Re: dynamics seperatate from the notes entry
On Dec 31, 2012, at 3:22 PM, Karl Hammar wrote:
> How do I merge Ds and Ms below so it will behave as if I wrote the
> dynamics together with the notes?
>
> smorz = \markup { \italic smorz }
> sotto = \markup { \italic { sotto voce } }
> Ds = {
> s1*10 | s1^\sotto | s4 s2.\f | s4 s2.^\smorz | s1\p | s1\pp | s1*2 |
> s2 s\ | s4 s8. s16\f\> s4 s8.\! s16 | s2 s\pp |
> % ...
> }
> Ms = \context Voice = Vs \relative a' {
> %\keya
> R1*8 |
> R1*2 |
> e2\( fis | % 3 11
> gis8\) r gis4\( gis gis\) |
> a8 r a4\( d d\) |
> c2\( a\) |
> a2.\( gis4\) | % 4 15
> a8 r r4 r2 |
> % ...
> }
>
> ///
>
> If I use << \Ms \\ \Ds >> the dynamics will come out to the left
> (compared to the in the notes version), probably since the dynamics
> are centered under the notes and a skip doesn't have a width (?).
>
> If I use \new Dynamics the dynamics will come out fine but the markups
> comes out int the wrong line place (since it doesn't belong to the notes
> staff any longer) and the dynamics comes too close to the lyrics
> just below.
>
> I could possible use \partcombine \Ms \Ds, whith
>
> ignore = \override NoteColumn #'ignore-collision = ##t
> Ds = \relative a' {
> s1*10 | s1^\sotto | s4 \once\ignore g\f s2 |
> % ...
> }
>
> but it seems a little too much dependend on the notes in Ms.
>
> ///
>
> I'm trying to set Gioachino Rossinis "petite messe solennelle" [1] and
> I have got to the Kyrie, i.e. I've just started. I'm using the
> Brandus & Dufur edition [2] (probable 1869 according to [3]).
> The definitive modern edition seems to be [4], the editor has some
> notes at [5].
>
> [1]
> http://turkos.aspodata.se/git/musik/GRossini/petite_messe_solennelle/01_kyrie.ly
> [2]
> http://imslp.org/images/e/ee/PMLP29942-Rossini_-_Petite_Messe_solennelle_%28vs_Brandus%29.pdf
> [3] http://www.classicstoday.com/features/RossiniMesse.pdf
> [4] https://www.baerenreiter.com/en/sheetmusic/product/?artNo=BA10501
> [5]
> http://humanities.uchicago.edu/orgs/ciao/Introductory/Essays%20from%20CIAO/Petite%20Messe%20versions.htm
>
>
> Regards,
> /Karl Hammar
>
> ---
> Aspö Data
> Lilla Aspö 148
> S-742 94 Östhammar
> Sweden
> +46 173 140 57
>
>
>
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I use almost exactly your configuration for vocal music with just a few
modifications.
1) \new Dynamics
2) (as needed) alignAboveContext
A simple example would be:
\version "2.16.0"
global = { \tempo 4=120 }
vocal = \relative c' { c4 d e f }
vocalDynamics = { s4\f s8\< s\! s\> s\! s4\p }
vocalText = \lyricmode { This is some text }
\score {
<<
\new Staff = "vocal" <<
\new Voice = "vocal" << \global \vocal >>
\new Dynamics \with {alignAboveContext = "vocal" } \vocalDynamics
>>
\new Lyrics \lyricsto "vocal" \vocalText
>>
\layout {}
}
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Re: lyrics to music
It used to not done, in order to emphasize each individual word. Now, it's more whatever the composer wants. There are no more hard and fast rules. On Nov 20, 2012, at 4:25 PM, "Fr. Michael Gilmary, mma" wrote: > Hi everybody: > > Here's a general question that's bothered me for some time ... because I'm > not a musician or composer --- > > when setting lyrics to music, is it ever acceptable to join eighth notes > across syllables or even across words? Here are a couple examples: > > > > > I have been told by a reliable expert (hi Rembrandt!) that joining the eighth > notes across syllables/words is never done ... but I have examples like the > second one here from a very accomplished composer. Maybe he just isn't > familiar with how to prevent his program from joining them. It certainly > makes for difficult reading of the lyrics, IMHO. > > I'd be grateful to benefit from the collected wisdom here with the lilypond > users. > > TIA --- and be assured of our prayers. > > > > > > > United in adoration of Jesus, > > > > fr. michael gilmary, mma > > Most Holy Trinity Monastery > 67 Dugway Road > Petersham, MA 01366 > > www.MaroniteMonks.org > > > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating cross-staff arpeggios in a piano staff
On Nov 16, 2012, at 6:10 PM, Mark Stephen Mrotek wrote: … > 1. Which of these lines (discounting change of pitch and duration) > should be used? > 2. Where in an already started Piano score should they be inserted? > > Thank you for your kind attention. > Good day! > > The online documentation (version 2.16, Notation Reference 1.3.3) states: In a PianoStaff, it is possible to let an arpeggio cross between the staves by setting the property PianoStaff.connectArpeggios. > The online documentation (version 2.16, Learning Manual 3.3.4) states: Contexts are responsible for holding the values of a number of context properties. Many of them can be changed to influence the interpretation of the input and so change the appearance of the output. They are changed by the \set command. This takes the form \set ContextName.propertyName = #value Where the ContextName is usually Score, Staff or Voice. It may be omitted, in which case the current context (typically Voice) is assumed. > The online documentation (version 2.16, Learning Manual 3.3.4) states further: The \set and \unset commands can appear anywhere in the input file and will take effect from the time they are encountered until the end of the score or until the property is \set or \unset again. HTH, james___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Ledger line visibility issue
On Aug 12, 2012, at 6:58 PM, "Peter Gentry" wrote: > I have a score with many repeated beamed quavers and semi-quavers on ledger > lines. The default layout is difficult to read as ledger lines and the staff > produce an almost hypnotic effect which confuses the reader. This resuluts in > loss of concentration and rythmic stumbles. I would like to space these > beamed notes out to provide white space between the notes. However all my > attempts to make changes (apart from set-global-staff-size) have failed even > when the syntax is accepted there is no change in the printed score. > > I am finding the syntax difficult to grasp so I hope this is not a trivial > problem that I should be able to solve for myself - any help would be > gratefully recieved. > > regards > Peter Gentry > While this doesn't answer your answer your question directly, and it may be an undesirable solution, the music may be easier to read if you use octavation symbols to place the notes on the staff. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
1/2 Pedal marking
Is it possible to alter the pedal symbols with markup? I'd like to have a 1/2 Ped. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving rules question - voices with merged heads
On Jan 29, 2011, at 9:40 PM, Janek Warchoł wrote:
> W dniu 29 stycznia 2011 12:00:50 UTC+1 użytkownik James Bailey
> napisał:
>>
>> On Jan 29, 2011, at 11:25 AM, Janek Warchoł wrote:
>>
>>> 2011/1/29 James Bailey :
>>>>
>>>> On Jan 29, 2011, at 12:17 AM, Janek Warchoł wrote:
>>>>
>>>>> Hi,
>>>>>
>>>>> recently i was told that this notation
>>>>>
>>>>> { \mergeDifferentlyHeadedOn << b'2 \\ { b'8 a' g' f' } >> }
>>>>>
>>>>> is not allowed in vocal music (i.e., the noteheads shouldn't be
>>>>> merged). Is that true?
>>>>
>>>> correct. you shouldn't merge heads in vocal music.
>>>
>>> Interesting. Is that true also when both voices have filled noteheads,
>>> i.e.
>>>
>>> { << { b'4 g' } \\ { b'8 a' g' f' } >> }
>>>
>>> ?
>>> Here LilyPond merges noteheads automatically, and i don't remember any
>>> simple means to switch that off.
>>>
>>> Thanks,
>>> Janek
>>
>> This is different. One voice has a beam, while the other doesn't. There
>> isn't any way to mistake a half note for a quarter note in this case, as is
>> the case in the other.
>
> Sorry, but it doesn't make sense to me. In both examples one voice has
> a beam and the other doesn't.
> Please look at the attachments:
> A - everything is clear. notes in upper voice must be quarters because
> they have filled heads and no beams, while notes in lower voice must
> be eights because they have filled heads and beams. Here we agree.
> B - note in upper voice must be a half because it has a hollow
> notehead and no beam. First note in lower voice has a hollow notehead,
> but it cannot be a half because it has a beam. Therefore, it must be
> an eight note. I don't see any way in which a half note could be
> mistaken for a quarter note in this example.
This is not normal vocal music engraving. This is more typical of piano music.
I've seen this in piano music, and never in vocal music. Were I singing this,
I'd understand what it meant, but it seems an unnecessary complication. Vocal
music engraving traditions stem from everything being sight read. I'd have to
read this twice, or at least stumble over it once before I realized that it
wasn't a half note for the lower voice.
> The only case in which a half note could be mistaken for a quarter
> note would be in C. I agree that merging heads in C would be totally
> unacceptable.
>
> thanks,
> Janek
>
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Re: incorrect displaying of Arabic text
On Jan 29, 2011, at 7:10 PM, Carl Sorensen wrote: > > > > On 1/29/11 7:45 AM, "James Samir Ismail" wrote: > >>> The first thing to do is to run the specified command from a terminal >>> window: >>> >>> lilypond -dshow-available-fonts x >>> >>> You said before that "it didn't work". We don't know what that means, so we >>> can't help you. >> >> This is what it means: >> >> Zamzam:bin samir$ ./lilypond -dshow-available-fonts x >> GNU LilyPond 2.12.3 >> warning: not relocating, no 2.12.3/ or current/ found under >> /Applications/LilyPond.app/Contents/Resources/bin/share/lilypond/ >> ERROR: In procedure primitive-load-path: >> ERROR: Unable to find file "lily.scm" in load path >> Zamzam:bin samir$ >> >>> You should execute the command, and then report on the results. Preferably >>> with a copy of the output that went to the terminal window. >>> >>> Once we get that, we can start to troubleshoot the problem you're having. >>> >>> HTH, >>> >>> Car >> >> Is there a different way I should be executing this? I'm runing MacOS 10.6, >> Lilypond v2.12.3. > > I don't use the installed version of LilyPond on my Mac, because I wanted to > be able to build it. So my advice may be somewhat suspect. > > Have you tried running lilypond without the ./ in front of it? In other > operating systems, lilypond installs with a path variable that allows it to > run from a terminal window from any directory. I don't know if it does or > not on OSX. > > However, I think that you have probably identified the problem correctly, > that is, the missing files in the Pango installation. > > Thanks, > > Carl > To clarify, if I run this command from the folder containing the lilypond binary (~/Applications/LilyPond.app/Contents/Resources/bin/), I get the abovementioned error. I get this error regarldess of using latest git, distributed development, or latest stable. If I run this command from my home user directory (~/), I get: GNU LilyPond 2.12.3 warning: no such internal option: show-available-fonts-x With the appropriate version changes depending on which version I call. If I run lilypond -dshow-available-fonts, I get a list of all the fonts lilypond knows about. Additionally, lilypond -dhelp only lists show-available-fonts (#f) and no show-available-fonts-x option. I suspect that there are two problems here. One, asking lilypond for this option for some reason completely bypasses the $PATH environment variable. And two, perhaps the show-available-fonts-x option only exists on linux computers, not macintosh. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: engraving rules question - voices with merged heads
On Jan 29, 2011, at 12:17 AM, Janek Warchoł wrote:
> Hi,
>
> recently i was told that this notation
>
> { \mergeDifferentlyHeadedOn << b'2 \\ { b'8 a' g' f' } >> }
>
> is not allowed in vocal music (i.e., the noteheads shouldn't be
> merged). Is that true?
correct. you shouldn't merge heads in vocal music.
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Re: incorrect displaying of Arabic text
On Jan 27, 2011, at 5:32 PM, James Samir Ismail wrote:
> Has anybody experienced a problem with getting Arabic text to display
> correctly in their scores? Here's a
> snippet that contains properly formatted UTF-8 Arabic:
>
> \score
> {
> \relative d'
> {
> c^\markup { "العربية" } d e f g^\markup { "english" } f e d
> }
> }
>
> I was surprised when I built the snippet because although I get Arabic
> characters, they are in the wrong
> form. In Arabic, characters potentially have different forms depending on
> where they fall in a word -
> initial, medial and final forms. The Arabic word in the source above displays
> correctly when viewed as
> a UTF-8 encoding. However, when the snippet is compiled, only the initial
> form of the Arabic characters
> display, which is incorrect.
>
> I'm saving the source as UTF-8, and Arabic characters do appear - just not he
> correct ones. Is there
> something I'm not telling Lilypond, or is this a bug?
>
>
> Thanks,
> Samir
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Looks like a bug to me.
