Re: Feathered Beam Timing
On Sat 11 May 2024 at 16:06:00 (+0200), N. Andrew Walsh wrote: > (the stickler in me would complain that tuplets should always indicate a > shortening of length, and this is technically putting six sixteenths in the > space of eight, but I guess the feathering overrules that) I tickles me that I still remember my first encounter with two in the time of three (Vaughan Williams, Te Deum in G, Govern them …) even though it was over 60 years ago. Cheers, David.
Re: Key signatures in MIDI output
On Sat 11 May 2024 at 15:14:47 (+), Giles Boardman wrote:
> You are, of course, right. Your evidence is clear. The position of the \key
> command seems a strong candidate but I can't get it into the .MID even in the
> simplest of snippet.
>
> As I mentioned I also have other behaviour I can't explain so it could also
> be version related. I reinstalled the latest version I could find before the
> release date of Windows 10, but it hasn't changed anything. I prefer to keep
> my music-related work on a Windows 8.1 machine but that can change .
>
> What I am trying to do is this:
>
> I have a big "library" of small, simple tunes that are variables, named for
> their name and reference.
> I have "compiled" the library and found errors, which I have corrected.
> Now I can create medleys and audition them much more quickly than otherwise
> possible by referring to the pieces by their variable name.
> Like this .
>
> \version "2.18.2"
> % \include "C:\[lilify]\+progress\jukeboxpart1v2.ly"
> % \include "C:\[lilify]\+progress\jukeboxpart2v1.ly"
>
> "1K002-1a-_WILLIE_SHAW" = { \mark "1K002-1a-" \time 4/4 \key d\major { \time
> 1/8 \partial 8 g''8 \time 4/4 fis''16 d''8. b'8. d''16 a'4 fis'4 fis'16 a'8.
> d''8. fis''16 g''16 e''8. e''8. g''16 fis''16 d''8. b'8. d''16 a'4 fis'4
> \time 7/8 fis'16 a'8. d''8. e''16 fis''16 d''8. d''8 \bar ":|." } }
> \score {
> {
> \key d\major
> \"1K002-1a-_WILLIE_SHAW"
> }
>
> \layout { }
>
> \midi { }
> }
[ … ]
Perhaps it's time for you to attach some evidence in the form of a
MIDI file that you have produced.
You might also attach the .ly file that you obtain by "importing"
my attached MIDI file into LilyPond (through whatever process you
habitually use). AFAICT, the other people in this thread are
decoding MIDI files that they themselves generated.
Cheers,
David.
ksigm.midi
Description: audio/sp-midi
Re: Spacing of chords on a chord lead sheet
On 11/05/24 01:59, Kieren MacMillan wrote:
Hi Raphael,
However, the chord names are mono-spaced; they are not spaced
according to their durations. So that if, for instance, I have {ef2
ef4:maj7 ef4:7} then each symbol occupies the same amount of space on
the line. The first chord does not occupy double the space of the
other two.
Are you sure? Are you using ragged-right = ##f to confirm/test?
For example, the code
%%% SNIPPET BEGINS
\version "2.25.11"
\language "english"
\layout {
indent = 0
line-width = 4\in
ragged-right = ##f
\context {
\Score
\remove "Bar_number_engraver"
}
\context {
\ChordNames
\consists "Bar_engraver"
\override BarLine.bar-extent = #'(-2 . 2)
}
}
theChords = \chordmode {
ef4 ef2:maj7 ef4:7 \break
ef2 ef4:maj7 ef4:7
}
\new ChordNames \theChords
%%% SNIPPET ENDS
gives me the output
and clearly there’s a difference in the spacing.
Cheers,
Kieren.
Thank you for your suggestions.
I am neither setting nor touching ragged-right.
I suspect that part of the difference that we see is that you forced
lilypond to spread a limited amount of music over two lines. In my case
it is jamming 49 bars into one page. After sleeping on it, what worked
for me, in the end, is
\score {
<<*
\set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
\override Score.SpacingSpanner.strict-note-spacing = ##t
*
\new ChordNames \with {
\override ChordName.font-size = #'+3
\override BarLine.bar-extent = #'(-2 . 2)
\ consists "Bar_engraver"
} {
\introChords \bar "||" \break
\chordNames \bar "|."
}
>>
\layout {
}
}
__
My work day may look different than your work day. Please do not feel
obligated to read or respond to this email outside of your normal
working hours.
Re: Key signatures in MIDI output
Giles Boardman writes:
> You are, of course, right. Your evidence is clear. The position of the \key
> command seems a strong candidate but I can't get it into the .MID even in the
> simplest of snippet.
>
> As I mentioned I also have other behaviour I can't explain so it could also
> be version related. I reinstalled the latest version I could find before the
> release date of Windows 10, but it hasn't changed anything. I prefer to keep
> my music-related work on a Windows 8.1 machine but that can change .
