Re: Change layout: space after next-padding
There is a problem with systems-per-page at present: see http://code.google.com/p/lilypond/issues/detail?id=1460 What version of LilyPond are you using? -- Phil Holmes - Original Message - From: Stjepan Horvat To: lilypond-user@gnu.org Sent: Monday, December 20, 2010 3:35 PM Subject: Change layout: space after next-padding Hello, when i insert the option annotate-spacing = ##t under paper my pdf gets some kind of line where you can see what is happening with layout..I wanted to compress the layout little so i inserted more options under paper like: ragged-last-bottom = ##f between-system-space = 0 between-system-padding = 0 but then when i look at the output i have a big space between Title and first system..it says 15.82 space after next-padding..how can i incrise thet.. i tried to (define page-breaking ly:optimal-breaking) and systems-per-page = #9 but nothing changed.. Stef.. -- Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke 12:18 -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ways of using Lilypond?
On Mon, 20 Dec 2010, Ludo Beckers wrote: Hi Wilbert The 2nd address in your signature is the forum where I reacted on 2 of your posts, but didn't see a reaction. I'm catch22 in that one. I might be interested in also checking out Frescobaldi, but wonder if it makes much sense on a non-KDE-system (too many KDE-dependencies)? I am using Frescobaldi on a non-KDE Fedora 14 system. I am running a LXDE version of Fedora, and sometimes I also use GNOME. And yes, when I install Frescobaldi using my package manager quite some KDE related stuff is also installed. But there is no problem in that, unless you have very limited disk and memory space on a very old computer. -- Martin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A quick way to change 50 lilypond files
hsweet wrote:
Search/Replace in an editor is fine for one or 2 files. + I never remember
regex syntax so this way it's written down : ) +I just wanted to avoid
having to do this manually for 50 files. This does them all at once. 50 or
500.
i find sed handy for this kind of batch text manipulation
you have to escape the \ in \transpose so it is written \\transpose
you also have to do a bit of uglyness to escape the ' so ' will
become \'\''
this oneliner will replace \transpose c' d' with \transpose c' b' in
all the files in whatever directory you execute it in
sed s'/\\transpose c\'\'' d\'\'' /\\transpose c\'\'' b\'\''/'g *.ly
this will spit the output into the terminal for you to check then when
you are sure it is good you can add the -i flag to make it actually edit
the files
sed -i s'/\\transpose c\'\'' d\'\'' /\\transpose c\'\'' b\'\''/'g *.ly
rob
Here is one I just thought of... (Haven't tested yet) It should make copies
transposed for clarinet.
$line=~s:\\relative c':\\transpose c b \\relative c':;
$line=~s:\\chordmode:\\transpose c b \ \chordmode:;
$line=~s:Violin:Clarinet:;
hsweet wrote:
I had a bunch of band charts I needed to update. I wanted to assign each
chart a number and give them all a midi tempo. Then every now and then I
learn something new that I want to add.
I dusted off an old Perl script, changed a few lines and I was able to
automate the process. It reads all the lilypond files in a folder, reads
and changes the text inside and writes the updated file to a temporary
folder called changed. Open to the changed folder in a terminal, type
lilypond * and lily will recompile everything.
The key to the whole thing is the line=~s/xxx /yyy / lines. If you have
ever used regex it will make sense.
open(OUT, changed/$file); #output is to a folder called Changed one
level deeper in tree
foreach my $line(@text){
$line=~s:\\date:\\italic{ \Sheet $cnt | Updated
\ \\date } :;
$line=~s:\\midi { }:$midistring:;
print OUT $line;
}
This is the whole program. http://old.nabble.com/file/p30495491/lymod.pl
lymod.pl
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Re: ways of using Lilypond?
Thanks Martin; installing it today :-) Ludo On Tue, Dec 21, 2010 at 11:06 AM, Martin Tarenskeen m.tarensk...@zonnet.nlwrote: I am using Frescobaldi on a non-KDE Fedora 14 system. I am running a LXDE version of Fedora, and sometimes I also use GNOME. And yes, when I install Frescobaldi using my package manager quite some KDE related stuff is also installed. But there is no problem in that, unless you have very limited disk and memory space on a very old computer. -- Martin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fretboard diagram : removing the fret number on the side
Hi Marc, Carl and David, On 21/12/10 07:51, David Kastrup wrote: Carl Sorensen c_soren...@byu.edu writes: On 12/20/10 8:57 PM, Marc Mouries m...@mouries.net wrote: The fret diagram prints a fret number indication on the right that is confusing from a Violinist perspective. Is there any option for the fret diagram not to print it? Unfortunately, right now there is no way to change it. For instance, in the 2nd D chord i'd like to get rid of the iv or print i because on the Violin it is more helpful to think in terms of position than fret as there is none. So do you want fret indications in your violin fret diagrams? And how is the position calculated? You can't really calculate it all too well. In first position, the pinky is in the current scale a fifth above the empty string. In half position, it is a diminuished fifth, while the index finger is a half step above the empty string (if the index finger is a half step above the empty string, but the pinky is still a full fifth, it is not half position since you can still sound the next empty string). In third position, the index finger is a fourth above the empty string. Basically, the position more or less concerns the relation between the current scale and the hand position and fingering and is a somewhat fuzzy concept when the number of accidentals rises. I think it means slightly different things for different instruments, Some years ago I learnt some very basic Classical Guitar. If I remember right, 'position' meant you moved the thumb up behind a fret as if you were getting ready to barré a chord. So first position meant your thumb was behind the fifth fret (i.e. a fourth up). It looks like violin/viola/cello naming/numbering of positions is different because the instruments are tuned with intervals of a fifth between the strings instead of a fourth. It seems possible that we could put an option in to label the position instead of the fret. But at this point I don't know how to calculate the position. The position is not independent of the fingering. Indicating a position would only make sense in fret diagrams if you also spell out the fingering. I don't know whether there is any established scheme for that with violins. Don't know. Playing noddy-level classical guitar was as far as I got in finding out about the Dark Side (string-playing). Maybe better-informed people (Graham?) can let us know about all this. Then we can work out what the user requirement may be. Then we (probably Carl) can determine whether we can/should extend the fretboard facilities to cater for it. Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
arpeggio symbol placement
In the following example, the arpeggio symbol appears over the time signature,
about 1cm from the chord, and the finger number is to the left of the arpeggio
symbol, while I want the finger number to be on the right of the arpeggio
symbol. Suggestions?
