonlight-01-simple.ly:16:62: warning: ignoring too many
clashing note columns
e'2 e'2 e'2 fs'2fs'2 e'2 ds'!2 ds'cs'
Why is this happening?
(2)
Also, this example fails to produce a midi file.
Can someone explain what I am doing wrong?
(3)
As far as the structure of my file:
\new PianoStaff
\new Staff = up
{
\new Voice = up { }
\new Voice = up { }
}
\new Staff = down
{
\new Voice { }
\new Voice { }
}
}
Is this considered an example of best practice, or how
might others structure a four voice choral.
(4)
Finally, at the beginning of the four measure in
the soprano and alto, the d# and c# collide.
I would have thought lilypond would have taken care
of this. What do I need to do to fix this?
Thank you very much for your time and patience.
\version 2.16.0
\include english.ly
\score {
\new PianoStaff
\new Staff = up
{
\clef treble
\time 4/4
\key cs \minor
\new Voice = up
{
e'2 e'2 e'2 fs'2fs'2 e'2 ds'!2 ds'cs'
}
\new Voice = up
{
cs'2 cs'2 cs'2 d'2 bs2 cs'2 cs'2 bs2 gs2
}
}
\new Staff = down
{
\clef bass
\time 4/4
\key cs \minor
\new Voice
{
\stemUp
gs2 gs2 a2 a2 gs2 gs2 gs2 fs2 e2
}
\new Voice
{
cs2 b,2 a,2 fs,2 gs,2 gs,2 gs,2 gs,2 cs2
}
}
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
}
}
\midi {
\context {
\Score
tempoWholesPerMinute = #(ly:make-moment 72 4)
}
}
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Re: simple choral example: warnings/clashes and no midi
Thank you very much for you answers!
Thomas Morley thomasmorle...@googlemail.com writes:
2012/11/26 ivan.k.kuznet...@gmail.com:
This example produces numerous warnings about
clashing notes which look like:
[...]
Why is this happening?
Because of many clashing note columns ;)
To avoid this use \voiceOne and \voiceTwo, or write chords
(2)
Also, this example fails to produce a midi file.
Can someone explain what I am doing wrong?
\midi should be _in_ score:
\score {
\new PianoStaff { ... }
\layout { ... }
\midi { ... }
}
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Creating charts, not scores: horizontally lining up
I need to make a number of charts that demonstrate various kinds of
non-traditional scales. Appended is a lilypond example towards
something I would like to do. The first issue I would
like to deal with is as follows:
I need the rests and notes to line up precisely. D natural on
the lower stave needs to fall exactly below D natural on the upper
stave.
Likewise, an eighth rest in front of a Csharp on the lower
stave needs to fall exactly below a a C natural on the upper stave.
---
Once this is solved, I would like to replace the
eighth rests with eight spaces (I know, use s8 instead of r8)
and then make the stems disappear.
Any pointers would be appreciated. Thank you.
\version 2.16.0
\include english.ly
#(set-default-paper-size letter 'landscape)
#(set-global-staff-size 18)
\bookpart { % BOOKPART BEGIN
\score {
\new Staff
{
\clef bass
\time 3/4
e,8 r8 r8 g,8 gs,8 r8 as,8 b,8 r8 cs8 r8 ds8 r8 r8 fs8 g8 r8 a8 as8 r8
\clef treble
c'8 r8 d'8 r8 r8 f'8 fs'8 r8 gs'8 a'8 r8 b'8 r8 cs''8 r8 r8 e''8 f''8 r8
g''8 gs''8 r8 as''8 r8 c'''8 r8 r8 ds'''8 e'''8 r8 fs'''8 g'''8 r8 a'''8 r8
b'''8
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
\override TimeSignature #'transparent = ##t
}
}
}
\score {
\new Staff
{
\clef bass
\time 3/4
e,8 r8 r8 g,8 r8 a,8 r8 b,8 c8 r8 d8 ds8 r8 r8 fs8 r8 gs8 r8 as8 b8
\clef treble
r8 cs'8 d'8 r8 r8 f'8 r8 g'8 r8 a'8 as'8 r8 c''8 cs''8 r8 r8 e''8 r8 fs''8
r8 gs''8 a''8 r8 b''8 c'''8 r8 r8 ds'''8 r8 f'''8 r8 g'''8 gs'''8 r8 as'''8
b'''8
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
\override TimeSignature #'transparent = ##t
}
}
}
} % BOOKPART END
attachment: test_test_03-simp01.png\version 2.16.0
