Re: Bass and chords
Thomas Morley thomasmorle...@googlemail.com writes: 2012/11/7 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: Will do, if noone comes up with a better solution or finds a drawback. We have markup commands \note and \note-by-number. It seems to me that it would likely be most straightforward to provide the same for \rest and possibly \rest-by-number and use that as part of the solution. Seems you don't like the context-modifications. :) What should \rest-by-number do, what \musicglyph can't? Spare the user from having to know what glyphs and fonts to use? With luck, this is just a matter of copy and paste from the \note/\note-by-number code with changes in the selected muic glyphs. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
2012/11/12 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: 2012/11/7 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: Will do, if noone comes up with a better solution or finds a drawback. We have markup commands \note and \note-by-number. It seems to me that it would likely be most straightforward to provide the same for \rest and possibly \rest-by-number and use that as part of the solution. Seems you don't like the context-modifications. :) What should \rest-by-number do, what \musicglyph can't? Spare the user from having to know what glyphs and fonts to use? With luck, this is just a matter of copy and paste from the \note/\note-by-number code with changes in the selected muic glyphs. -- David Kastrup No luck. I tried this already. Will take another road the upcomming days. -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
Thomas Morley thomasmorle...@googlemail.com writes: 2012/11/12 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: 2012/11/7 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: Will do, if noone comes up with a better solution or finds a drawback. We have markup commands \note and \note-by-number. It seems to me that it would likely be most straightforward to provide the same for \rest and possibly \rest-by-number and use that as part of the solution. Seems you don't like the context-modifications. :) What should \rest-by-number do, what \musicglyph can't? Spare the user from having to know what glyphs and fonts to use? With luck, this is just a matter of copy and paste from the \note/\note-by-number code with changes in the selected muic glyphs. No luck. I tried this already. Ah, pity. If this task is harder than it seems, it would probably be even more helpful to provide it as a ready-made service. One obvious consideration is that for use in markup, you would need the glyphs intended for outside-staff use (those with their own ledger lines). -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
2012/11/7 David Kastrup d...@gnu.org: Thomas Morley thomasmorle...@googlemail.com writes: Will do, if noone comes up with a better solution or finds a drawback. We have markup commands \note and \note-by-number. It seems to me that it would likely be most straightforward to provide the same for \rest and possibly \rest-by-number and use that as part of the solution. Seems you don't like the context-modifications. :) What should \rest-by-number do, what \musicglyph can't? Proper output of R1*x? More? And how to use it? Perhaps: \once \set ChordNames.noChordSymbol = \markup \rest-by-number reading/processing duration and style ? -Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
Hi David, Thanks for your quick answer. The good news is that it's clear, I understand it and the issue 559 you mentioned would perfectly answer to my needs (much more than that in fact). The bad news is that it is not implemented yet, so I would probably need to do something (probably simpler) myself if I want it. Is it possible to participate to the Lilypond project? What are the technical requirements? A small detail: Sounds more like chromatic/unisonoric accordion to me. For diatonic, I have rarely seem anything but Griffschrift: There also beautiful scores for diatonic accordion (or whatever instrument able to play this type of music actually) not only Griffschrift. Regards, Fred ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
Frédéric Fanchamps frederic.fancha...@gmail.com writes: Hi David, Thanks for your quick answer. The good news is that it's clear, I understand it and the issue 559 you mentioned would perfectly answer to my needs (much more than that in fact). The bad news is that it is not implemented yet, so I would probably need to do something (probably simpler) myself if I want it. Is it possible to participate to the Lilypond project? What are the technical requirements? Solid nerves and an open mind. And then reading the LilyPond -- Extending guide. Most of what you want to do does not require recompiling LilyPond. The main programming language with which you would be working would be Scheme. Everything else would get much uglier. You need to get a good idea of what kind of syntax you want to be writing, and how this fits with the existing syntax of LilyPond. Normally, you would not want to mess with syntax, so you need to figure out what existing syntax/music expression would best express your intent, and then see how you get from that expression to those you actually want to see in the score. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
dak wrote
Finally, if it would be possible to note no chord as a normal rest
of the correct duration instead of N.C. it would be great.
