Re: output one bar at a time (midi and png)
Thank you Thomas, this is beyond what I'd hoped for. Lilypond is the best. I hope the changes can be incorporated in mainline lilypond. On Sat, 19 Jan 2019 at 04:43, Thomas Morley wrote: > Am Sa., 19. Jan. 2019 um 13:05 Uhr schrieb Ted Walther < > tederi...@gmail.com>: > > > > I'm just getting back into lilypond after a ten year absence. Can you > suggest some search terms? > > Simply looking for video gives several hits: > > https://lists.gnu.org/archive/cgi-bin/namazu.cgi?query=video&submit=Search&idxname=lilypond-user > > Cheers, > Harm > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: output one bar at a time (midi and png)
I'm just getting back into lilypond after a ten year absence. Can you suggest some search terms? On Sat, 19 Jan 2019 at 03:43, Thomas Morley wrote: > Am Sa., 19. Jan. 2019 um 08:53 Uhr schrieb Ted Walther < > tederi...@gmail.com>: > > > > Beautiful, thank you. Is there a way to make the MIDI output go to a > separate file for each page of output? > > > > On Fri, 18 Jan 2019 at 10:16, Valentin Villenave > wrote: > >> > >> On 1/18/19, Ted Walther wrote: > >> > Is there some simple way I can have lilypond put each bar (and its > >> > corresponding midi) into separate files? Then I can use standard > software > >> > to join them together. > >> > >> You could do that… or LilyPond can do it for you: > >> > http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking > >> > >> Cheers, > >> V. > > Hi Ted, > > there was already some work put up to create videos with lilypond. > Search the archives for it. > No need to reinvent the wheel. ;) > > Cheers, > Harm > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: output one bar at a time (midi and png)
Beautiful, thank you. Is there a way to make the MIDI output go to a separate file for each page of output? On Fri, 18 Jan 2019 at 10:16, Valentin Villenave wrote: > On 1/18/19, Ted Walther wrote: > > Is there some simple way I can have lilypond put each bar (and its > > corresponding midi) into separate files? Then I can use standard > software > > to join them together. > > You could do that… or LilyPond can do it for you: > > http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking > > Cheers, > V. > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
output one bar at a time (midi and png)
I have some pieces that take a minute or two to play. I'd like to make them into youtube videos so people can see the notes and lyrics while hearing the midi file. Is there some simple way I can have lilypond put each bar (and its corresponding midi) into separate files? Then I can use standard software to join them together. And if I could output two bars at a time, that would allow a nice scrolling effect. I guess I'm looking for something karaoke like, or that would let me generate the output of karaoke type files. The music is all old and out of copyright. Ted ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Your thoughts on Lilypond exposure (2015)
On Feb 21, 2015, at 9:50 AM, Jacques Menu wrote: > To be sure I get you right : you’d like the users of your site to able to > adapt and complement an existing score according to their taste, is that it? IMSLP supports uploading arrangements. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \shiftOn and friends
On Jan 29, 2015, at 10:41 AM, Trevor Daniels wrote: > Certainly the latter. But quite a lot of work has been done. More than a > few of the examples of overrides in the earlier manuals have had to be > removed, as LilyPond now does that particular right thing out of the box. > There is always more that could be done, of course. > > But sometimes is is not possible to determine what the best layout option is, > either because it is a matter of convention or taste, which vary over time > and with composer, or because the processing time needed to detect and > correct collisions and other positioning errors would be too great to > tolerate. OK, thanks for the explanation! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \shiftOn and friends
On Jan 29, 2015, at 9:52 AM, Trevor Daniels wrote: > http://www.lilypond.org/doc/v2.19/Documentation/learning/real-music-example This example actually nicely illustrates one of the things I've found frustrating about working with Lilypond: why is it necessary to do so much deliberate annotation to deal with clashes that one would think could be dealt with automatically? Is this by design, or simply an indication that there is more work to do? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pianostaff 4-part writing and rests
On Jan 24, 2015, at 10:44 AM, Peter Danemo wrote: > I need it to be just one. I learned how to make a > rest invisible, but that doesn't change the position for the remaining rest. Use 's' instead of 'r' for one of the rests. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staccato
On Jan 19, 2015, at 9:43 PM, Cynthia Karl wrote: > You must have an intimate knowledge of LP source code to be able to say that. > In the Learning Manual, there is a single mention of dotsDown, in a > discussion of UP and DOWN. In the Notation Manual, there are five mentions, > one saying simply that it is a predefined command, and four references to > that statement in the appendices. I don't think there are any other mentions > of dotsDown in the other LP documentation. How would anyone know what > \dotsDown does? Not that I would be one to sing a paean to the wonders of the Lilypond manual, but when I had an issue with a dot clashing with another note, I was able to figure out \dotsDown and \dotsNeutral. It may be because it's consistent with other similar constructs, but it definitely didn't come from reading the source code. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suppress command (\arpeggio) in music variable
On Dec 25, 2014, at 10:50 AM, Kieren MacMillan wrote: > \override Arpeggio.stencil = ##f \barsSixToEight \revert Arpeggio.stencil This will prevent it showing up in the output, but it'll still show up in the midi, won't it? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use of Stackoverflow for Question/Answer forum
On Dec 24, 2014, at 12:52 PM, Paul Morris wrote: > I wonder... Why are there so many different archives of the lilypond mailing > list? Would there be a way to prevent some of them from showing up in > google search results? (e.g. by having them indicate "no index" in > robots.txt) Attracting search clicks is a money-making proposition, particularly if it's cheap, so putting up an archive of a mailing list is an easy way to do that. There has to be content that will match searches in order for it to be worthwhile. You see the same thing with phpBB sites--there will be a dozen archives of any reasonably popular site, all just clickbait. So far StackOverflow seems to be policing this to the extent that it apparently doesn't happen with them. > FWIW, I sometimes try a general search (DuckDuckGo), but just as often I'll > start with the manuals (usually doing a single-page search on the index page > of the notation manual), then I'll search either the LSR or the mailing list > using the nabble interface ( http://lilypond.1069038.n5.nabble.com/ ). > ...and then ask on the mailing list if I get stuck. The manuals are great as far as they go, but they aren't comprehensive, nor are they systematic. To the extent that I'm any good at typesetting manuscripts with Lilypond, it's a result of reading the manual, beating my head against some weird behavior, occasionally asking questions, and iterating. E.g., unless I have just missed some valuable resource, there is no systematic document about what can appear between the braces in any of \layout, \staff, \score, \book, etc. The information is in many cases _there_, but it's organized in such a way that it's a bit of a treasure hunt trying to find it. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use of Stackoverflow for Question/Answer forum
On Dec 23, 2014, at 5:46 PM, Jim Long wrote: > Use the Google search tip above to search only the archive you > want results from. The beauty of Google Search is that it searches everywhere, not just one place, so it'll return results from mailing lists, stack exchange, random blogs, etc. So throwing chaff into the search engine really detracts from its effectiveness. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unresolvable rest collision?
On Dec 23, 2014, at 5:41 AM, Phil Holmes wrote: > According to typesetting rules (see Behind Bars by Elaine Gould, for example) > rests should remain consistently placed with respect to staff lines. This > means that when they are moved, they should be moved in 2 pitch increments, > not one. Yup, I tried that; for some reason it didn't move. I haven't investigated further--I wound up finding a much more elegant way to place the rests (which did require manual tweaking). I think a clearer understanding of how the \voiceOne ... \voiceN stuff works would have helped me--I'd seen something about it when I did my previous manuscript, but then forgot about it by the time I started this one. Hopefully I won't forget to use explicit voices next time. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use of Stackoverflow for Question/Answer forum
On Dec 23, 2014, at 5:45 AM, Phil Holmes wrote: > Definitive answers are frequently found by learning to use the manuals and > their indices. HAH! :) Believe me, if I hadn't RTFM'd, you'd have had such a barrage of silly questions from me yesterday you would have plotzed. But the manual is not an oracle. Anyway, I'm fine either way--I'm very grateful for the help I got yesterday, and also last time I asked a question a couple of weeks ago. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Thanks for the help with the footnotes and the pedal brackets!
Thanks to Kieran, David, Trevor and Klaus for all the help on this. If anyone's curious, a reasonably final version of the score is available here: https://github.com/Abhayakara/music/blob/master/romanza.pdf?raw=true And the source is here: https://github.com/Abhayakara/music/blob/master/romanza.ly This was quite a project, and I learned a lot. Now maybe I'll try to learn to play it... :) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staves as footnotes, and some random layout issues.
On Dec 22, 2014, at 5:30 PM, Ted Lemon wrote: > I'm trying to typeset a rather complicated manuscript and I've run into two > brick walls right at the end of the process. The first is that I can't for > the life of me figure out how lilypond does staff fragments for manuscript > annotation. The second problem, which I failed to mention, is that I can't figure out why there's all that extra padding between the systems on the first page. It looks terrible--I'd rather have the blank space on the bottom. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Staves as footnotes, and some random layout issues.
I'm trying to typeset a rather complicated manuscript and I've run into two brick walls right at the end of the process. The first is that I can't for the life of me figure out how lilypond does staff fragments for manuscript annotation. If you look at the bottom of the first page of the following PDF, you can see what I mean: https://github.com/Abhayakara/music/blob/master/romanza.pdf?raw=true I attached the two staff fragments to the bottom of an existing system because I can't think of any other way to place them where I want on the page. This sort of works, but it comes with two problems. First, they're too close to the system above, and so the spacing is all wrong on the page. And second, they're the wrong size, and I can't see how to scale them. The source code is here: https://github.com/Abhayakara/music/blob/master/romanza.ly Oh, I guess a third problem with these fragments is that it would be nice to eliminate the treble clef, but I have a feeling that's an easier problem to solve, so it's not the one I'm focusing on. Any clues would be appreciated. Oh, and of course it would also be nice if the a) and b) could be to the left of the staff fragment rather than above it, but again I suspect that this would be tractable if I had a better idea of how to do the actual layout. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Use of Stackoverflow for Question/Answer forum
On Dec 22, 2014, at 4:26 PM, Garrett Fitzgerald wrote: > It's actually been discussed on meta - consensus is that people should > actually come over here for help. :-) Yeah, so, this is intensely frustrating for anybody who tries to google for help with lilypond, because there are several dozen archives of the lilypond mailing list, each slightly different, so that if you do virtually any google search for help with lilypond, it returns a page with about a dozen identical copies of the same wrong answer, a couple of random document pages for different versions of the document that don't tell you what you need to know, and nothing whatsoever useful. So essentially, when you give this as the answer to the question "why not use stack overflow," what you are really saying is "don't google for help with Lilypond. Instead, just ask your question." That's sort of a reasonable thing to say: whenever I ask a question on the mailing list, some helpful person (or likely two) come back with an answer. But this isn't an answer that scales: if lilypond were to get more popular, at some point this would no longer work, and it seems to me that the difficulty of getting answers out of google is an impediment to lilypond's popularity. It just astonishes me that when I google for something like "how to shrink a staff in lilypond" I can't find any useful answer (although I find dozens of copies of the same utterly absurd answer: just shrink the notes, but keep the staff the same size!), and I think part of that is the way lilypond questions are asked and answered. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trying to replicate an obscure pedal marking from a ~1919 score...
On Dec 22, 2014, at 10:04 AM, David Nalesnik wrote: > I always thought the traditional "Ped." looked a bit like an elephant... Heh! Yes, I can see that. Or perhaps like a Snuffleupagus, if that reference makes any sense to you. > Anyway, yes, Kieren's right. You can replace the drawing with whatever you'd > like. You'd simply need to come up with a replacement stencil function. > There will be a bit of complication for markings that stretch across system > breaks, but that's also doable. In this particular piece they do not, although the vertical tics on either and do actually adjust relative to the music on the staff, similarly to slurs. > Maybe later today I'll get a chance to work something out--something similar > to get you started. If you happen to have time I would be interested and grateful, but please don't let my obscure inquiry sidetrack you if you have better things to do this afternoon! :) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unresolvable rest collision?
On Dec 22, 2014, at 9:55 AM, Kieren MacMillan wrote: > Unless you tell her otherwise, Lily will move things around to avoid > collisions, maintain minimum padding values, etc. > > Hope this helps! You have been tremendously helpful--thank you! I'm typesetting this for my dad, who was really impressed with something simpler I did in lilypond last week; he was curious to see if I could do this one, and I have learned quite a bit already in the process of trying! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Trying to replicate an obscure pedal marking from a ~1919 score...