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Re: Extracting only lyrics and chords
On Jan 27, 2011, at 3:24 PM, Jürgen Ibelgaufts wrote: > > Hello, thanks for jumping in. > > Devnull was new to me. I tried, and the notes are invisible, leaving no gap. > Very fine so far. But every single syllable leads to a warning "lyric > syllable does not have note" and the lyrics still are out of sync. Some > syllables even get completely lost. Either ties are ignored or maybe every > syllable is simply regarded as a quarter note which is quite useless. > > In section "Lyrics independent of notes" the docs say "Connecting lyrics to > a Devnull context makes the voice/lyrics links to get lost". well, that's > what happens. The connection also gets lost when I make the notes invisible > by removing the engravers, especially the note-head engraver. > > So I think I will have to play around with transparency and try to eliminate > the gap that is left by the transparent notes. > > Jürgen It sounds like you're using the 2.12 documentation. The 2.13 documentation has a much more elegant solution, which should work, albeit, you'll likely have to re-format how your lyrics are entered. See the sectio on manual syllable durations. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd vertical spacing of lyrics
On Jan 19, 2011, at 7:25 PM, James Bailey wrote: > > On Jan 19, 2011, at 1:27 AM, Keith OHara wrote: >> … >> >> The old LilyPond collapsed everything in each system to take >> only the vertical space needed. For lyrics, it seems that did >> pretty much the right thing. The new LilyPond will spread things >> vertically to use the space available, which reveals her >> ignorance in how things are supposed to be attached. >> >> Lilypond lets us associate lyrics (for timing purposes, \lyricsto) >> to any voice anywhere, so to have her know whether they should go >> close to the next staff up or down seems to require a search for >> which Staff contains the associate Voice. Another approach would >> be to put a staff-affinity=#CENTER marker at the top and bottom >> of each system, so the bit of code producing that warning "staff- >> affinities should only decrease" would ensure that Lyrics have >> 'affinity' pointing to something within their own system. > > … >> >> I have been meaning to work on that centering-lyrics snippet >> (and will not be hurt if somebody else steals the job) to try >> to boil down the complicated overrides into a small useful set >> of predefines, so we can just say: \lyricAttachDown or >> \lyricsCenter or \lyricsCollapse and remain blissfully ignorant >> of the complexity underneath. After some fiddling, apparently, all I needed to do was add \override VerticalAxisGroup #'staff-affinity = #CENTER to the main lyrics. That solved all of my problems. I won't even pretend to understand what exactly the affinities do, but it worked for me. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Understanding herd of curly braces
On Jan 24, 2011, at 10:07 PM, Seth Williamson wrote: > I have turned out a few simple jobs with LilyPond, mainly simple copying jobs > just for practice and -- as a practical matter -- a few pieces that I needed > to transpose into another key. > > However, as I look at LilyPond code generated by others, it's not obvious to > me (usually near the end of a document) what each closing curly brace refers > to. > > Am I even SUPPOSED to be able to figure that out by looking at all the closed > curly braces, usually at different indentations on different lines? Are you > supposed to see these things and know to what they apply in the code above? > Is there a logic here that I'm missing? > > I am trying to figure out the logic of why the close braces (in particular) > appear where they are and at a given indentation. So far there's nothing > intuitive about it. > > Such documentation as I've been able to find at the LilyPond site and > elsewhere has been of limited utility in this regard. > > Is this something you just learn by doing? Or can anybody help me out? > > Seth Williamson Because this is something not limited to lilypond, the documentation in lilypond is rather scant on the subject. Editors of programs which use braces extensively usually have features to make indentation and bracket matching more transparent and easier to use. They are also usually highly modifiable, and each person learns and finds a method that works for him. There are some suggested editors for lilypond, and each of those should have some means of making understanding indentation and brackets (and matching them) more transparent and easy to understand. Most of these programs should have a way of easily jumping between matching brackets, and adjusting the indentation of a region. If you haven't yet, I highly recommend reading through the learning manual, aside from the ins and outs of how lilypond works, it also has some helpful tips on how to organize brackets and indentation in your own files. (At least, it did the last time I read it.) Hope this helps, James___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug in ties over barlines
On Jan 23, 2011, at 11:09 PM, Joseph Haig wrote:
> I have (I believe) found a bug in Lilypond, and I am fairly sure what
> it is, but I would like to check with people who have better knowledge
> of music theory than I before I submit it to the bug list. In the
> following code:
>
> {
>\time 4/4
>aes'1( a')
>aes'~ aes'
>aes'( aes')
> }
>
> I believe that the first and third ties are displayed incorrectly.
> Specifically, the first tie should have a natural in front of the
> second note, and the third tie should not have a flat in front of the
> second note.The second and third ties should be identical, except for
> the type of tie used, while the first one should be different. Am I
> correct?
In short, no. There is a difference between a tie, interpreted by lilypond with
the ~ symbol, and a slur, interpreted in lilypond by the ( ) symbols. You can
find more information about the differences between them in your music theory
books, but in short:
• A tie is used to connect the same note : { a2~ a }
• A slur is used to connect different notes: { g2( a) }
• When a note which has been modified by an accidental has a tie, it usually
does not receive another accidental: { aes2~ aes }
• Accidentals usually only affect notes in one measure: { aes1 | a }
° The preceding holds true even if the notes are connected by a slur: { aes1(
| a) }
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Re: How to tie the last note of one variable to the first note of another variable?
On Jan 22, 2011, at 7:24 PM, Disc Magnet wrote:
> partOne = \relative c' {
>c4 e g e~
> }
>
> partTwo = \relative c' {
>e1
>c4 e g e~
>e1
> }
>
> \score {
>\new PianoStaff <<
>\set PianoStaff.midiInstrument = "acoustic grand"
>
>\new Staff {
>\tempo 4 = 120
>\partOne
>\partTwo
>}
>>>
>\midi { }
>\layout {}
> }
>
> I expect the last e of partOne and first e of partTwo to be tied
> together. However, it doesn't happen so. What is the right way to do
> this?
I haven't checked it, but they're probably in different voice contexts.
Possible explicity doing a \new Voice = first and \context Voice = first where
appropriate may solve the problem.
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Re: Several parts to one piece?
On Jan 22, 2011, at 1:21 PM, Michael Dykes wrote: > Sorry to be barraging the list; but I have several pieces) that consist of > several parts, and I need to compile them as a whole piece, but have each > part end and begin separately. How, can I accomplish this? You can have more than one \score block in a file. Does that accomplish what you are looking for? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd vertical spacing of lyrics
On Jan 19, 2011, at 10:53 PM, Graham Percival wrote: > On Wed, Jan 19, 2011 at 10:28:38PM +0100, Jan Warchoł wrote: >> 2011/1/19 Mike Solomon : >>> It may be worth it to add this to the issue tracker and get this fixed in >>> one of the first 2.14 bug fixes (if not 2.14 itself) - thoughts? >> >> In my opinion this issue is important and potentially widespread, and >> as such it should be considered a high priority one. > > In my opinion, I don't care about your opinion, but I *do* care > about evidence of bugs. Please submit a bug report and let's get > it in the tracker. Doubly so if it's a regression. That's part of the problem. Is it a bug if something changed? Technically, no, as far as I understand the term "bug". Is it convoluted and difficult to use? Would graham's mother have difficulty understanding the documentation on getting a simple arrangement for her church choir to work the same way in 2.13 as it did in 2.12? Probably. If I opened a bug report that was essentially, "Lyrics are now more difficult to use. Type - Regression, Priority - Critical", someone would probably close is as invalid very quickly. Exactly this reasoning was the reason for my question, "what advantages does the new lyric spacing offer?" I think if we understand this, we can understand how to explain it, and make it easy for people to understand what needs to change and how. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd vertical spacing of lyrics
On Jan 19, 2011, at 1:27 AM, Keith OHara wrote: > That was quite topical, for an 'off-topic' rant. > You have to tell us how you prefer to enter the lyrics when > they are sometimes shared. Is there one Lyrics for alto, > one for alto-tenor-together, and one for tenor? or do you > just have alto and tenor and put skips in the tenor when they > are together? is there an alignAboveContext involved? the smallest snippet I could produce (in 10 minutes) is attached. Funeral Sentences_2.12.ly Description: Binary data > > The old LilyPond collapsed everything in each system to take > only the vertical space needed. For lyrics, it seems that did > pretty much the right thing. The new LilyPond will spread things > vertically to use the space available, which reveals her > ignorance in how things are supposed to be attached. > > Lilypond lets us associate lyrics (for timing purposes, \lyricsto) > to any voice anywhere, so to have her know whether they should go > close to the next staff up or down seems to require a search for > which Staff contains the associate Voice. Another approach would > be to put a staff-affinity=#CENTER marker at the top and bottom > of each system, so the bit of code producing that warning "staff- > affinities should only decrease" would ensure that Lyrics have > 'affinity' pointing to something within their own system. This will probably make a ton of sense once I understand what a 'staff-affinity' is, but just reading this, it looks like I have to put a marker at the top and bottom of each system so that lilypond knows where the systems begin and end. That certainly shouldn't be the case. If lilypond decides where the system breaks are, how am I supposed to know where to put a marker? And I don't know anything about the warning, why affinities should only decrease, what would cause it, and how to fix it. All in all, it makes no sense, and looks like a lot of stuff that (w|c|sh)ould be handled by the programming which I, as a user, don't really deal with > > I have been meaning to work on that centering-lyrics snippet > (and will not be hurt if somebody else steals the job) to try > to boil down the complicated overrides into a small useful set > of predefines, so we can just say: \lyricAttachDown or > \lyricsCenter or \lyricsCollapse and remain blissfully ignorant > of the complexity underneath. Based on the last sentence there, am I to understand that lilypond doesn't really know where to attach lyrics to? It makes sense for the lyrics to be placed as close as reasonably possible to the bottom of the staff containing the voice they're attached to. That was the old behavior, yes? At least, that's what I've understood from the beginning of the explanation. Maybe if I understood the value of whatever changes are now possible that weren't possible with the old method, it would make understanding what needs to be done to get the old behavior back. And then, once that's clear, I would even be willing to try and write something that explains how the new method works, and what it makes possible. As it is, it just appears to change things for the sake of changing things. And, as has already once been incorrectly assumed, the average user will see the new behavior and think that the program is broken, or that the new behavior is a regression against (all logic) the previous version. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suppress chord names from MIDI output
On Jan 18, 2011, at 7:00 PM, Brett McCoy wrote: > Is there a way to suppress MIDI output for \ChordName context? When I > create a staff with other parts and have chord names at the top, the > output always has a piano playing those chords and it's interfering > with the rest of the piece, plus I don't need the extra track when I > import the MIDI into a sequencer (and it uses up a MIDI track). How do > I prevent this from being in the MIDI output? > > -- Have two \score blocks, one without \ChordName, but including \midi, and one with \layout, that includes the \ChordName context. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: vertical alignment - how to bottom-align something?
On Jan 11, 2011, at 11:01 PM, Janek Warchoł wrote:
> 2011/1/11 Neil Puttock :
>>
>> http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Align#index-_005cdir_002dcolumn-1
>>
>> Cheers,
>> Neil
>
> Hi Neil,
>
> unfortunately i cannot see how dir-column can help me :(
> Look at this:
>
> someMarkup = \markup {
>\column {
>"bla" "ble" "bli" "blo" "blu"
> }
> }
>
> \markup {
>\line {
>\someMarkup
>\override #`(direction . ,UP)
>\dir-column {
>"foobar"
> }
> }
> }
>
> "foobar" is still vertically aligned to the top of the someMarkup, not
> to the bottom.
>
> Maybe i haven't made myself clear. I want to achieve this:
>
> bla
> ble
> bli
> blo
> blu foobar
>
> without messing with all the bla's. I mean, the
> bla
> ble
> bli
> blo
> blu
> should be treated as one markup.
>
> Any ideas?
>
> thanks,
> Janek
\markup {
\general-align #Y #-1 {
\column {
"bla" "ble" "bli" "blo" "blu"
}
"foobar"
}
}
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Re: ties through parallel construction
On Jan 11, 2011, at 1:51 PM, Xavier Scheuer wrote: > … > > This is a really annoying problem, especially for new users. > I'm currently trying to convince developers to change this behaviour. > http://lists.gnu.org/archive/html/lilypond-devel/2010-11/msg00199.html > > … > Cheers, > Xavier > > -- > Xavier Scheuer You may want to review the threads at: http://lists.gnu.org/archive/html/lilypond-devel/2009-09/msg00375.html and http://lists.gnu.org/archive/html/lilypond-devel/2008-09/msg00079.html___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug in 2.13.x?
I can reproduce this error by including the pop-chords.ly file. Perhaps the
problem is that, as neil says, pop-chords.ly is being included somewhere?
On Jan 8, 2011, at 1:53 AM, Tim McNamara wrote:
> I had posted previously about having .ly file fail to compile in 2.13.44-1
> which worked in 2.12. This was not repeatable for others. I tried
> downloading 2.13.45-1 and it, too, fails. The error massage is:
>
> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:208:9:
> In procedure chord-name->pop-markup in expression (name-root root
> lowercase-root?):
>
> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:208:9:
> Wrong number of arguments to #pop-markup (pitch)>
>
> I had a look at the lines specified, comparing 2.13.45-1 with 2.12.3-1.
>
> Here's the lines from 2.13.45-1 (200-214):
>
> (define (ignatzek-format-exception
> root
> exception-markup
> bass-pitch
> lowercase-root?)
>
>(make-line-markup
> `(
> ,(name-root root lowercase-root?)
> ,exception-markup
> .
> ,(if (ly:pitch? bass-pitch)
> (list (ly:context-property context 'chordNameSeparator)
> (name-note bass-pitch #f))
> '()
>
>
> And the comparable lines from 2.12.3-1 (188-201):
>
> (define (ignatzek-format-exception
> root
> exception-markup
> bass-pitch)
>
>(make-line-markup
> `(
> ,(name-root root)
> ,exception-markup
> .
> ,(if (ly:pitch? bass-pitch)
> (list (ly:context-property context 'chordNameSeparator)
> (name-note bass-pitch))
> '()
>
>
> I don't speak Scheme and have no idea if the differences are important or are
> the cause of the problem I am seeing. But there is a difference: note that
> in 2.13.45-1, we find:
>
> ,(name-root root lowercase-root?)
>
> whereas in 2.12.3-1 we find:
>
> ,(name-root root)
>
> Is that what the error message is complaining about (too many arguments)?
> And, if so, why would this fail on my computer and not on the computers of
> other people? Compiling fails on on 2.13.44 and 2.13.45-1 with every one of
> my files that use \chordmode. It doesn't matter which editor I use (Emacs,
> Aquamacs, Fraise/Smultron or the built-in editor in the Mac package).
>
>
>
> \version "2.12.2"
>
> #(ly:set-option 'delete-intermediate-files #t)
>
> \paper {
>indent = 0.0
>ragged-last = ##f
>
> }
>
> \header {
> title = "Finn McCool"
> subtitle = "Concert Instruments"
> composer = "McNamara"
> meter = "Swing Ballad"
> copyright = "Tim McNamara 2010, All Rights Reserved"
> }
>
> harmonies = \chordmode {
>
> r8
> % 1
> bes2:min7 ges2:7
> des1:maj7
> bes2:min7 ges2:7
> des1:maj7
>
> % 5
> bes2:min7 ges2:7
> bes2:min7 ees2:7
> ees2:min7 aes2:7
> des1:maj7
>
> % 9
> ces1:min6
> ges1:maj7
> ces1:min6
> ges1:maj7
>
> % 13
> ces1:min6
> ges1:maj7
> aes1:7
> des1:maj7
>
>
> }
>
> melody = \relative c' {
> \override Staff.TimeSignature #'style = #'()
> \time 4/4
> \clef treble
> \key des\major
>
> % 1
> r1
> r1
> r1
> r1 \break
>
> % 5
> r1
> r1
> r1
> r1 \break
> % 9
> r1
> r1
> r1
> r1 \break
>
> % 13
> r1
> r1
> r1
> r1 \break
>
> \bar ":|"
>
> }
>
>
>
> \score
>
> {
> <<
>
>\new ChordNames {
> \set chordChanges = ##t
> \harmonies
>}
>\new Staff \melody
>>>
>
> }
>
>
>
>
>
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Re: Fingering Markup Override
On Jan 7, 2011, at 10:49 AM, lunar7 wrote:
> Hello,
>
> My Max/MSP Lilypond input patch is going well but I'm stuck on one feature I
> wanted to include.
