Re: Sub-music
Reinhold Kainhofer reinh...@kainhofer.com writes: Ah, okay. The main problem here is lilypond does not have any native support for D.C./D.S./Fine structures... That's the origin of the problem, although being able to extract pieces of music provides more functionality. Fold out, the piece becomes the following measures: 1, 2…36, 37, 22…36, 38, 2…20, 39…89 The current approach that I have works, but is rather tedious: I would recommend to use \unfoldRepeats for unfolding all \repeat structures (also correctly expands tremolo repeats!) and use \extractMusic only for D.C. and D.S. That saves you several \extractMusic calls. Thanks, I'll give it a try. BTW -- the improved extractMusic library provides a lot a neat features! http://gillesth.free.fr/Lilypond/extractMusic/ -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dilemma with spacer rest and cross-staff polyphony.
On 20 June 2011 01:20, Hwaen Ch'uqi hwaench...@gmail.com wrote: Dear Xavier, Greetings, and many thanks for your solution of code -- and especially for your explanation. It works beautifully now, and I fully comprehend! Great, glad I could help! Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Editors? Emacs bindings for Frescobaldi?
I'm in search of the best of both worlds ly editor. I've gotten started with Frescobaldi. Autocompletion is invaluable, and the integrated PDF view and help browser is a real lifesaver. But, I use Emacs for just about everything else. So I had a look at LilyPond mode. + Documentation is available by help - info. I could C-x 5 2 to have the help window open alongside the editing window, close enough. - The index frame from Frescobaldi's HTML view makes navigation a few million times easier. + Emacs keybindings. +/- Autocompletion is a bit less helpful without the kate-style pop-ups, but still nice. - PDF display is treated as a compilation process. To view a new rendering, I'm forced to close the old viewer window first (!). (Also a bit of sloppiness in the Emacs variable handling -- since I don't have xpdf on my system, I changed the appropriate variable to evince but the change did not take effect until after quitting and restarting Emacs.) The PDF display thing is almost a dealbreaker. The integration is simply much better in Frescobaldi. Has anyone created Emacs keybindings for the Frescobaldi editor (or, 'kate' in general)? Thanks, James -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal. -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
On 06/20/2011 05:28 AM, James Harkins wrote: - PDF display is treated as a compilation process. To view a new rendering, I'm forced to close the old viewer window first (!). (Also a bit of sloppiness in the Emacs variable handling -- since I don't have xpdf on my system, I changed the appropriate variable to evince but the change did not take effect until after quitting and restarting Emacs.) The PDF display thing is almost a dealbreaker. The integration is simply much better in Frescobaldi. What OS are you using? I use Evince under Ubuntu/GNOME to view PDF files, and it automatically notes when the file has changed. When I recompile in Emacs, Evince refreshes the view momentarily afterward. Evince or one of the other Open Source PDF viewers may be of some help for you. ~Chris -- Chris Maden, text nerd URL: http://crism.maden.org/ “Before I built a wall I’d ask to know / What I was walling in or out, / And to whom I was like to give offence.” — RF, Mending Wall GnuPG Fingerprint: C6E4 E2A9 C9F8 71AC 9724 CAA3 19F8 6677 0077 C319 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chord name spacing bug?
On 15 juin 2011, at 08:08, Keith OHara wrote:
Jean-Alexis Montignies ja at montignies.info writes:
I have a small example, I have hard
time finding a shorter one.
Should I fill this as a bug?
I think so. Do you think this shorter example demonstrates the same bug as
what caused you trouble?
\score {
\new ChordNames \chordmode {
% \override ChordName #'extra-spacing-width = #'(-2 . 1)
f2:13/g f2
}
\new Staff {
f'8 a' c'' g'' a'2
}
}
It looks like it's the same bug. I first though that it would only happen on
complete lines.
I also have noticed chords going out of the page.
I'm filling the bug.
In the same vein: is there a way to set the padding between consecutive
chord names?
The \override ChordName in the comment above requests 2 staff-spaces to the
left, and 1 staff-space to the right, of each chord name. It works when
LilyPond is spacing correctly, the bug you found makes the \override fail
as well.
Thanks!
Jean-Alexis
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Re: Editors? Emacs bindings for Frescobaldi?