As one might have seen from my previous question, I'm trying to re-typset a manuscript that was published in 1919, and it has a way of marking pedals that I hadn't seen before. You can see an example of this marking here: http://www.dolmetsch.com/musicalsymbols.htm search for "The Raindrop". The marking seems related to what you'd get if you did something like this: \set Staff.pedalSustainStyle = #'bracket c4\sustainOn g c d d\sustainOff Except that the horizontal line connects to the vertical line at the top on the left, the line marking the end of the pedal is vertical, not slanted, and the horizontal line connects to the _bottom_ of the vertical line on the right. In my score the vertical line on the left doesn't have a crook at the top. This is not a big problem for me--the bracketed pedal style that I quoted above will work just fine--but I'm curious if this is a style that lilypond can support. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unresolvable rest collision?
On Dec 22, 2014, at 9:26 AM, Kieren MacMillan
wrote:
> \new Voice = "bass-a" { \voiceOne \relative c \vba }
> \new Voice = "bass-b" { \voiceTwo \relative c \vbb }
> \new Voice = "bass-c" { \voiceThree \relative c \vbc }
Thanks, that fixed it. The placement of the rests isn't exactly what I want
when I let Lilypond do it automatically, although now with the explicit voice
markings it's at least sensible. I am a bit puzzled that even with explicit
marking, I don't actually have that much control over where the head of the
rest lands. I want the bottom rest head to be at e, and the top at e', but
when I specify that, they wind up at f and f' respectively, and changing for
example to d and d' doesn't change the position of the rest.
(Obviously not a problem that really needs to be solved, but I found it curious
that one could specify the note on which a rest would land, but that that
specification would be treated so loosely.)
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Unresolvable rest collision?
I'm getting a puzzling error message when I try to typeset the following
lilypond source file. The error is being reported in measure 17 in the first
bass clef voice (\vba). The error that's reported is "romanza.ly:143:47:
warning: cannot resolve rest collision: rest direction not set". Can anyone
see what it is that I am doing wrong here?
#(set-global-staff-size 22)
\header{
title = "Romanza"
composer = "Wolfgang Amadeus Mozart"
arranger = "Arr. by M. Moszkowski"
copyright = "July 1919"
subtitle = "from Concerto for Piano in D minor"
}
#(set-global-staff-size 21)
keyMeter = { \key bes \major \time 4/4 }
\parallelMusic #'(vta vtb vtc dynD vba vbb vbc) {
% 1
f'2-4(\< e8 f e f\! |
s1 |
s1-"c espress." |
s1\p |
\stemUp d'2_3_5^( cis8 d c d |
\stemDown bes'4 bes bes bes |
s1 |
% 2
g8\> f ees d d4\!) f8.( d16 |
s1 |
s1 |
s1 |
ees8 d ces bes) bes4 r |
bes4 r r2 |
s1 |
% 3
bes8) r bes r f r f r |
s1 |
s1 |
s1 |
d,8^( f d f ees f ees f |
bes,2 |
s1 |
% 4
bes4.^"a)"( c16 d 8-1-2 d ees e-1 |
s4 s\turn s2 |
s1 |
s1 |
d8 f d f f,4) r |
bes2 s2 |
s1 |
% 5
\break f2-1)( e8\< f e f\! |
s1 |
s1 |
s1 |
d''2^( cis8 d cis d |
bes'4 bes bes bes |
s1 |
% 6
g8\> f e d d4\!) f8.( d16 |
s1 |
s1 |
s1 |
ees8 d c bes bes4) r |
bes4 r r2 |
s1 |
% 7
bes8) r bes r f r f-5 r |
s1 |
s1 |
s1 |
d,8( f d f c f c f |
bes,2 |
s1 |
% 8
2^( 8) bes'_[_( c d] |
s1 |
s1 |
s1 |
bes,4_\finger \markup \tied-lyric #"3~1" f bes,) r |
s1 |
s1 |
% 9
\break ees4. \stemUp \tuplet 3/2 { d16 c bes } \stemNeutral a8) c8^[( d ees]
| s1 | s1 |
s1 |
s1 | r8 f'8~ 8 8 8 r8 r4 | s1 |
% 10
f4. \tupletNeutral \tuplet 3/2 { ees16 d c } bes8) f'8_[( g a] | s1 | s1 |
s1 |
s1 | r8 f8~ 8 8 8 r8 r4 | s1 |
% 11
bes4. \tuplet 3/2 { a16 g f } e8) g8_[( a bes] | s1 | s1 |
s1 |
r8 c'8~ 8 8 8 r8 r4 | s1 | s1 |
% 12
c4. \tuplet 3/2 { bes16 a g } f8) f8_[--( 8-- 8--] | s1 | s1 |
s1 |
s4. f'4.^( r8 r |
r8 f8~ 8 4 d'8_[ ees c_4 ] | s1 |
% 13
f2)( e8_[ f e f] | s1 | s1 |
s1 |
d2)^( cis8 d cis d |
8\arpeggio r bes'4 4 4 | s1 |
% 14
g8_[\> f ees d\!] d8)^"b)" d_[(\turn f d] | s1 | s1 |
s1 |
ees8 d c bes bes4) r |
bes4 r r2 | s1 |
% 15
bes8) r bes r f r f r |
s1 |
s1 |
s1 |
d,8^( f d f c f c f |
2 |
s1 |
% 16
2^( 8)
\acciaccatura bes bes'( \acciaccatura c, c' \acciaccatura d, d' |
s1 |
s1 |
s1 |
bes,4_\finger \markup \tied-lyric #"3~1" f bes,8) r r4 |
s1 |
s1 |
% 17
4.\arpeggio \tuplet 3/2 { d16 c bes } a8) (c d ees | s1 | s1 |
s1 |
c''8\rest 8^( 4.) f8\rest |
f8 f'4._~ f e8\rest | s1 |
}
\score {
\new PianoStaff <<
\new Staff = "trebleStaff" {
\tempo "Andante" 4 = 72
\keyMeter
\set midiInstrument = #"piano"
<<
\new Voice = "tenor-a" { \relative c' \vta }
\new Voice = "tenor-b" { \relative c' \vtb }
\new Voice = "tenor-c" { \relative c' \vtc } >> }
\new Dynamics { \dynD }
\new Staff = "bassStaff" {
\keyMeter \clef bass
\set midiInstrument = #"piano"
<<
\new Voice = "bass-a" { \relative c \vba }
\new Voice = "bass-b" { \relative c \vbb }
\new Voice = "bass-c" { \relative c \vbc } >> } >>
\layout { } }
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Re: \parallelMusic incompatible with slur marker at beginning of measure?
On Nov 24, 2014, at 7:21 AM, Thomas Morley wrote: > An input like a | ( b) would mean "play legato from the BarCheck" > Ofcourse nonsense and LilyPond complains. > Even the error-message: > syntax error, unexpected EVENT_IDENTIFIER > is correct, because a BarCheck will not take any musical event. Yes, now this makes sense. I got some private email as well explaining what's going on here. The problem is that the open paren looks lisp-ish, and so I want it to be a grouping syntax, but it's really just a marker that happens to pair with another marker that happens to be a closing paren. I am not in love with this, but I see how it happened, at least. It would be better if the error message were something like "barcheck doesn't take an event," but at least now I understand how we got here. Thanks to you and Pierre (and the private person whom I shall not name here) for walking me through this. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \parallelMusic incompatible with slur marker at beginning of measure?
On Nov 24, 2014, at 1:03 AM, Pierre Perol-Schneider wrote: > Here both are ok; you simply omit to put any bar check: So a | (b c d) is > wrong, and a( | b c d) is right. So to be clear, I am asking whether the behavior we are seeing is intended for some reason that I haven't understood yet. It is obviously the case that the behavior is as it is. >From the perspective of a user who just wants to write music, there is no >reason at all for me to think that a | (b c d) is wrong and a (b c d) is okay. > For instance, a | b (c d) works, and a (b | c d) works. So it doesn't make >any sense that a | (b c d) doesn't work. It may be that making it work is really hard because of the way bar checks are implemented. If so, it may be that there is no way to make things consistent in the way I am suggesting they should be. I can even see how, from a data structure perspective, making a | (b c d) work consistently is difficult. But if consistency is desired, then the fact that a | (b c d) doesn't work is a bug that is hard to fix, not a feature that doesn't need to be fixed. The question I was asking is whether this is a feature that I just don't understand, but your response isn't really answering that question. If in fact a (b c d) is wrong, but just happens to work, and a( b c d) is right, then it would be helpful for users if a (b c d) threw an error, instead of working, and if a | (b c d) threw the _same_ error. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \parallelMusic incompatible with slur marker at beginning of measure?
On Nov 24, 2014, at 12:35 AM, Pierre Perol-Schneider wrote: > The answer is in your question : you're putting slurs at a wrong place and > phrasing slurs at the right one. Hm, okay. So a (b c d) is wrong, and a( b c d) is right? I tried putting the regular slur at the end of the measure instead of the beginning of the next, but I put a space between the note and the slur mark, and that didn't work: a ( | b c d). Anyway, if a (b c d) is wrong, and a( b c d) is right, then it should give the same error message regardless of where the mistake is in the measure, shouldn't it? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
\parallelMusic incompatible with slur marker at beginning of measure?
I've been learning lilypond this weekend, so forgive me if this is a question
with an obvious answer, but I am having trouble getting slurs to work with
\parallelMusic. If the slur marker is on the note at the beginning of the
line, I get a fun error. This:
\parallelMusic #'(va dynD vb) {
% ...
% 7
c2 (f,4-.) d'-4-. |
s2. s4\f |
f4-. f'-1-. ees-. d-. |
(ees2-- c-- |
s1 |
(c2-- ees-- |
% 9
d2.--) s4 |
s1 |
d2.--) s4 |
}
produces this:
aylesford.ly:47:3: error: syntax error, unexpected EVENT_IDENTIFIER
(ees2-- c-- |
aylesford.ly:49:3: error: syntax error, unexpected EVENT_IDENTIFIER
(c2-- ees-- |
aylesford.ly:67:3: error: errors found, ignoring music expression
The whole file is here:
https://github.com/Abhayakara/music/blob/7f9f30aa69ce08bdcf55ced7695e3621d7f9a066/aylesford.ly
If I use a phrasing slur, it works fine:
% 7
c2 (f,4-.) d'-4-.\( |
s2. s4\f |
f4-. f'-1-. ees-. d-.\( |
ees2-- c-- |
s1 |
c2-- ees-- |
% 9
d2.--\) s4 |
s1 |
d2.--\) s4 |
Complete file with phrasing slurs here:
https://github.com/Abhayakara/music/blob/master/aylesford.ly
Did I do something wrong here?
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Re: Vertically centering lyrics between two staves?
Thank you Carl, that is a perfect example. For me, the gap on the right hand side because of the forced break breaks the flow. Also takes up more space. If I force breaks it is ok, but I prefer compact music. Sounds like we are working on something similar, Carl. I'm porting the Reactor Core Hymn repository http://hymns.reactor-core.org/ over to http://beautifulhymns.org/ Right now I'm doing what you're doing, but I'm switching over to using a LISP framework with Django templates. The LISP framework lets me print out the 4 parts separately, and generate music separately, etc. One thing I'm tackling is this: for MIDI output, on some verses you want two notes, because the word has two phrases, but in other verses you want to respect the tie between two notes because there is just one phrase. So in the music, I insert some of my own codes that are interpreted by the LISP framework: (tie print 1 3) Would insert the "~" tie into the notes at that point, but only in the PDF output, and stanzas 1 and 3 of the MIDI output. (tie) by itself just inserts "~" tie in all stanzas and the print output. I also added syntactic sugar for "slur" and "triplet" (slur a b c) (triplet a b c) generate the correct output. I realized the need for this LISP framework when I got to some of the 5 part hymns in the Cantus Christi hymnal. By 5 part, I mean they would have 4 verses with refrain then another four verses with a different refrain... and another two verses to finish off! And different melodies in each part. And I wanted to automate the Sacred Harp hymns as well. And stuff as simple as intros and outros. Why go to all this trouble? So that a change to the source will show up in all generated outputs, the PDF file, the full MIDI file, the MIDI file for each individual part, etc. As someone who doesn't play a musical instrument, I found it very hard to follow along when virtuosic performers didn't follow the notes too closely. Having the printed music and the audible music matching perfectly really helps me with singing. Ted On 20 August 2013 20:46, Carl Peterson wrote: > On Tue, Aug 20, 2013 at 6:02 PM, Eluze wrote: > >> Ted Walther wrote >> > Another problem with that snippet is the amount to drop. With a good >> > centering command, it is centered. But if I alter the font size, etc, >> the >> > amount of raising and dropping needed to center the lyrics will alter. >> > How >> > can I predict that without a lot of kludgy code? Again, I'm generating >> > lilypond code from templates. I can compensate for some complexity, but >> > the simpler the better. >> >> it would be easier to talk about a real example - can you provide a scan >> or >> similar of what you'd like to get!? >> >> thanks >> Eluze >> > > See the refrain in http://www.hymnary.org/page/fetch/WASH1957/264/low for > an example of what Ted's talking about. > > ___ > 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: Vertically centering lyrics between two staves?