>
> I have a set of three tables per key signature I am referring to in the event
> a user wants to use the less likely options for how to notate a note given
> its MIDI pitch (i.e. note number 60 could be c, but also a bis or deses). If
> a user wants to toggle between options, to do this I want to initially markup
> the notes with "index" numbers using fingering markup for an unintended
> purpose. To my amazement, without overriding the fingering markup command
> accepts numbers up to 9, but anything two digits or above produces an
> "unexpected string" error.
>
> Is there a way I can override this to tag a note with any number I want? Then
> users can specify the note numbers they want toggled to alternate versions.
c4^"99"
if you want it to look like fingering, c^\markup \finger {999}.
Hope this helps
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Re: Bug in 2.13.44-1?
On Jan 4, 2011, at 6:52 AM, Tim McNamara wrote: > > On Jan 3, 2011, at 11:44 PM, James Bailey wrote: > >> On Jan 4, 2011, at 1:23 AM, Tim McNamara wrote: >> >>> >>> On Jan 3, 2011, at 12:25 PM, James Bailey wrote: >>> >>>> I don't know if this is what you were looking for, but this compiled just >>>> fine for me on my osx 10.6.5 on an intel iMac: >>> >>> Hmm, well doesn't seem to be a bug. That was my main question. Thanks, >>> guys! >> >> I don't know what editor you use, > > > Emacs 23, Aquamacs or Fraise (the current form of Smultron). > > >> but usually when the error message points to something in init.ly, the >> culprit is usually a missing brace. > > > > For me the same files compile in 2.12.3 and fail in 2.13.4 without any > changes to the files. The problem only seems to exist if I am using > \chordmode. The error message is consistent, as pasted into previous posts. > Seemed odd to me. But maybe it's a local problem somehow, since it doesn't > seem to replicate for other folks. Since 2.12.3 works, that's what I'm > sticking with. > > Thanks! oopsie Given that there's been a paste which was incomplete, can you make a file (which consists of a minimal example), compile it, *in the lilypond editor* see that the error occurs, and then paste that entire file? I really would hate to have a bug go unreported because of faulty reporting. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug in 2.13.44-1?
On Jan 4, 2011, at 6:52 AM, Tim McNamara wrote: > > On Jan 3, 2011, at 11:44 PM, James Bailey wrote: > >> On Jan 4, 2011, at 1:23 AM, Tim McNamara wrote: >> >>> >>> On Jan 3, 2011, at 12:25 PM, James Bailey wrote: >>> >>>> I don't know if this is what you were looking for, but this compiled just >>>> fine for me on my osx 10.6.5 on an intel iMac: >>> >>> Hmm, well doesn't seem to be a bug. That was my main question. Thanks, >>> guys! >> >> I don't know what editor you use, > > > Emacs 23, Aquamacs or Fraise (the current form of Smultron). > > >> but usually when the error message points to something in init.ly, the >> culprit is usually a missing brace. > > > > For me the same files compile in 2.12.3 and fail in 2.13.4 without any > changes to the files. The problem only seems to exist if I am using > \chordmode. The error message is consistent, as pasted into previous posts. > Seemed odd to me. But maybe it's a local problem somehow, since it doesn't > seem to replicate for other folks. Since 2.12.3 works, that's what I'm > sticking with. > > Thanks! Given that there's been a paste which was incomplete, can you make a file (which consists of a minimal example), compile it, see that the error occurs, and then paste that entire file? I really would hate to have a bug go unreported because of faulty reporting. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug in 2.13.44-1?
On Jan 4, 2011, at 1:23 AM, Tim McNamara wrote: > > On Jan 3, 2011, at 12:25 PM, James Bailey wrote: > >> I don't know if this is what you were looking for, but this compiled just >> fine for me on my osx 10.6.5 on an intel iMac: > > Hmm, well doesn't seem to be a bug. That was my main question. Thanks, guys! I don't know what editor you use, but usually when the error message points to something in init.ly, the culprit is usually a missing brace. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Accidental and clef change issue
On Dec 28, 2010, at 11:53 AM, Xavier Scheuer wrote:
> Hi!
>
> This has been reported on the French user mailing list.
>
> In the following code the c-natural is not printed if there is a clef
> change in the middle of the measure.
>
> \relative c' {
> \clef bass cis2 c
> \clef tenor cis2 \clef bass c % natural is not printed!!
> \clef bass cis2 \clef tenor c
> }
>
> I do not know what say references like Ross, Read about this but I do
> not think this should be the correct behaviour.
> IMHO this is not what a musician (and a user) expect:
> if we have a c-sharp and then a c-natural (at the same octave)
> _in the same measure_, then the natural __MUST__ be printed!
> This is also against what is said in the regtest
> ‘accidental-clef-change.ly’: Accidentals are reset for clef changes
> (note that this regtest works fine but the reported code does not).
>
> Could you investigate this?
> Thanks in advance.
>
> Cheers,
> Xavier
>
> PS: The only "simple" workaround is to use
> #(set-accidental-style 'piano)
>
> --
> Xavier Scheuer
It seems, at least according to section 1.1.3 on accidentals, that this is
intended behavior:
default
This is the default typesetting behavior. It corresponds to eighteenth-century
common practice: accidentals are remembered to the end of the measure in which
they occur and only in their own octave. Thus, in the example below, no natural
signs are printed before the b in the second measure or the last c:
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Re: Bug in 2.13.44-1?
On Jan 3, 2011, at 4:15 PM, Tim McNamara wrote:
>
> On Jan 3, 2011, at 1:09 AM, -Eluze wrote:
>
>>
>>
>> Tim McNamara wrote:
>>>
>>>
>>>
>>> #(ly:set-option 'delete-intermediate-files #t)
>>>
>>> \paper {
>>> indent = 0.0
>>> ragged-last = ##f
>>>
>>> \header {
>>> title = "Lilypond Test"
>>> composer = "McNamara"
>>> meter = "Swing Ballad"
>>> }
>>>
>>>
>> it compiles without errors on windows vista if i close the parenthesis
>> after/before the \paper/\header!
>> without, i get errors, but different from yours.
>
> Sorry, bad pasting on my part. I tried removing and replacing a number of
> things (version number, \paper block, deleting the .ps file, etc.) and kept
> updating my e-mail before sending it. I've also tried it with and without
> various \include files I use (including one called pop-chords.ly to correct
> the naming of chords because I don't like the default Ignaztek chord names.
> My first thought was that this would be the culprit due to some change in the
> Lilypond internals causing a conflict, but \including it or leaving it out
> makes no difference on my machine.
>
> Perhaps I should mention this is on OS X 10.6.5 on an Intel Mac.
I don't know if this is what you were looking for, but this compiled just fine
for me on my osx 10.6.5 on an intel iMac:
\version "2.13.44"
#(ly:set-option 'delete-intermediate-files #t)
\paper {
indent = 0.0
ragged-last = ##f
}
\header {
title = "Lilypond Test"
composer = "McNamara"
meter = "Swing Ballad"
}
harmonies = \chordmode {
r8
% 1
bes2:min7 ges2:7
des1:maj7
bes2:min7 ges2:7
des1:maj7
% 5
bes2:min7 ges2:7
bes2:min7 ees2:7
ees2:min7 aes2:7
des1:maj7
}
melody = \relative c' {
\override Staff.TimeSignature #'style = #'()
\time 4/4
\clef treble
\key des\major
% 1
r1
r1
r1
r1 \break
% 5
r1
r1
r1
r1
\bar ":|"
}
\score
{
<<
\new ChordNames {
\set chordChanges = ##t
\harmonies
}
\new Staff \melody
>>
}
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Re: unmetered music - page breaks and empty bar lines
On Jan 2, 2011, at 3:23 PM, Peter Van Kranenburg wrote:
> On 1/2/11 3:03 PM, Sven Axelsson wrote:
>> On 2 January 2011 14:33, Peter Van Kranenburg
>> wrote:
>>> Dear list,
>>>
>>> I'm typesetting unmetered music. My question is: what is the right (or best)
>>> approach to do so?
>>>
>>> If I set Score.timing to false, I have to insert \bar "" everywhere in order
>>> to let lilypond figure out a nice layout. That's tedious.
>>>
>>> My current approach is this:
>>>
>>>
>>> \layout {
>>> \context {
>>>\Score
>>>\remove "Bar_number_engraver"
>>>\override BarLine #'transparent = ##t
>>>\override TimeSignature #'transparent = ##t
>>> }
>>> \context {
>>> \PianoStaff
>>> \override SpanBar #'stencil =
>>> #(lambda (grob)
>>>(if (string=? (ly:grob-property grob 'glyph-name) "|")
>>>(set! (ly:grob-property grob 'glyph-name) ""))
>>>(ly:span-bar::print grob))
>>> }
>>> }
>>>
>>>
>>> At the beginning of the music I do: \set Timing.defaultBarType = ""
>>>
>>> So, I set the music with meter - providing lilypond many good points to
>>> insert line breaks - and I make all barlines empty and hide the meter. The
>>> problem is that the (empty) bar lines still occupy space, causing the notes
>>> to be spaced unevenly (see attached example - the bottom part is where the
>>> bar lines are when they are not empty. The space before the final note is
>>> really bad).
>>>
>>> I tried to set the next-note distance to 0 in the space-alist of barline,
>>> but that didn't remove all horizontal space.
>>>
>>> Is there a better way to do this?
>>
>> Try
>>
>> \context { \Staff \remove "Bar_engraver" }
>>
>> That appears to do what you need.
>>
>
> Thanks for the suggestion. This has the desired effect on the note spacing,
> but it raises other problems:
>
> 1. I cannot have the final bar line
> 2. Clefs and key signatures are not printed at the start of systems
> 3. line breaks occur everywhere, also in the middle of beams, etc.
>
> Unfortunately, the balance is negative.
>
> best,
> Peter
minor change since you said you needed a final barline:
\version "2.12.3"
\layout {
\context { \Score \remove Timing_translator \remove Bar_number_engraver }
\context { \Staff \override TimeSignature #'stencil = ##f
}
}
music = {
\override Staff.BarLine #'stencil = ##f
\repeat unfold 32 { \repeat unfold 2 { a8[ a a a] } }
\revert Staff.BarLine #'stencil
\bar "|."
}
\score { \music \layout {} }
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Re: unmetered music - page breaks and empty bar lines
On Jan 2, 2011, at 2:33 PM, Peter Van Kranenburg wrote:
> Dear list,
>
> I'm typesetting unmetered music. My question is: what is the right (or best)
> approach to do so?
>
> If I set Score.timing to false, I have to insert \bar "" everywhere in order
> to let lilypond figure out a nice layout. That's tedious.
>
> My current approach is this:
>
>
> \layout {
> \context {
> \Score
> \remove "Bar_number_engraver"
> \override BarLine #'transparent = ##t
> \override TimeSignature #'transparent = ##t
> }
> \context {
> \PianoStaff
> \override SpanBar #'stencil =
> #(lambda (grob)
> (if (string=? (ly:grob-property grob 'glyph-name) "|")
> (set! (ly:grob-property grob 'glyph-name) ""))
> (ly:span-bar::print grob))
> }
> }
>
>
> At the beginning of the music I do: \set Timing.defaultBarType = ""
>
> So, I set the music with meter - providing lilypond many good points to
> insert line breaks - and I make all barlines empty and hide the meter. The
> problem is that the (empty) bar lines still occupy space, causing the notes
> to be spaced unevenly (see attached example - the bottom part is where the
> bar lines are when they are not empty. The space before the final note is
> really bad).
>
> I tried to set the next-note distance to 0 in the space-alist of barline, but
> that didn't remove all horizontal space.
>
> Is there a better way to do this?
>
> Thanks in advance.
>
> Best,
> Peter van Kranenburg
Perhaps something like:
\version "2.12.3"
\layout {
\context { \Score \remove Timing_translator \remove Bar_number_engraver }
\context {
\Staff
\override BarLine #'stencil = ##f
\override TimeSignature #'stencil = ##f
}
}
music = { \repeat unfold 64 { a4 a a a } }
\score { \music \layout {} }
Hope this helps,
James
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Re: Invitation to connect on LinkedIn
On Dec 30, 2010, at 8:59 AM, David Kastrup wrote: > > What's up with the recent bout of "social networking" address > harvesters? Are there real persons stupid enough to send "invitations" > to all their contacts including mailing lists? If so, one really should > pull their internet licenses. > > -- > David Kastrup I find this comment completely inappropriate. It's fine if you think it. It's fine to share this thought with your friends. But to attempt to passive-aggressively insult someone because you don't agree with something they've done, about something which is at best unimportant, and at worst annoying is extremely poor form. What dialogue do you hope to have arise out of this discussion? If you want to say, "I think a linkedin invitation to everyone on the mailing list is inappropriate" then do so, publicly or privately. But insults are as insulting to the person who makes a baseless one as to the person being insulted. In the future, if you think something is inappropriate, say so. Don't iinsult someone because you think something they've done is inappropriate, that's just impolite. In other words: Anyone who's lived to an age where they can communicate via email and hasn't learned, "if you don't have something constructive to say, don't say anything at all" needs to go back to kindergarten and learn how to play with the other kids. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bug in 2.13.44-1?
On Dec 30, 2010, at 3:52 AM, Tim McNamara wrote: > Is this a bug? > > Interpreting music... > /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:208:9: > In procedure chord-name->pop-markup in expression (name-root root > lowercase-root?): > /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:208:9: > Wrong number of arguments to #pop-markup (pitch)> > > Compilation exited abnormally with code 1 at Wed Dec 29 20:48:49 Can you provide a tiny example which generates this error? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Grace notes with fixed spacing
On Dec 29, 2010, at 6:10 PM, Sven Axelsson wrote:
> OK, rtfm:ing and testing a bit further.
>
> I created a music function like this:
>
> pgrace = #(define-music-function (parser location notes) (ly:music?)
> #{ \newSpacingSection
> \override Score.SpacingSpanner #'spacing-increment = #0.9
> % override Score.SpacingSpanner #'strict-grace-spacing = ##t
> \grace $notes
> #}
> )
>
> in order to play around with different space settings.
>
> I then have definintions like for instance
>
> cad = { \pgrace { \small g32[ e8 d32] } }
>
> that previously used plain grace instead of pgrace.
>
> In the function above I've commented out strict-grace-spacing. That
> setting does more or less what I want, but causes other spacing
> problems as noted in the documentation. spacing-increment doesn't help
> me much.
>
> Does anyone here have a clue of what magic settings I could plug into
> the music function to get the desired non-stretchable spacing? Or
> maybe it isn't even possible?
Maybe the bagpipe settings will help you.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bagpipes#Bagpipes
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Re: Accidental and clef change issue
I don't know about this one. Certainly, the accidental should be (and is)
printed. It's the naturals that aren't printed. Not even when changing octaves:
\new Staff \relative c' {
\time 6/4
\clef treble
cis dis fis
\clef tenor
c d f
\clef bass
cis dis fis
\clef treble
c' d f
}
Certainly, when changing octaves the accidental (sharp or flat), but I don't
recall for naturals.