On Mon, Jun 20, 2011 at 5:28 AM, James Harkins jamshar...@gmail.com wrote: I'm in search of the best of both worlds ly editor. I've gotten started with Frescobaldi. Autocompletion is invaluable, and the integrated PDF view and help browser is a real lifesaver. But, I use Emacs for just about everything else. So I had a look at LilyPond mode. + Documentation is available by help - info. I could C-x 5 2 to have the help window open alongside the editing window, close enough. - The index frame from Frescobaldi's HTML view makes navigation a few million times easier. + Emacs keybindings. +/- Autocompletion is a bit less helpful without the kate-style pop-ups, but still nice. - PDF display is treated as a compilation process. To view a new rendering, I'm forced to close the old viewer window first (!). (Also a bit of sloppiness in the Emacs variable handling -- since I don't have xpdf on my system, I changed the appropriate variable to evince but the change did not take effect until after quitting and restarting Emacs.) The PDF display thing is almost a dealbreaker. The integration is simply much better in Frescobaldi. Has anyone created Emacs keybindings for the Frescobaldi editor (or, 'kate' in general)? I've used both the emacs lilypond mode and Frescobaldi. I like the emacs mode because, well, it's emacs, but in the end, though, I think I prefer using Frescobaldi just because it has more music-related features than emacs (and the newer kmid playback is great, too). I was thinking recently what would really make Frescobaldi rock even more is customizable keybindings, I would love to have emacs keybindings. -- Brett W. McCoy -- http://www.electricminstrel.com In the rhythm of music a secret is hidden; If I were to divulge it, it would overturn the world. -- Jelaleddin Rumi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
At Mon, 20 Jun 2011 07:51:54 -0400, Christopher R. Maden wrote: What OS are you using? I use Evince under Ubuntu/GNOME to view PDF files, and it automatically notes when the file has changed. When I recompile in Emacs, Evince refreshes the view momentarily afterward. Evince or one of the other Open Source PDF viewers may be of some help for you. Ah... OK, I hadn't tried changing the file and re-rendering. Indeed, that works well (Ubuntu 10.04 here)... except, I have to open the PDF externally. If I use C-c C-s within Emacs, it's a compilation process and doing C-c C-l will ask if I want to kill the old one (from C-c C-s). If I say no, it won't re-render. If I say yes, it closes the window. So that's a little untidy, but after that, indeed, it's fine. Good tip! James -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal. -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sub-music
- Original Message - From: Gilles gilles.thiba...@free.fr To: lilypond-user@gnu.org; Phil Holmes m...@philholmes.net Sent: Sunday, June 19, 2011 11:22 PM Subject: Re: Sub-music To get the last version and get documentations about the function extractMusic, please follow this link : http://lsr.dsi.unimi.it/LSR/Item?u=1id=764 [This snippet is still not approved] Gilles Could you summarise the difference from the previous version for me, please? If you just click on the image of the old and new snippet, you'll see the same code, but in the LSR 764, there is a link to a directory where you can download the last version. ( http://gillesth.free.fr/Lilypond/extractMusic/ ) A lot of features have been added, and they are all shortly explained in a doc. ( http://gillesth.free.fr/Lilypond/extractMusic/extractMusic-doc.pdf ). Gilles NB Well, let me know is something is not clear in the doc, or if some sentences are not correct (my english is not as good i would wish). I've put those updates into the old snippet (http://lsr.dsi.unimi.it/LSR/Item?id=542). If you're happy with that, the new one can be deleted, I think. (sig moved) -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
At Mon, 20 Jun 2011 09:20:43 -0400, Brett McCoy wrote: I've used both the emacs lilypond mode and Frescobaldi. I like the emacs mode because, well, it's emacs, but in the end, though, I think I prefer using Frescobaldi just because it has more music-related features than emacs... Oh, right... I forgot, I used the transpose feature in Frescobaldi just today. I would miss that in lilypond-mode. Yeah, that pretty much makes my decision... I like emacs but convenience is convenience. James -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal. -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sub-music
-- Phil Holmes - Original Message - From: Gilles gilles.thiba...@free.fr To: lilypond-user@gnu.org; Phil Holmes m...@philholmes.net Sent: Sunday, June 19, 2011 11:22 PM Subject: Re: Sub-music To get the last version and get documentations about the function extractMusic, please follow this link : http://lsr.dsi.unimi.it/LSR/Item?u=1id=764 [This snippet is still not approved] Gilles Could you summarise the difference from the previous version for me, please? If you just click on the image of the old and new snippet, you'll see the same code, but in the LSR 764, there is a link to a directory where you can download the last version. ( http://gillesth.free.fr/Lilypond/extractMusic/ ) A lot of features have been added, and they are all shortly explained in a doc. ( http://gillesth.free.fr/Lilypond/extractMusic/extractMusic-doc.pdf ). Gilles NB Well, let me know is something is not clear in the doc, or if some sentences are not correct (my english is not as good i would wish). I've put those updates into the old snippet (http://lsr.dsi.unimi.it/LSR/Item?id=542). If you're happy with that, the new one can be deleted, I think. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
On Mon, Jun 20, 2011 at 9:28 AM, James Harkins jamshar...@gmail.com wrote: At Mon, 20 Jun 2011 09:20:43 -0400, Brett McCoy wrote: I've used both the emacs lilypond mode and Frescobaldi. I like the emacs mode because, well, it's emacs, but in the end, though, I think I prefer using Frescobaldi just because it has more music-related features than emacs... Oh, right... I forgot, I used the transpose feature in Frescobaldi just today. I would miss that in lilypond-mode. Yeah, that pretty much makes my decision... I like emacs but convenience is convenience. Frescobaldi 2.0 (currently in development) looks to have some nice features, notably: no KDE dependencies, more cross-platform support and better integration/interaction between PDF output and lilypond code -- Brett W. McCoy -- http://www.electricminstrel.com In the rhythm of music a secret is hidden; If I were to divulge it, it would overturn the world. -- Jelaleddin Rumi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Pitch-bent note's release-phase
Hello, Graham, and thank you for responding.