Maybe someone else can make a suggestion for this item?
--
David Kastrup
here is a suggestion:
define a command for the rests like
restFull = {
\once \set chordChanges = ##f
\once \set noChordSymbol = \markup { \musicglyph #rests.1 }
r1
}
restHalf = {
\once \set chordChanges = ##f
\once \set noChordSymbol = \markup { \musicglyph #rests.2 }
r2
}
% …
and use them in a score:
harmonies = \chordmode {
\restHalf \restHalf
c2:m c:m
\break
c1:m c:m d \restFull
}
to be sure use that /\once \set …/ works as expected you should use a recent
version of LP.
maybe even that somebody will take care of putting this in a function so
that you can use it with normal code!
Eluze
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Re: Bass and chords
of course that was rubbish - you have to use rests.0 for a full rest, rests.1 for a half, rests.2 for a quarter and so on... Eluze -- View this message in context: http://lilypond.1069038.n5.nabble.com/Bass-and-chords-tp135858p135902.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
2012/11/6 Eluze elu...@gmail.com:
dak wrote
Finally, if it would be possible to note no chord as a normal rest
of the correct duration instead of N.C. it would be great.
Maybe someone else can make a suggestion for this item?
--
David Kastrup
here is a suggestion:
define a command for the rests like
restFull = {
\once \set chordChanges = ##f
\once \set noChordSymbol = \markup { \musicglyph #rests.1 }
r1
}
restHalf = {
\once \set chordChanges = ##f
\once \set noChordSymbol = \markup { \musicglyph #rests.2 }
r2
}
% …
and use them in a score:
harmonies = \chordmode {
\restHalf \restHalf
c2:m c:m
\break
c1:m c:m d \restFull
}
to be sure use that /\once \set …/ works as expected you should use a recent
version of LP.
maybe even that somebody will take care of putting this in a function so
that you can use it with normal code!
Eluze
--
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http://lilypond.1069038.n5.nabble.com/Bass-and-chords-tp135858p135901.html
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More automated:
\version 2.16.0
chordNamesWithRestsLayout =
\with {
noChordSymbol = #(make-simple-markup )
\consists Rest_engraver
\consists Multi_measure_rest_engraver
\override Rest #'font-size = #-4
\override MultiMeasureRest #'font-size = #-4
% No idea, why r1 needs to be special-cased:
\override Rest #'after-line-breaking =
#(lambda (grob)
(let* ((dur-log (ly:grob-property grob 'duration-log))
(staff-pos (if (= dur-log 0) 0 2)))
(ly:grob-set-property! grob 'staff-position staff-pos)))
\override MultiMeasureRest #'staff-position = #2
}
\new ChordNames \with { \chordNamesWithRestsLayout }
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\score {
\new ChordNames
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\layout {
\context {
\ChordNames
\chordNamesWithRestsLayout
}
}
}
HTH,
Harm
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Re: Bass and chords
Am 06.11.2012 23:33, schrieb Thomas Morley:
More automated:
\version 2.16.0
chordNamesWithRestsLayout =
\with {
noChordSymbol = #(make-simple-markup )
\consists Rest_engraver
\consists Multi_measure_rest_engraver
\override Rest #'font-size = #-4
\override MultiMeasureRest #'font-size = #-4
% No idea, why r1 needs to be special-cased:
\override Rest #'after-line-breaking =
#(lambda (grob)
(let* ((dur-log (ly:grob-property grob 'duration-log))
(staff-pos (if (= dur-log 0) 0 2)))
(ly:grob-set-property! grob 'staff-position staff-pos)))
\override MultiMeasureRest #'staff-position = #2
}
\new ChordNames \with { \chordNamesWithRestsLayout }
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\score {
\new ChordNames
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\layout {
\context {
\ChordNames
\chordNamesWithRestsLayout
}
}
}
thanks Harm - I think that's a superb solution with a fantastical short
code - something for the LSR!?