On Dec 28, 2010, at 12:41 PM, Phil Holmes wrote:
> Hello,
>
> - Original Message - From: "Xavier Scheuer"
> To: "bug-lilypond" ; "lilypond-user"
>
> Cc: "Philhar"
> Sent: Tuesday, December 28, 2010 10:53 AM
> Subject: Accidental and clef change issue
>
>
> Hi!
>
> This has been reported on the French user mailing list.
>
> In the following code the c-natural is not printed if there is a clef
> change in the middle of the measure.
>
> \relative c' {
> \clef bass cis2 c
> \clef tenor cis2 \clef bass c % natural is not printed!!
> \clef bass cis2 \clef tenor c
> }
>
> I do not know what say references like Ross, Read about this but I do
> not think this should be the correct behaviour.
> IMHO this is not what a musician (and a user) expect:
> if we have a c-sharp and then a c-natural (at the same octave)
> _in the same measure_, then the natural __MUST__ be printed!
> This is also against what is said in the regtest
> ‘accidental-clef-change.ly’: Accidentals are reset for clef changes
> (note that this regtest works fine but the reported code does not).
>
> Could you investigate this?
> Thanks in advance.
>
> Cheers,
> Xavier
>
> PS: The only "simple" workaround is to use
> #(set-accidental-style 'piano)
>
> --
> Xavier Scheuer
>
> It's doing what I would expect from reading the regtest - i.e. - when there
> is a clef change, the accidentals are reset to that which you'd expect from
> the key. Therefore, in your example we return to C major, and so there's no
> need to print the accidental. I'd welcome other thoughts as to whether this
> is correct, though.
>
> --
> Phil Holmes
>
>
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Re: centering the new Lyrics
On Dec 28, 2010, at 8:08 AM, Keith OHara wrote: > Dear engravers of lyrics, > > The next version of LilyPond will handle empty spaces within lyrics > differently. > > If we have some adjacent lines of lyrics, version 2.12 collapses any empty > sections, so the set of lines collapses to the minimum vertical height. > > The new system by default preserves the space for the empty sections[*], so > that the lines remain consistently spaced. So far I have heard people want > to do two things: > (1) let interrupted lyrics collapse to a single line, > (2) perfectly center a line of lyrics between two staves. > The new system is very flexible, so we can do these things (attached). But > the new system is complicated, so I always forget and need to relearn how to > use it. > > I want to make a new snippet(s), or a shortcut command(s). Do people really > want to do such things? What else? Is the attached .ly self-explanatory? > -- > Keith > > note[*] except between one line of Lyrics attached to the next staff #UP and > another line attached to the next staff #DOWN. In this case LilyPond tries > to let the lyrics collapse, but there is a bug (issue 1309) that sometimes > prevents them from lining up perfectly. > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user Woah, that looks like a lot to understand. Just a quick update of some of my scores, and I'm seeing some of the differences mentioned. So far, what's written there seems like it should be helpful, and as I have questions, I will certainly ask. As for the things mentioned, it might also be helpful to show a damn, totally sent that earlier than I wanted to. In any event, I guess I'll start reading, since a quick test of a score showed exactly the kinds of issues this is intended to discuss. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: centering the new Lyrics
On Dec 28, 2010, at 8:08 AM, Keith OHara wrote: > Dear engravers of lyrics, > > The next version of LilyPond will handle empty spaces within lyrics > differently. > > If we have some adjacent lines of lyrics, version 2.12 collapses any empty > sections, so the set of lines collapses to the minimum vertical height. > > The new system by default preserves the space for the empty sections[*], so > that the lines remain consistently spaced. So far I have heard people want > to do two things: > (1) let interrupted lyrics collapse to a single line, > (2) perfectly center a line of lyrics between two staves. > The new system is very flexible, so we can do these things (attached). But > the new system is complicated, so I always forget and need to relearn how to > use it. > > I want to make a new snippet(s), or a shortcut command(s). Do people really > want to do such things? What else? Is the attached .ly self-explanatory? > -- > Keith > > note[*] except between one line of Lyrics attached to the next staff #UP and > another line attached to the next staff #DOWN. In this case LilyPond tries > to let the lyrics collapse, but there is a bug (issue 1309) that sometimes > prevents them from lining up perfectly. > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user Woah, that looks like a lot to understand. Just a quick update of some of my scores, and I'm seeing some of the differences mentioned. So far, what's written there seems like it should be helpful, and as I have questions, I will certainly ask. As for the things mentioned, it might also be helpful to show a ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Not enough space between certain words
On Dec 26, 2010, at 9:36 PM, Michael Dykes wrote: > I am working on another liturgical piece of music, and it has a refrain that > ends with the word: Alleluia! In most cases, that word is getting scrunched > up, and the dashes are not visible. The rest of the piece is fine, except for > that part. Could anyone help, please? Attached is the current version of the > file. In the Notation Reference in the section on lyrics, specifically, extenders and hyphens, minimum-length and minimum-distance are named as controlling whether or not hyphens are displayed.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When right hand notes spill over to the bass clef?
On Dec 25, 2010, at 12:32 AM, Disc Magnet wrote:
> I have a 4/4 bar containing the following notes with left hand and right hand.
>
> Left hand = f1 (The f key to the left of middle C, i.e. the second
> line in bass clef. Occupies the whole bar.)
> Right hand = d4 c a b (The D key to the right of middle C, middle C, A
> to the left of middle C, B to the left of middle C. Each note occupies
> one beat.)
>
> Now, one would see that "a b" of right hand would intrude into the
> bass clef. But in the bass clef f1 is already occupying the whole bar.
> What is the right way to represent notes like these?
If it is just these two notes, ledger lines would be appropriate. If the
section extending into the bass register goes much lower or exists for a longer
period of time, either changing clefs, or moving the notes into the left hand
staff would be appropriate.
\version "2.12.3"
\new PianoStaff <<
\new Staff = RH \relative c' {
d4 c a b c d f e \break
d c \clef bass a b g f d e \break
\change Staff = LH \voiceOne
d'4 c a b g f c d
}
\new Staff = LH \relative c {
\clef bass
f1 e \break
f1 c \break
f1 \voiceTwo e2 a,
}
>>
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Re: ways of using Lilypond?
If you haven't already, I would suggest reading the learning manual through, so you have a basic understanding of how lilypond works. You may want to try and get one of the integrated environments (frescobaldi, denemo, jEdit +lilypondtool). You should, at that point, have enough knowledge to be able to enter things, understand what the integrated editing environment is doing, and make changes should the program not succeed. But, even if you just use a basic text editor, you'll get to a place where you really understand what it is you want to do, how to find things in your files, and how to enter things effectively. I am a mac user who got caught by bug 504 completely oblivious to the fact that there are much better (easier) ways of entering text for compilation by lilypond. Until that point, I was using the built-in lilypond editor (which is like a stripped down version of TextEdit) that has update and compilation built in. As a result of that bug, I: a) learned how to use lilypond on the command line b) learned how to build and install a program from source code on mac osx (nano 2.0, 'cause nano 1 is pretty useless) c) learned enough regex to create simple syntax hilighting rules d) learned about the program Skim (which, at the time, was the easiest way to keep a pdf open and have it automatically refresh when the file was changed) e) learned a whole lot about my computer that I never knew before Along the way, I tried emacs and vim and TextMate and TeXShop (because they were mentioned in the documentation) but they were far too much for my simple needs, or too difficult to manage. On Dec 19, 2010, at 2:27 AM, Ludo Beckers wrote: > I guess I asked this question because I'm not sure whether or not I should > first learn Lilypond syntax and then see if I want/need to use tools besides > it. > > I asked about the combination vim-Lilypond sometime ago, but that would be 2 > steep learning curves to tackle at once; a bit too much. > > btw Jethro, I see we're fellow countrymen :-) (Antwerpen here) > > Ludo > > On Sun, Dec 19, 2010 at 12:09 AM, Jethro Van Thuyne > wrote: > Ludo Beckers: > > > Just wondering, has there ever been a poll about how many Lilypond users > > work with a certain specific tool. > > Is the majority in this group using denemo, frescobaldi, lilypondtool or > > other tools? > > Vim, with custom mappings (or without), has been the most practical > tool for me so far. > > Jethro. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ways of using Lilypond?
On Dec 18, 2010, at 11:19 PM, Ludo Beckers wrote: > Just wondering, has there ever been a poll about how many Lilypond users work > with a certain specific tool. > Is the majority in this group using denemo, frescobaldi, lilypondtool or > other tools? I usually use nano. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: an emacs question
On Dec 12, 2010, at 10:07 AM, Alexander Kobel wrote:
> On 2010-12-12 09:48, James Bailey wrote:
>>
>> How can I pass an argument to the emacs compile command? Usually, when I
>> compile something on the command line, I include a directory with tons of
>> style sheets with the -I argument. Is it possible to add this to emacs, or
>> can I only do it on the command line? Thanks in advance,
>
> Hi, James,
>
> C-h v LilyPond-command-alist gives me this:
>
> Documentation:
> AList of commands to execute on the current document.
>
> The key is the name of the command as it will be presented to the
> user, the value is a cons of the command string handed to the shell
> after being expanded, and the next command to be executed upon
> success. The expansion is done using the information found in
> LilyPond-expand-list. [...]
>
> Value:
> (("LilyPond" "Lilypond %s" "%s" "%l" "View")
> [...])
>
> So I assume it should be enough to customize the "LilyPond" entry to
> ("LilyPond" "Lilypond %s" "%s" "%l" "View")
> and go for it. (You can click on the customize text in the variable
> documentation to yield the corresponding customization buffer.)
> Of course, this only applies to the C-c C-c compilation command of the
> LilyPond-mode; if you use the default M-x compile, you're both free and
> forced to give a shell command, and override the default as well.
>
>
> Cheers,
> Alexander
Thanks, it worked! I added it to my ~/.emacs!
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an emacs question
How can I pass an argument to the emacs compile command? Usually, when I compile something on the command line, I include a directory with tons of style sheets with the -I argument. Is it possible to add this to emacs, or can I only do it on the command line? Thanks in advance, James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: double time signatures
On Dec 11, 2010, at 8:33 PM, Martin Kemp wrote: > Dear All > > I have nearly got what I want with the following snippet but can't currently > centrally align 12 over 8 (12/8). Any help gratefully apprecitated. You may be re-inventing the whell. Perhaps http://lists.gnu.org/archive/html/lilypond-user/2009-08/msg00447.html will help you. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Odd output
I'd say it's up to more than just the performer's ear to make the distinction.
If you spend much time listening to music where enharmonic notes are rounded to
a median, the ability of the listener/performer to distinguish the difference
diminishes. So the audience is just as at fault at not hearing the difference
between our enharmonic notes as the performers.
On Dec 10, 2010, at 7:40 PM, Michael Ellis wrote:
> Yes! Spelling does count because poorly spelled music is much harder to read.
> I'm somewhat less convinced regarding sonic differences on untempered
> instruments because the matter is more complicated than that, e.g G# as the
> leading tone to A is different from G# as the third of E. In practice, it
> comes down to the performer's ear to make those distinctions. So, for me at
> least, readability is the primary consideration. For those who care about
> such things, here's a link to the best article I've seen on the subject. It's
> by Bert Ligon, head of the Jazz Studies department at the University of South
> CarolinaCollege of Music.
>
> MUSIC SPELL CHECK? PURPOSEFUL ACCIDENTALS
>
> Cheers,
> Mike
>
>
> On Fri, Dec 10, 2010 at 12:55 PM, James Bailey
> wrote:
> Because spelling counts! D# and E♭may sound the same (on a tempered
> instrument) but they are two very different notes. And an performer playing
> an instrument that can distinguish between the two, should.
>
>
> On Dec 10, 2010, at 6:18 PM, Michael Ellis wrote:
>
>> Why not set one of the notes to a different enharmonic pitch? It's
>> certainly much kinder to the musician who's trying to play the composition.
>>
>> \include "english.ly"
>> {
>> \clef treble
>> \time 4/4
>> <<
>> { fs'4 }
>> \\
>> { es'4 }
>> >>
>> }
>>
>>
>> Cheers,
>> Mike
>>
>>
>> On Fri, Dec 10, 2010 at 7:00 AM, Phil Holmes wrote:
>> Please reply to the user group as well.
>>
>> As is often pointed out, it's free software and the fixes depend on who is
>> working for nothing on the code.
>>
>> I wouldn't think it would crop up frequently.
>>
>> I made a workaround with a combination of forcing the accidentals to be
>> displayed, and then using force-hshift and extra-offset and a few other
>> tweaks to make it work.
>>
>> My example is pretty complicated, because I also autogenerate the code, but
>> you're welcome to a copy if you want.
>>
>> --
>> Phil Holmes
>>
>>
>>
>> - Original Message - From: "Marco Correia"
>>
>> To: "Phil Holmes"
>> Sent: Friday, December 10, 2010 10:29 AM
>> Subject: Re: Odd output
>>
>>
>> Thanks!
>>
>> I can't believe that this is seen as a low priority enhancement...! This
>> completely renders lilypond unusable for the task I need it, which is to
>> serve
>> as a printer for computer generated music. The output is not ugly - it is
>> plain wrong!
>>
>> Why doesn't the accidental_engraver looks into other voices as well?
>>
>> Maybe I can workaround it by doing an extra pass before writing the lilypond
>> code to check if this kind of problem may occur... But now I wonder what
>> other
>> kind of potential problems may occur with this accidental_engraver
>> algorithm...
>>
>> Anyway, I just wanted to say that I think this problem deserves more
>> consideration.
>>
>> Thank you!
>> Marco
>>
>> On Friday 10 December 2010, you wrote:
>> - Original Message -
>> From: "Marco Correia"
>> To:
>> Sent: Friday, December 10, 2010 12:35 AM
>> Subject: Odd output
>>
>> > Hi,
>> >
>> > I just started using lilypond, so it is very possible that I'm making
>> > some mistake.
>> >
>> > When compiling this example:
>> >
>> > \include "english.ly"
>> > {
>> > \clef treble
>> > \time 4/4
>> > <<
>> > { fs'4 }
>> > \\
>> > { f'4 }
>> >
>> > }
>> >
>> > I see two notes on fs (occupying the same position but with stems up > and
>> > down). There is no indication that f is there.
>> >
>> > Is this supposed to/ how do I fix it?
>> >
>> > Thanks!