Since sending my initial enquiry to this list I have indeed written an app
which confirmed to me what you say.
Thanks also for that Python app. I plumped for your Python v.3.2 version and
installed Python v.3.2 accordingly.
There is a problem, in that if two notes are assigned to
the same MIDI key (even in different voices) they'll have
the same tuning. That makes it possible for C and C# to
become confused.
That's a pity. I was hoping to use temperaments with many (31? 34? 41? 53?)
pitches per octave, and create chords with pretty small intervals, perhaps
smaller than a 12et semitone...
It would make sense if
the pitch were rounded to the *nearest* equally tempered
value instead.
That'd only move this problem elsewhere.
This highlights an interesting feature of Lilypond's pitch
bend support. The pitch is always rounded *down* to the
next lowest equally tempered value, and then the pitch bend
applied *upwards*.
I've seen Lilypond apply downward pitch bend even if this means using a MIDI
note whose name is different from the name in the .ly.
In the following example I find that Lilypond writes the g as g sharp bent down
by .9399 of a semitone (the MIDI bend command, in hex, is e07621).
%%% begin lilypond example
\version 2.14.0
% c major tuned to 34et
#(ly:set-default-scale (ly:make-scale #(0 18/17 36/17 42/17 60/17 78/17 96/17)))
xxxivPitchNames = #`(
(g . ,(ly:make-pitch -1 4 0))
)
pitchnames = \xxxivPitchNames
#(ly:parser-set-note-names parser xxxivPitchNames)
\score
{
\new Staff { g4 }
\midi { }
}
%%% end lilypond example
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Reverting to the 2.13.46 font
Hi all, I noticed that since upgrading to 2.14, the default font for lyrics has changed. I built both versions on Mac OSX 10.6.7, and compiled the same input file for both. I tried editing font.scm to use Century Schoolbook L,serif and rebuilding from source, to no avail. The typeface is still ever so slightly different, and I think it looks distinctly worse than the older versions. Am I choosing the wrong typeface? How can I revert to the old font using Lilypond 2.14? Thanks, -Jon Toohill Image: new font on right (2.14), old font on left (2.13.46). Note how the serifs for the W and h don't line up in the new font, and the r and y overlap one another. http://i.imgur.com/yw6QH.png ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reverting to the 2.13.46 font
- Original Message - From: Jon Toohill stoneth...@gmail.com To: lilypond-user@gnu.org Sent: Monday, June 20, 2011 3:11 PM Subject: Reverting to the 2.13.46 font Hi all, I noticed that since upgrading to 2.14, the default font for lyrics has changed. I built both versions on Mac OSX 10.6.7, and compiled the same input file for both. I tried editing font.scm to use Century Schoolbook L,serif and rebuilding from source, to no avail. The typeface is still ever so slightly different, and I think it looks distinctly worse than the older versions. Am I choosing the wrong typeface? How can I revert to the old font using Lilypond 2.14? Thanks, -Jon Toohill Image: new font on right (2.14), old font on left (2.13.46). Note how the serifs for the W and h don't line up in the new font, and the r and y overlap one another. http://i.imgur.com/yw6QH.png Just as an information point, this isn't a problem on Windows using the downloaded build. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reverting to the 2.13.46 font
On 20 June 2011 16:11, Jon Toohill stoneth...@gmail.com wrote: Hi all, I noticed that since upgrading to 2.14, the default font for lyrics has changed. I built both versions on Mac OSX 10.6.7, and compiled the same input file for both. I tried editing font.scm to use Century Schoolbook L,serif and rebuilding from source, to no avail. The typeface is still ever so slightly different, and I think it looks distinctly worse than the older versions. Am I choosing the wrong typeface? How can I revert to the old font using Lilypond 2.14? Thanks, -Jon Toohill Image: new font on right (2.14), old font on left (2.13.46). Note how the serifs for the W and h don't line up in the new font, and the r and y overlap one another. http://i.imgur.com/yw6QH.png I'm not a font specialist but AFAICS the font on the left (i.e. 2.13.46) does not look like New Century Schoolbook L (much like a typewriter). So the 2.14 font on the right is the good, default font of LilyPond. You must have used another font for 2.13.46 or maybe there was a font problem in this specific version (maybe only on Mac OS X) that made LilyPond use another font than New Century Schoolbook L. I don't recognize it though (as I said, I'm not a font specialist). Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reverting to the 2.13.46 font