Another problem with that snippet is the amount to drop. With a good centering command, it is centered. But if I alter the font size, etc, the amount of raising and dropping needed to center the lyrics will alter. How can I predict that without a lot of kludgy code? Again, I'm generating lilypond code from templates. I can compensate for some complexity, but the simpler the better. Ted On 20 August 2013 14:47, Ted Walther wrote: > Thank you Carl. Interesting example. For the hymns I do, that might work > for the first couple bars, but then I'll have to predict where the > linebreak will be and revert it at that point. I'm using a template system > to auto-generate the lilypond code, so having to insert a counter-acting > command at an unpredictable spot in the lyrics will be rather annoying. > > Are there any Lilypond developers still active on the list who might be > interested in doing a sponsored modification that would allow two staves to > be pasted together within a score. Alternatively, allowing two scores to > be pasted together on the same line, since scores already follow one > another sequentially inside a book? > > Ted > > > On 20 August 2013 13:41, Carl Peterson wrote: > >> On Tue, Aug 20, 2013 at 4:20 PM, Ted Walther wrote: >> >>> >>> Now, someone posted another alternative; I could mark the musical notes >>> of the refrain as a separate voice, and tie the chorus lyrics to that. >>> Well and good; I wasn't aware that voices could be sequential. After all, >>> staves in a score can only be in parallel. So, having done that, is there >>> a way to tell the Lyrics attached to the chorus Voice that they should >>> vertically center themselves? >>> >>> Alternately, why not allow sequential staves in a score? Especially if >>> it began at the last barline of the previous score, instead of requiring a >>> line-break. >>> >>> This may be of help in your issue: >> http://lsr.dsi.unimi.it/LSR/Item?id=503 >> >> I don't deal with this in the template I posted because I virtually >> always insert a line break between verse and chorus, so it's a moot point >> for me. But perhaps the above snippet will be useful. >> >> Cheers, >> Carl >> >>> >>> Ted >>> >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Vertically centering lyrics between two staves?
Thank you Carl. Interesting example. For the hymns I do, that might work for the first couple bars, but then I'll have to predict where the linebreak will be and revert it at that point. I'm using a template system to auto-generate the lilypond code, so having to insert a counter-acting command at an unpredictable spot in the lyrics will be rather annoying. Are there any Lilypond developers still active on the list who might be interested in doing a sponsored modification that would allow two staves to be pasted together within a score. Alternatively, allowing two scores to be pasted together on the same line, since scores already follow one another sequentially inside a book? Ted On 20 August 2013 13:41, Carl Peterson wrote: > On Tue, Aug 20, 2013 at 4:20 PM, Ted Walther wrote: > >> >> Now, someone posted another alternative; I could mark the musical notes >> of the refrain as a separate voice, and tie the chorus lyrics to that. >> Well and good; I wasn't aware that voices could be sequential. After all, >> staves in a score can only be in parallel. So, having done that, is there >> a way to tell the Lyrics attached to the chorus Voice that they should >> vertically center themselves? >> >> Alternately, why not allow sequential staves in a score? Especially if >> it began at the last barline of the previous score, instead of requiring a >> line-break. >> >> This may be of help in your issue: > http://lsr.dsi.unimi.it/LSR/Item?id=503 > > I don't deal with this in the template I posted because I virtually always > insert a line break between verse and chorus, so it's a moot point for me. > But perhaps the above snippet will be useful. > > Cheers, > Carl > >> >> Ted >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Vertically centering lyrics between two staves?
It is going on 8 years now I've been typesetting hymns in Lilypond, and one thing is still very irritating. For many hymns, you have 3 or 4 verses. And you have a refrain/chorus. It is standard hymn practice to vertically center the chorus between two staves. Yes, it is easy to add the chorus text to the end of one of the stanzas, and at the next \break, vertical centering happens as it should. Now, someone posted another alternative; I could mark the musical notes of the refrain as a separate voice, and tie the chorus lyrics to that. Well and good; I wasn't aware that voices could be sequential. After all, staves in a score can only be in parallel. So, having done that, is there a way to tell the Lyrics attached to the chorus Voice that they should vertically center themselves? Alternately, why not allow sequential staves in a score? Especially if it began at the last barline of the previous score, instead of requiring a line-break. Or, as a last resort, is there a way to "glue" two scores together so that one starts where the other ends, on the same line? This helps the flow, and for compactness. Having too much whitespace can be very distracting to the flow of the music. Having a ragged end when the chorus should just flow from the earlier part of the verse, doesn't look good. Ted ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: variant on "many syllables to one note"
I'm pretty sure that adding "\set melismaBusyProperties = #'()" before your notes will do what you want. On Tue, Jan 18, 2011 at 4:09 PM, Graham King wrote: > In the early sixteenth century manuscript I'm working on, the scribe has > set the first three syllables of "angelorum" to a single note that I'm > transcribing as a1. ~ a1. ~ a1 > > Is there a way, preferably compatible with \lyricmode, to tell lilypond > to align the syllables under the respective semibreves? > > (So far, I've tried the suggestions for "manual syllable durations" and > "multiple syllables to one note" in the Notation Reference manual) > -- > Graham King > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > align.ly Description: Binary data <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Spurious Repeat Symbol
How can I get rid of the extra repeat symbol in this example? I'm sure it is
caused by the rest at the beginning of the repeat. I've tried hiding an
extra note along with a skip, but I can't figure out how to do this and get
the rest back.
Ted
%%% Begin example.
\version "2.12.0"
melody = \relative c' {
c4 d e f
\repeat volta 2 {
r c d e
} \alternative {
{ f1 }
{ g1 }
}
}
words = \lyricmode {
do re mi fa
\repeat volta 2
{
do re me
} \alternative {
{ fa } { sol }
}
}
\score {
<<
\new Staff { \melody }
\addlyrics { \words }
>>
}
%%% End example.
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Re: how to get half-bar used in Bach Music?
Does this do what you want?
\version "2.12.3"
\relative c' {
\override Staff.BarLine #'bar-size = #2.0
c4 c c c |
c c c c |
}
On Sat, Nov 20, 2010 at 9:00 PM, Marc Mouries wrote:
> thanks Nick. A half-bar is Bach's writing was a bar containing the same
> number notes but only went over the staff from the 2nd to the 4th lines.
>
> On Nov 20, 2010, at 11:20 PM, Nick Payne wrote:
>
> > On 21/11/10 15:10, Marc Mouries wrote:
> >> I searched and checked
> http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars
> >> but could not find a way to print a half-bar like Bach used in some of
> his music.
> >> It is not really used often so i'd not be surprised but just wanted to
> check with you guys just in case.
> >
> > \version "2.13.39"
> >
> > \relative c'' {
> >c4 c c c |
> >\set Score.measureLength = #(ly:make-moment 2 4)
> >c c |
> >\set Score.measureLength = #(ly:make-moment 4 4)
> >c c c c |
> > }
> >
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Re: SacredHarpHeads: possible solution to major/minor problem
I think it is fair to say that in older Sacred Harp music, there are
never accidentals. But they do happen occasionally. It it is only in
minor keys that the 6th degree is raised half a step without the
accidental reporting it.
Btw, great Scheme hackery, I knew there must be something like that!
Mark, could I pay you $100 to implement something that fits the bill for
sacred harp minor keys? If we need to negotiate, let's do it in private
email. The major keys are as normal.
Ted
On Thu, Jun 18, 2009 at 10:59:51PM -0500, Jonathan Kulp wrote:
Mark Polesky wrote:
Are accidentals *ever* printed next to the notes in Sacred Harp?
If not, then all you need to do is this:
\version "2.13.1"
suppressAllAccidentals = \set Staff.autoAccidentals =
#`(Staff ,(lambda (context pitch barnum position) '(#f . #f)))
\relative {
\key d \minor
\suppressAllAccidentals
\sacredHarpHeads
d e f g a b c d
}
If it's a hard and fast rule that there are never accidentals
except in the key-signature, I might propose that the
indiscriminate suppression of all accidentals be incorporated
into the \sacredHarpHeads command.
If accidentals are printed next to notes *some* of the time,
then it gets trickier. Let me know.
Thanks for this, Mark. I'm not a Sacret Harp guy and don't really know
whether there are ever accidentals, but if they're not, then your
solution above is good, with the exception that the key still (I think)
has to be called by the relative major so that the shapes are applied to
the right scale degrees. This code produces the right appearance and
MIDI output (confirm this, Tim?):
\version "2.12.2"
suppressAllAccidentals =
\set Staff.autoAccidentals =
#`(Staff ,(lambda (context pitch barnum position) '(#f . #f)))
\score {
\relative c' {
\sacredHarpHeads
\suppressAllAccidentals
\key f \major
d e f g a b c d
}
\midi {}
\layout {}
}
--
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http://www.jonathankulp.com
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Name:Ted Walther
Phone: 604-755-7732
Skype: tederific
Email: t...@reactor-core.org
Address: 1755 246 St, LANGLEY BC V2Z1G4
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Re: SacredHarpHeads: possible solution to major/minor problem
On Wed, Jun 17, 2009 at 04:28:29PM -0700, Mark Polesky wrote: Jonathan Kulp wrote: Can't you just a modal key signature instead of a tonal one? You're describing the Dorian mode, after all. If the tonic is G, then tell Lilypond the key is D minor and you should be all set. Even better: \key g \dorian How would that affect the key signature that shows at the beginning of each line? How about a \sacredHarpKey that does the correct mapping etc? In Sacred Harp music, the \sacredHarpHeads depends on the key you are in. Using Dorian would mess that up. The way the different note-heads are used needs its own solution. \dorian doesn't appear to be it. By the way, instead of Scheme code, here is what I was using to set sacredHarpHeads 3 years ago: For the major keys, this definition works: sacredHarpHeads = \set shapeNoteStyles = ##(fa #f la fa #f la mi) But for minor keys, this definition must be in place: sacredHarpHeads = \set shapeNoteStyles = ##(la mi fa #f la fa #f) But that doesn't address the accidental issue at all. Neil, are you up to making some sacred harp major and minor keys that supress the accidental? There must be a way in the scheme code to suppress the accidental!!! Ted -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 604-755-7732 Skype: tederific Email: t...@reactor-core.org Address: 1755 246 St, LANGLEY BC V2Z1G4 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: SacredHarpHeads: possible solution to major/minor problem
Neil, great work on Sacred Harp stuff.
In minor keys, the sixth degree is played half a step higher than is
written. Can you alter the minor mode so that when I correctly write
the sixth degree half a step higher, it doesn't show the sharp sign?
Ted
On Wed, Apr 23, 2008 at 10:09:36PM +0100, Neil Puttock wrote:
On 23/04/2008, Adrian Mariano wrote:
I think your approach is reasonable. (It should handle the dorian mode
properly.) I tested it in minor mode and dorian mode on some stuff I have
handy and everything looked good. As it happens, I have nothing typed in in
the major, so I did a less rigorous test there and didn't see any problems.
I've tested it on every key, swapping between major and minor, without
encountering any problems; it seems to work fine even for outlandish
keys with double flats and sharps.
I did have one problem initially where I got random (?) shape assignments.
That's a bit worrying. Can you post a minimal example for this?
As I mentioned in the limitations, the only situation I've seen where
it won't work is something like this:
\relative c' {
% no explicit Staff context, so default tonic not set
\sacredHarps
% shapeNoteStyles not set, standard glyphs used for note heads
c d e f g a b c
}
This was because the \sacredHarps command appeared before the \key command
so (presumably) no tonic was defined. It definitely does seem like an error
message would be good. It appears that the main disadvantage of this
approach over the two commands approach is the need to position the command
more carefully.
If the limitation with MIDI can be overcome, then an error message
would certainly be desirable; it might be a good idea to set the major
sacred harp head style as a default at the same time.
I'm afraid the positioning limitation is unavoidable since there's no
callback involved in setting shapeNoteStyles; it would have to be
hard-coded in the engraver to overcome this.
Regards,
Neil
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Re: Controlling slur shape across line breaks
My first reaction on glancing at it was "yikes!" But it seems to cover
exactly what I need. Thanks!
Ted
On Wed, Feb 18, 2009 at 1:31 PM, Trevor Daniels wrote:
> Ted
>
> Section 5.5.4 in the Notation Reference describes how to modify the shape of
> ties, slurs and phrasing slurs. It's a little tricky, but it's easy
> compared with modifying the two parts of a slur split over a line break!
> This is described in section 6.8 of the Notation Reference. You need to
> combine the two, and this should enable you to achieve the shape you want.
>
> Good luck!