\include english.ly
#(set-default-paper-size letter 'landscape)
#(set-global-staff-size 18)
\bookpart { % BOOKPART BEGIN
\score {
\new Staff
{
\clef bass
\time 3/4
e,8 r8 r8 g,8 gs,8 r8 as,8 b,8 r8 cs8 r8 ds8 r8 r8 fs8 g8 r8 a8 as8 r8
\clef treble
c'8 r8 d'8 r8 r8 f'8 fs'8 r8 gs'8 a'8 r8 b'8 r8 cs''8 r8 r8 e''8 f''8 r8
g''8 gs''8 r8 as''8 r8 c'''8 r8 r8 ds'''8 e'''8 r8 fs'''8 g'''8 r8 a'''8 r8
b'''8
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
\override TimeSignature #'transparent = ##t
}
}
}
\score {
\new Staff
{
\clef bass
\time 3/4
e,8 r8 r8 g,8 r8 a,8 r8 b,8 c8 r8 d8 ds8 r8 r8 fs8 r8 gs8 r8 as8 b8
\clef treble
r8 cs'8 d'8 r8 r8 f'8 r8 g'8 r8 a'8 as'8 r8 c''8 cs''8 r8 r8 e''8 r8 fs''8
r8 gs''8 a''8 r8 b''8 c'''8 r8 r8 ds'''8 r8 f'''8 r8 g'''8 gs'''8 r8 as'''8
b'''8
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 8)
\override TimeSignature #'transparent = ##t
}
}
}
} % BOOKPART END
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the new vertical spacing between systems syntax
Concerning the examples in the manual, section 4.4.2:
4.4.2 Explicit staff and system positioning
http://lilypond.org/doc/v2.14/Documentation/notation/explicit-staff-and-system-positioning
I don't understand the reason that the variables that
override default spacing between systems:
#'line-break-system-details #'((X-offset . 20))
#'line-break-system-details #'((Y-offset . 40))
#'line-break-system-details #'((X-offset . 20) (Y-offset . 40))
#'line-break-system-details #'((alignment-distances . (15)))
#'line-break-system-details #'((X-offset . 20) (Y-offset . 40)
(alignment-distances . (15)))
are within one of the \new Voice brackets:
\new Voice { }
Since these vertical spacing over-rides are to
supposed to effect spacing between systems
why are is this syntax inserted within
just one of the voices of a system?
I would have thought that syntax to indicate
spacing between systems would have been
placed within the \score {} brackets before
any of the \new Staff brackets.
Is my question clear? Thank you for your help.
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Re: Dealing with Deprecation (Was Re: Vertical spacing: Was between-system-space deprecated?)
-Eluze elu...@gmail.com writes: ivan.k.kuznetsov wrote: Trevor Daniels t.dani...@treda.co.uk writes: Did you use convert.ly to 'upgrade' your lilypond score? [...] How has this been working for others? I always had good experiences with it! please try it and report your results! Well, it did change the version number correctly to: \version 2.15.39 Other than that, convert-ly did nothing to my .ly files. But then, vertical spacing between systems had such a big change in syntax that it would be _difficult_ to write a script to change the old vertical spacing syntax to the new. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Current Documentation (Was Re: Vertical spacing: Was between-system-space deprecated?)
Trevor Daniels t.dani...@treda.co.uk writes: ivan.k.kuznet...@gmail.com wrote Saturday, July 28, 2012 9:27 PM I started looking at the 2.14 documentation (the most recent I could find at http://lilypond.org) Please use the documentation for 2.15.41: http://www.lilypond.org/doc/v2.15/Documentation/notation Thank you for directing me to the 2.15 documentation. When when goes to http://lilypond.org/ and clicks on the Manuals link, one is directed to Manuals for LilyPond 2.14.2. Could the maintainers of the page put a link to the most current documentation here? Thanks; ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Dealing with Deprecation (Was Re: Vertical spacing: Was between-system-space deprecated?)
