Re: need a slur in a alternative repeat
On 9/7/07, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi Yota, Gerard, et al., I assume you've looked at \repeatTie (and the equivalent \repeatSlur), and it's not working for you? Regards, Kieren. If only \repeatSlur would exist... as for \repeatTie, I'm looking for it's counterpart : a slur bound to an absent following note (whereas \repeatTie is a tie from an absent precedent note) Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: need a slur in a alternative repeat
On 6/24/07, gerard stouten [EMAIL PROTECTED] wrote:
hi there,
i need a slur in a repeat. i can not figure out how to do it, maybe you
can
help me.
(a8) r8 f4 \bar || \mark \default f2 f8(g8) bes8 c8 d2 bes4 f4 c'2 a4 f4
f2(
}
\alternative {{f8) r8 f4} { f8 r4.}}
The last f2 has a slur to the f8 in alternative ending 1. but it should
also
have a slur to the f8 in the second alternative ending, soort of a
backwards
slur.
Is there a solution for this?
I have a similar problem : i.e. a slur in a first alternative, continue to
the start of the repeat
in my edition of the hungarian march it's written like in the picture. The
slur seems to tend toward the repeat sign.
I try this tweak but I'm not satisfied with it
\times 1/3 { sol,8 [ ( la si ] } \override NoteHead #'transparent = ##t
\once \override Stem #'transparent = ##t do8 )
since the slur go to invisible notehead and not to the repeat bar... and the
empty space let by the invisible notehead is ... really visible.
Would someone have a more elegant way to do this ?
Yota
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repeats, nested repeats and alternatives
Dear Mailing list
I have a bunch of questions about the repeat syntax I'll like to submit to
you.
\version 2.11.28
1) About numbering
here is a ordinar situation of repeat volta with an alternative :
\repeat volta 2 {
a b c b
}
\alternative {
{ e f e f }
{ e f e b}
}
c a e f
\break
d e a g
f e f a
e e g d
(the resulting output is the first staff of the joined pdf)
A problem is raised by the numbering of the measures... the first
alternative shouldn't be counted but it is... so I corrected it manually
\repeat volta 2 {
a b c b
}
\alternative {
{ e f e f }
\set Score.currentBarNumber = #2
{ e f e b}
}
c a e f
\break
d e a g
f e f a
e e g d
(the resulting output is the second staff of the joined pdf)
Here, magically, the second alternative bar vanished... why ?!
2) About nested repeats
In the Hungarian March of Berlioz, there is many repeats and once in the
piece the second alternative continues a during few measures which are
themselves repeated. Here is a simplified example :
\set Staff.voltaSpannerDuration = #(ly:make-moment 4 4)
\repeat volta 2 {
a b c b
}
\alternative {
{ e f e f }
{ \repeat volta 2 {
e f e b
c a e f
\break
d e a g
f e f a
e e g d
}
}
}
(the resulting output is the third staff of the joined pdf)
The problem here is obviously the spanner, far too long. While \set
Staff.voltaSpannerDuration = #(ly:make-moment 4 4) don't change anything
(and I don't know why !)
3) Collapsing alternatives
This is more a suggestion than a question but when dealing with big
orchestral parts, the \alternative tag is very painful to maintain. Indeed,
in some case, trumpets have the same alternatives bars (i.e. alternative 1.
and 2. are duplicates) and should/might be collapsed into one bar. While in
the conductor it have to remain expanded (because flutes have different
altenatives).
Could this automatic collapsing (and numbering) be implemeted easily or
obtained via a tweak ?
Yota
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temporary extra voice
I have a violin part which, for some bars, split into two voices. I first tried this : - create a violin_voice_a - add a violin_voice_b, containing rests everywhere except on those few bars where there is two voices - stack the two vioces using a hara_kiri context for the second one in order to hide empty staves The result is schematized as Fig 2 (see the picture) Which is far different from what I can find in the litterature (fig 1) where, on the splitted staves but unsplitted voices, the violin_voice_a is printed on both the upper and the lower staves of the system. How could I obtain this result automagically ? thx Yota attachment: double voices.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\smallCaps how to
\version 2.11.20
Given this piece of the titling scheme
scoreTitleMarkup = \markup {
\column {
\on-the-fly #print-all-headers { \bookTitleMarkup \hspace #1 }
\line {
\fromproperty #'header:piece
}
}
}
I would like to display the piece name as small caps.