- Original Message - From: Xavier Scheuer x.sche...@gmail.com To: Jon Toohill stoneth...@gmail.com Cc: lilypond-user@gnu.org Sent: Monday, June 20, 2011 4:28 PM Subject: Re: Reverting to the 2.13.46 font On 20 June 2011 16:11, Jon Toohill stoneth...@gmail.com wrote: Hi all, I noticed that since upgrading to 2.14, the default font for lyrics has changed. I built both versions on Mac OSX 10.6.7, and compiled the same input file for both. I tried editing font.scm to use Century Schoolbook L,serif and rebuilding from source, to no avail. The typeface is still ever so slightly different, and I think it looks distinctly worse than the older versions. Am I choosing the wrong typeface? How can I revert to the old font using Lilypond 2.14? Thanks, -Jon Toohill Image: new font on right (2.14), old font on left (2.13.46). Note how the serifs for the W and h don't line up in the new font, and the r and y overlap one another. http://i.imgur.com/yw6QH.png I'm not a font specialist but AFAICS the font on the left (i.e. 2.13.46) does not look like New Century Schoolbook L (much like a typewriter). So the 2.14 font on the right is the good, default font of LilyPond. You must have used another font for 2.13.46 or maybe there was a font problem in this specific version (maybe only on Mac OS X) that made LilyPond use another font than New Century Schoolbook L. I don't recognize it though (as I said, I'm not a font specialist). Cheers, Xavier I think Jon has mis-described his image. From his description, I'd be pretty certain it's new font on left, old font on right. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Reverting to the 2.13.46 font
I think it's a bug that happens only in latest MacOS/Darwin release. You could downgrade MacOS to fix the problem. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pitch-bent note's release-phase
Richard Sabey richardsa...@hotmail.co.uk wrote: Since sending my initial enquiry to this list I have indeed written an app which confirmed to me what you say. Right. I also have a file that shows Timidity will share the tuning of a note even between channels, so that F and F# come out the same in meantones. I've updated my script to work around this by setting each channel to a different tuning table. The result is at least as good as pitch bends now. Thanks also for that Python app. I plumped for your Python v.3.2 version and installed Python v.3.2 accordingly. There is a problem, in that if two notes are assigned to the same MIDI key (even in different voices) they'll have the same tuning. That makes it possible for C and C# to become confused. That's a pity. I was hoping to use temperaments with many (31? 34? 41? 53?) pitches per octave, and create chords with pretty small intervals, perhaps smaller than a 12et semitone... Until they get smaller than a semitone, there won't be a problem because (touch wood) no plausible function is going to assign two pitches more than 100 cents apart to the same key number. When the intervals get narrower than that, you have to start thinking about assigning the pitches to different channels, or transposing so that the rounding comes out right. When it becomes a real problem is when we can suggest Lilypond be made more complex to work around it. One thing that does work is to transpose pitches into a tuning table with more than 12 notes. That restricts the range of each voice but you still get 4 octaves of 31 notes, for example. It would make sense if the pitch were rounded to the *nearest* equally tempered value instead. That'd only move this problem elsewhere. Yes, but it's easier to predict that F# and Gb are going to round to the same pitch, and so avoid them in the same chord, than that F and F# will be a problem. I've seen Lilypond apply downward pitch bend even if this means using a MIDI note whose name is different from the name in the .ly. It does? I don't know what's going on then. Graham ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Polymetric music and page breaks
Dear Collective Wisdom,
I'm at it again and trying new things. It looks promising, but still not
working right.
I looked at this snippet again:
http://lilypond.org/doc/v2.14/Documentation/snippets/rhythms#printing-music-with-different-time-signatures
And realized I missed this little tidbit:
global = { \time 3/4 { s2.*3 } \bar \break { s2.*3 } }
If I understand correctly, this is the meta-voice that Jan-Peter is
talking about; a command that tells the engraver to break lines every three
measures.
So I used the same sort of set-up for my piece, tweaking the numbers, of
course. It works on the first page very nicely:
http://old.nabble.com/file/p31887010/Screen%2Bshot%2B2011-06-20%2Bat%2B5.33.10%2BPM.png
I thought, fantastic! No extensive calculations. No fancy logarithms (I know
that's basic math for most of you, but that's precisely when I checked out
of math classes. Oops.).
But it didn't work on the following page:
http://old.nabble.com/file/p31887010/Screen%2Bshot%2B2011-06-20%2Bat%2B5.34.05%2BPM.png
I can't figure out why. Why would it work on one page and not the following?
Neither of them have convenient places to break.
I copied all of my changes to my short test version of the piece, and with
that, it breaks after the first two measures. Again, I'm not really able to
figure out why. Thoughts?
I've attached the test version and the pdf thereof. I have avoided attaching
the full version of the piece because of its size, but if anyone wants to
see it, just say the word...