Trevor Daniels t.dani...@treda.co.uk writes: You'll find the documentation for 2.15 to the right of the home page, under Quick links. Vertical spacing in 2.14 and 2.15 is completely different from 2.12. You'll need to read section 4.1.4 rather than 4.4.2 in the Notation Reference. Does such a large revision of syntax where keywords are deprecated happen often? How do people who have large collections of lilypond scores deal with this? wjm mooney...@aim.com writes: Did you use convert.ly to 'upgrade' your lilypond score? And I was not aware of this option, thank you for bringing it to my attention. Still, I would guess that converting old versions of lilypond scores to the latest version with a script would not be flawless. How has this been working for others? Thanks; ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Vertical spacing: Was between-system-space deprecated?
I am interested in controlling the vertical spacing within systems. I recently migrated from 2.12.2 to 2.15.39 . In my one lilypond score, the spacing between systems changed greatly between the PDFs built with these two versions Online documentation v2.12, has a section that specifically discusses this: 4.4.2 Vertical spacing between systems and discusses the use of the following four variables: between-system-space = 1.5\cm between-system-padding = #1 ragged-bottom=##f ragged-last-bottom=##f I started looking at the 2.14 documentation (the most recent I could find at http://lilypond.org) and the title of 4.4.2 was changed to: 4.4.2 Explicit staff and system positioning (which generally means the same thing) though now this section includes no mention of the between-system-space and between-system-padding variables. Are these four variables considered deprecated? Thanks; ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating Musical Examples without Meter
Graham Percival gra...@percival-music.ca writes: On Sat, Nov 05, 2011 at 02:46:58PM -0500, ivan.k.kuznet...@gmail.com wrote: Okay, the syntax I am using in my example: #'base-shortest-duration = #(ly:make-moment 1 16) is an example of proportional notation, no? If not, Is that what it says to do in Notation 4 Spacing - proportional notation? Probably something like 4.5.6 ? Yes, that is the syntax that is given in 4.5.6, though I don't completely understand is yet. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating Musical Examples without Meter
Bill Mooney mooney...@aim.com writes: By using two 'Score' statements I think your requirement is met, EXCEPT that it works only if the example is only one system. By choosing a wider page eg 'landscape' mode one might be able to obtain a fairly large example (more measures) while staying in the 'one-line' limitation. I hope this is of some use - obviously you will be able to adapt the simple music to your specifics using Changeup changedown etc. Regards Thank you for your example! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
MIDI novice; cannot get Reference examples to play
I am _absolutely new to MIDI. I am however able to get some random MIDI files I found on the web to play through my Alesis synthesizer with the command: aplaymidi --port 16:0 file_i_found.mid (I am working under Linux, CentOS 5.6). However, I cannot get any Lilypond created midi files to play with the above syntax. The command will execute, but _no_ sound is produced by my synthesizer. Specifically, I am trying the examples from the Lilypond Reference 3.5.1 and 3.5.5 to play. The .midi files are created without error, the aplaymidi command executes, but there is no sound. Can anyone suggest what I can do to remedy this situation? Thanks again. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: MIDI novice; cannot get Reference examples to play
Martin Tarenskeen m.tarensk...@zonnet.nl writes: Do the midichannel(s) from your midi file MATCH with the midichannel(s) on your synth ? This was the ticket. I am such a MIDI novice that at first, I did not know what this meant. I found a channel button on my Alesis synth though, started pushing it, and finally, I was able to play lilypond created MIDI files. Thanks; Thanks to the others who responded as well. I will look into installing Timidity. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating Musical Examples without Meter
Graham Percival gra...@percival-music.ca writes:
On Sat, Oct 29, 2011 at 10:43:46PM -0500, ivan.k.kuznet...@gmail.com wrote:
As far as I can tell, the only tool to notate unmetered
music is the \cadenzaOn,\cadenzaOff pair of tags.
Am I right about this, or are there other ways?
Proportional notation? maybe as well as manually scaling
distances with *15/16 and stuff like that?
Okay, the syntax I am using in my example:
#'base-shortest-duration = #(ly:make-moment 1 16)
is an example of proportional notation, no? If not,
Ideally, there should be no time signature here but
as far as I can tell, Lilypond requires that all
compositions begin with a time signature. Is this true,
even for music with no meter?