\version 2.13.40
\include english.ly
#(set-global-staff-size 24)
melody = \relative c {
\set fingeringOrientations = #'(left)
\set Staff.connectArpeggios = ##t
\stemUp g''-4 e2\arpeggio f4 e \break
}
bass = \relative c {
\set fingeringOrientations = #'(left)
g' e2\arpeggio d4 c \break
}
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
}
\clef treble_8
\context Voice = one \melody
\context Voice = two \bass
}
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Re: arpeggio symbol placement
On 21/12/2010 12:28, Peter Buhr wrote: \stemUpg''-4 e2\arpeggio f4 e \break \stemUp g''e2-4\arpeggio f4 e \break Move the finger instruction outside of the ? james ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Change layout: space after next-padding
Hi..it is posible..i'm using the newest 2.12.3.. 2010/12/21 Phil Holmes m...@philholmes.net There is a problem with systems-per-page at present: see http://code.google.com/p/lilypond/issues/detail?id=1460 What version of LilyPond are you using? -- Phil Holmes - Original Message - *From:* Stjepan Horvat zvanste...@gmail.com *To:* lilypond-user@gnu.org *Sent:* Monday, December 20, 2010 3:35 PM *Subject:* Change layout: space after next-padding Hello, when i insert the option annotate-spacing = ##t under paper my pdf gets some kind of line where you can see what is happening with layout..I wanted to compress the layout little so i inserted more options under paper like: ragged-last-bottom = ##f between-system-space = 0 between-system-padding = 0 but then when i look at the output i have a big space between Title and first system..it says 15.82 space after next-padding..how can i incrise thet.. i tried to (define page-breaking ly:optimal-breaking) and systems-per-page = #9 but nothing changed.. Stef.. -- Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke 12:18 -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke 12:18 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking Jedit LilyPondTool?
Bertalan, Thanks for writing. So there's no way for me to use a midi keyboard for note entry while using makam.ly to get those pitch names correct? Best, Adam On Mon, Dec 20, 2010 at 6:43 PM, Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu wrote: Currently LilyPondTool doesn't support custom note names in the wizard and the piano input. On Mon, Dec 20, 2010 at 4:32 PM, Adam Good adamg...@adamgood.com wrote: Hi All, I'm just now checking out LilyPondTool and have a couple of newbie questions regarding midi input. It looks like the Score Setup Wizard is the place to set up which language you would like the pitches to be notated as (cis vs. cs, etc). Ok fine but I would like to use my own pitch names since I'm marking up Turkish notation on a regular basis (as c# would be notated as cb). So, is there any place handy I can get in to add my own pitch naming system? And midi input will use that naming system? I've snooped around but can't find any plugin config files. Hmmm. Frescobaldi does a great thing with Rumor Settings/Guile scripts to load...there I've been able to create my own names. As always thanks in advance for any advice. Adam ___ 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: arpeggio symbol placement
Peter Buhr wrote: the arpeggio symbol appears [...] about 1cm from the chord, and the finger number is to the left of the arpeggio symbol, while I want the finger number to be on the right of the arpeggio symbol. Suggestions? Check out my hack at http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00658.html Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking Jedit LilyPondTool?