Thanks for your help!
cheers,
Andrea
http://old.nabble.com/file/p31887010/putrefaction_test.ly
putrefaction_test.ly
http://old.nabble.com/file/p31887010/putrefaction_test.pdf
putrefaction_test.pdf
--
View this message in context:
http://old.nabble.com/Polymetric-music-and-page-breaks-tp31728865p31887010.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: Reverting to the 2.13.46 font
On 20 June 2011 17:47, Jon Toohill stoneth...@gmail.com wrote: Whoops, I wrote that backwards. The older font (the one I want) is on the right, whereas the newer font that I'm seeing in 2.14 is on the left. Sorry for the confusion. And, in retrospect, I'm not seeing the problem on Linux. In that case, it's just my configuration on the Mac. I'll see what I can do to fix it. OK, that makes more sense (of course!). Could it be the issue of Mac OS X (not due to LilyPond then!) when upgrading to OS X 10.6.7? This Mac OS X issue has been reported there for instance: http://lists.gnu.org/archive/html/lilypond-user/2011-04/msg00619.html Did you recall making such upgrade between 2.13.46 and 2.14? Cheers, Xavier -- Xavier Scheuer x.sche...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Polymetric music and page breaks
- Original Message -
From: Andrea La Rose andrea.lar...@gmail.com
To: lilypond-user@gnu.org
Sent: Monday, June 20, 2011 5:09 PM
Subject: Re: Polymetric music and page breaks
Dear Collective Wisdom,
I'm at it again and trying new things. It looks promising, but still not
working right.
I looked at this snippet again:
http://lilypond.org/doc/v2.14/Documentation/snippets/rhythms#printing-music-with-different-time-signatures
And realized I missed this little tidbit:
global = { \time 3/4 { s2.*3 } \bar \break { s2.*3 } }
If I understand correctly, this is the meta-voice that Jan-Peter is
talking about; a command that tells the engraver to break lines every
three
measures.
So I used the same sort of set-up for my piece, tweaking the numbers, of
course. It works on the first page very nicely:
http://old.nabble.com/file/p31887010/Screen%2Bshot%2B2011-06-20%2Bat%2B5.33.10%2BPM.png
I thought, fantastic! No extensive calculations. No fancy logarithms (I
know
that's basic math for most of you, but that's precisely when I checked out
of math classes. Oops.).
But it didn't work on the following page:
http://old.nabble.com/file/p31887010/Screen%2Bshot%2B2011-06-20%2Bat%2B5.34.05%2BPM.png
I can't figure out why. Why would it work on one page and not the
following?
Neither of them have convenient places to break.
I copied all of my changes to my short test version of the piece, and
with
that, it breaks after the first two measures. Again, I'm not really able
to
figure out why. Thoughts?
I've attached the test version and the pdf thereof. I have avoided
attaching
the full version of the piece because of its size, but if anyone wants to
see it, just say the word...
Thanks for your help!
cheers,
Andrea
http://old.nabble.com/file/p31887010/putrefaction_test.ly
putrefaction_test.ly
http://old.nabble.com/file/p31887010/putrefaction_test.pdf
putrefaction_test.pdf
Could I suggest you do some basics again? i.e. reduce the number of parts
(I reduced it to Viola3 and 4) and check when it stops working. The exact
version you posted would not compile for me, but cleaning it up and reducing
the number of parts made breaking work OK.
--
Phil Holmes
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Re: Sub-music
I've put those updates into the old snippet (http://lsr.dsi.unimi.it/LSR/Item?id=542). If you're happy with that, the new one can be deleted, I think. That's perfect, thank you. New snippet (764) deleted. Gilles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Semantics of Lilypond syntax highlighting
On 20 Jun 2011, at 19:00, Garrett Fitzgerald wrote: I usually use the emacs tool to write lilypond code, but I use Notepad++ for the rest of my editing. I'm trying to do a lilypond UDL for the Zenburn scheme I'm currently using (http://victorgavin.co.uk/zenburn/), but I'm having trouble matching a couple of the items up. Working off the list from lilypond-words.el, I've defined the first list (\mf, \lyrics, \time, etc.) as Keyword. However, how should I treat a-vibraslap and Accidental_engraver-Volta-Engraver? And which list does strings go with? I could just define them all as Keyword, but it seems to me there should be some semantic difference. Maybe Indentifier? LilyPond has lexer and parser file. You might look into them. Hans http://lilypond.org/doc/v2.15/Documentation/notation/technical-glossary#lexer http://lilypond.org/doc/v2.15/Documentation/notation/technical-glossary#parser ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Sub-music
Phil Holmes m...@philholmes.net writes: If you just click on the image of the old and new snippet, you'll see the same code, but in the LSR 764, there is a link to a directory where you can download the last version. ( http://gillesth.free.fr/Lilypond/extractMusic/ ) A lot of features have been added, and they are all shortly explained in a doc. I've put those updates into the old snippet (http://lsr.dsi.unimi.it/LSR/Item?id=542). If you're happy with that, the new one can be deleted, I think. As far as I can see snippet 542 does not correspond to the latest version from http://gillesth.free.fr/Lilypond/extractMusic/. -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Cued notes with partCombine
I was trying to re-set the first clarinet part for Fucik's Florentiner March
from a copied, enlarged marching band part. Using partCombine, it went
fairly well, except for the cued piccolo solo. Can anyone clue me in on what
I did wrong here? It works fine as I have it below, but if I move the
comments down one line, things fall apart. Thanks for any assisstance
rendered.