>
> What I am trying to do is this:
>
> I have a big "library" of small, simple tunes that are variables, named for
> their name and reference.
> I have "compiled" the library and found errors, which I have corrected.
> Now I can create medleys and audition them much more quickly than otherwise
> possible by referring to the pieces by their variable name.
> Like this .
>
> \version "2.18.2"
> % \include "C:\[lilify]\+progress\jukeboxpart1v2.ly"
> % \include "C:\[lilify]\+progress\jukeboxpart2v1.ly"
>
> "1K002-1a-_WILLIE_SHAW" = { \mark "1K002-1a-" \time 4/4 \key d\major { \time
> 1/8 \partial 8 g''8 \time 4/4 fis''16 d''8. b'8. d''16 a'4 fis'4 fis'16 a'8.
> d''8. fis''16 g''16 e''8. e''8. g''16 fis''16 d''8. b'8. d''16 a'4 fis'4
> \time 7/8 fis'16 a'8. d''8. e''16 fis''16 d''8. d''8 \bar ":|." } }
> \score {
> {
> \key d\major
> \"1K002-1a-_WILLIE_SHAW"
> }
>
> \layout { }
>
> \midi { }
> }
Filename: /tmp/xxx.midi
MIDI format: 1 (one or more simultaneous tracks)
Divisions:1536 per whole note
#Tracks: 2
Track 1:
Time 0:
Text: creator:
Text: LilyPond 2.25.12
Time signature: 1/8, metronome 1/8
Marker: 1K002-1a-
Tempo: 100 msec/quarter
Time 192:
Time signature: 4/4, metronome 1/4
Time 4800:
Time signature: 7/8, metronome 1/8
Time 6144:
End of Track
Track 2:
Time 0:
Track name: \new:
Key signature: D major
Note on: Channel 0, G5(79)@90
Time 192:
Note off: Channel 0, G5(79)
Note on: Channel 0, Fis5(78)@90
Time 288:
Note off: Channel 0, Fis5(78)
Note on: Channel 0, D5(74)@90
Time 576:
Note off: Channel 0, D5(74)
Note on: Channel 0, B4(71)@90
Time 864:
Note off: Channel 0, B4(71)
Note on: Channel 0, D5(74)@90
Time 960:
Note off: Channel 0, D5(74)
Note on: Channel 0, A4(69)@90
Time 1344:
Note off: Channel 0, A4(69)
Note on: Channel 0, Fis4(66)@90
Time 1728:
Note off: Channel 0, Fis4(66)
Note on: Channel 0, Fis4(66)@90
Time 1824:
Note off: Channel 0, Fis4(66)
Note on: Channel 0, A4(69)@90
Time 2112:
Note off: Channel 0, A4(69)
Note on: Channel 0, D5(74)@90
Time 2400:
Note off: Channel 0, D5(74)
Note on: Channel 0, Fis5(78)@90
Time 2496:
Note off: Channel 0, Fis5(78)
Note on: Channel 0, G5(79)@90
Time 2592:
Note off: Channel 0, G5(79)
Note on: Channel 0, E5(76)@90
Time 2880:
Note off: Channel 0, E5(76)
Note on: Channel 0, E5(76)@90
Time 3168:
Note off: Channel 0, E5(76)
Note on: Channel 0, G5(79)@90
Time 3264:
Note off: Channel 0, G5(79)
Note on: Channel 0, Fis5(78)@90
Time 3360:
Note off: Channel 0, Fis5(78)
Note on: Channel 0, D5(74)@90
Time 3648:
Note off: Channel 0, D5(74)
Note on: Channel 0, B4(71)@90
Time 3936:
Note off: Channel 0, B4(71)
Note on: Channel 0, D5(74)@90
Time 4032:
Note off: Channel 0, D5(74)
Note on: Channel 0, A4(69)@90
Time 4416:
Note off: Channel 0, A4(69)
Note on: Channel 0, Fis4(66)@90
Time 4800:
Note off: Channel 0, Fis4(66)
Note on: Channel 0, Fis4(66)@90
Time 4896:
Note off: Channel 0, Fis4(66)
Note on: Channel 0, A4(69)@90
Time 5184:
Note off: Channel 0, A4(69)
Note on: Channel 0, D5(74)@90
Time 5472:
Note off: Channel 0, D5(74)
Note on: Channel 0, E5(76)@90
Time 5568:
Note off: Channel 0, E5(76)
Note on: Channel 0, Fis5(78)@90
Time 5664:
Note off: Channel 0, Fis5(78)
Note on: Channel 0, D5(74)@90
Time 5952:
Note off: Channel 0, D5(74)
Note on: Channel 0, D5(74)@90
Time 6144:
Note off: Channel 0, D5(74)
End of Track
As you can see, the key signature is right with the content track (track
2) and right at the start.