\smallCaps string seems to work but when I put it in front of a complex
expression like \fromproperty #'header:piece I got a bunch of errors
Preprocessing graphical
objects.../home/yoochan/usr/lilypond/usr/bin/../share/lilypond/current/scm/define-
markup-commands.scm:980:64: In procedure string-list in expression
(string-list text):
/home/yoochan/usr/lilypond/usr/bin/../share/lilypond/current/scm/define-
markup-commands.scm:980:64: Wrong type argument in position 1 (expecting
string): (#procedure fromproperty-markup (layout props symbol)
header:piece)
And once again, I'm not fluent enough in scheme to catch the subtilities.
Thank you for your help
Yota
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Re: keeping rendered pdf file size down
you could try to remove the point-n-click information http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Point-and-click Yota On 21 Apr 2007 11:04:18 -0700, Kieran Coulter [EMAIL PROTECTED] wrote: Hello, I first want to thanks Mats for the help with the Chopin Ballade. My next question is how to keep the rendered pdf size down to the same amount of KB the included pdf's usually end up having. For example, the included Bach Partita No.2 Sinfonia letter pdf file size is 238KB, but when I render the .ly to check version compatibility, the output pdf file is 921KB. What is necessary to ensure the smallest file output size possible? Thanks! Kieran ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: midi2ly: makeshift patch
On 4/9/07, Graham Percival [EMAIL PROTECTED] wrote: Alexander Hanysz wrote: Below is a patch for what on my system is the file /usr/local/lilypond/usr/bin/midi2ly (I'm using version 2.10.20). Fixed (?): the --key command line argument is recognised; key signatures and time signatures now appear correctly; rests are visible. Do you have a test file for this? If I can easily verify that this works, I'll commit these changes. Not tested: changes of key or time within a piece. To do: correct notation for syncopated notes and for rests that span more than one bar; the --output argument doesn't seem to work. Unfortunately I won't have time to continue working on this. (I'm up against a deadline, so I have to go back to using Finale to finish my arrangement :-( ) But someone who actually knows what they're doing shouldn't find it too hard to fix this up. Unfortunately the main developers are very busy at the moment; we don't have time to fix up patches. If any users here know python and are interested in helping, we welcome any assistance; otherwise this work will go to waste. Speaking from experience, python is an easy language to learn. If any users here are interested in helping out but don't know any programming languages, python (and midi2ly) would be a great place to start. Cheers, - Graham I'm also a bit time limited, but I have some knoledge in python. Could one of you send me the patched version and a description of the buggy parts. I could be able to fix it enough to insert it into the code ...well I hope so :) Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
removeEmptyStaff one by one
Dear lilypond List
I have something like
\version 2.11.20
\score {
\new StaffGroup
\new Staff {
\voiceA
}
\new Staff {
\voiceB
}
\new Staff {
\voiceC
}
\layout { \context { \removeEmptyStaffContext } }
}
\paper { }
It works nice... but I would like to remove the empty staffes (staves ?) for
the voices A B (when empty) but never for the voice C.
Which mean that : even if C is empty (and A or B have some content) : don't
remove it
How could I do ?
I already had a look at the archives without finding a nice trick
Yota
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Re: rest merging (willing to sponsor)
i'm looking forward to seeing this feature implemented ^^
Yota
On 3/21/07, Arvid Grøtting [EMAIL PROTECTED] wrote:
2007/3/21, Mats Bengtsson [EMAIL PROTECTED]:
I hope you have tried the workaround described in
http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html
While certainly usable, this workaround requires that I know which
voices I want to go to which staff, at least in the multiple-voice
staffs. And it clutters the input. Most importantly, it requires me
to manually specify something that Lilypond already knows.
That aside, I haven't tried it before now. Now that I have, the
following sort-of works:
normalRests = {
\revert Rest #'direction
\revert MultiMeasureRest #'staff-position
}
{ \normalRests c4 d r c | R1 | r2 \voiceOne r8 f f4 } \\
{ \normalRests c4 c r b | R1 | r2 \voiceTwo r4 c4 }
...but requires me to know what voice I'm in. I can probably work
around that and implement a \splitRests that sets these properties to
something dependent on e.g. stem directions, but it still clutters the
input.