No. Remove that engraver. Examples in the manual and in LSR.
Thanks; at http://lsr.dsi.unimi.it/LSR/Search?q=time+signature
I found the syntax:
\new Staff \with { \remove Time_signature_engraver }
{
}
and that did remove the time signature.
Unfortunately, the two systems are _still_ not proportionally identical?
Can someone direct me on how to make two more systems exactly
proportionally identical?
Thanks! Appended is what I have so far.
\version 2.12.2
\include english.ly
#(set-global-staff-size 19) % Default is 20
\paper{
#(set-paper-size letter)
left-margin = 5\mm % Default is 10\mm
line-width = 200\mm
print-page-number = ##f
print-first-page-number = ##f
}
\score {
\new PianoStaff
\new Staff = up \with { \remove Time_signature_engraver }
{
\clef treble
\cadenzaOn
\autoBeamOn
\change Staff = down
g,1 a,1 b,1
c1 d1 e1 f1 g1 a1 b1
\change Staff = up
c'1 d'1 e'1 f'1 g'1 a'1 b'1
c''1 d''1 e''1
\bar % Reference, pg. 48
\break
\change Staff = down
g,1 a,1 b,1
c1 d1 e1 f1 g1 a1 b1
\change Staff = up
c'1 d'1 e'1 f'1 g'1 a'1 b'1
c''1 d''1 e''1
\cadenzaOff
}
\new Staff = down \with { \remove Time_signature_engraver }
{
\clef bass
\cadenzaOn
s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E
\bar % Reference, pg. 48
\break
s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E
\cadenzaOff
}
\layout {
indent = 0.0
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
}
}
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Re: Creating Musical Examples Without Meter
Thanks to those who reponded. Sorry about
my delay in writing back.
J. Boor boor...@gmail.com writes:
Ivan,
To turn off time signature all together,
do \set Score.timing = ##f
I cannot get this syntax to work. Lilypond compiles but
the time signature is still visible. Does this go in
the \context { } poriton, or somewhere else?
That gets ride of time signature both visually and actually,
if you want to insert barlines after that, inser them manually:
\bar
If you want to break a line with no barline at the end, do
\bar \break
Actually, I have a file with a set of definitions (raspev.ly) that
allows you to write metreless music indefinitely with linebreaks inserted
almost automatically. I will share it with you if you like.
I would very much like to see it. Thank you for the offer!
Thanks!
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Creating Musical Examples without Meter
I would like to be able to use Lilypond to create musical
examples for inclusion in papers and slides, and often,
these musical examples will have no notated meter.
With such examples, I will want to control exactly how much
space each examples takes so that they can line up with
other examples on my slides.
As far as I can tell, the only tool to notate unmetered
music is the \cadenzaOn,\cadenzaOff pair of tags.
Am I right about this, or are there other ways?
Appended is an in-progress example I am working on. Yes, both
systems are identical, at this point I am just trying to get the
notes to line up exactly underneath each other between systems.
The issue that is messing me up is the transparent time signature
that is at the beginning of system one:
Ideally, there should be no time signature here but
as far as I can tell, Lilypond requires that all
compositions begin with a time signature. Is this true,
even for music with no meter?
This transparent time signature prevents the notes of
systems one and two from lining up exactly.
And so:
(1)
How can I make the time signature at the beginning of this
snippet not just transparent, but gone all together?
(2)
Are there other tools that are better suited to creating musical
examples, than the ones I am using?