You really need to figure out which part of your processing then loses
it.
--
David Kastrup
Re[2]: Feathered Beam Timing
So after a little toying around with the suggestions from this thread,
I've come up with the following:
\once \override TupletNumber.text = \markup { \note-by-number #1 #0 #UP
}
\once \override TupletBracket.bracket-visibility = ##t
\once \override TupletBracket.visible-over-note-heads = ##t
\once \override TupletBracket.Y-offset = #-1.5
\tupletUp \tuplet 6/8 {
\once \override Beam.grow-direction = #LEFT
\featherDurations 2/1 { d16[-. d-. d-. d-. d-. d]-. }
}
Pretty happy with how that looks, but now I'm having trouble converting
it to a function. The following is what I've put together, but I can't
seem to shake the compiler error.
\version "2.24.2"
customTuplet = #(define-music-function
(parser location displayed-note y-off beam-left tuplet-up
feather-ratio tuplet-ratio notes)
(number? number? boolean? boolean? moment? moment? ly:music?)
#{
\once \override TupletNumber.text = \markup { \note-by-number
#displayed-note #0 #UP }
\once \override TupletBracket.bracket-visibility = ##t
\once \override TupletBracket.visible-over-note-heads = ##t
\once \override TupletBracket.Y-offset = #y-off
\once \override Beam.grow-direction = #(if beam-left LEFT RIGHT)
#(if tuplet-up
#{ \tupletUp \tuplet #tuplet-ratio {
\featherDurations #feather-ratio { $notes }
} #}
#{ \tupletDown \tuplet #tuplet-ratio {
\featherDurations #feather-ratio { $notes }
} #}
)
#})
\score {
\relative c'' {
\time 4/4
\customTuplet #1 #-1.5 ##t ##t #(ly:make-moment 2/1)
#(ly:make-moment 6/8) {
d16[-. d-. d-. d-. d-. d]-.
}
\customTuplet #2 #-1.5 ##f ##f #(ly:make-moment 2/1)
#(ly:make-moment 5/8) {
e16[-. e-. e-. e-. e-. e]-.
}
}
}
Re: Getting a function to accept a string or a markup
Hi Vaughan,
Am 10.05.24 um 07:44 schrieb Vaughan McAlley:
Hi,
I have a text spanner function that shows a player that they are
playing in simultaneous rhythm with one or more other players. I
adapted it from code I used for indicating colouration in renaissance
music. It works fine, but if it begins on the last note of a line, and
the attached string is long, it can extend right to the edge of the
page (see picture attached).
What would be good is to be able to say
\sim \markup \left-column { "Vln 1," "Vln 2" }
if needed. Otherwise I could have it require a markup and get it to
concatenate within the function, but my Scheme skills are not up to
this...
Strings _are_ markups! So basically, it suffices to change the function
signature to:
#(define-music-function (annotation) (markup?)
This function still accepts strings! But when you call it with an actual
non-string markup, it fails because of
(string-append mySimBeginning annotation)
since such a markup can't be handled by string functions like
string-append. So simply replace this by the corresponding scheme macro
to concatenate markups:
#:concat (mySimBeginning annotation)
Lukas
Re: Solving espressivo problem
Here’s one approach:
%%% SNIPPET BEGINS
\version "2.25.11"
esp = \markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
stuff = \relative {
\time 4/4
r4 b'4 a2-\tweak self-alignment-X #-1.25 _\esp ~
a2 b4 4(
c1)-\tweak self-alignment-X #-0.5 _\esp
b2-\tweak self-alignment-X #-1.125 _\esp d2
c1-\tweak self-alignment-X #-0.5 _\esp
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
}%
%% SNIPPET ENDS
Or equivalently, saving some keystrokes:
%%% SNIPPET BEGINS
\version "2.25.9"
esp = _\markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
shift = \tweak self-alignment-X \etc
stuff = \relative {
\time 4/4
r4 b'4 a2\shift -1.25 \esp ~
a2 b4 4(
c1)\shift -0.5 \esp
b2\shift -1.125 \esp d2
c1\shift -0.5 \esp
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
}%
%% SNIPPET ENDS
Lukas
Re: Solving espressivo problem
Hi Mats, > On May 11, 2024, at 11:51 AM, Mats Bengtsson wrote: > I would rather do something like the following I started down that path, but when I saw that the output was I realized it would take far too much manual tweaking to make it visually attractive, whereas my \esp version gives with only the need to set the self-alignment-X value. TBH, I also couldn’t remember when \after was added to the code, and since the OP had used \version "2.24.3”, I didn’t want to risk it not working for them. :) Cheers, Kieren. __ My work day may look different than your work day. Please do not feel obligated to read or respond to this email outside of your normal working hours.