\version 2.12.2
\addQuote piccSolo \relative c'' {
\partial 8 r8
r4 r8 a'16(\f g) | f8-. f16( e) d8-. d16( e) | f8-. d-. d4
}
clarinetOne = \relative c'' {
\time 2/4
\key f \major
\partial 8 r8^Tempo di Marcia |
%% \cueDuring #piccSolo #DOWN { R2*3 | }
R2*3 |
\slurUp \appoggiatura { c'16[ d e] } d8- r \slurUp \appoggiatura { a16[
bes] } c8- r |
\slurUp \appoggiatura { c,16[ d e] } f8- r8 r4\fermata \slurNeutral |
}
clarinetTwo = \relative c'' {
\time 2/4
\key f \major
\partial 8 r8^Tempo di Marcia |
%% \cueDuring #piccSolo #DOWN { R2*3 | }
R2*3 |
a'8\ff r a8 r |
a,8 r8 r4\fermata
}
\score {
\new Staff {
\clef treble
\set Staff.printPartCombineTexts = ##f
\partcombine
\clarinetOne
\clarinetTwo
}
\layout { }
}
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Changing StaffSymbol's line-count
Hi, some time ago I asked how to embed a RhythmicStaff into a normal Staff. I was pointed to \improvisationOn/Off, which worked for the moment. Unfortunately, now I really want to have some kind of RhythmicStaff inside a normal Staff, so I again tried to find a way to do it and found the StaffSymbol object, which has the line-count property. To apply the line-count change I did the following: . music . \override Staff.StaffSymbol #'line-count = #1 . music . \override Staff.StaffSymbol #'line-count = #5 . music . But this seems to be having no effect at all - not even an error message when compiling. (How) can I use that property to get the desired effect? Greetings, Fabian ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing StaffSymbol's line-count
Fabian Binz wrote: Hi, some time ago I asked how to embed a RhythmicStaff into a normal Staff. I was pointed to \improvisationOn/Off, which worked for the moment. Unfortunately, now I really want to have some kind of RhythmicStaff inside a normal Staff, so I again tried to find a way to do it and found the StaffSymbol object, which has the line-count property. To apply the line-count change I did the following: maybe the sentence in NR 1.6.2 Modifying single staves can help: Modifications to staff properties in the middle of a score can be placed between \stopStaff and \startStaff cheers Eluze -- View this message in context: http://old.nabble.com/Changing-StaffSymbol%27s-line-count-tp31889585p31889864.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cued notes with partCombine
Garrett Fitzgerald sarekofvulcan at gmail.com writes: Using partCombine, it went fairly well, except for the cued piccolo solo. partCombine cannot handle more than two Voices, so the cued notes in their separate CueVoice mess up the part combining. Usually, you put the cues in the parts, but remove them in the score, so I would guess you want \killCues \partcombine (Maybe \killCues should be built into \partcombine.) If you are printing two parts on one staff, then you probably don't want partCombine, but rather two voices \clarinetOne // \clarinetTwo but then you have to insert \voiceOne and \voiceTwo as apporpriate into the two clarinet music definitions, to reset the voicing after the \cueDuring ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cued notes with partCombine
On Mon, Jun 20, 2011 at 18:45, Keith OHara k-ohara5...@oco.net wrote: If you are printing two parts on one staff, then you probably don't want partCombine, but rather two voices \clarinetOne // \clarinetTwo but then you have to insert \voiceOne and \voiceTwo as apporpriate into the two clarinet music definitions, to reset the voicing after the \cueDuring That syntax didn't work for me for some reason, but I'm pretty sure I do want the partCombine effect here. It's a split first clarinet part, and there's lots of a2 sections. So, if I can only work with two voices, my best bet is probably to figure out how to write shrunken notes into the \clarinetOne voice, huh? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cued notes with partCombine
On Mon, 20 Jun 2011 16:41:11 -0700, Garrett Fitzgerald
sarekofvul...@gmail.com wrote:
On Mon, Jun 20, 2011 at 18:45, Keith OHara k-ohara5...@oco.net wrote:
\clarinetOne // \clarinetTwo
Oops. \clarinetOne \\ \clarinetTwo
That syntax didn't work for me for some reason, but I'm pretty sure I do
want the partCombine effect here. It's a split first clarinet part, and
there's lots of a2 sections.
So, if I can only work with two voices, my best bet is probably to figure
out how to write shrunken notes into the \clarinetOne voice, huh?
If you do not intend to print clarinetOne and clarinetTwo separately, then it is simpler to
enter both parts in one variable, and split into two voices temporarily when needed.
\relative c'' { g a b c g2 \\ d' }
See Temporary polyphonic passages under
http://lilypond.org/doc/v2.14/Documentation/notation/multiple-voices#single_002dstaff-polyphony
partcombine solves a problem (creating a combined staff out of two staves you
also need to use separately) that you might not have. It is easer to create
the combined staff yourself to begin with.