>
> Trevor
>
> - Original Message - From: "Ted Hopp"
> To:
> Sent: Wednesday, February 18, 2009 6:04 PM
> Subject: Controlling slur shape across line breaks
>
>
>> Is there a way to control the shape of a (phrasing) slur on each side
>> of a line break? The attached image shows the awful layout that
>> results from the following fragment:
>>
>> upper = \relative c' {
>> \clef "treble"
>> \phrasingSlurUp
>> \partial 16
>> d16\( | \break
>> e4 f g a |
>> \time 6/4
>> \change Staff = "lower" \stemUp g4 f c1 \) \change Staff = "upper"
>> \stemNeutral |
>> \time 4/4
>> d4\( f 2 ~ | \break
>> 1 \)
>> }
>>
>> lower = \relative c {
>> \clef "bass"
>> \partial 16 r16 | R1 | \time 6/4 R1. \time 4/4 R1*2
>> }
>>
>> \score {
>> \new PianoStaff <<
>> \new Staff = "upper" \upper
>> \new Staff = "lower" \lower
>> >>
>> \layout {}
>> }
>>
>> As can be seen, both ends of the slur before the first line break
>> needs to be raised. After the break, the start of the slur
>> continuation (in measure 1) is good but the end (in measure 2) needs
>> to be lowered (a lot!) and, once that is done, there needs to be a lot
>> more curvature to avoid collision with the notes and the time change.
>> A slightly different problem can be seen in measure 4, where the slur
>> ends well but should start the measure much higher up.
>>
>> I need a way to fix problems like these by controlling the shape of
>> slurs, and not, for instance, by changing to phrasingSlurDown (which
>> doesn't work in the context in which these problems first showed up).
>>
>
>
>
>
>
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>
>
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Controlling slur shape across line breaks
[I tried posting this with an attached pdf, but that didn't seem to go through.]
Is there a way to control the shape of a (phrasing) slur on each side
of a line break? The following example generates some awful output:
\version "2.12.1"
\paper {
indent = #0
ragged-right = ##t
ragged-bottom = ##t
}
upper = \relative c' {
\clef "treble"
\phrasingSlurUp
\partial 16
d16\( | \break
e4 f g a |
\time 6/4
\change Staff = "lower" \stemUp g4 f c1 \) \change Staff = "upper"
\stemNeutral |
\time 4/4
d4\( f 2 ~ | \break
1 \)
}
lower = \relative c {
\clef "bass"
\partial 16 r16 | R1 | \time 6/4 R1. \time 4/4 R1*2
}
\score {
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout {}
}
As can be seen, both ends of the slur before the first line break
needs to be raised. After the break, the start of the slur
continuation (in measure 1) is good but the end (in measure 2) needs
to be lowered (a lot!) and, once that is done, there needs to be a lot
more curvature to avoid collision with the notes and the time change.
A slightly different problem can be seen in measure 4, where the slur
ends well but should start the measure much higher up.
I need a way to fix problems like these by controlling the shape of
slurs, and not, for instance, by changing to phrasingSlurDown (which
doesn't work in the context in which these problems first showed up).
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Controlling slur shape across line breaks
Is there a way to control the shape of a (phrasing) slur on each side
of a line break? The attached image shows the awful layout that
results from the following fragment:
upper = \relative c' {
\clef "treble"
\phrasingSlurUp
\partial 16
d16\( | \break
e4 f g a |
\time 6/4
\change Staff = "lower" \stemUp g4 f c1 \) \change Staff = "upper"
\stemNeutral |
\time 4/4
d4\( f 2 ~ | \break
1 \)
}
lower = \relative c {
\clef "bass"
\partial 16 r16 | R1 | \time 6/4 R1. \time 4/4 R1*2
}
\score {
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\layout {}
}
As can be seen, both ends of the slur before the first line break
needs to be raised. After the break, the start of the slur
continuation (in measure 1) is good but the end (in measure 2) needs
to be lowered (a lot!) and, once that is done, there needs to be a lot
more curvature to avoid collision with the notes and the time change.
A slightly different problem can be seen in measure 4, where the slur
ends well but should start the measure much higher up.
I need a way to fix problems like these by controlling the shape of
slurs, and not, for instance, by changing to phrasingSlurDown (which
doesn't work in the context in which these problems first showed up).
breakTest.pdf
Description: Adobe PDF document
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How to put a fermata below a full-measure rest
I'm fairly new to LilyPond and I'm wondering if there is a recommended way to
put a fermata below a full-measure rest. I tried:
R_\fermataMarkup
which put it in the right place but did not invert it (it still opening
downward). I also tried:
<< { R } \\ { s_\fermata } >>
which sort of worked except the fermata was off to the left and the rest was too
high on the staff. I assume both of those can be corrected by overriding the
right properties (once I figure out what they are), and this is what I'll do if
there's no better way. But this seems like its getting way too complicated.
Thanks!
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Re: Acciaccatura Inside Arpeggio
Thank you! That works brilliantly.
Ted
On Wed, Mar 19, 2008 at 5:03 PM, Neil Puttock <[EMAIL PROTECTED]> wrote:
> Hi Ted,
>
> Here's one way of doing it, using a hidden grace note:
>
> \version "2.11.42"
> \paper { ragged-right = ##t }
> \score {
> \new Staff \relative c'' {
> %a note to improve layout for this snippet
> g
> %polyphonic section
> << {
> %the acciaccatura, with slur to g
> \acciaccatura a8\arpeggio
> %override to ignore "note clashing column" error
> \once \override NoteColumn #'ignore-collision = ##t
> %to prevent slur joining b have to remove d & b
> g8.
> }
> %a new voice for the hidden grace note
> \new Voice { \voiceTwo
> %an invisible gracenote with arpeggio to join up with
> the acciaccatura above
> \hideNotes \grace a,8\arpeggio
> %the rest of the chord. By scaling a dotted crotchet,
> saves having
> to remove stencil for flag
> %cf. \oneVoice \once \override Stem #'flag-style =
> #'no-flag 8.
> \unHideNotes \oneVoice 4.*1/2
> } >> f'16
> }
> \layout {
> \context {
> %allow arpeggios to be connected between different
> voices on a stave
> \Staff
> \consists Span_arpeggio_engraver
> connectArpeggios = ##t
> }
> }
> }
>
> If it's OK for the slur to be above, it's a bit simpler:
>
> \version "2.11.42"
> \paper { ragged-right = ##t }
> \score {
> \new Staff \relative c'' {
> g
> << {
> \slurUp
> \acciaccatura a8\arpeggio
> 8.
> }
> \new Voice { \voiceTwo
> \hideNotes \grace a,8\arpeggio
> } >> f'16
> }
> \layout {
> \context {
> \Staff
> \consists Span_arpeggio_engraver
> connectArpeggios = ##t
> }
> }
> }
>
> Regards,
> Neil
>
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Acciaccatura Inside Arpeggio
I've been searching the archives and the LSR for hints on how to put an acciaccatura inside an arpeggio without success. I've attached a scan from a Chopin nocturne to show what I mean. Can someone show me how this is done? Ted <>___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why Is This Merge Behavior Different?
Please note that I understand that it is LilyPond's intended behavior
to never merge a quarter note and a half note regardless of how
properties are set. I also understand why this should be the default
behavior. I guess I don't understand why setting
'merge-differently-headed should not override the default behavior for
quarter notes as well as flagged notes. I've attached a snippet of
some old sheet music which does merge a quarter note and a half note.
While in some contexts it might be ambiguous, in this case, it is not.
BTW, I have figured out how to fake the behavior that I want.
Ted
> -- Forwarded message --
> From: "Gilles THIBAULT" <[EMAIL PROTECTED]>
> To: "Ted Stanion" <[EMAIL PROTECTED]>,
> Date: Fri, 8 Feb 2008 09:27:38 +0100
> Subject: Re: Why Is This Merge Behavior Different?
> > Can someone explain to me why the eighth note and half
> > note have their heads merged in the first measure while the quarter
> > note and the half note in the second measure do not?
> > \relative c''
> > {
> > \new Voice << {
> > c8 c4.
> > \override Staff.NoteCollision #'merge-differently-headed = ##t
> > c8 c4.
> > \override Staff.NoteCollision #'merge-differently-headed = ##f
> > c4 c4
> > \override Staff.NoteCollision #'merge-differently-headed = ##t
> > \override Staff.NoteCollision #'merge-differently-dotted = ##t
> > c4 c4 } \\
> > { c2 c2 c2 c2 } >>
> Yes it seems strange but i think it is on purpose.
> With a eighth note and a half note, the little hook of the eighth note
> (sorry don't remember how you call that in english) lets you to understand
> the duration of each merged notes.
> There is no way to distinguish a quarter note and a half note if they are
> merged. It can make believe you that it is 2 half notes.
> (of course reading forward in the measure let you imagine the real duration
> of each note)
>
> Gilles
>
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Why Is This Merge Behavior Different?
Hello All,
The following code is modified from section 6.3.5 of the LilyPond
2.10.33 manual. Can someone explain to me why the eighth note and half
note have their heads merged in the first measure while the quarter
note and the half note in the second measure do not?
Thanks,
Ted
Begin merge.ly
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm - 2.0 * 0.4\in
ragged-right = ##t
force-assignment = #""
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
\relative c''
{
\new Voice << {
c8 c4.
\override Staff.NoteCollision #'merge-differently-headed = ##t
c8 c4.
\override Staff.NoteCollision #'merge-differently-headed = ##f
c4 c4
\override Staff.NoteCollision #'merge-differently-headed = ##t
\override Staff.NoteCollision #'merge-differently-dotted = ##t
c4 c4 } \\
{ c2 c2 c2 c2 } >>
--- End merge.ly
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Re: dynamics used in MIDI output?
Thanks Graham. I love Lilypond's PDF output. For the MIDI end of things, are there any programs you'd recommend? If I have to make an intermediate language, and output for both Lilypond and the other program, I will. Ted On Tue, Dec 11, 2007 at 12:59:48AM -0800, Graham Percival wrote: On Tue, 11 Dec 2007 00:28:15 -0800 Ted Walther <[EMAIL PROTECTED]> wrote: I read in the documentation on the website that dynamic markings like crescendo and decrescendo, mezzoforte, etc, are not incorporated into the MIDI output. Where? That is incorrect. We don't include articulations, but dynamics are certainly added. I can't play any instrument, so I'm trying to use Lilypond to make accompaniment music to sing along to. Although we _do_ support dynamics in MIDI, I can't claim that we have particularly good MIDI support... I hate to say it, but it might be better to look at using a different program if your primary goal is audio playback. Cheers, - Graham -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
dynamics used in MIDI output?
I read in the documentation on the website that dynamic markings like crescendo and decrescendo, mezzoforte, etc, are not incorporated into the MIDI output. I spoke to a Lilypond developer tonight, and he said that last time he looked at the MIDI code, it looked like some sort of sound volume was being taken into account. Is there an officially supported way to output MIDI files and also have control of the volume (dynamic range)? I can't play any instrument, so I'm trying to use Lilypond to make accompaniment music to sing along to. Ted -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: is it possible to glue two staff's together? (hymn solution)
Rene, thank you for that example. It works nicely, except on lines
where the refrain is by itself. On those lines, the extra space is
inserted even though it isn't needed. Here is the output PDF:
http://hymns.reactor-core.org/lilypond/refrain-rene.pdf
I changed the value 7.4 to 8 to get the refrain nicely centered.
Han-Wen hasn't posted anything in a while; is he on vacation? I guess
at this point I should ask, what would be involved in a coding fix, and
how much would it take to sponsor it?
I am thinking of two options right now.
Either a \new GlueStaff, which "glues" staves together inside it.
Or a new option to the Lyrics context so that its vertical alignment
ignores any other Lyrics contexts which don't overlap the Lyrics in the
horizontal direction.
Either of those options would be most satisfactory. I regret I don't
know lilypond internals any better, so I could suggest something easier
to implement.
Ted
On Tue, Oct 16, 2007 at 12:04:04PM +0200, Ren? Brandenburger wrote:
Hi Ted,
yesterday I had some time to look at your issue again,
here is a snippet, which works fine, the only caveat is that the refrain
also takes up the same amount of space in e new line.
\version "2.11.19"
\header {
title = "Wir feiern heut ein Fest"
}
\include "italiano.ly"
verseun = \lyricmode { \set stanza = "1. "
Wir fei -- ern heut ein Fest,
und kom -- men hier zu -- sam -- men.
Wir fei -- ern heut ein Fest,
weil Gott uns al -- le liebt
}
versedeux = \lyricmode { \set stanza = "2. "
Wir fei -- ern heut ein Fest,
und sin -- gen mit -- ein -- an -- der.
Wir fei -- ern heut ein Fest,
weil Gott uns al -- le liebt
}
versetrois = \lyricmode { \set stanza = "3. "
Wir fei -- ern heut ein Fest,
und dan -- ken f??r die Ga -- ben
Wir fei -- ern heut ein Fest,
weil Gott uns al -- le liebt
}
verserefrain = \lyricmode { \set stanza = "Refrain: "
Her -- ein, her -- ein!