Where are the deutsch.ly, italian.ly etc. I would like to have a look there. Thanks Francois 2010/12/21, Adam Good adamg...@adamgood.com: Bertalan, Thanks for writing. So there's no way for me to use a midi keyboard for note entry while using makam.ly to get those pitch names correct? Best, Adam On Mon, Dec 20, 2010 at 6:43 PM, Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu wrote: Currently LilyPondTool doesn't support custom note names in the wizard and the piano input. On Mon, Dec 20, 2010 at 4:32 PM, Adam Good adamg...@adamgood.com wrote: Hi All, I'm just now checking out LilyPondTool and have a couple of newbie questions regarding midi input. It looks like the Score Setup Wizard is the place to set up which language you would like the pitches to be notated as (cis vs. cs, etc). Ok fine but I would like to use my own pitch names since I'm marking up Turkish notation on a regular basis (as c# would be notated as cb). So, is there any place handy I can get in to add my own pitch naming system? And midi input will use that naming system? I've snooped around but can't find any plugin config files. Hmmm. Frescobaldi does a great thing with Rumor Settings/Guile scripts to load...there I've been able to create my own names. As always thanks in advance for any advice. Adam ___ 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: Change layout: space after next-padding
There have been a lot of changes from that version to the current development version. This is close to being a release candidate, so I'd suggest moving to 2.13.43 and checking the new vertical spacing methods in the manuals for that version. -- Phil Holmes - Original Message - From: Stjepan Horvat To: Phil Holmes Cc: lilypond-user@gnu.org Sent: Tuesday, December 21, 2010 2:08 PM Subject: Re: Change layout: space after next-padding Hi..it is posible..i'm using the newest 2.12.3.. 2010/12/21 Phil Holmes m...@philholmes.net There is a problem with systems-per-page at present: see http://code.google.com/p/lilypond/issues/detail?id=1460 What version of LilyPond are you using? -- Phil Holmes - Original Message - From: Stjepan Horvat To: lilypond-user@gnu.org Sent: Monday, December 20, 2010 3:35 PM Subject: Change layout: space after next-padding Hello, when i insert the option annotate-spacing = ##t under paper my pdf gets some kind of line where you can see what is happening with layout..I wanted to compress the layout little so i inserted more options under paper like: ragged-last-bottom = ##f between-system-space = 0 between-system-padding = 0 but then when i look at the output i have a big space between Title and first system..it says 15.82 space after next-padding..how can i incrise thet.. i tried to (define page-breaking ly:optimal-breaking) and systems-per-page = #9 but nothing changed.. Stef.. -- Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke 12:18 -- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke 12:18 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fretboard diagram : removing the fret number on the side
On 12/21/10 12:51 AM, David Kastrup d...@gnu.org wrote: Carl Sorensen c_soren...@byu.edu writes: On 12/20/10 8:57 PM, Marc Mouries m...@mouries.net wrote: The fret diagram prints a fret number indication on the right that is confusing from a Violinist perspective. Is there any option for the fret diagram not to print it? Unfortunately, right now there is no way to change it. For instance, in the 2nd D chord i'd like to get rid of the iv or print i because on the Violin it is more helpful to think in terms of position than fret as there is none. So do you want fret indications in your violin fret diagrams? And how is the position calculated? You can't really calculate it all too well. In first position, the pinky is in the current scale a fifth above the empty string. In half position, it is a diminuished fifth, while the index finger is a half step above the empty string (if the index finger is a half step above the empty string, but the pinky is still a full fifth, it is not half position since you can still sound the next empty string). In third position, the index finger is a fourth above the empty string. Basically, the position more or less concerns the relation between the current scale and the hand position and fingering and is a somewhat fuzzy concept when the number of accidentals rises. There is a fingering chart that shows first and third position fingerings here: http://www.violinonline.com/fingerboard_chart.htm If this chart is to be believed, first position spans from the first fret to the seventh fret. Third position spans from the fifth fret to the tenth fret. There is also an advanced fingering chart here: http://www.violinonline.com/fingeringchart-advanced.htm It shows 1st through 7th positions. According to this chart, first position has the first finger on the 1st or 2nd fret, second position has the first finger on the 3rd or 4th fret, third position has the first finger on the 5th fret, fourth position has the first finger on the 7th fret, fifth position has the first finger on the 8th or 9th fret, sixth position has the first finger on the 10th fret, and 7th position has the first finger on the 12th fret. If this is correct, we could calculate the position given the number of the fret for the first finger. And we would just need to add a fretboard property describing the fret-label scheme. Then we could display a position number. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tweaking Jedit LilyPondTool?
On 12/21/10 8:48 AM, Music Teacher alicuota...@gmail.com wrote: Where are the deutsch.ly, italian.ly etc. I would like to have a look there. Thanks Francois The files are in the ly/ subdirectory of your lilypond installation. I can't say where lilypond is installed on your system. But you should be able to find them by doing whatever kind of file search you have. Alternatively, you can find them on the web by going to http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=tree;f=ly; HTH, Carl P.S. this changes in 2.13.4x; the note names are all in the file scm/define-note-names.scm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: arpeggio symbol placement
Peter Buhr wrote: In the following example, the arpeggio symbol appears over the time signature, about 1cm from the chord, and the finger number is to the left of the arpeggio symbol, while I want the finger number to be on the right of the arpeggio symbol. Suggestions? By the way, this is a known bug: http://code.google.com/p/lilypond/issues/detail?id=556 - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fretboard diagram : removing the fret number on the side