>> > Marco
>>
>> This was one of the first issues I raised, in June this year. I think it
>> was my first bug report:
>>
>> http://code.google.com/p/lilypond/issues/detail?id=1134
>>
>>
>> --
>> Phil Holmes
>>
>>
>> --
>> Marco Correia
>>
>>
>>
>> ___
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>> lilypond-user@gnu.org
>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>> ___
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>> lilypond-user@gnu.org
>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
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Re: Odd output
Because spelling counts! D# and E♭may sound the same (on a tempered instrument)
but they are two very different notes. And an performer playing an instrument
that can distinguish between the two, should.
On Dec 10, 2010, at 6:18 PM, Michael Ellis wrote:
> Why not set one of the notes to a different enharmonic pitch? It's certainly
> much kinder to the musician who's trying to play the composition.
>
> \include "english.ly"
> {
> \clef treble
> \time 4/4
> <<
> { fs'4 }
> \\
> { es'4 }
> >>
> }
>
>
> Cheers,
> Mike
>
>
> On Fri, Dec 10, 2010 at 7:00 AM, Phil Holmes wrote:
> Please reply to the user group as well.
>
> As is often pointed out, it's free software and the fixes depend on who is
> working for nothing on the code.
>
> I wouldn't think it would crop up frequently.
>
> I made a workaround with a combination of forcing the accidentals to be
> displayed, and then using force-hshift and extra-offset and a few other
> tweaks to make it work.
>
> My example is pretty complicated, because I also autogenerate the code, but
> you're welcome to a copy if you want.
>
> --
> Phil Holmes
>
>
>
> - Original Message - From: "Marco Correia"
> To: "Phil Holmes"
> Sent: Friday, December 10, 2010 10:29 AM
> Subject: Re: Odd output
>
>
> Thanks!
>
> I can't believe that this is seen as a low priority enhancement...! This
> completely renders lilypond unusable for the task I need it, which is to serve
> as a printer for computer generated music. The output is not ugly - it is
> plain wrong!
>
> Why doesn't the accidental_engraver looks into other voices as well?
>
> Maybe I can workaround it by doing an extra pass before writing the lilypond
> code to check if this kind of problem may occur... But now I wonder what other
> kind of potential problems may occur with this accidental_engraver
> algorithm...
>
> Anyway, I just wanted to say that I think this problem deserves more
> consideration.
>
> Thank you!
> Marco
>
> On Friday 10 December 2010, you wrote:
> - Original Message -
> From: "Marco Correia"
> To:
> Sent: Friday, December 10, 2010 12:35 AM
> Subject: Odd output
>
> > Hi,
> >
> > I just started using lilypond, so it is very possible that I'm making
> > some mistake.
> >
> > When compiling this example:
> >
> > \include "english.ly"
> > {
> > \clef treble
> > \time 4/4
> > <<
> > { fs'4 }
> > \\
> > { f'4 }
> >
> > }
> >
> > I see two notes on fs (occupying the same position but with stems up > and
> > down). There is no indication that f is there.
> >
> > Is this supposed to/ how do I fix it?
> >
> > Thanks!
> > Marco
>
> This was one of the first issues I raised, in June this year. I think it
> was my first bug report:
>
> http://code.google.com/p/lilypond/issues/detail?id=1134
>
>
> --
> Phil Holmes
>
>
> --
> Marco Correia
>
>
>
> ___
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>
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Re: virtualization software for OSX
On Dec 7, 2010, at 5:35 PM, Valentin Villenave wrote: > On Tue, Dec 7, 2010 at 1:39 PM, Graham Percival > wrote: >> On Tue, Dec 7, 2010 at 12:13 PM, Valentin Villenave >> wrote: >>> In my opinion, the absolute ideal alternative is to use Wubi (it would >>> work great with LilyBuntu, btw): >> >> Does it work on OSX? > > Touché. It does not, since Linux doesn't adequately supports OSX's filesystem. > > That being said, Mac OSX has native support for bash, git, and even > the whole GNU toolchain via Fink/Macports. So I guess LilyBuntu is > primarily aimed at Windows users (at least, I haven't heard of any > contributor who might be running lilybuntu under OSX, but I'm waiting > to be proved wrong). I didn't bother reading the bits on lilybuntu in the contributor's guide, otherwise I might have downloaded the virtualization tool and used it rather than fighting for months to be able to compile lilypond and the documentation on my OSX. While possible on OSX, it's far from easy, and even further from as easy as using virtualbox and lilybuntu. As an OSX user who has limited knowledge/experience in linux things, I think suggesting a macintosh user to install something like the macports version of lilypond (which exists) is a bit much, since it has as dependencies things like xorg's X11 (which is in addition to the XFree86 version one needs in order to install the xorg X11) ghostscript, cairo, xrender, pango as well as dbus and others, of course. The point is, using macports to install all of the dependencies to lilypond is probably possible. But the macports system requires the user to install tons of unnecessary software (who really needs x.org's X11 and XFree86's X11), or the full X11 implementation of ghostscript if all you want to do is edit a few files for documentation? All in all, I think that vmware is probably the easiest solution to be able to offer someone who wants to contribute who is not using linux and who doesn't have the savvy (or desire) to figure out how to compile lilypond on their own.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adding Staves
On Dec 6, 2010, at 7:31 PM, Br. Athanasius Pelletier wrote: > I fixed up the input, there were alot of errors before.I am not sure > about the use of << >> and < > in the \score section. > Verses one and two have the same music but three and four each have different > music. What exactly is your question? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeats and alternatives
On Dec 4, 2010, at 11:19 PM, Neil Puttock wrote: > On 4 December 2010 22:05, James Bailey wrote: >> I don't understand alternatives. Can someone explain to me what I'm doing >> wrong. Why does the first example not compile properly with the excuse, >> "more alternatives than repeats" but the second example compiles just fine? > > In your first example, LilyPond sees three blocks of music inside > \alternative since there's an isolated barcheck between the two music > parts. > > Cheers, > Neil Thank you so much. I spent at least 30 minutes trying to figure this out. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
repeats and alternatives
I don't understand alternatives. Can someone explain to me what I'm doing
wrong. Why does the first example not compile properly with the excuse, "more
alternatives than repeats" but the second example compiles just fine?
\version "2.12.3"
\book {
\relative c'' {
\time 3/4
\repeat volta 2 {
g4 g8 g g4 |
}
\alternative {
{ \repeat unfold 4 { g4 g8 g g4 } } |
{ \repeat unfold 2 { g2. } }
}
g2.
}
}
\book {
\relative c'' {
\time 3/4
\repeat volta 2 {
g4 g8 g g4 |
}
\alternative {
{ \repeat unfold 4 { g2. } }
{ \repeat unfold 2 { g2. } }
}
g2.
}
}
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Re: vim&Lilypond learning curve_jazzchord font_bars per line? 3 questions
On Dec 2, 2010, at 5:06 PM, LazyLew wrote: > > I have some simple questions - can't find it in the manuals so far, because > there's so much there. > > - is it easy to adapt fonts for chords? I like 'em bold, the way you often > see in jazz sheets. > - is it easy to control the amount of measures per line? I stick to 4 as > rule of thumb as much as possible. > - is the learning curve doable for a combination of vim and Lilypond? I'm > new at both, and am 53, so don't have decades left to learn. Hello! First, I would suggest you to read the learning manual. Not with the goal of actually typesetting anything, just to actually understand how lilypond works. Second, I would suggest you use a more easily accessible tool for typesetting your scores than vim. Some are mentioned on the tutorial page of the lilypond.org website under easier editing. i realize that I haven't answered your questions, but your questions may change once you've invested the bit of time it takes to actually read (rather than search or skim) the learning manual. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to print 2 rehearsal marks above and below same bar line
Hello, I asked this exact same question almost exactly two years ago! Here is
the response I got from Mats. It worked for me, even if it was a bit fiddly:
> From: Mats Bengtsson
> Date: December 11, 2008 5:36:04 PM GMT+01:00
> To: james
> Cc: lilypond-user Mailinglist
> Subject: Re: two simultaneous marks
>
> Well, one trick is to draw both marks as a single markup command with a
> sufficiently large
> vertical separation, and then move it downwards so that the upper mark
> appears above the
> staff and the lower one below. Example:
>
> \version "2.10.0"
> \relative c'{ c d e f
> \once \override Score.RehearsalMark #'extra-offset = #'(0 . -9)
> \once \override Score.RehearsalMark #'baseline-skip = #9
> \mark \markup \column{\box A
> \italic fine }
> g f e d | c1 |
> }
>
> /Mats
On Nov 29, 2010, at 9:20 PM, James Lowe wrote:
> Hello,
>
> Consider these two 'contrived' examples
>
> --
> \version "2.13.40"
>
> \relative c'' {
> c4 c8 c c4 bes | a2 a \bar "||"
> \once \override Score.RehearsalMark #'break-visibility =
> #begin-of-line-invisible
> \once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
> \once \override Score.RehearsalMark #'direction = #DOWN
> \mark \markup { \small \bold \italic "Fine."}
> f4 f8 f f4 f | g2 g4 g |
> }
>
> \relative c'' {
> c4 c8 c c4 bes | a2 a \bar "||"
> \mark #1
> f4 f8 f f4 f | g2 g4 g |
> }
>
> --
>
> In the first {} example the 'fine.' is aligned with the bar line and in the
> second the \mark is also aligned on the same bar line, I'd like to be able to
> have a single system with the fine. 'text' \mark and a 'rehearsal mark' \mark
> below and above respectively. I say this example is contrived because this
> would be a nice *and simple* method (for me anyway) generally to align items
> without having to worry about \tweaking each time I ever transpose or add
> more bars/notes.
>
> While I realise I could 'tweak' a markup and move it horizontally, the
> align/break-visibility alignment method is a nice way of aligning to a given
> bar without trial and error and using \mark 'rehearsal.mark' is very simple.
>
> While we have an LSR example
>
> http://lsr.dsi.unimi.it/LSR/Item?id=10
>
> This uses two staves. Using a << \\ >> construct with just explicit \marks
> doesn't seem to work, and I wondered if this was possible?
>
> I hope that makes sense.
>
> James
>
>
>
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Re: lyrics notgoing with triplet
The triplets are beamed together. See section 2.1.3 in the 2.12 documentation.
On Nov 25, 2010, at 8:17 PM, i...@soundand.com wrote:
>
> Hello-,
> I expect the lyrics syllables to go with each note in the triplet figure but
> it won't in the following example- what has changed since I last did this?
> Thanks-Jay
>
> \version "2.12.3"
> \header {
> title = "example"
> composer = "Jay Hamilton"
>copyright = \markup { \tiny \override #'(baseline-skip . 0.5)
> \center-column
>{ "CC lic 2.5 some rights reserved Jay Hamilton 2010"
>"see http://creativecommons.org/licenses/by-nd/2.5/";
> } }
> }
> #(ly:set-option 'delete-intermediate-files #t)
> melody = \relative c'
> {
> \clef treble
> \key c \major
> \time 4/4
> #(set-global-staff-size 30)
> \override Staff.TimeSignature #' style = #' ()
> r2. r8 g c4 g'2 bes4 \times 2/3 {a8 [f c]} g'2 r4
> f d bes d c2. r8 g
> \bar "|."
> }
> text = \lyricmode {
> A great bird fell crash- ing to earth
> un- touched by my hand
> }
> \score {
> <<
> \new Voice = "mel" { \autoBeamOff \melody }
> \new Lyrics \lyricsto mel \text
>
>>>
>
> \layout {
> \context { \RemoveEmptyStaffContext }
> }
> \midi { }
> }
>
>
>
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Re: lilypond output to pdf
All of the changes between 2.13.4 and 2.13.5 should be here:
http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=shortlog;h=refs/tags/release/2.13.5-0
However, since this is an unstable branch, it's highly recommended that you
update to the latest unstable version, 2.13.40.
On Nov 25, 2010, at 3:32 PM, jacquesv wrote:
>
> Can you tell me what has been changed by making the update lilypond to
> version 2.13.5.
> I don't have a problem with lilypond 2.13.4.
> The problem of output tot pdf starts with using the version 2.13.5 and
> higher.
>
>
>
>
> Dmytro O. Redchuk-2 wrote:
>>
>> У пн., 15-го лис. 2010 (46-й тиждень року), о 10:19 Jacques Verhagen
>> писали:
>>> I work with OS Linux opensuse 11.3 86_64.
>>> The example is example.ly
>>
>> Ubuntu-64, 2.13.38 and 2.13.39 are both quite ok with this file.
>>
>> Very probably, you would ask this question in lilypond-user?..
>>
>> ps. Please, "reply to all" or "reply to list" or "Cc to list", thanks.
>>
>> pps, for other list members -- example.ly was:
>> %--
>> \score {
>> \relative c' {
>> \clef "treble"
>>\time 4/4
>> c4 d e f \bar "|."
>> }
>> \layout{}
>> }
>> %--
>>
>>
>>> By running Lilypond, I get the message:
>>>
>>> LilyPond 2.13.38 [example.ly] wordt gestart (vooruitblik)...
>>> Verwerken van `example.ly'
>>> Ontleden...
>>> Vertolken van muziek...
>>> Voorbewerken van grafische objecten...
>>> Finding the ideal number of pages...
>>> Fitting music on 1 page...
>>> Tekenen van systemen...
>>> Opmaakuitvoer naar `example.ps'...
>>> Converteren naar `./example.pdf'...
>>> `gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89
>>> -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite
>>> -sOutputFile="./example.pdf" -c .setpdfwrite -f "example.ps"' gefaald
>>> (256)
>>> fout: gefaalde bestanden: "example.ly"
>>> LilyPond [example.ly] stopte met foutcode 1.
>>>
>>>
>>>
>>>
>>> Op 15-11-10 08:35, Dmytro O. Redchuk schreef:
On Sun 14 Nov 2010, 16:24 verhagen wrote:
> Using Lilypond 2.13.5-0 or higher I cannot convert the output to .pdf
>
> I get the error
>
>
> s -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -d
> DEVICEHEIGHTPOINTS=841.89 -d
> CompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -s
> DEVICE=pdfwrite -sOutputFile="./Scorekl.pdf" -c .setpdfwrite -f
>>> "Scorekl.ps"'
> gefaald (256)
> fout: gefaalde bestanden: "Scorekl.ly"
> LilyPond [Scorekl.ly] stopte met foutcode 1.
>
Please write more bits of information -- send a minimal example
(http://lilypond.org/tiny-examples.html), specify which OS do you use,
>>> which
command to "convert", any other information which may be helpful.
Thank you!