Anyway, I'm not looking for a workaround; I'm looking for automation
of common typesetting practice, and I probably have money to throw at
it too.
--
Arvid
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Re: Not happy with results
On 3/18/07, Matthias Berndt [EMAIL PROTECTED] wrote:
Hi,
I tried writing a few lines with lilypond, but I don't like the way that
the
result looks. Perhaps I'm doing something wrong, but I don't think so. In
the
attachments, you'll find some source code and the resulting pdf.
The big bracket at the beginning of the second line crosses the bar
number,
which looks odd to me.
Yes, this padding property is well tuned for simple staff, with the bracket
you should put a
\override Score.BarNumber #'padding = #2
somewhere in your score { }
Lilypond give a pretty good result out of the box... but manual tuning is
also a part of the game... hopefully, you can re-use your preferred tweaks
in a snap.
The crescendo at the beginning of the second line is
much longer for Alto and 2nd Bass than for Soprano, Tenor and 1st Bass,
and
of course it's not supposed to.
You ended your crescendo one note later in the 2nd and last part.
a4 \ b c d
e4 d \! c b
here the crescendo start on a a and end on a d (not after the d but on
it... and if the d is the first note in a bar, the typographic rule says
to stop the hairpin at the bar... even if you can disable this behaviour,
have a look at the doc)
line 27 was : g2^\mf^\ g4 (fis) g (fis)^\! e e e a a g a f fis^\ (e)
line 27 : g2^\mf^\ g4 (fis) g ( ^\! fis) e e e a a g a f fis^\ (e)
or (to show that the order doesn't matter, every supplementary symbol
always refers to the previous note : \! -. ( \mf etc.)
line 27 : g2^\mf^\ g4 (fis) g ^\! (fis) e e e a a g a f fis^\ (e)
Are there any workarounds for those issues? I'm using the latest development
release of lilypond.
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well this is a matter of personnal taste but... the dynamics over the
staff are really hard to read O_o
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dash-period behaviour
Hi,
I don't understand, using lilypond 2.11.20 with this simplest script :
\version 2.11.20
\new Score {
\new Staff {
\relative c'' {
\setTextCresc
c4 \ c c c
c c c c \!
}
}
}
I get a result where the dashed line have a weirdly laarge span...
Looks like if lilyond had kept internally an odd constant for the
'dash-period variable...
How could I reset this ?
Thank you
test.pdf
Description: Adobe PDF document
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Re: dash-period behaviour
Gosh !
it was just a bug of Jpedal (packed with lilypondtools)
I opened it with evince and everything was alright...
sorry for the noise
On 3/17/07, yota moteuchi [EMAIL PROTECTED] wrote:
Hi,
I don't understand, using lilypond 2.11.20 with this simplest script :
\version 2.11.20
\new Score {
\new Staff {
\relative c'' {
\setTextCresc
c4 \ c c c
c c c c \!
}
}
}
I get a result where the dashed line have a weirdly laarge span...
Looks like if lilyond had kept internally an odd constant for the 'dash-
period variable...
How could I reset this ?
Thank you
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Markup extand
In order to add a tempo mark, I use a tweak found on the lilypond
documentation website :
tempoMark = #(define-music-function (parser location markp) (string?)
#{
\once \override Score.RehearsalMark #'self-alignment-X = #left
\once \override Score.RehearsalMark #'extra-spacing-width = #'(+inf.0 .
-inf.0)
\mark \markup { \smaller \italic \bold $markp }
#})
I work perfectly but I don't understand why in the viola part (see example),
starting with 12 whole rests, the tempoMark push the first bar away. While
it doesn't behave like this elsewhere.
Yota
mouvement modéré de valse.png
Description: PNG image
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markup + set
Bonjour,
I'm trying to write a NICE lilypond function to do properly what I could do
with a simple find and replace in the text
where
\pizz
would become :
^\markup {\italic pizz.}
\set Staff.midiInstrument = pizzicato strings
I tried some make-markup stuffs but... how to insert a \set property into
them...