On 12/21/2010 10:51 AM, Carl Sorensen wrote: On 12/21/10 12:51 AM, David Kastrupd...@gnu.org wrote: Carl Sorensenc_soren...@byu.edu writes: On 12/20/10 8:57 PM, Marc Mouriesm...@mouries.net wrote: The fret diagram prints a fret number indication on the right that is confusing from a Violinist perspective. Is there any option for the fret diagram not to print it? Unfortunately, right now there is no way to change it. For instance, in the 2nd D chord i'd like to get rid of the iv or print i because on the Violin it is more helpful to think in terms of position than fret as there is none. So do you want fret indications in your violin fret diagrams? And how is the position calculated? You can't really calculate it all too well. In first position, the pinky is in the current scale a fifth above the empty string. In half position, it is a diminuished fifth, while the index finger is a half step above the empty string (if the index finger is a half step above the empty string, but the pinky is still a full fifth, it is not half position since you can still sound the next empty string). In third position, the index finger is a fourth above the empty string. Basically, the position more or less concerns the relation between the current scale and the hand position and fingering and is a somewhat fuzzy concept when the number of accidentals rises. There is a fingering chart that shows first and third position fingerings here: http://www.violinonline.com/fingerboard_chart.htm If this chart is to be believed, first position spans from the first fret to the seventh fret. Third position spans from the fifth fret to the tenth fret. There is also an advanced fingering chart here: http://www.violinonline.com/fingeringchart-advanced.htm It shows 1st through 7th positions. According to this chart, first position has the first finger on the 1st or 2nd fret, second position has the first finger on the 3rd or 4th fret, third position has the first finger on the 5th fret, fourth position has the first finger on the 7th fret, fifth position has the first finger on the 8th or 9th fret, sixth position has the first finger on the 10th fret, and 7th position has the first finger on the 12th fret. If this is correct, we could calculate the position given the number of the fret for the first finger. And we would just need to add a fretboard property describing the fret-label scheme. Then we could display a position number. Thanks, Carl yep that's it. The difference between Guitar and Violin is that the number I, II, III indicate a fret on the guitar while on the violin it usually indicates the position of the first finger. If you play a a on the e string with the 3rd finger, you are in 1st position, if you play it with your 2nd finger you are in 2nd, with your 1st finger you are in 3rd, ... So to compute the position number the position of the 1st finger has to be located. 0 IIIIII IV VVIVIIPOSITION 0 1 2 3 4 5 6 7 8 9 10 11 12 FRET # e| f # g # a # b c # d # e A| # b c # d # e f # g # a D| # e f # g # a # b c # d G| # a # b c # d # e f # g 0 1 2 3 4 5 6 7 8 9 10 11 12 FRET # 0 III III IV V VIVIIPOSITION Nt f# Pos G 0 0/I # 1 1 a 2 1 # 3 2 b 4 2 c 5 3 # 6 4 d 7 4 # 8 5 e 9 5 f 10 6 # 11 6 g 12 7 A standard D chord in 1st position is played: d' a' fs''2 ^\markup \fret-diagram #w:4;4-x;3-o;2-o;1-2-1; position # = 1 because 1st finger is on the f# on the e string. f# on fret #2 Another D chord in 1st position is played: d' fs' d'' 2 ^\markup \fret-diagram #w:4;4-7-4;3-4-2;2-5-3;1-x; position # = 1 because, the 1st finger is not used but the 2nd finger is on a F#, fret# 2 on the D string A C major chord g' e' c''2 ^\markup \fret-diagram #w:4;4-x;3-5-1;2-7-2;1-8-3; position = 3 because first finger is on the G on the fret #5 --Marc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fretboard diagram : removing the fret number on the side
Carl Sorensen c_soren...@byu.edu writes: On 12/21/10 12:51 AM, David Kastrup d...@gnu.org wrote: You can't really calculate [position] all too well. In first position, the pinky is in the current scale a fifth above the empty string. In half position, it is a diminuished fifth, while the index finger is a half step above the empty string (if the index finger is a half step above the empty string, but the pinky is still a full fifth, it is not half position since you can still sound the next empty string). In third position, the index finger is a fourth above the empty string. Basically, the position more or less concerns the relation between the current scale and the hand position and fingering and is a somewhat fuzzy concept when the number of accidentals rises. There is a fingering chart that shows first and third position fingerings here: http://www.violinonline.com/fingerboard_chart.htm If this chart is to be believed, first position spans from the first fret to the seventh fret. Third position spans from the fifth fret to the tenth fret. That's not quite reliable. For example, if we are in E major and finger on the G string a, b, c#', d#', we are actually playing in _second_ position (because the low first position would start at g#). There is also an advanced fingering chart here: http://www.violinonline.com/fingeringchart-advanced.htm It says: Although flats and sharps are not shown (accidentals), the same finger is generally used for raised or lowered notes (e.g. on the E string, 1st finger is used for F F#). Since you obviously can't play raised or lowered notes on an empty string, this rule falls down pretty soon when your accidentals don't allow empty strings to be played. If this is correct, we could calculate the position given the number of the fret for the first finger. Well, what if the first finger is not even played? And we would just need to add a fretboard property describing the fret-label scheme. Then we could display a position number. I just doubt we can meaningfully shorten the threadboard pattern and still arrive at an unambiguous chart. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: fretboard diagram : alignment issue
On 12/21/2010 12:30 AM, Carl Sorensen wrote:
On 12/20/10 8:47 PM, Marc Mouriesm...@mouries.net wrote:
Hi Lilyponders,
I am trying to generate a chord chart for Violin and i have an alignment
problem.
I want to include the different possibilities of playing a chord and
thus i can't use the command storePredefinedDiagram and thus can't use a
FretBoard like this
\score {
\new ChordNames { ...}
\new Staff { ... }
\new FretBoards { }
}
Actually, you *can* use storePredefinedDiagram.
The syntax is slightly different from 2.12 and 2.13
But since your chords have different names, you'll just do something like
(2.12 syntax):
\storePredefinedDiagramd' a' fs''
#violin-tuning
#x;o;o;2-1;
\storePredefinedDiagramd' fs' d''
#violin-tuning
#7-4;4-2;5-3;x;
\storePredefinedDiagramd' c'' fs''
#violin-tuning
#x;o;3-2;2-1;
\new ChordNames { \chordmode {d1 d1:7}}
\new Staff {d' a' fs''2d' fs' d''2d' c'' fs''1 }
\new FretBoards {d' a' fs''2d' fs' d''2d' c'' fs''1 }
You don't need to use a chordmode definition for the key to the fretboard;
you just need to have some kind of music that will be the same.