>>
>> --
>> Dmytro O. Redchuk
>> Bug Squad
>>
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>>
>>
>
> --
> View this message in context:
> http://old.nabble.com/Re%3A-lilypond-output-to-pdf-tp30217308p30305817.html
> Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
>
>
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Re: multiple input files
I think section 5.1.5, on style sheets in the learning manual for version 2.12 might have tips on how to do what you're trying to do. On Nov 23, 2010, at 7:59 AM, lunar7 wrote: > Hello everyone, > > I am prototyping a lilypond MIDI input tool in Max/MSP (to be later > implemented in C++) and am interested in how I might go about using seperate > input files that could be linked together at render-time to produce a single > pdf. > > I noticed on Mutopia years ago a file that was able to do that, a Bach > keyboard work, I'm trying to find it again but that may take some time. > > What I'd like to do is have seperate "header" and "body" files. The reason > for this is that for the "body" file, I'd like to be able to have the program > insert automatic carriage returns at what would be the end of each complete > measure, thus other features would be able to count on each measure being on > a certain line (I'm guessing the first line would be the open bracket and > clef, so each measure would be offset by one line). > > Ideally I could have a global "header" file and two "body" files, one for the > right hand and one for the left hand. As that implies, this would be entirely > geared towards piano works. > > Does anyone know how I might make a template along these lines? > Thanks > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inserting comments into the log file
Perhaps you will find some tips in section 5 of the learning manual. Oh, I've just started reading the 2.13 documentation, and this section has been moved to the usage manual. On Nov 17, 2010, at 7:40 PM, Paul Thompson wrote: > > I have not found a command to insert a comment placed in the .ly file into > the .log file. This is a useful tool for debugging. I am trying to find > which of my \break commands is not acceptable, and cannot get lilypond to > print line number about that. So, using a comment in the log is usually the > way to go. > > Paul Thompson > <--static--canyon_b.jpg> > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inserting comments into the log file
Perhaps you will find some tips in section 5 of the learning manual. On Nov 17, 2010, at 7:40 PM, Paul Thompson wrote: > > I have not found a command to insert a comment placed in the .ly file into > the .log file. This is a useful tool for debugging. I am trying to find > which of my \break commands is not acceptable, and cannot get lilypond to > print line number about that. So, using a comment in the log is usually the > way to go. > > Paul Thompson > <--static--canyon_b.jpg> > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: acciaccatura placement
On Nov 7, 2010, at 4:07 AM, Richard Konzen wrote: > Lilyponders, > > I'm working on a score which includes the snippet below from the harp part. > I'm finding that the acciaccatura wants to create a second double bar giving > an extra measure with an 8th note value. The new key signature also gets set > in this 8th note bar. There are several measures rest before the double bar. > > Eliminating the acciaccatura solves the 8th note bar and key signature > placement, but I would like to have the acciaccatura in there. I have > experimented with brackets and the like, but haven't found a solution. Can > anyone point me in the right direction? Many thanks. > > Richard Konzen > > > \bar "||" \key aes \major > \acciaccatura ees8 2 r2 > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user Have you seen the "Known issues and warnings" for grace notes? This sounds like exactly that.___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: rests in polyphonic music - 'stems down, rests up'
On Nov 1, 2010, at 4:14 PM, ander...@notam02.no wrote:
> Hello. Im doing some testing on Rachmaninovs C-minor praeludium.
>
> Q: How Can i separate handling of rests from stem-directions in
> polyphonic voice-handling?
>
> Id actually want the default behavior of \voiceOne, except for pointing
> the stems down.
You can always do \voiceOne \stemDown
>
> <<
> \new Voice {\voiceTwo \override Rest #'direction = #UP r8 c'' r c'' }\\
> \new Voice {\voiceOne c4 c}
>>>
>
> Btw, the default output, wo. explicit voicehandling, is odd (regardless
> of voice order):
>
What's odd? It looks normal to me.
> <<
> {\new Voice {r8 c'' r c''}}\\
> {\new Voice {c4 c}}
>>>
>
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Re: Question on creating an "ossia" with different times?
I'm glad to see you've made some progress, considering how often you have ossia
measures, you may want to consider just starting and stopping the staff
whenever you need it:
\version "2.12.3"
\paper { indent = 0\mm }
music = {
\override Staff.TimeSignature #'style = #'()
\override Score.BarNumber #'break-visibility = #end-of-line-invisible
\key d \major
\relative c' {
\time 3/2
c c d d es es |
e e fis fis
<<
{
g g |
\time 1/4
r |
\time 4/2
c, c d d es es
e4 e |
}
\new Staff = "ossia" \with {
alignAboveContext = #"main"
firstClef = ##f
}
{
\time 3/4 g4 g r |
\stopStaff
s1.
\startStaff
\time 3/4 e!4 e r |
}
>>
\time 1/4
r |
\time 3/2
r c d d es es |
}
\bar "|."
}
\score {
\new Staff = "main" \music
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
}
}
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Re: Question on creating an "ossia" with different times?
Hi, first of all, let me recommend you to upgrade to version 2.12. It's the
current stable version, and includes numerous bug fixes over 2.10. Secondly,
let me recommend you to read the Learning Manual included in the new
documentation. Even if you've been using LilyPond for quite a while, it
explains the features in an easy to understand format, and will likely enable
you to answer most of your own questions in the future. Thirdly, to answer your
question, you'll find sections on having different time signatures in different
staves in (the 2.12 documentation) the Notation Reference, section 1.2.3, and
information on creating ossia staves in section 1.6.2. I hope these help you!
James
On Oct 29, 2010, at 10:01 PM, Wim van Dommelen wrote:
> Hi,
>
> I'm trying to create an alternative Staff ("ossia") with a changing of the
> times. I didn't succeed. I'll try to explain with this example. (simplified
> with all my rubbish deleted, just the basic notes left:-):
>
> \version "2.10.0"
>
> \paper {
> #(set-paper-size "a4")
> #(define dump-extents #t)
> indent = 0\mm
> }
>
> BCLOne = {
> \relative c' {
> \time 3/2
> c c d d es es |
> e e fis fis g g |
> \time 1/4
> r |
> \time 4/2
> c, c d d es es e e |
> \time 1/4
> r |
> \break
> \time 3/2
> r c d d es es |
> \time 4/2
> e, e fis fis gis gis a a |
> }
> \bar "|."
> }
>
> BCLTwo = {
> \relative c' {
> \time 3/2
> c c d d es es |
> \time 2/2
> e e fis fis |
> \time 3/4
> g g r |
> \time 3/2
> c, c d d es es |
> \time 3/4
> e e r |
> \break
> \time 3/2
> r c d d es es |
> \time 4/2
> e, e fis fis gis gis a a |
> }
> \bar "|."
> }
>
> \book {
> \score {
> {
> \override Staff.TimeSignature #'style = #'()
> \override Score.BarNumber #'break-visibility =
> #end-of-line-invisible
> \clef violin
> \key d \major
> \BCLOne
> \break
> \BCLTwo
> }
> \layout {}
> }
> }
>
> If you run this you will get twice 7 measures. What I want and tried is to
> put these two on top of each other. All notes are quarter notes, the total
> length of the pieces is exactly the same, and if you write it out manually
> you can put it so that for example the third quarter of measure 10 exactly
> fits on measure 3. The same happens a few bars further on.
>
> Now mixing it gets me in trouble for the change of the time (2/2, 3/4) which
> has a global result. Either I'm misinterpreting it, or I just don't
> understand how to do it.
>
> Anyone who can help me with a solution? (or just tell me we just can't,
> that's fair enough!)
>
> Regards,
> Wim van Dommelen.
>
>
>
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Re: Voice solely for formatting?
On Oct 27, 2010, at 8:57 PM, Christopher Meredith wrote:
> Somewhere in my travels, I saw a LilyPond source file in which the author had
> created a voice that contained only formatting directives and no notes, so
> that the other voices would contain only notes and no formatting directives.
> This "technical" voice contained all the staff markup, dynamics, tempo
> changes, etc. I remember seeing that and thinking it was a good idea.
>
> Now I'd like to implement it but I can't remember how it was accomplished or
> where I saw it. Can someone point me in the right direction? Is this a
> recommended practice?
>
> Thanks!
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Do you mean:
\version "2.12.3"
music = \relative c' { c d e f g f e d c1 }
markups = { s1^\markup \italic { with salmon } s2 s^\markup \italic { without
salmon } }
dynamics = { s1\mf\< s\> s\sfz }
keysig = { \key e \minor }
timesig = { \time 4/4 s1 \time 2/2 s1 \time 8/8 s1 \bar "||" }
{ \new Staff << \music \markups \dynamics \keysig \timesig >> }
I do this all the time. And I find it really useful.
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Re: Help shifting entire tuplet horizontally within a measure
On Oct 24, 2010, at 10:08 PM, James Lowe wrote: > > What I don't understand is what the *1/4 and *4 are doing in this > context. Is this documented? > > James See 1.2.1 in the Notation Reference, Scaling Durations. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \chordmode chords jumping about on PDF using Mac OSX
On Oct 21, 2010, at 6:18 PM, James Bailey wrote: > > On Oct 21, 2010, at 12:39 PM, James wrote: > >> Hello, >> >> On 21/10/2010 10:18, Henning Hraban Ramm wrote: >>> Am 2010-10-20 um 22:06 schrieb Valentin Villenave: >>> >>>>> That is an awesome bug. I don't get the complaint about insane min >>>>> spring distance, but I do get the jumping around. I wouldn't even >>>>> know how to add this to the tracker. This also happens on 2.13.36, >>>>> which is where I tested it. >>>> >>>> Very odd. Can't reproduce on GNU/Linux, the PDF compiles just fine >>>> here. >>>> >>>> Can someone else reproduce it? >>> >>> OSX 10.5.8 Intel here. >>> >>> With 2.12.3 output is constant and all seems well. >>> With 2.13.31 output is constant, but the F chord is missing. >>> With 2.13.36 output is constant and all seems well. >> >> I should also mention that I am using LilyPad (I think it is called - the >> inbuilt editor rather than cli or other tool) and I just use cmd-s (to save) >> and cmd-r (to compile). Then just keep using cmd-r, wait for the PDF to >> compile and display and then hit cmd-r again. >> >> James > > I got it with the command line. Maybe it's a 10.6 issue only. If it hasn't > been added yet, I'll try and add it to the tracker today. Added as Issue 1353___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \chordmode chords jumping about on PDF using Mac OSX
On Oct 21, 2010, at 12:39 PM, James wrote: > Hello, > > On 21/10/2010 10:18, Henning Hraban Ramm wrote: >> Am 2010-10-20 um 22:06 schrieb Valentin Villenave: >> >> >> That is an awesome bug. I don't get the complaint about insane min >> >> spring distance, but I do get the jumping around. I wouldn't even >> >> know how to add this to the tracker. This also happens on 2.13.36, >> >> which is where I tested it. >> > >> > Very odd. Can't reproduce on GNU/Linux, the PDF compiles just fine >> > here. >> > >> > Can someone else reproduce it? >> >> OSX 10.5.8 Intel here. >> >> With 2.12.3 output is constant and all seems well. >> With 2.13.31 output is constant, but the F chord is missing. >> With 2.13.36 output is constant and all seems well. > > I should also mention that I am using LilyPad (I think it is called - the > inbuilt editor rather than cli or other tool) and I just use cmd-s (to save) > and cmd-r (to compile). Then just keep using cmd-r, wait for the PDF to > compile and display and then hit cmd-r again. > > James I got it with the command line. Maybe it's a 10.6 issue only. If it hasn't been added yet, I'll try and add it to the tracker today. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \chordmode chords jumping about on PDF using Mac OSX
On Oct 21, 2010, at 12:39 PM, James wrote: > Hello, > > On 21/10/2010 10:18, Henning Hraban Ramm wrote: >> Am 2010-10-20 um 22:06 schrieb Valentin Villenave: >> That is an awesome bug. I don't get the complaint about insane min spring distance, but I do get the jumping around. I wouldn't even know how to add this to the tracker. This also happens on 2.13.36, which is where I tested it. >>> >>> Very odd. Can't reproduce on GNU/Linux, the PDF compiles just fine >>> here. >>> >>> Can someone else reproduce it? >> >> OSX 10.5.8 Intel here. >> >> With 2.12.3 output is constant and all seems well. >> With 2.13.31 output is constant, but the F chord is missing. >> With 2.13.36 output is constant and all seems well. > > I should also mention that I am using LilyPad (I think it is called - the > inbuilt editor rather than cli or other tool) and I just use cmd-s (to save) > and cmd-r (to compile). Then just keep using cmd-r, wait for the PDF to > compile and display and then hit cmd-r again. > > James I got it with the command line. Maybe it's a 10.6 issue only. If it hasn't been added yet, I'll try and add it to the tracker today. James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel dynamics, markup, sponsor, etc.
On Oct 21, 2010, at 5:43 PM, Jan Warchoł wrote:
> Hi,
>
> 2010/10/19 Valentin Villenave
> On Tue, Oct 19, 2010 at 11:43 AM, Jan Warchoł
> wrote:
> > (...) Lily places all related dynamics at the same vertical position level
>
> Er, it seems that we're already doing that
>
> Not exactly that. This example illustrates my idea:
>
> {
> d'16 \< d'' d''\! d'' \> d''
> d''\! c\< c'' c''\!
> }
>
> first and second hairpins are 'related' (in my opinion at least
Unfortunately, lilypond doesn't care about your opinion. You end a hairpin, and
then at some later point in time start a new one. Lilypond is just a dumb
program, it doesn't care if it's only a 16th note later or 200 measures later,
one is ended before the next is begun, therefore, they are no longer related.
If your input were, for example:
{
d'16 \< d'' d''d'' \> d''
d''c\< c'' c''\!
}
Then they would be related, and lilypond places them at the same vertical
height.
Regardless, what about using the snippet already linked? Does that come close
to what you are looking for?___
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Re: \chordmode chords jumping about on PDF using Mac OSX
On Oct 20, 2010, at 6:20 PM, James wrote:
> Hello
>
> I am using Mac OSX Snow Leopard (10.6.x) with LilyPond 2.13.35
>
> Here is the smallest example I could get down to
>
> --
>
> \version "2.13.35"
>
> RH = \relative c'' {
> \repeat unfold 30 { a8 a a a }
> }
>
> LH = {
>\clef bass
>\repeat unfold 30 { a8 a a a }
> }
>
> \score {
>\new PianoStaff
><<
> \chords { f1*5 bes :m }
> \new Staff \RH
> \new Staff \LH
>>>
> }
>
> ---
>
> The symptom is after each compile the chord symbols move 'randomly' up and
> down on the next PDF output. No changes are made to the .ly file, the file is
> just compiled again and the chord symbols move.
>
> If I use
>
> \chords { f1 bes :m } instead (as a test) then the jumping about isn't so
> weird - that is it does still jump up and down but it seems to be consistent
> - but it occurs every time I recompile.
>
> All other notes in the score are fine.
>
> I have attached a small screen-shot to show you what I mean, from left to
> right is the output of the PDF after each compile.