'/if you want to replace the N.C. symbol in a \chordname context by
the latent rest you can use … … … …/ '
Eluze
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Re: Bass and chords
2012/11/7 Eluze elu...@gmail.com:
Am 06.11.2012 23:33, schrieb Thomas Morley:
More automated:
\version 2.16.0
chordNamesWithRestsLayout =
\with {
noChordSymbol = #(make-simple-markup )
\consists Rest_engraver
\consists Multi_measure_rest_engraver
\override Rest #'font-size = #-4
\override MultiMeasureRest #'font-size = #-4
% No idea, why r1 needs to be special-cased:
\override Rest #'after-line-breaking =
#(lambda (grob)
(let* ((dur-log (ly:grob-property grob 'duration-log))
(staff-pos (if (= dur-log 0) 0 2)))
(ly:grob-set-property! grob 'staff-position staff-pos)))
\override MultiMeasureRest #'staff-position = #2
}
\new ChordNames \with { \chordNamesWithRestsLayout }
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\score {
\new ChordNames
\chordmode { c1 R1 d e }
\new Staff { c1 R1 d e }
\layout {
\context {
\ChordNames
\chordNamesWithRestsLayout
}
}
}
thanks Harm - I think that's a superb solution with a fantastical short code
- something for the LSR!?
' if you want to replace the N.C. symbol in a \chordname context by the
latent rest you can use … … … … '
Eluze
Will do, if noone comes up with a better solution or finds a drawback.
Regards,
Harm
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Re: Bass and chords
Thomas Morley thomasmorle...@googlemail.com writes: Will do, if noone comes up with a better solution or finds a drawback. We have markup commands \note and \note-by-number. It seems to me that it would likely be most straightforward to provide the same for \rest and possibly \rest-by-number and use that as part of the solution. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Bass and chords
Hi, I'm using Lilypond to write traditional folk music for diatonic accordion. On that kind of instrument you have the melody (done with the right hand) and the bass and chords done by the left hand. Typically the melody is written as a normal score and the left hand (bass and chord) is written like this: uppercase letter for chords and lower case for chords. Let's say you want a C bass, then a C major chord, then a G bass and then a G major chord, under the score you find: C c G g More complex things such as mixed bass and chords have also their convention: chord of F bass of D is written like: f/D I wonder what is the best way to write it with Lilypond? Adding the chords with \chords is no problem but then I can't indicate when is it bass only and when is it chord. Adding this notation as pure text is possible but I would find very pity to not get the midi file and to make transpose impossible. Finally, if it would be possible to note no chord as a normal rest of the correct duration instead of N.C. it would be great. Thanks, Fred ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bass and chords
Frédéric Fanchamps frederic.fancha...@gmail.com writes: Hi, I'm using Lilypond to write traditional folk music for diatonic accordion. On that kind of instrument you have the melody (done with the right hand) and the bass and chords done by the left hand. Typically the melody is written as a normal score and the left hand (bass and chord) is written like this: uppercase letter for chords and lower case for chords. Let's say you want a C bass, then a C major chord, then a G bass and then a G major chord, under the score you find: C c G g More complex things such as mixed bass and chords have also their convention: chord of F bass of D is written like: f/D Sounds more like chromatic/unisonoric accordion to me. For diatonic, I have rarely seem anything but Griffschrift. I wonder what is the best way to write it with Lilypond? There is no really convincing builtin support right now. For neither of the two, actually. Adding the chords with \chords is no problem but then I can't indicate when is it bass only and when is it chord. c:1 is a single note in Midi, but the chord transcription will not distinguish it from the chord and it will not sound in a lower octave. There have been discussions on the developer group about mixed chord/note modes: those would be nice here. There is also likely a lot one could do with music functions. There is an issue URL:http://code.google.com/p/lilypond/issues/detail?id=559 which would correspond with your request (as your request is really coinciding with chromatic accordion notation rather than the diatonic transcriptions I know). But nobody has worked on it so far. Adding this notation as pure text is possible but I would find very pity to not get the midi file and to make transpose impossible. Indeed. Finally, if it would be possible to note no chord as a normal rest of the correct duration instead of N.C. it would be great. Maybe someone else can make a suggestion for this item? -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Stradella Bass Accordion Chords