I would need some tips to do that
merci ^^
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Re: markup + set
I had a look on preprocessors... but it's complicated to publish a source
containing such a trick
on the other hand, the learning curve of the scheme functions is tough (a
nice way to say I don't understand a word ^^)
That's why I'm looking for tips :)
I could work from any example of a function doing almost the same thing.
But looking at the doc, I have one chapter for music functions and another
one for markup functions... and none for both-at-the-same-time
Yota
On 2/5/07, Mats Bengtsson [EMAIL PROTECTED] wrote:
The easiest solution is probably to use an external preprocessor, like M4
(if you search the mailing list archives you can also find hints on other
similar preprocessors to do purely textual replacements in the file.
There,
you can also find comments on why the main authors of LilyPond don't
want to include such functionality within LilyPond).
Another solution is outlined in section Building complicated functions
in the manual.
/Mats
yota moteuchi wrote:
Bonjour,
I'm trying to write a NICE lilypond function to do properly what I
could do with a simple find and replace in the text
where
\pizz
would become :
^\markup {\italic pizz.}
\set Staff.midiInstrument = pizzicato strings
I tried some make-markup stuffs but... how to insert a \set property
into them...
I would need some tips to do that
merci ^^
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--
=
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
=
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Re: poco ff
I use the following trick to print P subito
psubito = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
#:line( #:dynamic p #:normal-text #:italic subito )))
to use it : { c4 \psubito }
following this example, you should be able to build a poco ff (and if you do
please post it here for the archives)
note : the #:normal-text tag is a way to avoid the text to be bolded. I
mention it since it took me weeks to figure out how to do this
Yota
On 2/5/07, Ole Schmidt [EMAIL PROTECTED] wrote:
Dear all,
is it possible to write something like poco ff in another way than
writing \ff_\markup { poco } and than tweaking the poco in front of
the ff with \override commands?
I can't find something in the manual
Thank you
ole
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scheme function and combination (markup + somethingelse)
I would like to combine in one shortcut : \pizz both a markup : ^ \markup pizz. and a property setting : \set Staff.midiInstrument = pizzicato strings I read the documentation but I'm definitely not fluent in scheme. does someone could lend me a clue on how to do this ? Thank you Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
accidental spacing
Hi,
I have a crescendo hairpin stuck between two consecutive notes (as you can
see in the example below)
I tried to use a SeparationItem - padding... without success, even with a
padding of 10 there is ... no effect (here, I tried between two fourth
notes, but wherever I use it, I always have the same result : none)
\include italiano.ly
\score {
\new Staff \relative do'{
re4 re \once \override Score.SeparationItem #'padding = #10 re re
re sib'1:32 \fermata \ppp \
sib' fa'4-^ \! \ff r r2
}
\layout {}
}
\paper { ragged-right =##t}
and the corresponding screenshot... as you can see... you can't see anything
Yota
spacing.png
Description: PNG image
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Re: lilypond version
Well it's a pleasure On 1/25/07, Aaron Dalton [EMAIL PROTECTED] wrote: I am most embarassed. it turns out a fellow user of the system installed version 2.8.7 globally so my invocations of 'lilypond' were finding /usr/local/bin before /home/aaron/bin. Sorry to have wasted your time, but thanks for replying! -- Aaron Dalton [EMAIL PROTECTED] http://superdupergames.org where did you install it ? how do you launch it ? did you also installed it through the freeBSD packages distribution system ? when you call lilypond you get the one installed through freeBSD try instead to use the full path of the lilypond installed with the lilypond installer : /installation_path/bin/lilypond ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: problems with german umlauts
Well, since charsets issue is my hobby ... I can write a short explanation (try to... my shortage of english vocabulary could be an issue) After having defined a 128 character table (0 -127 on 8 bits, well one zero + 7bits) covering only the English characters and some signs, called the ASCII table; has been defined many extended tables using the 128 - 255 range to store some regional character. There are around 10 extended tables to fit with either the french, the danish, the Greek specificities (but not all at the same time) : http://en.wikipedia.org/wiki/Category:ISO_8859 Japaneses and Chineses had some strange way to store their 36 000 ideograms and there it started to be a mess. Unicode consortium defined a HUGE table aiming to store every character (well almost, but it's another problem) on 32 bits. But the devilish ASCII was always here, hidden in the dark. So they ended to design UTF-8 encoding system which is only an amazing trick to store the unicode table : - all the characters of the former 0 - 127 range of the ascii table are stored on 8bits... so a pure ascii file is