HTH,
Carl
P.S. In 2.14.43 we have alternate fretboard tables, so you can change the
table and have different fretboards for the same chord. But I don't think
that would help you here, because you have chords in the staff that wouldn't
work with the ChordNames
I am using 2.13.43-1
http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.13.43-1.mingw.exe
and i get an error with your code.
/pb with chords on the Violin.ly:16:24: error: syntax error, unexpected
\storePredefinedDiagram
d' a' fs''
Where can i find the doc for 2.13 for the fret diagram?
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pb with 2.13 with doc example fret diagram
I just tested the example "Defining predefined fretboards for other
instruments" with 2.13 and it produces a bizarre output.
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings
\paper {
#(define dump-extents #t)
indent = 0\mm
line-width = 160\mm
force-assignment = #
line-width = #(- line-width (* mm 3.00))
}
\layout {
}
#(set-global-staff-size 16)
cuatroTuning = #'(11 18 14 9)
dSix = { a\4 b\1 d\3 fis\2 }
dMajor = { a\4 d\1 d\3 fis \2 }
aMajSeven = { a\4 cis\1 e\3 g\2 }
dMajSeven = { a\4 c\1 d\3 fis\2 }
gMajor = { b\4 b\1 d\3 g\2 }
\storePredefinedDiagram \dSix
#cuatroTuning
#o;o;o;o;
\storePredefinedDiagram \dMajor
#cuatroTuning
#o;o;o;3-3;
\storePredefinedDiagram \aMajSeven
#cuatroTuning
#o;2-2;1-1;2-3;
\storePredefinedDiagram \dMajSeven
#cuatroTuning
#o;o;o;1-1;
\storePredefinedDiagram \gMajor
#cuatroTuning
#2-2;o;1-1;o;
% end of potential include file /predefined-cuatro-fretboards.ly
primerosNames = \chordmode {
d:6 d a:maj7 d:maj7
g
}
primeros = {
\dSix \dMajor \aMajSeven \dMajSeven
\gMajor
}
\score {
\new ChordNames {
\set chordChanges = ##t
\primerosNames
}
\new Staff {
\new Voice \with {
\remove New_fingering_engraver
}
\relative c'' {
\primeros
}
}
\new FretBoards {
\set stringTunings = #cuatroTuning
\override FretBoard
#'(fret-diagram-details string-count) = #'4
\override FretBoard
#'(fret-diagram-details finger-code) = #'in-dot
\primeros
}
\new TabStaff \relative c'' {
\set TabStaff.stringTunings = #cuatroTuning
\primeros
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
}
\midi { }
}
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Re: fretboard diagram : alignment issue
On 12/21/10 9:40 AM, Marc Mouries m...@mouries.net wrote:
On 12/21/2010 12:30 AM, Carl Sorensen wrote:
The syntax is slightly different from 2.12 and 2.13
But since your chords have different names, you'll just do something like
(2.12 syntax):
\storePredefinedDiagram d' a' fs''
#violin-tuning
#x;o;o;2-1;
\storePredefinedDiagram d' fs' d''
#violin-tuning
#7-4;4-2;5-3;x;
\storePredefinedDiagram d' c'' fs''
#violin-tuning
#x;o;3-2;2-1;
\new ChordNames { \chordmode {d1 d1:7}}
\new Staff { d' a' fs''2 d' fs' d''2 d' c'' fs''1 }
\new FretBoards { d' a' fs''2 d' fs' d''2 d' c'' fs''1 }
P.S. In 2.14.43 we have alternate fretboard tables, so you can change the
table and have different fretboards for the same chord. But I don't think
that would help you here, because you have chords in the staff that wouldn't
work with the ChordNames
I am using 2.13.43-1
With 2.13.43 you need to add a fretboard-table argument to the calls:
\storePredefinedDiagram #default-fret-table
d' a' fs''
#violin-tuning
#x;o;o;2-1;
http://download.linuxaudio.org/lilypond/binaries/mingw/lilypond-2.13.43-1.min
gw.exe and i get an error with your code.
/pb with chords on the Violin.ly:16:24: error: syntax error, unexpected
\storePredefinedDiagram
d' a' fs''
Where can i find the doc for 2.13 for the fret diagram?
The docs for 2.13 are available on the lilypond website:
http://lilypond.org/doc/v2.13/Documentation/web/manuals
HTH,
Carl
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Re: pb with 2.13 with doc example fret diagram
On 12/21/10 9:44 AM, Marc Mouries m...@mouries.net wrote: I just tested the example Defining predefined fretboards for other instruments with 2.13 and it produces a bizarre output. http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings This is a 2.12 snippet, and will not compile properly on 2.13 due to the syntax changes. Please use the 2.13 equivalent snippet: http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings HTH, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pb with 2.13 with doc example fret diagram
On 12/21/2010 12:09 PM, Carl Sorensen wrote:
On 12/21/10 9:44 AM, Marc Mouriesm...@mouries.net wrote:
I just tested the example Defining predefined fretboards for other
instruments with 2.13 and it produces a bizarre output.
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings
This is a 2.12 snippet, and will not compile properly on 2.13 due to the
syntax changes.