Re: Solving espressivo problem
On 2024-05-11 15:18, Kieren MacMillan
wrote:
Hi Morten,
Here’s one approach:
%%% SNIPPET BEGINS
\version "2.25.11"
esp = \markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
stuff = \relative {
\time 4/4
r4 b'4 a2-\tweak self-alignment-X #-1.25 _\esp ~
a2 b4 4(
c1)-\tweak self-alignment-X #-0.5 _\esp
b2-\tweak self-alignment-X #-1.125 _\esp d2
c1-\tweak self-alignment-X #-0.5 _\esp
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
}%
%% SNIPPET ENDS
This requires some manual effort (read: trial and error), but could probably be fairly easily automated.
Of course there are many other ways to clothe this particular cat — just thought I’d offer one for you to consider!
I would rather do something like the following:
\version "2.24.3"
stuff = \relative {
\time 4/4
r4 b'4 a2~\< |
\after 4. \! a2\> b4 4( |
\after 2 \> c1 \< ) |
b2\< c2\> |
\after 2 \> c1 \< |
b4\< c2 \> b4 |
<>\!
}
\score {
<<
\new Staff
\stuff
>>
\layout {
\context {
\Staff
}
}
}
Let me highlight some of the changes I made to your example, on
top of using \after to start a diminuendo in the middle of a note:
- Added bar line checks and line breaks at the end of each bar.
This is a good habit that will help you to navigate and help
LilyPond assist you in finding rhythmic typos.
- A previous (de-)crescendo is automatically ended when there's a
new dynamic indication, so there's no need for an explicit \! just
before a \>, for example. As an extra bonus, a \< or \>
that's ended at the first note of the next bar is automatically
ended at the bar line by default (but this can easily be changed
with to-barline, if you indeed want it to extend at the next note
instead, see
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#dynamics).
/Mats
Re: Feathered Beam Timing
Hello,
I have frequently encountered the situation where I want to have
feathered durations within a specified duration -- e.g., a crotchet, or
a minim, or a breve. This is the code I've come up with:
\once \override Beam.grow-direction = #RIGHT
\featherDurations #(ly:make-moment 1/2)
\tuplet 6/8 {a'16^\markup{\small{( \note {2} #UP )}}\p\<[( g' a' b'
c'' d'')]}
\once \override Beam.grow-direction = #'()
|
The use of the tuplet helps to indicate the number of notes in the
figure. In this case, 6 semiquaver notes are to be played with the time
of 8 semiquavers (and feathered) to fill out a minim duration. This
minim is shown above the figure in parentheses using markup, to confirm
to the player the duration to be filled.
Here is another example in which 8 notes are played in the time of 8
semiquavers, but feathered.
\once \override Beam.grow-direction = #RIGHT
\featherDurations #(ly:make-moment 1/2)
\tuplet 8/8 {a'16^\markup{\small{( \note {2} #UP )}}\p[( b' c'' b'
c'' d'' c'' b')]}
\once \override Beam.grow-direction = #'() |
And another, in which 8 notes are feathered within a breve (whole note) :
\once \override Beam.grow-direction = #RIGHT
\featherDurations #(ly:make-moment 1/2)
\tuplet 8/16 {e''!16^\markup{\small{( \note {1} #UP )}}\p\<[( e''
e'' e''\!) e''\>( e'' e'' e''\!)]}
\once \override Beam.grow-direction = #'()
The tuplet is 8/16 because it takes 16 normal semiquavers to fill four
beats and there are only 8 notes.
This score was done with version 2.22.0 and compiles OK. I hope this
helps, but if anything is incorrect or could be improved, I trust the
list to comment.
Archer
On 11/05/2024 15:06, N. Andrew Walsh wrote:
Hi Steph,
I'm not an expert with the \featherDurations interface, but this:
On Sat, May 11, 2024 at 3:53 PM Steph Phillips
wrote:
\once \override Beam.grow-direction = #LEFT
\featherDurations 6/4 { d16[-. d-. d-. d-. d-. d]-. } |
seems to disagree with how the tutorial describes it:
https://lilypond.org/doc/v2.25/Documentation/notation/feathered-beams
There, that ratio (*unlike* with tuplets) describes the ratio in
duration between the first and last value of the feathered
group, *not* their relationship to unmodified durations. So if you
wanted the first note to be a sixteenth and the last to be an eighth,
you'd use "2/1". I don't know how you'd get six sixteenths to fit
within the duration of a half note, though, as the feathered interface
doesn't seem to account for tuplet-like durations. Or, at least, it
doesn't seem to be documented. Maybe you'd have to nest one inside the
other? Something like
--
\tuplet 6/8 {
\once \override Beam.grow-direction = #LEFT
\featherDurations 2/1 { d16[-. d-. d-. d-. d-. d]-. }
}
--
(the stickler in me would complain that tuplets should always indicate
a shortening of length, and this is technically putting six sixteenths
in the space of eight, but I guess the feathering overrules that)
Anyway, maybe that helps?