also a genuine UTF-8 file ^^ - To store other characters they use an ingeniously designed system of drawers using the characters from 128 to 255 (and some more bytes if necessary) UTF-8 is the only way to write both in danish AND french on the same text... and it is fully compatible with ASCII files... nice isn't it ? Yota hope it's clear... hips I could explain this more easily, in french, with a whiteboard and a cup of coffee On 1/25/07, Mats Bengtsson [EMAIL PROTECTED] wrote: You are mistaken. ASCII only defines character codes up to 127, see for example http://www.asciitable.com/. What your table shows is probably Latin1 (ISO 8859-1). /Mats Quoting Jonathan Henkelman [EMAIL PROTECTED]: Mats Bengtsson mats.bengtsson at ee.kth.se writes: If you search the mailing list archives from the time before we introduced unicode support, you will be surprised how many questions there are related to Russian or Hebrew or Mandarin or ... /Mats It wasn't intended to be a stupid question. I'm all over unicode for languages that use other character sets - cyrillic, hebrew, asian etc. I was just surprised at how difficult it was to put an umlaut on a u for a german peice I was typesetting. Perhaps the problem lies in the documentation. It suggests that if you want to use non-ascii characters you have to save the document as unicode - fair enough. (In fact it implies you can use any 8-bit ascii pg. 112, last paragrph, PDF version 2.10.0) But I wanted to use ascii 252 (presumably similar to David in the original post) and I just inserted it into my document - and it compiled to a space. Here I am trying to use an ascii character and hence expect not to have to do anything special, but would I still have to save it as unicode? When I used \char, I had to find the tweak to get rid of the spaces before and after that character... Because most accented European characters can not be accessed within ascii My ascii table shows all French, Norwegian, Danish characters as well as most spanish, and german (can't profess to be an expert there) see characters 191- 255 (xBF - xff). Are these accessable in a non-unicode document? Thanks, J ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: accidental spacing
sorry ;p
Lilypond 2.11.13
hairpin minimum-length seems to work perfectly...
thank you again,
your are ... very reliable ^^
Yota
On 1/25/07, Mats Bengtsson [EMAIL PROTECTED] wrote:
Please always tell what LilyPond version you use. When I try your
example with version 2.10.0, I certainly
get an added spacing between the two notes.
However, if your main purpose is to get a longer hairpin, why not
follow the instructions in the section on Dynamics
in the manual:
\override Voice.Hairpin #'minimum-length = #5
/Mats
Quoting yota moteuchi [EMAIL PROTECTED]:
Hi,
I have a crescendo hairpin stuck between two consecutive notes (as you
can
see in the example below)
I tried to use a SeparationItem - padding... without success, even with
a
padding of 10 there is ... no effect (here, I tried between two fourth
notes, but wherever I use it, I always have the same result : none)
\include italiano.ly
\score {
\new Staff \relative do'{
re4 re \once \override Score.SeparationItem #'padding = #10 re re
re sib'1:32 \fermata \ppp \
sib' fa'4-^ \! \ff r r2
}
\layout {}
}
\paper { ragged-right =##t}
and the corresponding screenshot... as you can see... you can't see
anything
Yota
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Re: problems with german umlauts
well it was an approximation (due to the previously mentionned lack of vocabulary) ISO 2022 (as well as SHIFT-JIS and other japaneses encoding of the same type) use indeed artificial 8bit characters. The 0-127 range is always almost compatible with ASCII and there is 2 escaping character which work like double quotes. Inside quotes, character are multibyte (indeed it's impossible to store so many kanjis into only 128 slots) But this option raises more issues than it brings solutions... even if it is still widely used in japan (ISO 2022 is still their default encoding for e-mailings) Yota On 1/25/07, Werner LEMBERG [EMAIL PROTECTED] wrote: After having defined a 128 character table (0 -127 on 8 bits, well one zero + 7bits) covering only the English characters and some signs, called the ASCII table; has been defined many extended tables using the 128 - 255 range to store some regional character. There are around 10 extended tables to fit with either the french, the danish, the Greek specificities (but not all at the same time) : http://en.wikipedia.org/wiki/Category:ISO_8859 Actually, there are much more. If I'm not mistaken, the ISO 2022 registry has designed IDs to over 100 different 8bit character sets! Japaneses and Chineses had some strange way to store their 36 000 ideograms and there it started to be a mess. This isn't true in general. For handling those languages separately, 16bit character sets work just fine. Emacs demonstrates that, within the ISO 2022 framework, multilingual work can be done quite efficiently. BTW, the value `36000' is not correct: The CNS 11643 character set defines around 55000 Chinese characters, and the defunct CCCII character set covered around 7 characters (I have the books at home -- it's almost a half meter on my bookshelf). Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ???programming error: minimise_least_squares (): Nothing to minimise???