>
> There is no pattern I can see, occasionally I get a message about
> --
>
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> programming error: insane spring min_distance requested, ignoring it
> continuing, cross fingers
> Layout output to `test.ps'...
> Converting to `./test.pdf'...
>
> --
>
> But there is no correlation to this message and the output.
>
> Also I have tried this same file on Windows 7 and cannot (yet) get this to
> occur.
>
> regards
>
> James
That is an awesome bug. I don't get the complaint about insane min spring
distance, but I do get the jumping around. I wouldn't even know how to add this
to the tracker. This also happens on 2.13.36, which is where I tested it.
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Re: duplicate dynamics on same staff
On Oct 20, 2010, at 12:21 AM, James Wilkinson wrote:
> On 10/11/10 6:22 PM, James Bailey wrote:
>>
>> On Oct 11, 2010, at 11:22 PM, Graham Percival wrote:
>>
>>> On Mon, Oct 11, 2010 at 04:32:48PM -0400, James Wilkinson wrote:
>>>> On 9/23/10 6:00 PM, Vicente Solsona wrote:
>>>>
>>>>> if the dynamics are the same, it's better to write them just once. thus
>>>>> you:
>>>>>
>>>>> 1) save typing
>>>>> 2) help lilypond so it does't need to waste time guessing obvious things
>>>>> and it can concentrate on the big stuff :)
>>>>>
>>>>> you just need to create a third voice with spacers and all the common
>>>>> marks, in parallel with the other two:
>>>
>>> I'm not at all certain that's a good idea. The dynamics won't be
>>> present in MIDI (which is probably no great loss), but more
>>> importantly, it messes up the semantics for no particularly good
>>> reason.
>>
>> Maybe I misunderstand, but if I do:
>> {
>> <<
>> \relative c' { c4 d e f<< { g a g f } \\ { e2 d }>> e4 f e d c1 }
>> {s1\mf s4\< s\! s\> s\! s1\p s }
>> >>
>> }
>>
>> The dynamics show up in the MIDI. And if they're separated into variables, I
>> can change the dynamics and the music independantly and easily, without fuss
>> or muss.
>
> I ran this and got the dynamics on a separate staff with no notes. I don't
> think that's what you meant.
Sorry, I forgot the \new Staff before the <<>>
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Re: Parallel dynamics, markup, sponsor, etc.
On Oct 19, 2010, at 7:59 PM, Cordilow wrote:
>
>> If I understand correctly, is this similar to the (rather hackish, imo) lsr
> snippet? http://lsr.dsi.unimi.it/LSR/Item?id=450
>
> I don't think so. What I mean is with multiple notes so that the dynamics
> above each note (not the same note) are the same height above the staff.
Can you maybe provide a little snippet or picture which shows what you want and
what lilypond produces? This is what I get:
%\version "2.12.3"
music = \relative c' {
g a h c
d e f g
a h c d
e f g a
h c d2
}
dynamicsI = {
s4\ppp s\pp s\p s\mp
s4\< s\! s\> s\!
s4\mf s\f s\ff s\fff
s4\> s\! s\< s\!
s4\sfz\> s s2\!
}
dynamicsII = {
\override DynamicLineSpanner #'staff-padding = #4
s4\ppp s\pp s\p s\mp
s4\< s\! s\> s\!
s4\mf s\f s\ff s\fff
s4\> s\! s\< s\!
s4\sfz\> s s2\!
}
\score {
<<
\new Staff { << \music \dynamicsI >> << \music \dynamicsII >> }
>>
}
<>
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Re: Parallel dynamics, markup, sponsor, etc.
If I understand correctly, is this similar to the (rather hackish, imo) lsr
snippet? http://lsr.dsi.unimi.it/LSR/Item?id=450
On Oct 19, 2010, at 8:46 AM, Cordilow wrote:
>
> In most music I see out there, I've noticed that related dynamics (and often
> markup) are usually parallel (such that if you drew a horizontal line, it
> would meet both at the same vertical position). In fact, I'm hard pressed to
> think of a situation where they're not in the sheet music I've seen
> published in books and such. I was wondering if there was some system in
> LilyPond where one could add a tag to certain dynamics to make them
> parallel: e.g.
>
> a'\p?var1 c' d' b'\mf?var1 f'\markup{asdf}?var1 d''2\ c''\>?var2 b'\!
>
> var1 and var2 are the variable names that tie the vertical distances of the
> dynamics from the note stems together so that they're parallel. Anyway, it's
> just pseudo code. I don't know if question marks actually do anything in
> LilyPond, but here I have it so it just ties the variable to the dynamic.
>
> Does this make sense? I'm sure there are workarounds to get the same effect,
> but I imagine they might be rather inconvenient at times (though I could be
> wrong).
>
> If there's currently not anything like this in place, I'd like to suggest
> it. I'd pay some toward sponsoring it (probably about $20–30 is my limit
> right now). Does anyone else like this idea and/or wish to sponsor it (if it
> doesn't already exist)?
>
> Anyway, this could do a lot for the aesthetics of the music.
> --
> View this message in context:
> http://old.nabble.com/Parallel-dynamics%2C-markup%2C-sponsor%2C-etc.-tp29997511p29997511.html
> Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
>
>
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Re: Crescendo or decrescendo on one note
On Oct 19, 2010, at 7:06 AM, Cordilow wrote:
>
> I have a situation where there are only two notes considered, side by side.
> One has a crescendo and the next has a decrescendo. Any ideas on how to do
> this? I looked at the documentation and could only find something doable
> with a three note combination, or with both on a single note (as with
> \espressivo). I also need to do it in cases where the notes aren't side by
> side (but just have each over its note).
>
> Here's a link to a picture of the song I'm engraving (yes, this version is
> old enough to be public domain in the United States):
> http://runeberg.org/smfsang/0010.html
> --
I would do this:
soprano = \relative c'' {
…
c4. d8 es4. as,8| %11
b2 r4
}
sopranoDynamics = {
…
s2 s4\< s8\! s\>| %11
% or possibly
% s2 s8\< s8\! s\> s\!| %11
s1\!| %12
}
\score {
\new ChoirStaff <<
\new Staff <<
\sopranoDynamics
\soprano
>>
>>
}
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Re: \acciaccatura
As mentioned frequently on this mailing list, this is a known limitation of lilypond. See the message at: http://lists.gnu.org/archive/html/lilypond-user/2007-04/msg00422.html On Oct 18, 2010, at 1:45 PM, Mario Moles wrote: > In data lunedì 18 ottobre 2010 13:39:12, hai scritto: > > What does this line through the beams mean > This is acciaccatura group in the contemporany composition! > This is possible with lilypond? > Thank's! > -- > oiram/bin/selom > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords below staff
On Oct 15, 2010, at 6:04 AM, Colin Campbell wrote: > > I got the attached .PDF Seems to me that four times a whole note should > take up more bars than one, or at least look a whole (!) lot different > than the note to the left, IIUC it should be a longa, as in the second > staff. You may want to re-read the section on scaling durations. Math is used to force lilypond to make a note take up the mathematically appropriate amount of time and space using the note duration you specify. So c4*x will always produce a quarter note whose horizontal space takes up the value specified by x. Accordingly, c1*4 produces a whole note whose horizontal space is equivalent to 4 whole notes, which is exactly what you get. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to change indent in only one (non-first) system?
On Oct 15, 2010, at 12:09 AM, Janek Warchoł wrote: > Hi! > > In the following example, how can i make an indent in the third system (the > one in which both staffs appear) so that the staff name "Contralto" fits on > the page, while leaving indentation in other systems intact? I would do it as two separate \score blocks ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplet number
On Oct 13, 2010, at 8:49 PM, Alex Jones wrote: > I am using the expression to not display the tuplet number > \override TupletNumber #'stencil = ##f > > but at some point later in the score I want that number to be displayed again > and when I use what I figured was the appropriate reactivation expression > \override TupletNumber #'stencil = ##t > it works but I get the error > warning: type check for `stencil' failed; value `#t' must be of type `unknown' > Is this a problem, or should I be using a different statement? > > Thanks! Check the Learning Manual on this, but shouldn't it be \revert TupletNumber #stencil? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duplicate dynamics on same staff
On Oct 13, 2010, at 4:01 PM, Carl Sorensen wrote: >> >> Any chance the full-measure/multi-measure problem will get fixed? > > How can we merge a multi-measure rest with a part-measure rest? Unless things have changed, even trying to merge multi-measure rests with other multi-measure rests doesn't work. http://lsr.dsi.unimi.it/LSR/Item?id=336___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: job-count
On Oct 13, 2010, at 2:58 AM, Valentin Villenave wrote: > On Sun, Oct 10, 2010 at 6:13 PM, James Bailey > wrote: >> I'm not so good with the advanced options, can anyone help with how I use >> the job-count option? > > Hi James, > > I think it's mostly used when building the docs. The only case where > it might help you would be if you have lots of different LilyPond > scores to compile, or when using lilypond-book with a large number of > LilyPond snippets to compile. But in any other usage, job-count will > not help you since LilyPond is a single-threaded application. I'm not > even sure that job-count would work if you have a single .ly file with > multiple \book blocks (in fact, I'm pretty sure it wouldn't). > > If you are trying to build the docs, have a look at > http://lilypond.org/doc/v2.13/Documentation/contributor-big-page#saving-time-with-cpu_005fcount I was actually doing it to build the snippets in the regression tests, I wanted to build all of them with 10 different processes simultaneously. I didn't time it, but I think it came out much faster. And, I still cannot build the documentation. I can build lilypond, but not the documentation. I've just given up on that one. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup placement
> > my personal experience is that the most productive thing I've done in > Lilypond is learning to search in the documentation :) I actually think reading the learning manual is more important than searching the documentation. The learning manual explains how lilypond works, how to find the answers to questions you may not even have, and even tips on how to input files so that as you learn more about lilypond you can still use some of your first scores. Granted, at a certain point, you have to know to look for something in the Notation reference because it's not covered in the learning manual, but the learning manual usually has a reference that there's more information in the notation reference, or you at least have a vague idea of what to look for in the notation reference. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duplicate dynamics on same staff
On Oct 11, 2010, at 11:22 PM, Graham Percival wrote:
> On Mon, Oct 11, 2010 at 04:32:48PM -0400, James Wilkinson wrote:
>> On 9/23/10 6:00 PM, Vicente Solsona wrote:
>>
>>> if the dynamics are the same, it's better to write them just once. thus
>>> you:
>>>
>>> 1) save typing
>>> 2) help lilypond so it does't need to waste time guessing obvious things
>>> and it can concentrate on the big stuff :)
>>>
>>> you just need to create a third voice with spacers and all the common
>>> marks, in parallel with the other two:
>
> I'm not at all certain that's a good idea. The dynamics won't be
> present in MIDI (which is probably no great loss), but more
> importantly, it messes up the semantics for no particularly good
> reason.
Maybe I misunderstand, but if I do:
{
<<
\relative c' { c4 d e f << { g a g f } \\ { e2 d } >> e4 f e d c1 }
{s1\mf s4\< s\! s\> s\! s1\p s }
>>
}
The dynamics show up in the MIDI. And if they're separated into variables, I
can change the dynamics and the music independantly and easily, without fuss or
muss.
>
>> Is there somewhere in the docs that I should have spotted this
>> before doing it wrong the first time?
>
> If this was a good idea, it should be in (in the 2.13 docs)
> Usage 5 Suggestions for writing files
I extrapolated the idea from that, Using Variables to Save Typing. Or something
like that.
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Re: duplicate dynamics on same staff
On Oct 11, 2010, at 11:58 PM, James Wilkinson wrote: > So I finally separated the dynamics from the notes, and it works! But I > had a couple of problems: > > 1) Whenever both instruments have a rest, Lilypond stacks them vertically. > James Bailey sent me a link to a snippet that fixes that. (How did he know > that was going to be my next problem?) I'm prescient! > My question is, "Why is that a snippet? Given that merging the rests is the > standard way to engrave them under those circumstances, could Lilypond not > just do it and make me have to find a different snippet if that's not what I > want? Because depending on the kind of music, it's different. Vocal music usually has the rests merged; whereas instrumental music does not. > Or at just provide the merge-rests-on-positioning function and mention it in > the docs?" > > 2) In another measure the upper voice has a quarter rest followed by a half > note on the bottom line of the staff. The lower voice has a dotted half rest. > The problem here is that the half note in the upper voice is so low on the > staff that it prints over the rest in the lower voice. These voices share a > staff in the score, but not in the individual parts. Can you actually provide an example of how you've done this? I can't for the life of me figure out how you get the collision. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
job-count
I'm not so good with the advanced options, can anyone help with how I use the job-count option? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Text aligned on dynamic
For What Its Worth, I have a document that gets included with all of my files that has things like: pdolce = #( make-dynamic-script ( markup #:line ( #:left-align #:dynamic "p" #:hspace -1 #:normal-text #:italic ", dolce" ) ) ) and various others defined so that I can insert \pdolce or \cantabilemf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
2.13.35 tagline links
Is there a reason that the link in the footer goes to the old website, http://lilypond.org/web/ and not the new website, http://lilypond.org/ ? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Subscripted text and centering of TextSpanner line
On Oct 8, 2010, at 7:25 AM, Nick Payne wrote:
> If I have text characters at the left end of a TextSpanner, and some of those
> characters are subscripted, then the centering of the TextSpanner line seems
> to be calculated using the total height of both the main and subscripted
> text, which puts the line at the bottom of the main text rather than being
> centered on it. While this makes some sort of sense, I think that asking for
> the line to be centered means that I'm asking for it to be centered on the
> main text.
>
> %===
> \version "2.13.35"
>
> #(set-global-staff-size 30)
>
> \relative c'' {
>\once \override TextSpanner #'bound-details #'left #'text = \markup {
> \concat { CII " " } }
>\once \override TextSpanner #'style = #'line
>\once \override TextSpanner #'font-shape = #'upright
>\once \override TextSpanner #'direction = #UP
>\once \override TextSpanner #'bound-details #'right #'text =
>\markup { \draw-line #'(0 . -0.5) }
>\once \override TextSpanner #'bound-details #'left #'stencil-align-dir-y =
> #CENTER
>gis16\startTextSpan b e b' e e, b' e\stopTextSpan
>\once \override TextSpanner #'bound-details #'left #'text =
>\markup { \concat { "CII" \sub 3 " " } }
>\once \override TextSpanner #'style = #'line
>\once \override TextSpanner #'font-shape = #'upright
>\once \override TextSpanner #'direction = #UP
>\once \override TextSpanner #'bound-details #'right #'text =
>\markup { \draw-line #'(0 . -0.5) }
>\once \override TextSpanner #'bound-details #'left #'stencil-align-dir-y =
> #CENTER
>gis,,\startTextSpan b e b' e e, b' e\stopTextSpan
> }
> %===
Just an idea, but overriding the baseline may get what you want, but has the
disadvantage of making knowing how much to override the baseline by difficult.