Please use the 2.13 equivalent snippet:
http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings
HTH,
Carl
thanks for the link. I adapted the snippet for Violin and it seems the
TAB staff is not in sync with the Fret board.
The tab shows a finger on the 5th fret while the fretboard setting is an
empty string #x;o;o;2-1;
\version 2.13.43
% 0 1 2 3 4 5 6 7 8 9 10 11 12
% C D E F G A B C
violinTuning = #'(7 2 9 4)
dMajorOne = {d\3 a'\2 fis'\1 }
dMajorTwo = { d\4 fis\3 d'\2 }
gMajor= { g,\4 d'\3 b'\2 g'\1}
\storePredefinedDiagram #default-fret-table \dMajorOne
#violinTuning
#x;o;o;2-1;
\storePredefinedDiagram #default-fret-table \dMajorTwo
#violinTuning
#7-4;4-2;5-3;x;
\storePredefinedDiagram #default-fret-table \gMajor
#violinTuning
#o;o;2-1;3-2;
#(set-global-staff-size 16)
primerosNames = \chordmode {
d
d
g
}
primeros = {
\dMajorOne \dMajorTwo
\gMajor
}
\score {
\new ChordNames {
\set chordChanges = ##t
\primerosNames
}
\new FretBoards {
\set stringTunings = #violinTuning
\override FretBoard #'(fret-diagram-details string-count) = #'4
\override FretBoard #'(fret-diagram-details finger-code) = #'in-dot
\primeros
}
\new Staff {
\new Voice \with {
\remove New_fingering_engraver
}
\relative c' {
\primeros
}
}
\new TabStaff \relative c'' {
\set TabStaff.stringTunings = #violinTuning
\primeros
}
\layout {
\context {
\Score
\override SpacingSpanner
#'base-shortest-duration = #(ly:make-moment 1 16)
}
}
\midi { }
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Re: pb with 2.13 with doc example fret diagram
On 12/21/10 10:47 AM, Marc Mouries m...@mouries.net wrote: On 12/21/2010 12:09 PM, Carl Sorensen wrote: On 12/21/10 9:44 AM, Marc Mouriesm...@mouries.net wrote: I just tested the example Defining predefined fretboards for other instruments with 2.13 and it produces a bizarre output. http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Fretted-strings This is a 2.12 snippet, and will not compile properly on 2.13 due to the syntax changes. Please use the 2.13 equivalent snippet: http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings HTH, Carl thanks for the link. I adapted the snippet for Violin and it seems the TAB staff is not in sync with the Fret board. The tab shows a finger on the 5th fret while the fretboard setting is an empty string #x;o;o;2-1; This is because your violinTuning variable is wrong. You have the wrong pitches for the open strings. If you set violinTuning = #'(28 21 14 7) then everything works properly. HTH, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pb with 2.13 with doc example fret diagram
On 12/21/10 11:19 AM, Marc Mouries m...@mouries.net wrote:
This is because your violinTuning variable is wrong. You have the wrong
pitches for the open strings.
If you set
violinTuning = #'(28 21 14 7)
then everything works properly.
what's the meaning for that?
Well, it's supposed to be the number of semitones above middle C for each
open string, starting with the highest string.
IIUC, on violin, it would be:
16 for the E string
9 for the A string
2 for the D string
-5 for the G string
But then you put a \relative c'' on the TabStaff (which I hadn't noticed),
so I added an extra octave to the StringTunings to get it to work.
Now I fixed it the right way:
violinTuning = #'(16 9 2 -5)
and set
\new TabStaff \relative c' {
And it all worked correctly.
HTH,
Carl
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Re: arpeggio symbol placement
On 21/12/10 23:28, Peter Buhr wrote:
\version 2.13.40
\include english.ly
#(set-global-staff-size 24)
melody = \relative c {
\set fingeringOrientations = #'(left)
\set Staff.connectArpeggios = ##t
\stemUpg''-4 e2\arpeggio f4 e \break
}
bass = \relative c {
\set fingeringOrientations = #'(left)
g' e2\arpeggio d4 c \break
}
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
}
\clef treble_8
\context Voice = one \melody
\context Voice = two \bass
}
Arpeggios and fingering don't play well together. I have a music
function that I include in anything containing fingering and arpeggios
to fix the problem. The value you need pass into the function will
change depending on whether the chord contains accidentals etc:
\version 2.13.43
\include english.ly
#(set-global-staff-size 24)
arpfinger = #(define-music-function (parser location pad) (number?) #{
\once \override Staff.Arpeggio #'direction = #RIGHT
\once \override Staff.Arpeggio #'padding = #$pad
#})
melody = \relative c {
\set fingeringOrientations = #'(left)
\set Staff.connectArpeggios = ##t
\stemUp \arpfinger #-4 g''-4 e2\arpeggio f4 e \break
}
bass = \relative c {
\set fingeringOrientations = #'(left)
g' e2\arpeggio d4 c \break
}
\score {
\new Staff \with {
\consists Span_arpeggio_engraver
}
\clef treble_8
\context Voice = one \melody
\context Voice = two \bass
}
There are one other simple music function I use with arpeggios, which is
sometimes needed when Lilypond positions the arpeggio too close to the
preceding barline or note:
arpspace = #(define-music-function (parser location extent) (pair?) #{
\once \override Staff.Arpeggio #'X-extent = #$extent
#})
Nick
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Re: ps to pdf conversion fails