Wir la -- den al -- le ein.
Her -- ein, her -- ein!
Wir la -- den al -- le ein.
}
staffSoprano = \new Staff {
\time 4/4
\tempo 4 = 96
\set Staff.midiInstrument="voice aahs"
\key sol \major
\clef treble
\relative do' {
\context Voice = "melodySop" {
\partial 8 *1
re8 |
si'16 si8. sol8 fad mi4 r8 sol8 |
fad16 fad8. sol8 la si sol r8 re8 |
si'16 si8. sol8 fad mi4 r8 sol8 |
fad8 fad sol16 la sol8 ~ sol4 r8
}
\context Voice = "repeatSop" {
\repeat volta 2 {
\partial 8 * 1
re8 |
si'4 re8 do4. r8 si8 |
la8 la si16 do si8 ~ si4 r8 re,8 |
si'4 re8 do4. r8 si8 |
la8 la sol16 fad sol8 ~ sol4 r8
}
}
%\bar "|."
}
}
\score {
<<
\staffSoprano
\context Lyrics = "verseUn" \lyricmode { \lyricsto "melodySop"
\verseun }
\context Lyrics = "verseDeux" \lyricmode { \lyricsto "melodySop"
\versedeux }
%% refrain %%
\context Lyrics = "verseRefrain" \lyricmode {
%% move down, you probably have to play with the 7.4 to get it
aligned
the way you want
\override VerticalAxisGroup #'minimum-Y-extent = #'(-0 . 7.4)
\lyricsto "repeatSop" \verserefrain
}
\context Lyrics = "verseTrois" \lyricmode { \lyricsto "melodySop"
\versetrois }
\context Lyrics = "versetrois" \lyricmode { \lyricsto "melodySop"
\versetrois }
>>
\layout
{
\context {
\Lyrics
\override LyricSpace #'minimum-distance = #0.6
\override LyricText #'font-size = #-1
}
}
}
\score
{
\unfoldRepeats \staffSoprano
\midi {
}
}
\paper {
}
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Re: On popular demand: Free Meter :-)
Thank you Rune!
Ted
On Wed, Oct 10, 2007 at 06:27:30PM +0200, Rune Zedeler wrote:
Rune Zedeler skrev:
\hardbar "||"
(And btw don't think it would be possible with current lilypond)
Well, inspired by Mats' latest post, I see that it indeed is possible:
%%% BEGIN %%%
increaseBarNumber = \applyContext
#(lambda (x)
(let ((measurepos (ly:context-property x 'measurePosition)))
; Only increase bar number if not at start of measure.
; This way we ensure that you won't increase bar number twice
; if two parallel voices call increaseBarNumber simultanously:
(if (< 0 (ly:moment-main-numerator measurepos)) ; ugh. ignore grace part
(begin
(ly:context-set-property!
(ly:context-property-where-defined x 'internalBarNumber)
'internalBarNumber
(1+ (ly:context-property x 'internalBarNumber)))
(ly:context-set-property!
(ly:context-property-where-defined x 'currentBarNumber)
'currentBarNumber
(1+ (ly:context-property x 'currentBarNumber)))
; set main part of measurepos to zero, leave grace part as it is:
(ly:context-set-property!
(ly:context-property-where-defined x 'measurePosition)
'measurePosition
(ly:make-moment 0 1
(ly:moment-grace-numerator measurepos)
(ly:moment-grace-denominator measurepos)))
% Named Increasing BAR
nibar = #(define-music-function (parser location x) (string?)
#{
\bar $x
\increaseBarNumber
#})
% Increasing BAR
ibar = \nibar "|"
{
\new Staff \with { \remove Time_signature_engraver } {
\cadenzaOn
#(set-accidental-style 'modern-cautionary)
\key a \major
\repeat unfold 2 {
c'8 dis' eis' eis' \ibar
c'4 dis' e' eis' \nibar "||"
c' dis' eis'8 dis' eis' \ibar
c'1 dis' eis' eis'2 \nibar "|."
}
}
}
%%% END %%%
Valentin, will you update LSR?
-Rune
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Re: is it possible to glue two staff's together? (hymn solution)
Rene, thanks for continuing to look into this. If there is a way to
"close the gap", this will work.
But it does seem more clear conceptually to start up a new staff and do
what I need to in the new staff. Then we would just need to glue the
staves together, as one car in a train follows another.
Ted
On Wed, Oct 10, 2007 at 11:31:49AM +0200, Ren? Brandenburger wrote:
Hi Ted,
there you could try to create an own context c inbetween context a and b
and try to get it take up no space between the two other context, but
I'm not sure about the property to tweak there, perhaps one of the
lilypond gurus can help there . I played around with maximum-Y-extent
and minimum-Y-extent, but only managed to get more space, not less
though.
you should have something like this
lyrics: {context a { attached to melody }}
{context c { tweaked to take no space }{ attached to refrain } }
{context b { attached to melody }}
Am Montag, den 08.10.2007, 14:51 -0700 schrieb Ted Walther:
Thanks Rene. I was hoping for something free-floating; for instance, if
I have 3 verses, and in the refrain there are two vocal parts, I'd like
it to look like this, but without the gap:
notes: {context melody ..}{context refrain ...}
lyrics: {context a { attached to melody }}
{context ? { attached to refrain } }
{context b { attached to melody }}
{context ? { attached to refrain } }
{context c { attached to melody }}
Your technique does work very nicely for attaching the refrain
separately. How about when there are an even number of verses?
lyrics: {context a { attached to melody }}
{context ? { attached to refrain } }
{context b { attached to melody } }
Ted
On Mon, Oct 08, 2007 at 02:02:32PM +0200, Ren? Brandenburger wrote:
>Hi Ted,
>
>i had a look at our file, in line 97, you create a new Lyrics context to
>take the refrain, if you change it to
>
>\lyricsto "refrain" \context Lyrics = b {
>
>as you want the refrain to show up in the same line as the words of the
>second stanza.
>
>what you actually get is the following:
>
>
>
>notes: {context melody ..}{context refrain ...}
>lyrics: {context a { attached to melody }}
>{context b { attached to melody }{ attached to refrain } }
>{context c { attached to melody }}
>
>
>
>hope this helps
>
>best regard
>
>rene
>
>
>Am Montag, den 08.10.2007, 03:27 -0700 schrieb Ted Walther:
>> Rene, thanks for the suggestion. You've really done a tremendous job
>> with Allouette. It looked like it should work, and it almost did work.
>> Here is the lilypond file, and the resulting PDF:
>>
>> http://hymns.reactor-core.org/lilypond/refrain2.ly
>> http://hymns.reactor-core.org/lilypond/refrain2.pdf
>>
>> Did I make some mistake?
>>
>> Ted
>>
>> On Sun, Oct 07, 2007 at 05:31:43PM +0200, Ren? Brandenburger wrote:
>> >Hi,
>> >
>> >perhaps the attached snippets helps, it's the way i managed to get
>> >something similiar working, it spits out a few warnings, but the result
>> >looks ok for me.
>> >(see attached pdf)
>> >
>> >regards
>> >
>> >rene brandenburger
>> >
>
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Re: is it possible to glue two staff's together? (hymn solution)
Wilbert, thanks for the suggestion. I tried that just now, and it doesn't work very well. Here is an example PDF: http://hymns.reactor-core.org/lilypond/refrain1.pdf The result is, on the first line, the gap does get closed. But when it gets down to the line where the refrain is, sharing the line with the main portion, there is an ugly gap between lines 2 and 3. Also, for doing hymn refrains, often there will be a second, and sometimes even a third or fourth part, where it goes all four-part harmony on you, with the bass, alto, tenor, and soprano singing the same part at different rhythms. For the main part of the verse, the soprano takes the melody, but in the refrain there is much more variety. It would be nice to be able to do the main part and the refrain on different staves, but to "paste" them together so they seem like a seamless whole. I suppose if the gap thing was fixed, I could make do. But I'd like to avoid typing in a whole bunch of _ for every refrain. Ted On Fri, Oct 05, 2007 at 08:37:30AM +0200, Wilbert Berendsen wrote: Op donderdag 4 oktober 2007, schreef Ted Walther: In hymn typesetting, the refrain is nicely centered between the bass and treble clefs. If it were possible to "glue" two staffs together, end to end, that would solve the problem. I could attach the refrain lyrics to the second staff, and put the verses of the hymn into the first staff. Maybe the new spacing techniques in 2.11 could allow for lyrics to be centered between staffs? e.g: have 5 Lyrics contexts: verse 1 verse 2 refrain verse 3 verse 4 and have verse 2 and 3 just close to each other because there is are only skips in the refrain lyrics. I didn't try. when there is an odd number of verses, the refrain lyrics could be added to the middle verse. with best regards, Wilbert Berendsen -- http://www.wilbertberendsen.nl/ "You must be the change you wish to see in the world." -- Mahatma Gandi ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
is it possible to glue two staff's together? (hymn solution)
For the longest time, there has been a problem in Lilypond that affects the typesetting of hymns. In a hymn, there will be all the verses. And then quite often there is a "refrain". In hymn typesetting, the refrain is nicely centered between the bass and treble clefs. If it were possible to "glue" two staffs together, end to end, that would solve the problem. I could attach the refrain lyrics to the second staff, and put the verses of the hymn into the first staff. So, is this already possible somehow? The only alternative right now, which is icky, is to make the refrain start on a new line, all the time. This is wasteful of space. Ted -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Rune, can you update your free meter code? I'd like to do this: \hardbar "||" or \hardbar "|" and have it do the right thing, instead of making a new function for each different type of barline. Ted On Wed, Sep 19, 2007 at 12:22:53AM +0200, Rune Zedeler wrote: Valentin Villenave skrev: I am certainly not committing anything; Rune might be, but his current work on the accidental code will probably change the whole thing in weeks. No I probably won't. I think having the example in lsr is enough. If we were to include it in the distro officially we should define a real "free meter" timing, and, when it was on, automatically increase bar number at all bar lines. Some more work, and with limited gain. but his current work on the accidental code will probably change the whole thing in weeks. Definitely not. The Free Meter only change the bar number and measure position. The accidental engraver uses these a lot but it does not define them in any way. The Free Meter thingy will probably keep on working for a long time without change. And if not then it won't be the accidental code that causes trouble :-) -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: On popular demand: Free Meter :-)
Thank you! Ted On Mon, Sep 17, 2007 at 12:13:01AM +0200, Rune Zedeler wrote: c.m.bryan skrev: I'm working on a score where I am in cadenza mode, and inserting bar lines manually (\bar "|"). It seems that accidentals don't reset automatically on these barlines, i.e. a sharp isn't reprinted in the next bar. Is this the intended behavior, and if so, is there any way I can change that? This snippet defines a function, increaseBarNumber, that you can use to increase the bar number. That way you can have a Free Meter where you insert bars whereever you like, bar numbers counting correctly and accidentals behaving correctly. http://lsr.dsi.unimi.it/LSR/Item?u=1&id=327 -Rune -- There's a party in your skull. And you're invited! Name:Ted Walther Phone: 778-320-0644 Email: [EMAIL PROTECTED] Skype: tederific Address: 3422 Euclid Ave, Vancouver, BC V5R4G4 (Canada) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: landscape orientation not working.
On Tue, Jan 23, 2007 at 10:48:28PM -0800, Ted Walther wrote: Thank you, that worked very nicely. Results here: http://hymns.reactor-core.org/SacredHarp/Pilgrim.pdf And of course, you can hear the music by changing the pdf extension to mp3: http://hymns.reactor-core.org/SacredHarp/Pilgrim.mp3 And you'll find more in the same vein at http://hymns.reactor-core.org/all/mp3/SacredHarp/ Ted -- There's a party in your skull. And you're invited! Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: landscape orientation not working.
Thank you, that worked very nicely. Results here:
http://hymns.reactor-core.org/SacredHarp/Pilgrim.pdf
Ted
On Tue, Jan 23, 2007 at 10:08:03PM -0600, Walter Hofmeister wrote:
On 1/23/07 9:42 PM, "Ted Walther" <[EMAIL PROTECTED]> wrote:
I put orientation = "landscape" in my \paper { } section, but lilypond
is ignoring it when it makes the Postscript and PDF files. What am I
doing wrong?
Here is the minimal example as requested:
%%% start of example
\version "2.10.11"
\paper { orientation = "landscape" }
soprano = \relative g' {
r2 cis | fis4. e8 cis4 cis | fis,4. gis8 a4 a | e'4. fis8 dis4
cis | cis1 | r2 cis | a4. gis8 fis4 a | cis2 cis4 cis | b4. a8
gis4 a8[ b] | cis2. fis8[ e] | fis4. e8 cis4 cis | fis,4. gis8
a4 a | e'4. fis8 dis4 cis | cis1 \bar "|."