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Re: Making split systems
On Oct 8, 2010, at 2:26 PM, Richie Gress wrote: > Hi. > I am wondering if it is possible to have measures that start in one system > and continue on in another. > Thank you in advance for any suggestions! Technically, no. But you can get the visual output of bars that span different systems via different means. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lyricsto and rest position, etc
On Oct 7, 2010, at 7:56 PM, Fr. Michael Gilmary wrote:
> Hi:
>
> I'm using lilypond v. 2.11.62 with \lyricsto as in:
>
> TimeKey= {\key f \major}
>
> MusicOne = \relative c' {
>\set autoBeaming = ##f
> \partial 8 f8 \bar"|" a4 f8 g \bar"|" a([ bes a]) g \bar"|" f2 \bar"|" a4 f8
> g a([ bes a]) g \bar"|" f2 \bar"|" \break
>
> c'4 c \bar"|" bes8([ a bes]) d \bar"|" c([ bes a g] \bar"|" f2) \bar"|" f8 f
> g a \bar"|" g([ f16 e d8]) e \bar"|" f2. r4 \bar"||"\break
> }
>
>
> \score {
>\new Staff <<
>\new Voice = "MonksOne" { \voiceOne \TimeKey \MusicOne }
>\new Lyrics \lyricsto "MonksOne" { \VerseOne }
>>>
>}
>
>
>
> The slurs are up and the rests are too high and the "bes" notes have tails up
> instead of down.
>
> Using the \addlyrics mode, the slurs are down, the rest is positioned on the
> b-line and the "bes" notes have tails down. What is this called and how do I
> "fix" it for \lyricsto mode to be like \addlyrics ?
\voiceOne sets slurs, stems and other associated things up. If you're only
setting a single voice on the staff, just omit that, and everything should work
out the way you want it to.
Hope this helps,
James
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Re: conditional formatting
I can't really use Scheme (other than find and replace), so maybe this doesn't
solve what you need, but what about creating separate variables with the staves
that you want and simply commenting an appropriate \score ? i.e.,
\version "2.12.3"
piccolo = \relative a' { a c' a e' e c a e }
instrument = { a, c' a e' e c' a e'}
instrumentTab = {
a,4\5 c'\2 a\3 e'\1
e\4 c'\2 a\3 e'\1
}
withTabs = \new StaffGroup <<
\new Staff \instrument
\new TabStaff \with { instrumentName = lute } \instrumentTab
>>
withoutTabs = \new StaffGroup <<
\new Staff \with { instrumentName = piccolo } \piccolo
\new Staff \with { instrumentName = lute } \instrument
>>
%\score { \withTabs }
\score { \withoutTabs }
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Re: nested crescendos?
On Oct 3, 2010, at 11:34 PM, Alex Jones wrote:
> I need to include nested crescendos and decrescendos within a document (e.g.
> an overarching crescendo with phrasing decrescendos). Is this possible?
>
> For example the idea would be something like the following:
>
> fis, \< \> (ees') \! f,! \> (d') \! \!
>
> Any suggestions?
>
> Thanks!
>
> -akj
You could possibly do it with separate dynamics definitions:
\version "2.12.3"
music = { fis,( ees') f,( d') }
dynamicI = { s4\< s s s\! }
dynamicII = { s4\> s\! s\> s\! }
\score {
\new Staff << \music \dynamicI \dynamicII >>
}
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Re: Problem with greek letter mu (μ)
On Oct 1, 2010, at 8:04 PM, alexandros wrote:
> Hello!
>
> In the result of the following code, the greek letter mu (μ) appears in
> another font, smaller and thiner than the other letters. I would be
> grateful for any idea that could correct this.
>
> %%
>
> \version "2.12.2"
>
> \relative c''{ c c c c }
> \addlyrics{ μα- να- κα- λα- }
>
> %%
>
> Best Regards
>
> Alexandros
Perhaps changing the font?
\version "2.12.2"
\relative c''{ c c c c }
\addlyrics{ μα- να- κα- λα- }
\addlyrics{ \override LyricText #'font-name = #"Times" μα- να- κα- λα- }
\addlyrics{ \override LyricText #'font-name = #"Gill Sans" μα- να- κα- λα- }
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Re: fonts on OSX and 2.13.34
On Sep 28, 2010, at 9:18 PM, Stan Sanderson wrote:
>
> On Sep 28, 2010, at 12:11 AM, James Bailey wrote:
>
>> Has something changed with the way fonts in 2.13 work, custom fonts aren't
>> loaded.
>> \version "2.12.2"
>> \markup \left-column { \line { How razorback jumping frogs level six piqued
>> gymnasts. } \line { \override #'(font-name . "Times Italic") { How razorback
>> jumping frogs level six piqued gymnasts. } } }
>>
>> This works in 2.12, but not in 2.13.34
>> ___
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>> http://lists.gnu.org/mailman/listinfo/lilypond-user
>
> It works for me with OS X 10.5.8, PPC, LilyPond 2.13.34-1. I also tried it
> successfully using another font face.
>
> Stan
Just tried it again, and it worked. Maybe the font database wasn't there this
morning or something. But it works, and all is well.
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fonts on OSX and 2.13.34
Has something changed with the way fonts in 2.13 work, custom fonts aren't
loaded.
\version "2.12.2"
\markup \left-column { \line { How razorback jumping frogs level six piqued
gymnasts. } \line { \override #'(font-name . "Times Italic") { How razorback
jumping frogs level six piqued gymnasts. } } }
This works in 2.12, but not in 2.13.34
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skip 2 page numbers
I got from someone (probably kieran) a while back a simple scheme function to
skip the first two page numbers. It works fine, but I'd like to move the page
numbers to the footer.
This, is what I got:
\version "2.11.65-1"
\include "titling-init.ly"
#(define (skip-two-page-numbers layout props arg)
(if (or (> (chain-assoc-get 'page:page-number props -1)
(+ (ly:output-def-lookup layout 'first-page-number) 1))
(eq? (ly:output-def-lookup layout 'print-first-page-number) #t))
(create-page-number-stencil layout props arg)
empty-stencil))
\paper {
oddHeaderMarkup = \markup
\fill-line {
" "
\on-the-fly #not-first-page \fromproperty #'header:instrument
\on-the-fly #skip-two-page-numbers \fromproperty #'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\on-the-fly #skip-two-page-numbers \fromproperty #'page:page-number-string
\on-the-fly #not-first-page \fromproperty #'header:instrument
" "
}
}
I successfully moved the page numbers to the footer, but I can't get the page
numbers and the skip 2 pages to work simultaneously. Can anyone help?
This is what I tried:
\paper {
oddFooterMarkup = \markup \fill-line {
\on-the-fly #first-page { " " }
\on-the-fly #skip-two-page-numbers { "– Windhauch –" \fromproperty
#'page:page-number-string }
}
For what it's worth, the one that works (but only skipping the first page) is:
\paper {
oddFooterMarkup = \markup \fill-line {
\on-the-fly #first-page { " " }
\on-the-fly #not-first-page { "– Windhauch –" \fromproperty
#'page:page-number-string }
}
}
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Re: Twelve-tone notation
On Sep 25, 2010, at 11:24 PM, Nikolausius wrote: > > Hi there, > > does anyone know whether or not lilypond supports the twelve-tone notation > system of J.M. Hauer? To point out what I mean, here's a link where the > differences between several 12-tone notation systems are shown and the > system of J.M. HAuer is being explained: > > http://www.klangreihenmusik.at/skriptum-zwoelftonnotenschr-01kl.php3 > > If not, is anybody else interested in it? If yes, we could contact the > developers... I'm assuming you mean the note names, right? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to invoke self-compiled development versions
On Sep 25, 2010, at 10:45 AM, Patrick Schmidt wrote: > Hi all, > > I'm using VirtualBox v.3.0.12 (the last release that supports Mac OS 10.4.11) > and LilyBuntu. I downloaded the source code of the current development > version with git to ~/lilypond-git and compiled it with "make all" as > described in the manuals. So far so good! > > According to the CG (Concurrent Stable and Development Versions) in order to > use the development version I have to: > > …create a link to the binary in the source tree by saving the following > line in a file somewhere in your $PATH: > > exec /lilypond/out/bin/lilypond "$@" > > I saved the following file as Lilypond in ~/bin: > > #!/bin/sh > > exec ~/lilypond-git/out/bin/lilypond "$@" > > I made it executable with > > chmod +x Lilypond > > But when I try to invoke it by typing: Lilypond I get the message: > > command not found > > Where is my mistake? Is ~/bin not in my $PATH? If yes, how can I adjust this? > > Thanks in advance for any pointers > > patrick No. ~/bin is not in the $PATH by default. If you look at the 2.12 documentation (I haven't started reading through the 2.13 documentatio)n, the end of the page has: Now, add this directory to your path. Modify (or create) a file called .profile in your home directory such that it contains export PATH=$PATH:~/bin This file should end with a blank line. hope this helps ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.34-1 freezes when updating syntax (Mac 10.4)
On Sep 24, 2010, at 1:27 AM, James Wilkinson wrote: > Gets to the point of saying "Applying conversion:" and just stops > -- Does the file compile when you try it in 2.13.34? It may be that there are no changes which need to be made. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duplicate dynamics on same staff
On Sep 23, 2010, at 10:19 PM, James Wilkinson wrote: > \version 2.13.31 > > > When I put two voices on the same staff that have identical markings for > dynamics and tempo, Lilypond prints them both, one above the other. Looking > in the archives the other day I saw that the approved solution is to pull > these markings out and attach them to another voice that is all spaces. Now I > can't find those postings. They were from 2003 as I remember. Do we have > multiple archives of the mailing list? Or maybe I should just go check myself > into a nursing home. :( > > Back to my original question: if Lilypond can see that one of these things > needs to be moved, how hard would it be to have it determine that they are > identical and just not print one of them? > > I don't even know whether this is a request for a new feature or for a > pointer to an existing one. > > thanks Do you mean: http://lsr.dsi.unimi.it/LSR/Item?id=336 or possibly http://lists.gnu.org/archive/html/lilypond-user/2004-09/msg00497.html ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Request for changes in manuals
On Sep 21, 2010, at 12:17 AM, mark damerell wrote: > I am using Version 2.12.3. > > In a previous post I asked about printing bar numbers in non-standard > places. I was told: > > 1) \once \override Score.BarNumber #'break-visibility = #all-visible > > I believe that the manual fails to say that this command only works > if you put it in exactly the right place, which is at the bar that is to be > numbered. > The once command is explained in the 2.12 documentation in the learnining manual, section 1.4.1. It may not be exactly clear what "the current musical moment" is, but that's where it is. > 2)and > > barNumberVisibility = #all-bar-numbers-visible > > I cannot find this documented anywhere. The learning manual explains how to find these settings, and how the various types of properties work. > > 3) It seems as if #(definecan be used to define macros with > arguments. but I cannot find the syntax. The advanced tweaking with scheme is explained in the learning manual in section 4.6.5 and in the notation reference in section 6. Hope this helps! James ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: best practices
On Sep 19, 2010, at 6:09 PM, aliteralmind wrote: > Phil Holmes philholmes.net> writes: >>> Where exactly are they, please? >> >> Um. Learning Manual 5. Entitled "Working on LilyPond > projects". > > I read the learning manual. I didn't find the words "best > practices" in it, and thought there was something else I > was missing. > > I don't appreciate the condescending response. So, because the words "best practices" aren't there, you didn't understand the section "working on lilypond projects" to be a set of best practices for how to organize your lilypond projects? What did you understand that section of the learning manual to be? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Advising on writing a one staff centered dynamics template
On Sep 15, 2010, at 2:24 AM, Alonso Silva wrote: > Hello: > > First, thank you for make this marvelous software. It was very useful to me!!! > > I'm writting a composition for cello solo for a contest and some days ago I > attemped to modify the piano centered dynamics template and kept only a > stave, without good results: Lilypond (2.12.3) engraved two staves and the > dynamics over the first. Really I don't know the inner working of the > contexts and the voices, (I understand a little of the basic working of > Lilypond) so I'm asking for a ready example I can use for fast, easy reading > and beautiful professional look engraving. > > Thanks for your help and excuse my english. > > A. Silva. Am I to understand that you want lilypond to place the dynamics always a fixed distance from the staff? Perhaps this will help: http://lsr.dsi.unimi.it/LSR/Snippet?id=387 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Legato, Polyphonic Voices and Connected Flags
On Sep 12, 2010, at 10:43 AM, Emir D. wrote: > Hello everyone, > > I've got a slight problem. In measure #1, I've got the non-polyphonic melody. > In measure #2, I've got some polyphonic going on. However, I'm having problem > telling Lilypond to put a legato from the last note in measure #1 with the > first voice in measure #2. > > Can you help me, please? I've provided an example .ly file, so you can see > what I've been trying. > > p.s. Also, in the example given, in the first measure, the flags of the last > four eight notes are connected. How can I tell Lilypond not to connect them, > e.g. instead of connecting the four eights into one group of notes, to rather > group them in two group of two eights? > > p.s.s. Forgot to add the attachment in the previous email :( > > Thanks in advance, > Emir The section on explicitly instantiating voices of the learning manual will help you with the first question, and the section on beams in the Notation reference will help you with the second question. Hope this helps, James___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ignoring too many clashing note columns
On Sep 11, 2010, at 6:39 PM, Helge Kruse wrote:
> Hello,
>
> I try to write a guitar score. In some measures I found small parts of
> polyphony. I tried to add temporarily a new voice, but I failed. The example
> below shows the intention. The second (commented) line gives nearly the same
> result and Lilypond doesn't show any error. But the g8 should be sound
> longer. That's why I want to tie it to a g4.
>
> Can I add this temporarily polyphony on demand or must it start at the first
> measure filled with lots of silent rests?
>
> Any suggestion is welcome.
>
>
> Helge
>
>
>
> \score
> {
> <<
> \relative c'' {
> c'8 b16 a~ a g16 g8~ << { g4 } \\ { fis8 e } >>
> % c'8 b16 a~ a g16 g8 fis8 e
> }
> \\
> \relative c' {
> a16 e'8. e e,16~e b''8 e,,16
> }
> >>
> }
Remember that you can't tie notes across voice contexts, so you can't use the
<<{}\\{}>> to tie the notes.
\score { << \new Voice { \voiceOne c8 b16 a~ a g16 g8~ << { \voiceOne g4 } \new
Voice { \voiceTwo fis8 e } >> } \new Voice { \voiceTwo a16 e'8. e e,16~ e b''8
e,,16 } >> }
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