Cheers,
A
Re: Key signatures in MIDI output
You are, of course, right. Your evidence is clear. The position of the \key
command seems a strong candidate but I can't get it into the .MID even in the
simplest of snippet.
As I mentioned I also have other behaviour I can't explain so it could also be
version related. I reinstalled the latest version I could find before the
release date of Windows 10, but it hasn't changed anything. I prefer to keep my
music-related work on a Windows 8.1 machine but that can change .
What I am trying to do is this:
I have a big "library" of small, simple tunes that are variables, named for
their name and reference.
I have "compiled" the library and found errors, which I have corrected.
Now I can create medleys and audition them much more quickly than otherwise
possible by referring to the pieces by their variable name.
Like this .
\version "2.18.2"
% \include "C:\[lilify]\+progress\jukeboxpart1v2.ly"
% \include "C:\[lilify]\+progress\jukeboxpart2v1.ly"
"1K002-1a-_WILLIE_SHAW" = { \mark "1K002-1a-" \time 4/4 \key d\major { \time
1/8 \partial 8 g''8 \time 4/4 fis''16 d''8. b'8. d''16 a'4 fis'4 fis'16 a'8.
d''8. fis''16 g''16 e''8. e''8. g''16 fis''16 d''8. b'8. d''16 a'4 fis'4 \time
7/8 fis'16 a'8. d''8. e''16 fis''16 d''8. d''8 \bar ":|." } }
\score {
{
\key d\major
\"1K002-1a-_WILLIE_SHAW"
}
\layout { }
\midi { }
}
or without the variable, but with the includes activated - the first one
contains "1K002-1a-_WILLIE_SHAW" and its notes etc.
I have also explicitly pasted the notes into the score:
\version "2.18.2"
% \include "C:\[lilify]\+progress\jukeboxpart1v2.ly"
% \include "C:\[lilify]\+progress\jukeboxpart2v1.ly"
\score {
{ \mark "1K002-1a-" { \time 4/4 \key d\major \time 1/8 \partial 8 g''8 \time
4/4 fis''16 d''8. b'8. d''16 a'4 fis'4 fis'16 a'8. d''8. fis''16 g''16 e''8.
e''8. g''16 fis''16 d''8. b'8. d''16 a'4 fis'4 \time 7/8 fis'16 a'8. d''8.
e''16 fis''16 d''8. d''8 \bar ":|." } }
}
\layout { }
\midi { }
}
With and without the braces and with and without my \time to mimic anacrusis
for the benefit of Cakewalk - ideally, I'd like to hide them but haven't
figured that out.
Lastly, I've taken all the \key and \time out of the explicit notes
\version "2.18.2"
% \include "C:\[lilify]\+progress\jukeboxpart1v2.ly"
% \include "C:\[lilify]\+progress\jukeboxpart2v1.ly"
\score {
\time 4/4
\key d\major
{ \mark "1K002-1a-" { \partial 8 g''8 fis''16 d''8. b'8. d''16 a'4 fis'4
fis'16 a'8. d''8. fis''16 g''16 e''8. e''8. g''16 fis''16 d''8. b'8. d''16 a'4
fis'4 fis'16 a'8. d''8. e''16 fis''16 d''8. d''8 \bar ":|." } }
}
\layout { }
\midi { }
}
I read that SectionLabel and other marks are supported in MIDI output, but I
can't get Section Label to work at all, and my \mark doesn't come through and
neither does the default rehearsal mark, which appears in the layout. I've also
failed in other attempts to get the same effect by other means (not necessarily
for MIDI) like instrumentName =
Thanks again for your support.