}
\score {
\new Staff << \key fis \minor \soprano >>
\layout { }
}
%%% end of example
Ted
Hi Ted,
I just checked the docs and it suggests that you set this in statement
that selects the paper size:
#(set-default-paper-size "letter" 'landscape)
I checked this and it worked here in 2.11.8
Walter Hofmeister
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landscape orientation not working.
I put orientation = "landscape" in my \paper { } section, but lilypond
is ignoring it when it makes the Postscript and PDF files. What am I
doing wrong?
Here is the minimal example as requested:
%%% start of example
\version "2.10.11"
\paper { orientation = "landscape" }
soprano = \relative g' {
r2 cis | fis4. e8 cis4 cis | fis,4. gis8 a4 a | e'4. fis8 dis4
cis | cis1 | r2 cis | a4. gis8 fis4 a | cis2 cis4 cis | b4. a8
gis4 a8[ b] | cis2. fis8[ e] | fis4. e8 cis4 cis | fis,4. gis8
a4 a | e'4. fis8 dis4 cis | cis1 \bar "|."
}
\score {
\new Staff << \key fis \minor \soprano >>
\layout { }
}
%%% end of example
Ted
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Re: making fermata effect the MIDI output? tempo along bezier curves?
Thanks Trevor. Looks messy, but since my source language is common
lisp, I can easily make a generator function to handle that for me.
So (fermata *music*) will macro-expand to
(let ((oldtempo tempo))
\override Score.MetronomeMark #'transparent = ##t
(tempo (/ tempo 2))
*music*\fermata
(tempo oldtempo)
\override Score.MetronomeMark #'transparent = ##f)
And (tempo x) will expand to \tempo x
Although I had the impression that \tempo was deprecated and didn't work
anymore? These days I use
\set Score.tempoWholesPerMinute = #(ly:make-moment 100 4)
instead of
\tempo 4=100
Was \tempo fixed to work again?
Ted
On Sat, Jan 20, 2007 at 09:06:02PM -, Trevor Daniels wrote:
Ted
Sorry, I should have been more careful - I gave it only a
very quick try as the simplest solution I could think of and
didn't notice the effect in the score.
What I actually used in a piece I transcribed some time ago
was a bit messier but it did work properly. Below is the
first part of the tempi file (I like to keep all my music,
tempo and dynamic files separate). As you can see this
simply changes the midi tempo but makes the metronome mark
invisible. See if this does more what you want.
TempoA= {
\override Score.MetronomeMark #'padding = #3.0
%Page 1 System 1 Bar 1
\tempo 2=80 s1 | s | s | s | s | s | s |
%Page 1 System 2 Bar 8
% the following tempo changes implement the fermata in bar
9
\override Score.MetronomeMark #'transparent = ##t % hide
the marks
s1 | \tempo 2=50 s | \tempo 2=80 s | s1 | s | s | s | s | s
|
%Page 1 System 3 Bar 17
% the following tempo changes implement the fermata in bar
18
s1 | \tempo 2=50 s | \tempo 2=80 s | s | s | s | s | s |
}
Trevor
From: Ted Walther [mailto:[EMAIL PROTECTED]
Trevor, the method you outline doesn't quite work
as I'd wish. It does
extend the length of the note without changing
the notehead. However,
it does mess with the meter; the barlines are
suddenly being put in
different places.
What I would like is to extend the length of the
note without changing
the meter at all; as far as music layout is
concerned, lilypond should
act as if the note was only held for the first
duration given, not the
second.
Is that possible? Without doing something ugly like
\set Score.measurePosition = #(ly:make-moment 0 4)
Ted
On Sat, Jan 20, 2007 at 04:34:24PM -, Trevor
Daniels wrote:
>
>Ted
>
>Changing the duration of the note by postfixing
a multiplier
>to the note's duration affects the midi output without
>affecting the printed score. See section 6.1.11 in the
>manual - Scaling Durations. Eg c4*2 would give a printed
>crotchet C but play a minim C in the midi output. c4*3/2
>would give a C sounding 50% longer than a crotchet. It's
>not automatic - you need to add this scaling manually to
>fermata notes - but it's easy to do and works fine.
>
>Trevor
>
>> [EMAIL PROTECTED] Behalf Of
>> Ted Walther
>> Sent: 20 January 2007 03:05
>
>> That said, is there a way for the fermata to hold
>> the note for some
>> extra time in the MIDI output?
>>
>> Ted
>>
>
>
>
--
It's not true unless it makes you
laugh,
but you don't understand it until it makes
you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making fermata effect the MIDI output? tempo along bezier curves?
For the record, the section of the manual has been changed to 6.2.4 from 6.1.11. Ted On Sat, Jan 20, 2007 at 04:34:24PM -, Trevor Daniels wrote: Ted Changing the duration of the note by postfixing a multiplier to the note's duration affects the midi output without affecting the printed score. See section 6.1.11 in the manual - Scaling Durations. Eg c4*2 would give a printed crotchet C but play a minim C in the midi output. c4*3/2 would give a C sounding 50% longer than a crotchet. It's not automatic - you need to add this scaling manually to fermata notes - but it's easy to do and works fine. Trevor [EMAIL PROTECTED] Behalf Of Ted Walther Sent: 20 January 2007 03:05 That said, is there a way for the fermata to hold the note for some extra time in the MIDI output? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making fermata effect the MIDI output? tempo along bezier curves?
I just looked through the prefatory material in the Sacred Harp and couldn't find the reference to "robbing" the next note of some time in a fermata. I must have read it somewhere else. I remembered it clearly because it did use the word "robbing". That said, is there a way for the fermata to hold the note for some extra time in the MIDI output? Ted On Sat, Jan 20, 2007 at 01:10:07AM +0000, Carl Sorensen wrote: Ted Walther reactor-core.org> writes: I am using the description of the fermata in the "Sacred Harp" hymnal, first published in 1844, now in the 1991 Denson edition. In the preface it clearly describes the meaning of the fermata mark, the dot with a semicircle around it. Also in all the hymnals I've seen, the fermata marks means to hold the note longer. Ted On Sat, Jan 20, 2007 at 10:12:37AM +1100, Cameron Horsburgh wrote: >On Fri, Jan 19, 2007 at 03:01:04PM -0800, Ted Walther wrote: >> When you see fermata in hymns, it almost always means "hold the note >> longer, robbing the next note of some duration". If you do the I think it's the "robbing the next note of some duration" part that I disagree with. My experience is that a fermata has no effect on the following note. From wikipedia, "A fermata (or hold or pause) is an element of musical notation indicating that the note should be sustained for longer than its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer, but twice as long is not unusual. It is usually printed above, but occasionally below (upside down), the note that is to be held longer. Occasionally holds are also printed above rests or barlines, indicating a pause of indefinite duration." Note that this also talks about the fermata above barline topic that we had a bit earlier. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making fermata effect the MIDI output? tempo along bezier curves?
I am using the description of the fermata in the "Sacred Harp" hymnal, first published in 1844, now in the 1991 Denson edition. In the preface it clearly describes the meaning of the fermata mark, the dot with a semicircle around it. Also in all the hymnals I've seen, the fermata marks means to hold the note longer. Ted On Sat, Jan 20, 2007 at 10:12:37AM +1100, Cameron Horsburgh wrote: On Fri, Jan 19, 2007 at 03:01:04PM -0800, Ted Walther wrote: When you see fermata in hymns, it almost always means "hold the note longer, robbing the next note of some duration". If you do the durations explicitly, it messes up the meter and the printed sheet music. What would it take to get the fermata to show up in printed music, but have it do the time-robbing in the MIDI output? What hymn books do you use? I've been around hymns for a while and I've never seen a fermata mean anything different to what it means everywhere else. Of course, that could just be me. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- = Cameron Horsburgh = -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
making fermata effect the MIDI output? tempo along bezier curves?
When you see fermata in hymns, it almost always means "hold the note longer, robbing the next note of some duration". If you do the durations explicitly, it messes up the meter and the printed sheet music. What would it take to get the fermata to show up in printed music, but have it do the time-robbing in the MIDI output? I'm thinking I'd like the duration of the fermata to be explicit, like it is with partial; g4\fermata 5*16 as an example. Then succeeding notes would be robbed until the lost time was made up, with no note being robbed of more than half its duration. Is there already something like this? It would be interesting to be able to set the tempo at various places, and have lilypond alter the durations in midi output to match the bezier curve generated by the tempo settings, so that at each place where the tempo is set, the tempo is exactly at the setting. Wonder what it would cost to sponsor that... I think this would help give a more "human" feel. And be nice to swap out curves; straight line curves, quartic curves... Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: making midi output ignore accidentals?
The documentation left it really unclear; does override only extend to
the next note? Can I do an override on a patch of music by using {}
immediately after the override? How about with \set?
Ted
On Mon, Jan 08, 2007 at 09:41:46AM +0100, Mats Bengtsson wrote:
Maybe it's easier (and better) to input the music the way you want it to sound
and make the accidentals invisible in the printed output if you want.
\override Accidental #'transparent = ##t
One big advantage if such an approach is that you easily can print the
music according to some other typesetting practice, if you wish.
/Mats
Ted Walther wrote:
Is there a simple way to make the midi output of a piece ignore
accidentals?
By this I mean, if the printed sheet music shows a b-flat in the key of
C major, I would just want b-normal to go out to the midi file.
In Sacred Harp music, accidentals are sometimes (though rarely) printed,
but are ignored.
Ted
--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: how to stop an accidental from being printed?
That worked nicely; I was so busy Googling I never thought of looking in the beginning of the manual. Thank you Karl. The pages on lilypond and accidentals that Google popped up didn't say a word about this. Ted On Mon, Jan 08, 2007 at 12:57:40PM +0100, Karl Hammar wrote: I was entering Erik Satie's piece "Vexations" which is heavy on accidentals. In front of the sharps and flats, lilypond puts a (*) symbol, where * represents the "natural" accidental. This gets annoying. Is there a way to turn it off? I just want the accidentals themselves to be shown; if you go from bes to bis, I'll assume that it is relative to b; no need to put b-natural symbol in front of the sharp symbol. ... In the fine manual under Basic notation / Pitches / Accidentals / Commonly tweaked properties \set Staff.extraNatural = ##f Regards /Karl -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
beaming only inside slurs? is possible?
Hi. I'm typesetting some Sacred Harp music. This is four part vocal music. For clarity in singing, is there a knob or setting so that notes will only be beamed together when they are part of a melisma? Since that may be too hard, how about a knob or setting so that beaming is only done on notes that are part of the same slur? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
how to stop an accidental from being printed?
I was entering Erik Satie's piece "Vexations" which is heavy on accidentals. In front of the sharps and flats, lilypond puts a (*) symbol, where * represents the "natural" accidental. This gets annoying. Is there a way to turn it off? I just want the accidentals themselves to be shown; if you go from bes to bis, I'll assume that it is relative to b; no need to put b-natural symbol in front of the sharp symbol. Also, in Sacred Harp music, the sixth note of the minor scale is played sharp, but this should not show up in the printed music. Is there a way to hide the accidental and stop it from being printed on the sixth note? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
making midi output ignore accidentals?