I posted this query and have had no replies - is this because: (a) the answer is so obvious that it doesn't merit a reply (b) what I want to do can't be done (c) I've breached some etiquette that I didn't know about? Having continued to work on the problem with no success, there seem to be 2 parts: Firstly, I want to turn off the inversion marker on the chord name completely, and Secondly I want to redefine the chords. As Lilypond seems to assume that the root of the chord is the lowest note is it possible to actually redefine chords one by one, so that a C major comes out as indicated below? Thanks in advance to anyone who troubles to reply. Tim Hucker Firstly most importantly a big thank you to everyone involved in Lilypond for such an amazing program - and free too! Please keep up the good work. I am involved with engraving music for the accordion, particularly the piano accordion with Stradella bass. As the actual notes that play when you depress a chord button are dictated by the instrument rather than the music, the notes printed are a matter of convention. For example, a chord of c major in the bass is conventionally represented as middle c with the g and e below it. On my instrument the notes that actually play are middle c with the e above and g below. Is is possible for me to redefine the chords in Lilypond so that I get the right inversion automatically, and the right chord name to go with it? I've tried any number of things and I just can't get it to work. Either the right chord come out with the wrong name or I can't get the right inversion at all. Any pointers would be very gratefully received. Tim Hucker This message was checked by MailScan for WorkgroupMail. www.workgroupmail.com ___ lilypond-user mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Stradella Bass Accordion Chords
Tim Hucker writes:
I posted this query and have had no replies - is this because:
(a) the answer is so obvious that it doesn't merit a reply
(b) what I want to do can't be done
(c) I've breached some etiquette that I didn't know about?
You should also consider:
(d) bad timing
(e) the question is too hard
(f) the question is too vague
(g) all of the above
It is always wise to repost (and possibly rephrase) an unanswered
question.
Having continued to work on the problem with no success, there seem to be 2
parts:
Firstly, I want to turn off the inversion marker on the chord name
completely, and
Secondly I want to redefine the chords. As Lilypond seems to assume that the
root of the chord is the lowest note is it possible to actually redefine
chords one by one, so that a C major comes out as indicated below?
Thanks in advance to anyone who troubles to reply.
Tim Hucker
Firstly most importantly a big thank you to everyone involved in Lilypond
for
such an amazing program - and free too! Please keep up the good work.
I am involved with engraving music for the accordion, particularly
the
piano
accordion with Stradella bass. As the actual notes that play when you
depress a
chord button are dictated by the instrument rather than the music, the
notes
printed are a matter of convention.
For example, a chord of c major in the bass is conventionally represented
as
middle c with the g and e below it. On my instrument the notes that
actually
play are middle c with the e above and g below.
So, what do you want to have notated?
It seems that the cord name you want printed, is different from what
you want to see as actual pitches?
Is is possible for me to redefine the chords in Lilypond so that I get the
right inversion automatically, and the right chord name to go with it?
Maybe this example helps?
names = \chords {
c1
c/g
c/e
c/+e
c/+g
}
\score{
\context ChordNames \names
\new Voice \relative c' { \clef bass \names }
\new Voice \notes\relative c' {
\clef bass
c e g1
c e, g,
c e, g,
c e, g,
c e, g,
}
}
Jan.
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