--
Keith
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orchestra and individual parts
The common templates for orchestral music require to remove comments when
using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).
I am using the following structure that does not require commenting and
un-commenting the score parts but this requires to create one more file for
each part to generate the individual part.
pieceName_instrument-1-part.ly
pieceName_instrument-1-score.ly
pieceName_instrument-2-part.ly
pieceName_instrument-2-score.ly
pieceName_score.ly
I thought about defining a macro (like IFDEF in C++) that would un-comment
the \score block in each of the instrument part if the file has been
included.
Example in pseudo code:
pieceName_instrument-1-part.ly
= contains the following code:
If ( FILE_IS_INCLUDED) {
%{
\score {
instrument_1
}
%}
Any idea if that is possible?
pieceName_instrument-2-part.ly
pieceName_score.ly
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Re: orchestra and individual parts
Marc Mouries marc at mouries.net writes: The common templates for orchestral music require to remove comments when using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359). I am using the following structure that does not require commenting and un-commenting the score parts but this requires to create one more file for each part to generate the individual part. The snippet you linked to can be used without repeated commenting and un- commenting. The intention was that you remove the indicated comments once and forever, and split the one file from the LSR into several files: piece.ly score.ly vn1.ly vn2.ly vla.ly vlc.ly All the notes for all the instruments are in piece.ly (Some people would name it piece.ily to indicated that it is only included in other files, and does not create a score on its own.) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Snippet: Tie does not appear
Snippet: Tie does not appear
Why does the tie between the two low E naturals that I have
indicated in the snippet below not appear in the notation?
Thanks.
\version 2.12.3
\include english.ly
\score {
\new Staff = guitar
{
\clef treble_8
\time 4/4
% guitar m01
{ s2. g'8. [e,16~] }
\\
{ r2. f8 [b8] }
% guitar m02
{ fs f' a'4. g' bf'8 g' b'8 bf a' cs''4. }
\\
{ s2 g'16 [gs16] s4 }
\\
{ e,1}
}
}
attachment: test_tie_01.png___
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Re: Snippet: Tie does not appear
Ivan Kuznetsov ivan.k.kuznetsov at gmail.com writes:
Why does the tie between the two low E naturals that I have indicated in
the snippet below not appear in the notation?
The two low E naturals are in different voices.
Lilypond only looks within the same voice to complete ties, because
conceptually
the tied note must be in the same voice.
Generally we use voiceOne for the highest, VoiceTwo for the lowest, voiceThree
for the second highest, etc. In your snippet you could place leaping notes
from
g' to e, in voiceThree.
s1
\\
{ r2. f8 [b8] }
\\
{ s2. g'8. [e,16~] }
With complicated music like this, the \\ shortcut might become
frustrating
for you. I think it will be worthwhile to learn to use
\new Voice = highest and \context Voice = highest
http://lilypond.org/doc/v2.14/Documentation/learning/explicitly-instantiating-
voices
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Re: Snippet: Tie does not appear
At Mon, 20 Jun 2011 21:59:24 -0500,
Ivan Kuznetsov wrote:
Why does the tie between the two low E naturals that I have
indicated in the snippet below not appear in the notation?
The e's are in different voices. I'm fairly new to ly, but it didn't take me
too long to find that ties are not allowed to cross between different voices,
even in the same staff.
I'm very eager to hear what the solution is, though...
{ r2. f8 [b8] }
But, I did find the other day that you can get the rest to appear in the middle
of the staff by writing
{ b2.\rest f8 [b8] }
(Side note: on my Ubuntu machine, lilypond 2.14.1 choked on the non-breaking
spaces copied over from the HTML-formatted e-mail. Tons of unexpected string
errors. I can't think of any good reason why non-breaking spaces should cause
parsing to fail. Should I file a bug report?)
James
--
James Harkins /// dewdrop world
jamshar...@dewdrop-world.net
http://www.dewdrop-world.net
Come said the Muse,
Sing me a song no poet has yet chanted,
Sing me the universal. -- Whitman
blog: http://www.dewdrop-world.net/words
audio clips: http://www.dewdrop-world.net/audio
more audio: http://soundcloud.com/dewdrop_world/tracks
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Re: Snippet: Tie does not appear
On 11-06-20 08:59 PM, Ivan Kuznetsov wrote:
Snippet: Tie does not appear
Why does the tie between the two low E naturals that I have
indicated in the snippet below not appear in the notation?
Thanks.
\version 2.12.3
\include english.ly http://english.ly
\score {
\new Staff = guitar
{
\clef treble_8
\time 4/4
% guitar m01
{ s2. g'8. [e,16~] }
\\
{ r2. f8 [b8] }
% guitar m02
{ fs f' a'4. g' bf'8 g' b'8 bf a' cs''4. }
\\
{ s2 g'16 [gs16] s4 }
\\
{ e,1}
}
}
Are you trying to tie the e,16 in guitar m01 to the e,1 in guitar m02?