Is there a simple way to make the midi output of a piece ignore accidentals? By this I mean, if the printed sheet music shows a b-flat in the key of C major, I would just want b-normal to go out to the midi file. In Sacred Harp music, accidentals are sometimes (though rarely) printed, but are ignored. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
need some lyrics alignment in a melisma
Hi. I'm typing in some Sacred Harp music. Is there a way to make a word in a melisma be aligned the same as words that are tied to a single note? See, in the four part music, for long stretches people might be singing the music in the same time, but one voice might use two short notes to sing the word while all the other voices are singing the same word on one long note. I would like the start of this word to line up across all the voices. Right now the word seems to be centered inside the melisma (or slur). Is there a way to fix this? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
PATCH: shape note minor keys broken and a fix (Sacred Harp)
In the shape note world, specifically the four-shape world of Sacred Harp music, there are two scales. Lilypond supports the major scale. The minor scale starts a couple notes down. For the major keys, this definition works: sacredHarpHeads = \set shapeNoteStyles = ##(fa #f la fa #f la mi) But for minor keys, this definition must be in place: sacredHarpHeads = \set shapeNoteStyles = ##(la mi fa #f la fa #f) So, I don't know the magic to make this code depend on the key in effect, major or minor, so if anyone does know and could fix it, I'd appreciate it. ANOTHER SACRED HARP PROBLEM In the minor keys of Sacred Harp music, the sixth note of the scale is played a half step sharper than it is written. What would it take so that when \sacredHarpHeads is invoked, the accidental sharp on the sixth note is supressed? It is a convention of sacred harp that the sharp is not notated or expressed; it is implied. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
adding lyrics in poetry format? (old style hymn books)
In old style hymn books the lyrics are printed in the form of a poem underneath the piano score. I would like to do this in lilypond. Is there a way, or do I have to use lilypond-book? If I have to use lilypond-book, is there an example of how to do this? Here is an example of what I mean, taken from the 1904 edition of the Methodist Hymn Book. http://reactor-core.org/~djw/pics/20061211/methodist/ The last pic is the one you want; the first three establish the printing and copyright date of the book as 1904. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Swing Midi
On Thu, Sep 21, 2006 at 08:25:48AM +0200, Erik Sandberg wrote: On Wednesday 20 September 2006 22:55, Ted Walther wrote: On Wed, Sep 20, 2006 at 11:34:33AM -0500, David Greene wrote: >>If you want to do something more generic (something you can apply >>on any existing ly score), then you may want to consider using >>music streams. Music streams are a new concept in 2.9, and nobody >>has used them yet AFAIK. However, I can try to guide you if you're >>interested. (I would guess htat this solution can be coded >>entirely in Scheme) > >I'm very interested in this. I don't recall seeing anything about >it in the manual -- maybe I missed it. Is there a description >somewhere? I think I read elsewhere that \partcombine is supposed to be replaced by these same music streams. Are they documented anywhere? Will the new \partcombine be a wrapper on top of these music streams? Actually, music streams _are_ already used for partcombine (streams are converted to a format which partcombine uses, the plan is to change that format to a more powerful data structure). You can read my thesis (see link in my other reply on lily-devel) for more info. Thanks Erik, I saw your post after I already sent that email. I've started reading your paper. I must say, it is very well written. I am not used to masters thesis being so clear and easy to read. Congratulations! I hope you got your masters with flying colors. You obviously have a lot on your plate with this new sub-system being integrated. Any time line on when the fundamentals will be solid enough for the partcombine rewrite? I can donate $100 USD, but am pretty limited otherwise. My lilypond wishlist: * fix the small size of shape-note heads * allow sacred harp "modes" instead of major and minor keys. In sacred harp, accidentals are ignored and 6ths are flattened in minor keys. * In partcombine, let lyricsto be set to one of the parts that was combined. * Let partcombine combine more than two parts. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Swing Midi
On Wed, Sep 20, 2006 at 11:34:33AM -0500, David Greene wrote: If you want to do something more generic (something you can apply on any existing ly score), then you may want to consider using music streams. Music streams are a new concept in 2.9, and nobody has used them yet AFAIK. However, I can try to guide you if you're interested. (I would guess htat this solution can be coded entirely in Scheme) I'm very interested in this. I don't recall seeing anything about it in the manual -- maybe I missed it. Is there a description somewhere? I think I read elsewhere that \partcombine is supposed to be replaced by these same music streams. Are they documented anywhere? Will the new \partcombine be a wrapper on top of these music streams? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
partcombine for three parts?
Does \partcombine yield a music expression? I tried doing this: \partcombine \partcombine \foo \bar \baz The results were ugly. Lilypond complained a lot too. warning: ignoring too many clashing note columns The reason I ask is that Sacred Harp music from the Denson book has three voices together in the treble clef and only one in the bass. I want to keep each voice separate, but I like the type of output that partcombine produces for two voices. How hard would it be to extend it to work with three? Or four? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
shape note support broken?
A bug in 2.8 is still present in 2.9.17. I quote a mail from 4 months ago: Subject: shape note heads From: Monk Panteleimon Date: Wed, 21 Jun 2006 16:10:19 -0700 Thought I might as well report these as bugs: Shape-note heads in 2.8 are abnormally small. They were fine (I thought) in 2.7. Also, the sequence for Sacred Harp style heads should be ##(fa #f la fa #f la mi). -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: partcombine not giving joy for hymns
Eduardo, thank you for your insightful reply. I was doing something
similar before, but found it painful. I really want to keep the voices
properly separated because I am experimenting with orchestration via
midi output right now. \partcombine with the Devnull trick is "good
enough" right now as far as lyrics go, and produces really good results
as far as typesetting the notes goes. I hope partcombine and lyricsto
is fixed soon. I don't have much money but I'm willing to put $$ in the
kitty for such a rewrite.
I read Mats post on Stemming for Hymnal after you mentioned it. Thank
you.
Ted
On Fri, Sep 15, 2006 at 11:46:28AM -0300, Eduardo Vieira wrote:
I have found that \partcombine is not the ideal tool for hymns if you
follow this convention: soprano and alto in the same staff as chords, if
the interval is of a second or unison, then the stems are split (soprano,
stem up; alto, stem down).
Now you have to choices: either typeset the voices like chords (which is
bit harder), and add new voice layer for the splitted parts. Or use
something as the example file below:
This file is a 4-part arrangement in wich soprano and alto are typeset
separately, and tenor and bass like chords.
Check the answer Mats gave in the thread "Stemming for Hymnal" on May 23,
2005 for a better understanding on this (I'm offline now and don't have
the link, but had this page saved in my reference files). One setback is
that when there is a tie, you'll have to override the tie direction to
obtain the same results as if you were typessetting chords.
Hope this helps while \partcombine is revised.
EXAMPLE %%%
%% Sorry for the messy style %%
\version "2.8.0"
#(ly:set-option 'point-and-click #f)
#(set-global-staff-size 16)
\header {
title = "Give Me Oil in My Lamp"
}
% \include "nederlands.ly"
versum= \lyricmode {
\set stanza = "1."
Give me oil in my lamp, oil in my lamp,
Give me oil in my lamp I pray;
Give me oil in my lamp, keep me shin -- ing in the camp,
Un -- til the break of day.
}
global = {
\key g \major
\time 4/4
\override Staff.TimeSignature #'style = #'()
\set Staff.autoBeaming = ##f
}
sop = \relative c'' {
\partial 8*2
d8 d
d4 b8 b b2
a4 g8 e g4 e8 e
%3
d4 g8 a b4 d
%4
a2.
%pb
\bar "" \break
d8 d
d4 b8 b b4 g8 g
a g g e g4 g
b4. g8 b4 a
g2.
}
alto = \relative c'' {
\partial 8*2
g8 g
g4 g8 g g2
e4 e8 c e4 c8 c
b4 d8 d d4 d
d2.
g8 g
g4 g8 g g4 << { } \\ { f8 f } >>
% \oneVoice
e e e c e4 e
d4. d8 g4 fis
d2.
}
basten = \relative c' {
\partial 8*2
< g b >8
< g b >8
< g b >4
< g d' >8
< g d' >8
< g d' >2
< c, c' >4
< c c' >8
< c g' >8
< c c' >4
< c g' >8
< c g' >8
< g g' >4
< b g' >8
< d fis >8
<< { g4 } \\ { g4 } >>
< b, g' >4
< d fis >2.
< g b >8
< g b >8
< g b >4
< g d' >8
< g d' >8
< g d' >4
< g b >8
< g b >8
< c, c' >8
< c c' >8
< c c' >8
< c g' >8
< c c' >4
< c g' >4
< d g >4.
< d b' >8
< d d' >4
< d c' >4
< g, b' >2.
\bar "|."
}
\score { \context ChoirStaff <<
\set ChoirStaff.systemStartDelimiter = #'SystemStartBar
\override ChoirStaff.SystemStartBar #'thickness = #4
\override ChoirStaff.SystemStartBar #'padding = #0.5
\context Staff = mulh {
\global
\context Voice = mel << \voiceOne \sop \alto >>
}
\context Lyrics = stum { \lyricsto mel \versum }
\context Staff = hom {
\clef bass
\global
\context Voice = melb { \basten }
}
>>
\midi {
}
\layout {
indent = 0.0\cm
\context {
\Lyrics
\override LyricText #'font-size = #-1
\override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1.8)
\override LyricSpace #'minimum-distance = #0.6
}
\context {
\Score
\remove Bar_number_engraver
\override PaperColumn #'keep-inside-line = ##t
}
}
}
\paper { paper-width = 5.5\in
paper-height = 8.5\in
between-system-space = 0.85\cm
between-system-padding = 0.2\cm
line-width = 11.5\cm
ragged-bottom = ##t
after-title-space = 0.1\cm
}
%
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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old way of vertically centering refrain no longer works
Carl Sorensen referred me a few months back to the hymn "Near the Cross"
from Mutopia as an example of how centering a refrain is supposed to
work.
I am now using lilypond 2.9.17. Near the Cross was coded for 2.4.2
The method used does not work now, and after further experimentation, I
am not sure it ever worked.
The markup contained the following macros:
setLyricsExtent = \set Lyrics.minimumVerticalExtent = %#'(-1.0 . 1.2)
setLyricsExtentRef = \override Lyrics #'minimumVerticalExtent = %#'(-1.3 . 1.4)
setStaffExtentA = \set Staff.minimumVerticalExtent = #'(-6 . 1)
setStaffExtentB = \set Staff.minimumVerticalExtent = #'(-1 . 5)
setLyricsExtent was put at the beginning of each stanza.
setLyricsExtentRef was put at the beginning of the refrain, which was
included at the end of the \lyrics { } block for the first stanza.
Compiling it under 2.9.17 showed that the refrain was not centered. It
appeared to be centered in the original version because the refrain had
an entire line to itself; it did not start on a line that contained all
four verses.
I did some digging, and replaced the definitions according to the
manual:
% \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 3)
setLyricsExtent = \override Staff.VerticalAxisGroup #'minimum-Y-extent =
#'(-1.0 . 1.2)
setLyricsExtentRef = \override Staff.VerticalAxisGroup #'minimum-Y-extent =
#'(-1.3 . 1.4)
These changes did not work either, but they did get rid of the error
message "warning: not a grob name, `Lyrics'"
So, my question is, what is the correct way to vertically center a
refrain shared by several stanzas?
I have not read the entire manual, but I did read the sections on text
markup and lyrics and poked through it using the find function in my
browser for keywords and didn't find anything directly relevant.
Ted
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: hyphens and spacing lyrics
On Thu, Sep 14, 2006 at 07:55:53PM -0700, Daniel Boronka wrote: I don't like hyphens disappearing in the lyrics. How can I force them to stay in the lyrics. Also the lyrics are too close, they almost run into one another like one long word. I'm sure there must be a spacing command. I agree! I hope whoever answers your question posts their answer to this list. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: seven-shape shape note system
On Fri, Sep 15, 2006 at 01:52:18AM +, Mark wrote: I was wondering if Lilypond can do the seven-shape shape note system, or if it only does four (I only found the four-note system in the documentation). If it can do the seven-shape system, how does one do it? On a side note: I'm a big fan of the seven-shape system, but frankly, the four-note system doesn't make much sense to me. Why use the four-shape system? Does it have advantages? If so, what are they? The four shape system is brutally effective. The seven shape system takes a little more getting used to and the shapes are a little less distinct from each other. I seem to remember that HanWen did implement 7 note support, but don't remember much else. I heard about a bug in the shapenote code; I'll need to do some experimental hymn entries to remember what it was and report it. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Swing Midi
On Thu, Sep 14, 2006 at 02:15:01PM -0500, David Greene wrote: I know only as much Scheme as is covered in the 2.9.17 manual, which is to say, not much. What is the recommended reference? SICP? I could do this in C++ with no problem, but Scheme is a very different beast. I'm not at all sure how to do complex data structure manipulation in it. I would recommend the following books: Peter Seibel's book "Practical Common Lisp", and "On Lisp" by Paul Graham. That will give you a good grasp of the LISP weltanschauung. Then to switch over to Scheme, I'd recommend the "Little Schemer", which will be quick and trivial after you absorb the other two books. SICP is one of those books everyone has on their shelf but few people have actually read. Like the Bible. The three books listed above will still leave you needing to figure out how the Guile and C++ of lilypond interact with each other and with input .ly files. Be nice if there was a writeup of that somewhere. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sponsorship offer: \lyricsto with \partcombine
On Thu, Sep 14, 2006 at 10:08:42AM +0200, Erik Sandberg wrote: Citerar Ted Walther <[EMAIL PROTECTED]>: To typeset hymns with the same high quality that lilypond brings to other areas of music typesetting, I need to be able to use \lyricsto with \partcombine. What exactly do you want to do? If you want to align one lyric line to one voice, and another lyric line to another voice, then you can do something like: << \partcombine \sopNotes \altoNotes \new Devnull="sop" \sopNotes \lyricsto "sop" \sopLyrics \new Devnull="alto" \altoNotes \lyricsto "alto" \altoLyrics Also, what would it cost to make the chord-threshold variable in part-combiner.scm/dtermine-split-list be settable inside a .ly file? A rewrite of partcombiner is on the todo. What incentive would be needed to get the partcombiner rewrite bumped up in the todo? I've got four hymns I'd like to get into Mutopia, but I want to get them right first. And I have a lot more hymns I plan to do. My goal is to do at least one a week, but yesterday I did two. At one a day, I'll be bopping along pretty quickly. You can copy all the code from part-combiner.scm into your ly file, all you need to do is to add a # before each toplevel expression to make lily understand it. (you'll also have to re-define \partcombine etc. to make them use the new definitions) That is icky, especially if \partcombine is going to be rewritten. I'd just like to do something like \set chord-threshold = 12 at the top level. Too bad Scheme doesn't have a facility like Common Lisp for adding default arguments where a variable is nil or undefined. Maybe a change to the function like this: (define-public (determine-split-list evl1 evl2) (let* ((chord-threshold (or global:chord-threshhold 12)) ... ))) Changing the (chord-threshold 12) to (or global:chord-threshold 12) should do what I want. I use global:chord-threshold as a shorthand for snagging the version of chord-threshold that is defined at the top-level; I don't know the proper way in lilypond scheme to do this. I'm also assuming that "or" in Scheme will work the way it does in Common Lisp. Someone correct this if it is wrong? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
sponsorship offer: make chord-threshold settable
What would it cost to make the chord-threshold variable in part-combiner.scm/determine-split-list be settable inside a .ly file? As Bret Whissle found out 2 years ago, the threshold of 8 is too small for hymn typesetting, but 12 works very nicely. http://www.mail-archive.com/lilypond-devel@gnu.org/msg04010.html Would $50 USD be sufficient to get this change into lilypond? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
sponsorship offer: \lyricsto with \partcombine
To typeset hymns with the same high quality that lilypond brings to other areas of music typesetting, I need to be able to use \lyricsto with \partcombine. If you think you can make these two functions play together, please let me know what you estimate it would cost. I'm not rich, but this is important to me. Also, what would it cost to make the chord-threshold variable in part-combiner.scm/dtermine-split-list be settable inside a .ly file? As Bret Whissle found out 2 years ago, the threshold of 8 is too small for hymn typesetting, but 12 works very nicely. Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
possible to use \partcombine with \lyricsto ?