By chance, I had this bug too. It seems to be raised by the \laisserVibrer tie. Since, when I remove it, the error disappear. But this is a random bug and as soon as I try to insulate it... it vanishes well to summary, I have a \time 4/4 a4 a a a \laisserVibrer \time 2/4 R2 etc. and a minimise_least_squares (): Nothing to minimise at compilation time On 12/18/06, Mehmet Okonsar [EMAIL PROTECTED] wrote: I have no time (sorry) to investigate it but I can send the whole file to anyone interested.. No copyright concerns here, it is copyleft music of my own Will try to do it some time in the future (this is ver. 2.10.2) On Sunday 17 December 2006 14:13, Graham Percival wrote: Mehmet Okonsar wrote: what's that: programming error: minimise_least_squares (): Nothing to minimise continuing, cross fingers It's an error message. If it occurs with the latest lily, please construct a minimal example and send it to the bugs list. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Mehmet Okonsar, pianist-composer-conductor www.okonsar.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: compounded dynamics
lilypond-user@gnu.org On 1/23/07, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi, Yota: Does anybody know a trick to un-bold the subito in the first solution I use: pocoF = #(make-dynamic-script (markup #:line(#:normal-text #:italic poco #:hspace -0.3 #:dynamic f ))) Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: compounded dynamics
seems to be exaclty what I was looking for, thank you ^^ (sorry for the mess on the mailing list... I'm not well awake this morning, and I'm fighting like the devil with gmail Ø_o) On 1/23/07, Kieren MacMillan [EMAIL PROTECTED] wrote: Hi, Yota: Does anybody know a trick to un-bold the subito in the first solution I use: pocoF = #(make-dynamic-script (markup #:line(#:normal-text #:italic poco #:hspace -0.3 #:dynamic f ))) Hope this helps! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
compounded dynamics
Surfing around I found two ways to do almost the same thing : display a
complex dynamics mark, like a Piano Subito.
In each I found something satisfying and another annoying
psubito = #(make-dynamic-script (markup #:hspace 1 #:translate (cons 5 0)
#:line( #:dynamic p #:text #:italic subito )))
+ the result IS a dynamic mark and can be used as one
- the subito is written bold... and in every sheets I have, it is never bold
psubito = \markup {\dynamic p \italic subito }
+ the subito, and the P looks nice together
- this is not a dynamics but a \markup... and so, requires a ^ or _ sign
before
Does anybody know a trick to un-bold the subito in the first solution,
since I find much more elegant the solution where we have a dynamic instead
of a markup ?