Thank you very much for your help;
\version 2.12.2
\include english.ly
#(set-global-staff-size 19) % Default is 20
\paper{
#(set-paper-size letter)
left-margin = 5\mm % Default is 10\mm
line-width = 200\mm
print-page-number = ##f
print-first-page-number = ##f
}
\score {
\new PianoStaff
\new Staff = up
{
\clef treble
\cadenzaOn
\autoBeamOn
\change Staff = down
g,1 a,1 b,1
c1 d1 e1 f1 g1 a1 b1
\change Staff = up
c'1 d'1 e'1 f'1 g'1 a'1 b'1
c''1 d''1 e''1
\bar % Reference, pg. 48
\break
\change Staff = down
g,1 a,1 b,1
c1 d1 e1 f1 g1 a1 b1
\change Staff = up
c'1 d'1 e'1 f'1 g'1 a'1 b'1
c''1 d''1 e''1
\cadenzaOff
}
\new Staff = down {
\clef bass
\cadenzaOn
s1-E s1-F s1-G
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E
\bar % Reference, pg. 48
\break
s1-E s1-F s1-G
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E s1-F s1-G s1-A s1-B
s1-C s1-D s1-E
\cadenzaOff
}
\layout {
indent = 0.0
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
\override TimeSignature #'transparent = ##t
}
}
}
attachment: example04-post.png___
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Adjust duration of Hairpins;
I have been reading the archives, and if I understand
correctly, the _only_ way to make a hairpin crescendo
or decrescendo last a duration that is shorter than an entire
whole or half note is to add a pseudo voice of invisible
rests and notate your hairpins to the pseudo voice.
Is this really the only way?
If so, I find that adding this pseudo voice causes all
kinds of unwanted consequences such as adjusting vertical
positions of rests and stem directions in the actual music.
This is not good.
As an example, in the appended snippet I need to
have the decrescendo underneath the A flat start
proportionally one eight note duration after the
beginning of that A flat.
Can someone give me some pointers on how to achieve
this?
Thank you for your help and suggestions.
\version 2.12.3
\include english.ly
\score {
\new Staff = voice
{
\autoBeamOn
\numericTimeSignature
\clef treble
\time 3/4
% voice m03
fs'2^\mf (e'8) g'8^\mp
% voice m04
([e'8]) r8 g'8^\mp ([e'8] g'8^\ [e'8]
% voice m05
\time 4/4
af'2^\!^\ ) r4^\! f'4^\mp
}
\addlyrics{ Smear Smear Smear }
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 32) %% pg.
proportionalNotationDuration = #(ly:make-moment 1 8) %% pg 364
}
}
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Re: Adjust duration of Hairpins;
Thanks to Kieren and David!;
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Then you're doing it incorrectly -- here's the same snippet,
using a pseudo voice for the dynamics:
[...]
\time 4/4 { af'2*1/4 s8*3) r4 f'4 } { s8\! s8*3\ s4\! s\mp }% m05
Thanks; this helps me greatly.
1. You don't have to (and, indeed, shouldn't) use ^\mf to attach your
dynamics -- if
you want all your dynamics above the staff, you should change it globally
with \dynamicUp
Another great tip!
2. You should review your use of brackets and parentheses (note how I've
adjusted them in
these snippets): they do not follow Lilypond conventions, and may produce
unwanted
consequences someday.
Ok.
Hope this helps!
It most certainly does. Thanks again!
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Re: Adjust duration of Hairpins;
Kieren MacMillan kieren_macmil...@sympatico.ca writes: -- here's the same snippet, using a pseudo voice for the dynamics: [...] af'2*1/4\! s8*3\) r4\! f'4\mp Actually, can you identify the place in the reference manual that the above syntax (the parts with the asterisks) is discussed? Thanks again. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\mergeDifferentlyHeadedOn, voice and stem issue
Appended is a snippet of two measures, the first measure
is what I intended, the second measure is not.
In the second measure, I would like the top voice
triplet 16th notes B natural and A natural to occupy the
same space as the lower voice dotted quarter notes
B natural and A natural, thus these top voice triplet
16th notes disappear.
This happens exactly as I want it in the first measure where
the F and Bb 16th notes disappear because the space
is occupied by the F and Bb half notes.
So far, working with the \mergeDifferentlyHeadedOn command
has been hit or miss with me. Sometimes I get my intention
with it, other times not. Can someone coach me so that I can
get my desired result?
Thank you for your help. An image of the generated measures
is attached.