From: msk...@ansuz.sooke.bc.ca
Sent: 11 May 2024 15:46
To: Giles Boardman
Cc: Hans Åberg ; lilypond-user@gnu.org
Subject: Re: Key signatures in MIDI output
On Sat, 11 May 2024, Giles Boardman wrote:
> I have now been more systematic in my approach and conclude that \key is not
> reflected in MIDI output. I tried various positions for events and in each
Well, it definitely is reflected in the output in my own tests. The
example code I posted, when run through Lilypond 2.24.1, produces a MIDI
file containing key change events. There may be some relevant
distinctions in terms of which version of Lilypond you're running and
exactly where you put the \key commands in the input.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
Re: Key signatures in MIDI output
On Sat, 11 May 2024, Giles Boardman wrote: > I have now been more systematic in my approach and conclude that \key is not > reflected in MIDI output. I tried various positions for events and in each Well, it definitely is reflected in the output in my own tests. The example code I posted, when run through Lilypond 2.24.1, produces a MIDI file containing key change events. There may be some relevant distinctions in terms of which version of Lilypond you're running and exactly where you put the \key commands in the input. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before tribes. https://ansuz.sooke.bc.ca/
Re: Feathered Beam Timing
Hi Steph,
I'm not an expert with the \featherDurations interface, but this:
On Sat, May 11, 2024 at 3:53 PM Steph Phillips
wrote:
>
> \once \override Beam.grow-direction = #LEFT
> \featherDurations 6/4 { d16[-. d-. d-. d-. d-. d]-. } |
>
seems to disagree with how the tutorial describes it:
https://lilypond.org/doc/v2.25/Documentation/notation/feathered-beams
There, that ratio (*unlike* with tuplets) describes the ratio in duration
between the first and last value of the feathered group, *not* their
relationship to unmodified durations. So if you wanted the first note to be
a sixteenth and the last to be an eighth, you'd use "2/1". I don't know how
you'd get six sixteenths to fit within the duration of a half note, though,
as the feathered interface doesn't seem to account for tuplet-like
durations. Or, at least, it doesn't seem to be documented. Maybe you'd have
to nest one inside the other? Something like
--
\tuplet 6/8 {
\once \override Beam.grow-direction = #LEFT
\featherDurations 2/1 { d16[-. d-. d-. d-. d-. d]-. }
}
--
(the stickler in me would complain that tuplets should always indicate a
shortening of length, and this is technically putting six sixteenths in the
space of eight, but I guess the feathering overrules that)
Anyway, maybe that helps?
Cheers,
A
Re: Key signatures in MIDI output
msk...@ansuz.sooke.bc.ca writes: > On Sat, 11 May 2024, Giles Boardman wrote: > >> When I create MIDI output from Lilypond, if I have imported a MIDI file and >> then resaved it with changes made in LilyPond, the output is like that, too. > > Lilypond as such does not import MIDI files. I think you must be using > some piece of software other than Lilypond, and that is relevant to the > issues you're experiencing. > > On the off chance that you might be using midi2ly, I tried round-tripping > my example code through that, and got suggestive results. A good viewer of MIDI file content is lilymidi --pretty followed by the MIDI file name on the command line. -- David Kastrup
Re: Solving espressivo problem
Hi Morten,
Here’s one approach:
%%% SNIPPET BEGINS
\version "2.25.11"
esp = \markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
stuff = \relative {
\time 4/4
r4 b'4 a2-\tweak self-alignment-X #-1.25 _\esp ~
a2 b4 4(
c1)-\tweak self-alignment-X #-0.5 _\esp
b2-\tweak self-alignment-X #-1.125 _\esp d2
c1-\tweak self-alignment-X #-0.5 _\esp
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
}%
%% SNIPPET ENDS
This requires some manual effort (read: trial and error), but could probably be
fairly easily automated.
Of course there are many other ways to clothe this particular cat — just
thought I’d offer one for you to consider!
Best,
Kieren.
__
My work day may look different than your work day. Please do not feel obligated
to read or respond to this email outside of your normal working hours.
Re: Key signatures in MIDI output
Thank you for your efforts, Matt, and everyone else who has spent any time
looking into this.
To answer Matt, I did use Midi2ly by way of Frescobaldi and I must also have
previously found a way to run a command line batch (if only a repetitive list)
because I have way to many files to have done it manually and they don't have
names I would have chosen.
I absolutely understand that LilyPond is not intended as a MIDI editor, but
it's a pretty good one in a lot of ways. I am more productive on the MIDI side
as well as the publishing side when using some of its features, hence my
questions are about what LilyPond can and cannot do, rather than asking for it
to do things it isn't intended for.
The scope of its intended use is also hard to limit! I just read a script that
conditionally determines layout based on content, which is pretty advanced for
a "mere" engraver!
I have now been more systematic in my approach and conclude that \key is not
reflected in MIDI output. I tried various positions for events and in each case
I got Time Signature information in my MID file but not Key Signature when
viewed in Staff View.
But the conclusive evidence for me is that when I use MIDIDSM to create a TXT
file the Time Sig event is missing.
I must have been mistaken in thinking I had seen the information in some output
and not in other.
My apologies.
From: msk...@ansuz.sooke.bc.ca
Sent: 11 May 2024 13:40
To: Giles Boardman
Cc: Hans Åberg ; lilypond-user@gnu.org
Subject: Re: Key signatures in MIDI output
On Sat, 11 May 2024, Giles Boardman wrote:
> When I create MIDI output from Lilypond, if I have imported a MIDI file and
> then resaved it with changes made in LilyPond, the output is like that, too.