I have the same problem. The problem came after the update of Lilypond form 2.13.4 to 2.13.5. Returning to Lilypond 2.13.4 the problem is over. Now I cannot use Lilypond 2.13.5 or higher. Jacquesv Orm Finnendahl-3 wrote: Hi, a file I could typeset yesterday now fails on the conversion to pdf with the following error: `gs -q -dSAFER -dDEVICEWIDTHPOINTS=841.89 -dDEVICEHEIGHTPOINTS=1190.55 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=./schnell-pno01.pdf -c .setpdfwrite -f schnell-pno01.ps' failed (256) error: failed files: /home/orm/work/kompositionen/2kl/lilypond/schnell-pno01.ly The postscript file looks fine and I can't even remember having changed anything in the source (I even did a couple of undos until I was sure it had worked before). Is there any way to detect the problem? Maybe there is a strange mistyped control character somewhere, but I have no clue how to track down the problem. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- View this message in context: http://old.nabble.com/ps-to-pdf-conversion-fails-tp30487145p30509902.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
last page of scores in a book
Hi, How does one ragged-bottom-last in multiple scores in a book. Am I missing something? It appears that the only ragged-bottom-last is the last score of the book? I am using the latest lily 2.13.43 -- Craig Bakalian 560 Keswick Drive Yardley, PA 19067 215-428-0856 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: last page of scores in a book
On Tue, 2010-12-21 at 17:31 -0500, craigbakalian wrote: Hi, How does one ragged-bottom-last in multiple scores in a book. Am I missing something? It appears that the only ragged-bottom-last is the last score of the book? I am using the latest lily 2.13.43 The doc (NR 4.1.3) says about ragged-last-bottom: It also affects the last page of book parts, i.e. parts of a book created with \bookpart blocks. So if you use \bookpart it will work as you want. Otherwise, I don't know... You can't use ragged-last-bottom in the \layout block of a score, unfortunately. I'm a very beginner in page/book layout, sorry. Cheers, Federico ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Can't use NoteNames twice in score block ??
While working with a much larger version of the score below (BWV 206
chorale in 4 voices), I tried using the NoteNames engraver to put note
names under each voice. For some reason, invoking it twice causes the clef
and instrument name to change on the top staff. The notes (and the note
names) are correct, but the Soprano line gets a bass clef and the bass
instrument name. Is this a known problem?
Thanks,
Mike
\version 2.12.3
ASvoiceAA = \relative c'{
\set Staff.instrumentName = #Soprano
\clef treble
\key f \major
\time 4/4
\partial 4
a'4 bes a g d' | % 1
}% end of last bar in partorvoice
ABvoiceDA = \relative c{
\set Staff.instrumentName = #Bass
\clef bass
\key f \major
\time 4/4
\partial 4
d4 g a bes a8 g | % 1
}% end of last bar in partorvoice
\score {
\context Voice = ASvoiceAA { \ASvoiceAA }
\context NoteNames = NNS \ASvoiceAA
\context Voice = ABvoiceDA \ABvoiceDA
%% ok.png when line below commented out. withbug.png if
left in.
\context NoteNames = NNB \ABvoiceDA
}%% end of score-block
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Re: Can't use NoteNames twice in score block ??
Oops wrong image for ok.png in previous msg.
Cheers,
Mike
On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis michael.f.el...@gmail.comwrote:
While working with a much larger version of the score below (BWV 206
chorale in 4 voices), I tried using the NoteNames engraver to put note
names under each voice. For some reason, invoking it twice causes the clef
and instrument name to change on the top staff. The notes (and the note
names) are correct, but the Soprano line gets a bass clef and the bass
instrument name. Is this a known problem?
Thanks,
Mike
\version 2.12.3
ASvoiceAA = \relative c'{
\set Staff.instrumentName = #Soprano
\clef treble
\key f \major
\time 4/4
\partial 4
a'4 bes a g d' | % 1
}% end of last bar in partorvoice
ABvoiceDA = \relative c{
\set Staff.instrumentName = #Bass
\clef bass
\key f \major
\time 4/4
\partial 4
d4 g a bes a8 g | % 1
}% end of last bar in partorvoice
\score {
\context Voice = ASvoiceAA { \ASvoiceAA }
\context NoteNames = NNS \ASvoiceAA
\context Voice = ABvoiceDA \ABvoiceDA
%% ok.png when line below commented out. withbug.png if
left in.
\context NoteNames = NNB \ABvoiceDA
}%% end of score-block
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Re: pb with 2.13 with doc example fret diagram
On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote: Well, it's supposed to be the number of semitones above middle C for each open string, starting with the highest string. Wow, that's really not self-explanatory but i get why it's needed. However I'll have one less argument when my friend tell me that Lilypond is too complicated. Why not allow people to define tuning with notes, like: violinTuning = #'(e' a d g) guitarTuning= #'(e b g d a e,,) and then have an internal function would compute the distance to from and to the middle C? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: pb with 2.13 with doc example fret diagram
On 12/21/10 7:26 PM, Marc Mouries m...@mouries.net wrote:
On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote:
Well, it's supposed to be the number of semitones above middle C for each
open string, starting with the highest string.
Wow, that's really not self-explanatory but i get why it's needed. However
I'll have one less argument when my friend tell me that Lilypond is too
complicated.
Why not allow people to define tuning with notes, like:
violinTuning = #'(e' a d g)
guitarTuning= #'(e b g d a e,,)
Well, the short (and dumb) answer is because the notes e' a d g etc. are
lilypond input music expressions, and the string tuning needs to be a Scheme
list.