Yota
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Lilypondtool conf
Dear mailing list, I have some difficulties in using lilypondtools under Ubuntu The filename of the piece containing some whitespaces I'm getting the following error %lilypond %args /home/yoochan/classeur/lilypond/danse macabre - St Saens/alto.ly warning: cannot find file: `/home/yoochan/classeur/lilypond/danse' warning: cannot find file: `macabre' Processing `-' How could I avoid this ? Moreover, I would like to use evince instead of JPedal as pdf reader, does someone have some tips on how to do this ? ^_^ Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Very Beginner's Guide
Just for the most curious ones, this is how rhythms are taught to french children : quarter-note is called : noire (black) since it's balck half-note is called : blanche (white) since it's white full-note is called : ronde (round) since... there is no stem eight-note is called : croche (crotchet / hook) since it have one beam 16th note is called : double-croche, guess why easy isn't it ^^ except that you have to use lilypond and to convert mentally croche=8 so double-croche=16... O_o Yota, citizen of the pond On 12/27/06, Christopher A. LaFond [EMAIL PROTECTED] wrote: Anthony W. Youngman wrote: Arghhh There is NO SUCH THING as British English. It's actually two COMPLETELY SEPARATE languages that the Americans lump together! The Saxons in England speak English. The Angles in Scotland speak Scots (a very *similar* language). The Scots (in Ireland :-) speak Gaelic. According to the Oxford English Dictionary, Scots is a dialect of English, not a similar language. The language in Ireland, by the way, is Irish, and not generally referred to as Gaelic by anyone who knows better, and the Celtic language of Scotland is called by its native speakers Gaelic (first syllable pronounced gal -as in the feminine of guy). So though they don't identify British English, they do identify English English and Scots English, which most assume are more similar to one another than they are to American English, or at the very least, having a more mutually intelligible vocabulary. From the OED: Under English c. English English, English as spoken in England as differentiated from that spoken, e.g., in the United States of America. Under Scots 2. Of language: a. The distinguishing epithet of the dialect of English spoken by the inhabitants of the Lowlands of Scotland. Also absol. as n., the Scottish dialect. -- ° Chris° ° ° Christopher A. LaFond [EMAIL PROTECTED] http://www.celticharper.net After things go from bad to worse, the cycle will repeat itself. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combined tenuto + accent
Thank you for you concern. I thought this request lost in the limbs, I'm glad to see I was wrong ^^ I'm looking forward to hearing news 'til then merry Christmas dudes On 12/24/06, Graham Percival [EMAIL PROTECTED] wrote: Thanks for the report, entered as http://code.google.com/p/lilypond/issues/detail?id=186 Please note that this is a feature request which is much harder to implement than it may initially appear; it may be a while until this new feature is added. Cheers, - Graham yota moteuchi wrote: Hi, I am looking for a way to print an articulation made of the combination of an accent () and a tenuto (_) of course if I put a \tenuto \accent I get an ugly result where the accent is much wider than the tenuto. If it's not yet the case these articulations http://www.dolmetsch.com/musictheory21.htm should be added as entities. As the already existing tenuto + staccato. Else, the documentation should mention it. Any clue ? Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
marche unitonale
How do I do with lilypond what it's called in french : marche unitonale (that I can not translate in english) Which is the translation of a pattern, a chord, keeping the degrees as well as the key ex : \key c \major a c e become \key c \major g b d french readers would enjoy this wonderful example : http://fr.wikipedia.org/wiki/Marche_harmonique ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
midi2ly doesn't respect the --key
Before posting on the debug list I would like to know if some of you experienced this. When I try to extract a piece from a midi file which is in f major (1 flat) I do midi2ly --key=-1 myfile.mid the resulting file have indeed a nice \key f \major printed on top but all the 'bes' are noted as 'ais' The problem being that a text replacement mess up the relative notation e ais c = a bes c (with one octave shift) Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
stupid substitution
Could we add to the doc, section 12.1.2 an example of an even easier
substitution function with no argument.
displayBarNum = #(define-music-function (parser location) ()
#{
\once \override Score.BarNumber #'break-visibility = ##f
#})
Since I took me 15 min to understand how to derive it from the
previous example with one argument.
padText = #(define-music-function (parser location padding) (number?)
#{
\once \override TextScript #'padding = #$padding
#})
I hope the syntax is not too bad (the result is correct though)
If I'm wrong or if there is easier way to do this pure text
substitution, please correct me
Yota
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combined tenuto + accent
Hi,I am looking for a way to print an articulation made of the combination of an accent () and a tenuto (_)of course if I put a \tenuto \accent I get an ugly result where the accent is much wider than the tenuto. If it's not yet the case these articulations http://www.dolmetsch.com/musictheory21.htm should be added as entities. As the already existing tenuto + staccato. Else, the documentation should mention it.Any clue ?Yota ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\transpose weird staffs
Hi,
I have a nice horn in G part where in the middle it's written from
here take your horn in E flat
Of course in our orchestra we only have horn in F ^^
So I first entered the notes
hornpart = \relative c' {
\transposition g
... many notes ...