Lilypond as such does not import MIDI files. I think you must be using
some piece of software other than Lilypond, and that is relevant to the
issues you're experiencing.
On the off chance that you might be using midi2ly, I tried round-tripping
my example code through that, and got suggestive results.
I take this code:
\score {
\new Voice {
\key c \major
c'4 d'4 e'4 f'4 |
\key d \minor
bes4 a4 g4 f4 |
}
\layout { }
\midi { }
}
and run it through Lilypond to get a MIDI file. Then I take the resulting
MIDI file, which contains key changes at the marked locations, and run it
through midi2ly. The result is a complicated mess, 74 lines long. If I
run *that*, the midi2ly output, through Lilypond a second time to get a
PDF file, then the PDF file shows a D-minor key signature at the start of
each of the two bars, no C-major at all.
That seems like it could be relevant to the complaint of Lilypond losing
key changes. It seems to come about because the control track in the MIDI
file translates into a silent voice in the midi2ly output, and that voice
has a D-minor key signature at the start which overrides the C-major key
signature in the other voice. But it's an issue on *input*, in that
midi2csv is creating an unusual file structure, nothing to do with MIDI
output or the Lilypond program itself.
I think it's important to understand that Lilypond is not a MIDI file
editor. MIDI files in Lilypond are treated as final output (much like PDF
files), not as an editable format.
To start with a MIDI file, "import" it with midi2ly, edit the resulting
Lilypond code, and then "resave" it with Lilypond, is not the usual
workflow and is likely to cause problems even if there is some technical
possibility of doing it. "Importing" and "resaving" are not ordinarily
done with Lilypond. The intended use of Lilypond is in a one-way flow
from ideas to *.ly source code to PDF or MIDI output, and the midi2ly
utility which creates an exception to that flow is intended only to be
used once, to produce a file parts of which can be cut and pasted into a
new Lilypond source file. Repeated round-trips between MIDI and Lilypond
source format are asking for trouble.
Of course, you may not actually be using midi2ly at all, in which case the
above is irrelevant. I'm only guessing based on your description of
"importing" a MIDI file, which stands out as an unusual (indeed,
impossible) thing to do with the main Lilypond program.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
Re: Key signatures in MIDI output
On Sat, 11 May 2024, Giles Boardman wrote:
> When I create MIDI output from Lilypond, if I have imported a MIDI file and
> then resaved it with changes made in LilyPond, the output is like that, too.
Lilypond as such does not import MIDI files. I think you must be using
some piece of software other than Lilypond, and that is relevant to the
issues you're experiencing.
On the off chance that you might be using midi2ly, I tried round-tripping
my example code through that, and got suggestive results.
I take this code:
\score {
\new Voice {
\key c \major
c'4 d'4 e'4 f'4 |
\key d \minor
bes4 a4 g4 f4 |
}
\layout { }
\midi { }
}
and run it through Lilypond to get a MIDI file. Then I take the resulting
MIDI file, which contains key changes at the marked locations, and run it
through midi2ly. The result is a complicated mess, 74 lines long. If I
run *that*, the midi2ly output, through Lilypond a second time to get a
PDF file, then the PDF file shows a D-minor key signature at the start of
each of the two bars, no C-major at all.
That seems like it could be relevant to the complaint of Lilypond losing
key changes. It seems to come about because the control track in the MIDI
file translates into a silent voice in the midi2ly output, and that voice
has a D-minor key signature at the start which overrides the C-major key
signature in the other voice. But it's an issue on *input*, in that
midi2csv is creating an unusual file structure, nothing to do with MIDI
output or the Lilypond program itself.
I think it's important to understand that Lilypond is not a MIDI file
editor. MIDI files in Lilypond are treated as final output (much like PDF
files), not as an editable format.
To start with a MIDI file, "import" it with midi2ly, edit the resulting
Lilypond code, and then "resave" it with Lilypond, is not the usual
workflow and is likely to cause problems even if there is some technical
possibility of doing it. "Importing" and "resaving" are not ordinarily
done with Lilypond. The intended use of Lilypond is in a one-way flow
from ideas to *.ly source code to PDF or MIDI output, and the midi2ly
utility which creates an exception to that flow is intended only to be
used once, to produce a file parts of which can be cut and pasted into a
new Lilypond source file. Repeated round-trips between MIDI and Lilypond
source format are asking for trouble.