The next longer answer is probably because nobody ever thought of it.
and then have an internal function would compute the distance to from and to
the middle C?
The final answer is that it will be quite easy to to create a music function
that creates a string tuning object. How would this syntax be?
\makeStringTuning #'violinTuning {e' a d g}
If this sounds good, I'll have it done in the next day or so.
Thanks for the idea!
Carl
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Re: Can't use NoteNames twice in score block ??
On 12/21/10 5:14 PM, Michael Ellis michael.f.el...@gmail.com wrote:
On Tue, Dec 21, 2010 at 7:12 PM, Michael Ellis michael.f.el...@gmail.com
wrote:
While working with a much larger version of the score below (BWV 206 chorale
in 4 voices), I tried using the NoteNames engraver to put note names under
each voice. For some reason, invoking it twice causes the clef and
instrument name to change on the top staff. The notes (and the note names)
are correct, but the Soprano line gets a bass clef and the bass instrument
name. Is this a known problem?
Mike,
The problem is apparently that the \clef command implicitly creates some
kind of staff context if it's in a NoteNames context.
If you take the \clef commands out of the music passed to the NoteNames
context, then things seem to work right. (I haven't fully tested the
instrumentName to see if it can be part of the NoteNames context or not).
Here's some code that works:
\version 2.12.3
Snotes = \relative c' {
\time 4/4
\partial 4
a'4 |
bes4 a g d' |
}
Bnotes = \relative c {
\time 4/4
\partial 4
d4 |
g4 a bes a8 g |
}
ASvoiceAA = {
\set Staff.instrumentName = #Soprano
\clef treble
\key f \major
\Snotes
}
ABvoiceDA = {
\set Staff.instrumentName = #Bass
\clef bass
\key f \major
\Bnotes
}
\score {
\new Voice = ASVoiceAA { \ASvoiceAA }
\new NoteNames = NNS {\Snotes}
\new Voice = ABvoiceDA {\ABvoiceDA}
\new NoteNames = NNB {\Bnotes}
}%% end of score-block
HTH,
Carl
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Re: pb with 2.13 with doc example fret diagram
Carl Sorensen c_soren...@byu.edu writes:
The final answer is that it will be quite easy to to create a music function
that creates a string tuning object. How would this syntax be?
\makeStringTuning #'violinTuning {e' a d g}
If this sounds good, I'll have it done in the next day or so.
I think that
\makeStringTuning #'violinTuning e' a d g
would be more natural. Even more natural would be
\makeStringTuning #'violinTuning g d a e'
And if we want to be correct, we'd better use
\makeStringTuning #'violinTuning g d' a' e''
--
David Kastrup
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Re: pb with 2.13 with doc example fret diagram
David Kastrup d...@gnu.org writes:
Carl Sorensen c_soren...@byu.edu writes:
The final answer is that it will be quite easy to to create a music function
that creates a string tuning object. How would this syntax be?
\makeStringTuning #'violinTuning {e' a d g}
If this sounds good, I'll have it done in the next day or so.
I think that
\makeStringTuning #'violinTuning e' a d g
would be more natural. Even more natural would be
\makeStringTuning #'violinTuning g d a e'
And if we want to be correct, we'd better use
\makeStringTuning #'violinTuning g d' a' e''
Actually, what's wrong with
violinTuning = \makeStringTuning g d' a' e''
?
--
David Kastrup
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Re: pb with 2.13 with doc example fret diagram
Am 22.12.2010 03:43, schrieb Carl Sorensen:
On 12/21/10 7:26 PM, Marc Mouries m...@mouries.net wrote:
On Dec 21, 2010, at 1:28 PM, Carl Sorensen wrote:
Well, it's supposed to be the number of semitones above middle C for
each
open string, starting with the highest string.
Wow, that's really not self-explanatory but i get why it's needed.
However
I'll have one less argument when my friend tell me that Lilypond is too
complicated.
Why not allow people to define tuning with notes, like:
violinTuning = #'(e' a d g)
guitarTuning= #'(e b g d a e,,)
Well, the short (and dumb) answer is because the notes e' a d g etc. are
lilypond input music expressions, and the string tuning needs to be a
Scheme
list.
The next longer answer is probably because nobody ever thought of it.
Not quite ;-)
http://lilypond-s-support-for-tablatures.3383434.n2.nabble.com/TAB-guide-tp5813587p5818252.html
and then have an internal function would compute the distance to from
and to
the middle C?
The final answer is that it will be quite easy to to create a music
function
that creates a string tuning object. How would this syntax be?
\makeStringTuning #'violinTuning {e' a d g}
If this sounds good, I'll have it done in the next day or so.
Sounds very promising indeed! As Patrick mentioned in his tablature test
file,
a tablature key (i.e. string labels indicating the pitch) would be a
useful enhancement.
I didn't dig very deep, but how complicated would it be to allow note
names for
string tunings?
For standard situations, the music function \makeStringTuning will work,
and we could save the
note names for later use within a tabKey. On the other hand, if the
tuning is given in the
numeric way, the corresponding note names (at least with some tunings)
will be not unambiguous.
So IMHO, while the latter solution will be easier to implement, the
former proposal
is more extensible for the future.
Just my 2ct
Regards,
Marc
Thanks for the idea!
Carl
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