\version 2.12.3
\include english.ly
\new Staff = guitar
{
\clef treble_8
% measure 01
\time 4/4
{
f,16 d16 g8 d4 g4
bf,16 g16 b8 g4 b4
}
\\
{ \mergeDifferentlyHeadedOn f,2 bf,2 }
% measure 02
\time 3/4
{
\times 2/3 { b,16 af16 c'16 } af4 c'4 \times 2/3 { a,16 fs16 b16 }
fs4 b4 bf'4
}
\\
{ \mergeDifferentlyHeadedOn b,4. a,4. }
}
attachment: issue01c.png___
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Can't get \arpeggio to work
According to the reference manual,
http://lilypond.org/doc/v2.13/Documentation/notation/expressive-marks-as-lines#arpeggio
all I need to do is append the \arpeggio tag to a chord construct,
as I do in my appended snippet. However, the following snippet
produces the message:
issue02a.ly:11:41: error: syntax error, unexpected EVENT_IDENTIFIER
bf,4 gs4 b4a,4 bf4 d'4
\arpeggio
issue02a.ly:4:0: error: errors found, ignoring music expression
Can someone advise? Thanks!
\version 2.12.3
\include english.ly
\new Staff = guitar
{
\clef treble_8
\time 2/4
bf,4 gs4 b4a,4 bf4 d'4 \arpeggio
}
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ghostscript-8.70-6 broke my lilypond, no more PDF
I am using lilypond 2.12.3 under CentOS 5.6. Recently, I ran the CentOS recommended updates and I updated from ghostscript-8.15.2-9.12 to ghostscript-8.70-6. Since that time, lilypond no longer works for me in that lilypond .ps files but no longer produces .pdf files. Here is what the output at the command line look like: GNU LilyPond 2.12.3 Processing `song02.ly' Parsing... Interpreting music... [8][16][24][32] Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `song02.ps'... Converting to `./song02.pdf'... `gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=./song02.pdf -c .setpdfwrite -f song02.ps' failed (256) error: failed files: song02.ly Have I stumbled onto a bug? How can I get lilypond to produce PDF files again. Evidentally, it is not so easy to roll back updates under CentOS. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
PDFs no longer created: error: -dCompatibilityLevel=1.4
Lilypond .ly files that created .pdf files just fine a few weeks ago no longer work. I get the messages: Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Layout output to `song01.ps'... Converting to `./song01.pdf'... `gs -q -dSAFER -dDEVICEWIDTHPOINTS=612.00 -dDEVICEHEIGHTPOINTS=792.00 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=./song01.pdf -c .setpdfwrite -f song01.ps' failed (256) error: failed files: song01.ly I am using version \version 2.12.3 and I have _not_ upgraded my lilypond installation ever ( I have only been using lilypond less than two months). My OS is CentOS 5.6 and I have done perhaps 100 or more package updates to the operating system in the last week though. Among other packages that were updated was the Cups package. Several libraries were also updated. Might updating the OS packages have caused lilypond to no longer produce .pdf files? If so, I guess a solution would be to uninstall and then reinstall lilypond? Thanks; ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
First page completed; tweaking questions
I have my first page of music notated with lilypond here: http://www.flickr.com/photos/61572029@N04/5603253711/ CONCERNING area's marked in red A1 and A2: Sometimes I require one note to have two stems indicating that the note belongs to two voices. A2 worked out as I intended but for A1, ideally I would just like the half-note G# visible and the triplet eighth-note G# invisible, so that the first stem of the triplet is the a stem attached to the half-note G# (and the half-note G# still has its downward stem also). How can this be achieved? CONCERNING the area's marked B1, B2, B3, and B4: Look at B1 for example. The triplet bracket circled is too short, I want all triplet brackets to take the entire duration, not just go to the last stem. Also, in the special case of B1, where I have two voices each with a triplet, notationally only one bracket is necessary. Is there any way to make one of the bracket's invisible (like an s rest)? CONCERNING the area's marked C1, C2, and C3: Can I tilt the right side of the triplet bracket down at C1 and C3? At C2i, can I tilt the left side of the beam upwards so it is over the rest? Thank you for your pointers! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
intro; art song example or template?
Hello All; I am a first time poster. I have much experience with linux and latex and so hopefully I will catch on to lilypond without too much trouble. I am a composer of mostly atonal music, often with a lot of time signature changes (or with passages that have no time signatures), to give you an idea of the kinds of issues I am be facing. My first lilypond project is too notate some songs I wrote for soprano and classical guitar. Can someone recommend a template or even a finished song that I could begin with? Thank you for your help; Ivan ivan.k.kuznet...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