Of course, you may not actually be using midi2ly at all, in which case the
above is irrelevant. I'm only guessing based on your description of
"importing" a MIDI file, which stands out as an unusual (indeed,
impossible) thing to do with the main Lilypond program.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
Re: Key signatures in MIDI output
> On 10 May 2024, at 22:21, msk...@ansuz.sooke.bc.ca wrote: > > On Fri, 10 May 2024, Hans Åberg wrote: > >>> signature. The MIDI file does not contain that information; it is up to >>> whatever software reads the MIDI file, to display it appropriately. >> >> So to go back to staff notation from MIDI, one must know what enharmonic >> equivalences that have been applied. > > Yes - and it's not Lilypond that does that step, so if the translation > back to staff notation is not as desired, there's little that can be done > within Lilypond to fix it. On traditional meantone keyboards with 12 keys per octave, a common way to chose the notes are, expressed in iterated fifths: E♭ B♭ F C G D A E B F♯ C♯ G♯ One could indicate a note, like A, and from that, get 6 fifths down and 5 fifths up.
Re: Solving espressivo problem
mor...@borchorst.eu skrev den 2024-05-11 11:40:
Dear list
I am trying to solve this problem about espressivos that stretches
over four beats. I have tried many versions but not seems to solve it
The c1 and the b4 c2 b4 bars work as I hoped for.
the b2 c2 bar and the a2~ a2 does not give the wished for results.
Can anybody help?
*
\version "2.24.3"
stuff = \relative {
\time 4/4
r4 b'4 a2~\< <>\! a2\> <>\! b4 4( c1\espressivo) b2\< <>\!\> c2\!
c1\espressivo b4\< c2\!\> b4\!
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
\layout {
\context {
\Staff
}
}
}
*
thanks
Morten
Now with image attached :/
Re: Key signatures in MIDI output
Giles Boardman writes: > However, when I create new files, I am getting output that is as if I > have chosen to write everything in C major, with all the flats and > sharps shown explicitly. Nevertheless, the screen and pdf output are > written in, for example G, with no sharps on the individual fis notes. This is when further discussion becomes pointless without an actual example illustrating the problem. -- David Kastrup
Solving espressivo problem
Dear list
I am trying to solve this problem about espressivos that stretches
over four beats. I have tried many versions but not seems to solve it
The c1 and the b4 c2 b4 bars work as I hoped for.
the b2 c2 bar and the a2~ a2 does not give the wished for results.
Can anybody help?
*
\version "2.24.3"
stuff = \relative {
\time 4/4
r4 b'4 a2~\< <>\! a2\> <>\! b4 4( c1\espressivo) b2\< <>\!\> c2\!
c1\espressivo b4\< c2\!\> b4\!
\bar "|"
}
\score {
<<
\new Staff
\stuff
>>
\layout {
\context {
\Staff
}
}
}
*
thanks
Morten
Re: Key signatures in MIDI output
The issue is consistency and I'm perhaps not using the terms precisely enough
to describe what I am seeing.
I understand about MIDI notes and that they are neither sharpened not
flattened, but each has their own value.
In my sequencer (Cakewalk ProAudio 9), if my piece has a Key Signature event in
the .MIDI (I'm not talking about a Cakewalk format file) file of "G", I see a
staff with an F sharp at the beginning of the staff and no sharp signs on Fs in
the piece.
When I create MIDI output from Lilypond, if I have imported a MIDI file and
then resaved it with changes made in LilyPond, the output is like that, too.
However, when I create new files, I am getting output that is as if I have
chosen to write everything in C major, with all the flats and sharps shown
explicitly. Nevertheless, the screen and pdf output are written in, for example
G, with no sharps on the individual fis notes.
So ,what appears to me to be happening is I have written code that works for
layout {} but just this aspect of it is ignored by midi {}
But I am new to LilyPond so that deduction may be nonsense. I have much more
experience of MIDI files and have been using the same software for many years
and am aware of its idiosyncracies.
In LilyPond, I have other similar issues which suggest to me I am making a
bigger, more fundamental mistake in my coding, so I will investigate that
before asking for any more help and in that case I will bring the necessary
snippets to the forum.
Thanks for your interest.
From: msk...@ansuz.sooke.bc.ca
Sent: 10 May 2024 21:21
To: Hans Åberg
Cc: Giles Boardman ; lilypond-user@gnu.org
Subject: Re: Key signatures in MIDI output
On Fri, 10 May 2024, Hans Åberg wrote:
> > signature. The MIDI file does not contain that information; it is up to
> > whatever software reads the MIDI file, to display it appropriately.
>
> So to go back to staff notation from MIDI, one must know what enharmonic
> equivalences that have been applied.
Yes - and it's not Lilypond that does that step, so if the translation
back to staff notation is not as desired, there's little that can be done
within Lilypond to fix it.
--
Matthew Skala
msk...@ansuz.sooke.bc.ca People before tribes.
https://ansuz.sooke.bc.ca/