You have created a section of music covering 3 beats and having 2
voices, then a separate section of music with 4 beats of time and 3
voices. Effectively, your parallel music, inside the . . \\ . . .
sections, creates separate voices for each side of the \\ , but they
aren't known outside the . . . limits. Because each section is
enclosed in ... , lilypond has no way of knowing you wanted the E
tied. In other words, you seem to be asking to tie the e,16 from the
second voice of section one to the e,1 in third voice of section two,
but lilypond no longer knows about the first e, as the voice which owned
it no longer exists.
I hope that gives you something to work with, Ivan!
Colin
--
The human race has one really effective weapon, and that is laughter.
-- Mark Twain
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Re: Editors? Emacs bindings for Frescobaldi?
James == James Harkins jamshar...@gmail.com writes: James At Mon, 20 Jun 2011 07:51:54 -0400, Christopher R. Maden wrote: What OS are you using? I use Evince under Ubuntu/GNOME to view PDF files, and it automatically notes when the file has changed. When I recompile in Emacs, Evince refreshes the view momentarily afterward. Evince or one of the other Open Source PDF viewers may be of some help for you. James Ah... OK, I hadn't tried changing the file and James re-rendering. Indeed, that works well (Ubuntu 10.04 James here)... except, I have to open the PDF externally. If I use James C-c C-s within Emacs, it's a compilation process and doing James C-c C-l will ask if I want to kill the old one (from C-c James C-s). If I say no, it won't re-render. If I say yes, it closes James the window. I just do C-c C-c and then View --- xpdf then runs in the background. C-c C-c again reruns lilypond, hit R in the Xpdf window and it refreshes. Done! Peter C -- Dr Peter Chubb http://www.gelato.unsw.edu.aupeterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia All things shall perish from under the sky/Music alone shall live never to die ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Snippet: Tie does not appear
On 21/06/11 12:59, Ivan Kuznetsov wrote:
\version 2.12.3
\include english.ly http://english.ly
\score {
\new Staff = guitar
{
\clef treble_8
\time 4/4
% guitar m01
{ s2. g'8. [e,16~] }
\\
{ r2. f8 [b8] }
% guitar m02
{ fs f' a'4. g' bf'8 g' b'8 bf a' cs''4. }
\\
{ s2 g'16 [gs16] s4 }
\\
{ e,1}
}
}
You can't have a tie between notes in different voices. Re-arrange the
voices to have the notes in the same voice (or alternatively, create an
extra voice with hidden notes that has the tie). And BTW, it's normally
easier to enter notes using relative mode, where the pitch of each note
is relative to the preceding note:
http://lilypond.org/doc/v2.14/Documentation/learning/simple-notation
\relative c' {
\clef treble_8
\time 4/4
{
s2. g'8. e,,16_~ |
e1 |
}
\\
{
r2. f'8 b |
s2 g'16 gs, s4. |
}
\\
{
s1 |
fs f' a4. g' bf8 g b bf, a' cs4. |
}
}
Nick
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Re: Editors? Emacs bindings for Frescobaldi?
At Tue, 21 Jun 2011 13:33:48 +1000, Peter Chubb wrote: I just do C-c C-c and then View --- xpdf then runs in the background. C-c C-c again reruns lilypond, hit R in the Xpdf window and it refreshes. Done! Thanks for the tips, will play with it some more. I'm actually leaning back toward Emacs, after fighting yesterday for a bit with the erratic behavior of Tools Align in Frescobaldi. Emacs' auto indentation made perfect sense but FB got confused by completely valid syntax and ended up indenting the last score block by 30 or 40 spaces. *That* is something I don't have time for. So I guess if I need transposition etc. functions, I'll copy and paste over to FB. James... (wishes his webserver were named gelato...) Dr Peter Chubb http://www.gelato.unsw.edu.aupeterc AT gelato.unsw.edu.au -- James Harkins /// dewdrop world jamshar...@dewdrop-world.net http://www.dewdrop-world.net Come said the Muse, Sing me a song no poet has yet chanted, Sing me the universal. -- Whitman blog: http://www.dewdrop-world.net/words audio clips: http://www.dewdrop-world.net/audio more audio: http://soundcloud.com/dewdrop_world/tracks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Editors? Emacs bindings for Frescobaldi?
James == James Harkins jamshar...@gmail.com writes: James At Tue, 21 Jun 2011 13:33:48 +1000, Peter Chubb wrote: I just do C-c C-c and then View --- xpdf then runs in the background. C-c C-c again reruns lilypond, hit R in the Xpdf window and it refreshes. Done! James Hm... no, that's not happening here. If it were, I'd be James clam-happy. See screenshots for the sequence. James 1. I hit C-c C-s (View in the command menu). Note James Compilation:run Compiling. Don't do that! Use \C-c \C-c instead. Command-on-master doesn;t invoke compilation mode (which you can only ever have one of) but uses a background process instead. Peter C -- Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au http://www.ertos.nicta.com.au ERTOS within National ICT Australia ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