Is there some way to use \lyricsto to attach some lyrics to a voice that is being mangled together with another voice by \partcombine? The Devnull trick produces workable results, but they aren't pretty. It looks like way back in the 1.9.8 days some thought was given to this, but the example in the manual no longer compiles: http://www.lilypond.org/doc/v2.0/input/test/out-www/lily-880656865.ly Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \lyricsto not working with Devnull
On Wed, Sep 13, 2006 at 04:07:11PM -0400, Geoff Horton wrote: Is it possible to add the melody line with invisible notes and turn off collision detection? I should think it would end up lining up right. The documentation for \partcombine says that there are two voices, named "one" and "two". Why can't I \lyricsto "one" ? I tried, but it didn't work. What are these mysterious "one" and "two" voices viz lyrics context? Ted -- It's not true unless it makes you laugh, but you don't understand it until it makes you weep. Eukleia: Ted Walther Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada) Contact: 604-435-5787 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\lyricsto not working with Devnull
I'm using the Devnull trick mentioned by Mats Bengtsson, referenced in
this post:
http://lists.gnu.org/archive/html/bug-lilypond/2006-06/msg00177.html
I am using lilypond version 2.9.17.
The lyrics should follow the soprano melody. And they do, but I notice
that lyricsto isn't centering the words below the notes.
Am I doing something wrong, or is this a bug?
Here is the resulting PDF:
http://reactor-core.org/~djw/Doxology.pdf
And here is the score section:
%%
\score { <<
\new Staff <<
\global
\clef treble
\partcombine \soprano \alto
>>
\new Devnull = "rhythm" \soprano
\new Lyrics \lyricsto "rhythm" \Words
\new Staff <<
\global
\clef bass
\partcombine \tenor \bass
>>
>>
\layout {
\context { \GrandStaff \accepts "Lyrics" }
}
}
%%
--
It's not true unless it makes you laugh,
but you don't understand it until it makes you weep.
Eukleia: Ted Walther
Address: 2459 E 41 Ave, Vancouver, BC V5R2W2 (Canada)
Contact: 604-435-5787
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Re: Still Have convert-ly Questions/Problems.
I tried this and it works for in a DOS command prompt. It failed the same way in my bash shell - it seems to want to use the python installed for Cygwin. Still, this is a better solution to what I was doing. Thanks, Ted ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Still Have convert-ly Questions/Problems.
I managed to get 'convert-ly' version 2.8.1 to run in Cygwin by doing the following: 1) I have Cygwin LilyPond 2.6.4 installed. This was installed in the default location using the 'setup' program. 2) I have Windows Lilypond 2.8.1 installed in the directory c:\nobackup\LilyPond. 3) I copied the convert-ly.py script from c:\nobackup\LilyPond\usr\bin in Windows world to /usr/bin in Cygwin world. 4) I copied c:\nobackup\LilyPond\usr\share\lilypond\current to /usr/share/lilypond/current. The script seems to run, but stops at conversion 2.7.40 and leaves the line \version "2.7.40" in the new file. (It started as "2.6.0".) Is this the expected outcome or should it have continued further? Ted ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Problems Running convert-ly
I had been using LilyPond 2.6.4-1 under cygwin. I decided to switch to 2.8.1 under Windows XP. I am trying to run convert.ly in a cygwin bash shell. I started by adding /LilyPond/usr/bin to my PATH. When I try to run convert-ly.py, however, I am getting the following messages: Traceback (most recent call last): File "/cygdrive/c/nobackup/LilyPond/usr/bin/convert-ly.py", line 39, in ? import lilylib as ly File "/cygdrive/c/nobackup/LilyPond/usr/share/lilypond/current/python/lilylib.py", line 17, in ? import subprocess File "/usr/lib/python2.4/subprocess.py", line 391, in ? import select ImportError: No such process What am I doing wrong? Thanks, Ted ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to Get Line Breaks in the Tagline
Is there a way to get a line break to appear in the tagline? I saw an
archived message which implied that putting a \break in the string would do
this, but it did not seem to work. I am using LilyPond version 2.4.6 under
Cygwin. I've attached an example source file showing what I've tried.
Ted Stanion
\version "2.4.6"
\include "english.ly"
#(set-global-staff-size 24)
\paper {
#(set-paper-size "letter")
topmargin = 0.5\in
}
\header {
title = "Twinkle, Twinkle"
composer = "Traditional"
tagline = "Typeset by Ted Stanion ([EMAIL PROTECTED]) \\break Engraved by LilyPond (ver. 2.4.6)"
}
\relative c' {
\clef treble
\time 4/4
\key c \major
c4 c g' g a a g2
f4 f e e d d c2 \break
g'4 g f f e e d2
g4 g f f e e d2 \break
c4 c g' g a a g2
f4 f e e d d c2
}
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hideNotes unHideNotes with repeat
Hello everyone,
I tried to use the hideNotes unHideNotes and *1/2 trick to have a tie
and a slur attack to the 2nd alternative of a repeat. However, the
output dropped the beams (it was an 8th note and two 16th notes).
I was using Lilypond 2.4.3 for Windows XP (my iBook with 2.4.5 was at
home -- I have not tried it on it yet).
Here is the code snippet:
soprano = \relative c'' {
\set Score.defaultBarType = ":"
% Changes bars to dotted.
\set Staff.instrument = "S "
\clef treble
\key g \mixolydian
\time 2/2
\repeat volta 2 {
d,2 e4 fs g d e fs g4. g8 a4(c ~ c8 b16 a16) b4 c a
a g fs fs g( e4. f8 g4 ~
}
\alternative {
{ g8 fs16 e16) fs4 g2 }
{ \hideNotes g8*1/2( ~ \unHideNotes g8 *1/2 fs16 e16) fs4 g2 }
}
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Getting Started - Problem with Piano Centered Dynamics and Pedal
I have just started using LilyPond with version 2.4.3 on Cygwin. I modified
the "piano-dynamics.ly" file which I found at
http://lilypond.org/doc/v2.2/input/template/out-www/collated-files.html by
adding an extra measure of music with new dynamics. Specifically, the second
measure has a crescendo to ff with \setTextCresc. The text comes out, but it
and the spanner are not aligned with the other dynamic markings. The manual
says that the vertical position should be controlled by the
DynamicLineSpanner object. I added a \override state, but it had no affect.
Also, I tried to change the PedalSustainStyle to bracket; this also failed.
Can anyone explain what I've done wrong? My input file is attached.
Thank you,
Ted Stanion
% Generated by lilypond-book
% Options: [printfilename,texidoc,linewidth]
\layout {
linewidth = 160 \mm
}
\renameinput "piano-dynamics.ly"
\version "2.4.0"
\header {
texidoc ="
Dynamics on a separate line, neatly centered between staffs.
"
}
upper = \relative c'' {
a b c d |
a b c d
}
lower = \relative c {
a2 c
a2 c
}
dynamics = {
s2\fff\> s4
s\!\pp |
\setTextCresc
s\< s2 s4\!\ff |
}
pedal = {
\set Staff.pedalSustainStyle = #'bracket
s2\sustainDown s2\sustainUp
}
\score {
\context PianoStaff <<
\context Staff = "upper" \upper
\context Dynamics = "dynamics" \dynamics
\context Staff = "lower" <<
\clef bass
\lower
>>
\context Dynamics = "pedal" \pedal
>>
\layout {
\context {
\type "Engraver_group_engraver"
\name Dynamics
\alias Voice % So that \cresc works, for example.
\consists "Output_property_engraver"
minimumVerticalExtent = #'(-1 . 1)
pedalSustainStrings = #'("Ped." "*Ped." "*")
pedalUnaCordaStrings = #'("una corda" "" "tre corde")
pedalSustainStyle = #'bracket
\consists "Piano_pedal_engraver"
\consists "Script_engraver"
\consists "Dynamic_engraver"
\consists "Text_engraver"
\override TextScript #'font-size = #2
\override TextScript #'font-shape = #'italic
\override TextScript #'extra-offset = #'(0 . 2.5)
\override DynamicText #'extra-offset = #'(0 . 2.5)
\override Hairpin #'extra-offset = #'(0 . 2.5)
\override DynamicLineSpanner #'extra-offset = #'(0 . 2.5)
\consists "Skip_event_swallow_translator"
\consists "Axis_group_engraver"
}
\context {
\PianoStaff
\accepts Dynamics
\override VerticalAlignment #'forced-distance = #7
}
}
\midi {
\context {
\type "Performer_group_performer"
\name Dynamics
\consists "Piano_pedal_performer"
\consists "Span_dynamic_performer"
\consists "Dynamic_performer"
}
\context {
\PianoStaff
\accepts Dynamics
}
}
}
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Different start and end bars
Lilypond is wonderful and fun but until I
understand the object model can be frustrating...!!!
I am transcribing exercises and want behavior that
is not standard. Liliypond, with it's smarts, will start a new line of music
with no bar or the same bar that ended the previous line. I want to end every
line of music with a :| bar and start every line with a | bar. Take the
following code:
startBar = \notes { \once \override Staff.BarLine
#'before-line-breaking-callback = ##f \bar "|" }\score {
\new Staff \with { \remove "Clef_engraver" }
{
\override Score.TimeSignature #'break-visibility =
#end-of-line-invisible
\notes {
\startBar\time 4/4 f' a' c'' e'' \bar
"|"\time 4/4 f' a' c'' e'' \bar "|"\time 4/4 f' a' c'' e'' \bar
"|"\time 4/4 f' a' c'' e'' \bar ":|" \break
\startBar\time 4/4 f' a' c'' e'' \bar
"|"\time 4/4 f' a' c'' e'' \bar "|"\time 4/4 f' a' c'' e'' \bar
"|"\time 4/4 f' a' c'' e'' \bar ":|" \break}}}
The first line of music ends with | and not :| as
one might think. But if I comment out the second \startBar command, the first
line ends with :| and the second line has no start bar. I have tried many ways
of getting around this and finally found one where I change the glyph in the
overridden BarLine print function by changing the glyph at hard coded indices.
There's got to be a better way. Any ideas?
Thanks...
Ted Frazier
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Lilypond-book No Noteheads
Hey everyone, I had played with Lilypond a bit a few months ago (before work and kids demanded too much time). Now that it is summer, I want to create a manuscript for an English as a second language textbook (with American folksongs). So I decided to try Lilypond-book. Lilypond works great and prints music beautifully. However, every time I try to do something in Lilypond-book, there are never any noteheads, clefs, key sigs, etc. in the finial PDF file --- only staff, bar and note lines. My system setup is Mac OS X.3.4. I installed Lilypond 2.2 via Fink a few months ago. I wrote the file in TeXShop, switched to Terminal and typed: lilypond-book --output=out\ filename.tex cd out latex filename dvips -Ppdf -u +filename filename ps2pdf filename.ps If anyone has any ideas what is going on here, I would be very grateful. Sincerely, TS S. Fulk ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