\transposition ees
again, many notes
}
And I'm now looking for the best and cleanest way to output the part in F
I tried to apply the \tranpose stuff using \skips (like using a global
staff for the layout) but... it's a failure
any clue ?
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Re: \transpose weird staffs
marvelous ^^
not as clean as expected but, i'm perhaps too perfectionist.
thx
On 9/1/06, Markus Schneider [EMAIL PROTECTED] wrote:
Hi,
AFAICS, the easiest way is to split your horn part into two seperate ones:
hornpartG = \relative c' {
\transposition g
... many notes ...
}
hornpartEES = \relative c' {
\transposition ees
... many notes ...
}
Then use \transpose as usual on each of them.
Markus
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Re: Clef Markup
I guess thishttp://www.lilypond.org/doc/v2.8/Documentation/user/lilypond/Text-marks.htmlanswer to your question On 8/25/06, Kamal [EMAIL PROTECTED] wrote: How can one print a markup over a clef sign? ___lilypond-user mailing listlilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Printing tempo marks on every part
concerning the bars you may use a global part containing only skips and barsyou can then combine them as you wish (in a part or for all the parts).have a look at http://www.mutopiaproject.org/ftp/BachJS/BWV1068/bach-air/bach-air-lys.zipor http://www.lilypond.org/doc/v2.6/input/mutopia/E.Satie/petite-ouverture-a-danser.ly.txt I don't know if it works with rehearsal marks, but please test and publish your resultsOn 8/25/06, Andrew Black - lists [EMAIL PROTECTED] wrote:I would like to specify things like tempo marks, double bars, rehearsal makrs in one part only (say piano part) but print them on very part.I want to print as below but only have to specify the details in one part==(Vn 1 part: )Andante ... [A] . [B] Vn 1 music .==(Vn 2 part: )Andante ... [A] . [B]Vn 2 music .==(Score: )Andante ... [A] . [B] Vn 1 music .Vn 2 music .etc etc___lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tweak of the crescendotext
ok I got ityou're right... with a centered alignment, the dynamic indication become too imprecise to be readable. But putting the text on two lines give a nice result.\set crescendoText = \markup{\italic \column {\line {poco a poco} {cresc.} }}
\set crescendoSpanner = #'dashed-line
r4 \times 2/3 {\once \override DynamicLineSpanner #'staff-padding = #1 a8-( \accent \ bes a) \!} r4
\repeat unfold 9 { r4 \times 2/3 { a8-( \accent bes a) } r4}I really would like to have an automatic line break, diplaying poco a poco on the end of the first staff and the cresc. at the start of the next staff. Well I could also do it by hand but it's a bit dirty
About the vertical positioning of the crescendotext. the property is in fact hidden in dynamiclinespanner #'staff-padding (even if there is no line span)that was the tip of the day :p
On 8/25/06, Mats Bengtsson [EMAIL PROTECTED] wrote:
yota wrote:Hi,I have some notes where a poco a poco cresc. must be inserted...so I put\set crescendoText = \markup { \italic poco a poco cresc. }
\set crescendoSpanner = #'dashed-liner4\times 2/3 { a8-( \accent \ bes a) \!} r4and it worked, but the text is too long, it goes over the end of the pageand the vertical position make it collide with the \accent.
Well with a little vertical padding and a centered alignment it should dothe trick.As a musician I would be very confused if you used centeredalignment, since I wouldn't realize exactly where you want
the crescendo to start. As far as I can recall from printedmusic, the text is normally broken over the line break insuch situations, at least if the crescendo is long (your exampleseems like an extremely short crescendo to be able to do
poco a poco). Another possibility would be to do\markup{\italic \column {\line {poco a poco} cresc. }}But I'm not fluent enough with contexts and properties stuff, and the
documentation keeps confusing me.is such a dynamic indication a TextScript or a DynamicText or something else?... I tried some tweaks but everything failed.DynamicText should be the relevant object.
/Mats
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Re: tweak of the crescendotext
should I fill a feature request to have long dynamic indications (the textual part, not the dashed line one) automatically splitted to the next staff when the text goes out of the page ? like this : http://img115.imageshack.us/my.php?image=lilypondfi4.pngbecause if I do the line break manually, when the dynamic indication is not at the end of the staff anymore I get strange collisions O_o ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
