Adjusting instrumentation of a MIDI output?
Hello, I've set various instruments for my MIDI output (from an early 18th century piece), but I have a new soundfont with better instruments. Is there any way I can get lilypond to pick up, as it were, the instrument from this soundfont? As it is, I just set the Staff.midiInstrument to one of the standard values, and lilypond does the rest. But I'd like to mix and match, as it were, instruments from different soundfonts. Many thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Relative rhythms across bars for time changes?
Thank you all so very much for helping me with my question - and special thanks to all the proposers of those clever solutions. The final one provided by Jean Abou Samra seems to work wonderfully well (at least in v 2.24.2, which is what I'm using). So I'm going to use it! I can only concur with Kieren's comment about "getting us to the next level". Of course I could avoid all of this by simply writing the music in such a way that no such tempo change is needed, but given the nature and provenance of the music I'm aiming to keep the original note values. Again my most heartfelt thanks. Alasdair On Sun, 19 Nov 2023 at 06:48, Kieren MacMillan wrote: > Hi all, > > When I was in high school, there was a boy named Kenny Wong who was a > video game god. Didn’t matter what the game was — Asteroids, Galaga, Ms. > Pac-Man, Robotron, you name it — he had the high score on every console in > every arcade within a 10 km radius of our school. Whenever we were “in > trouble”, and he was nearby, we’d yell out “KENNY!”, and he’d usually > cruise over and get us to the next level. Eventually it got to the point > where “KENNY!” was simply a shorthand for “I need help with this really > tough situation!” > > Nowadays, when I’m working in Lilypond, I just yell “JEAN ABOU SAMRA!!” :) > > Well done, as always — and thanks for getting us to the next level! > 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. > > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Relative rhythms across bars for time changes?
Thanks, Michael - that's a really nice solution.
I wonder if it would be possible to create such a function which
automatically puts the = sign over the barline, and the notes to its right
and left.
Alasdair
On Sun, 19 Nov 2023, 1:41 am Michael Werner, wrote:
> Hi Alasdair,
>
> On Fri, Nov 17, 2023 at 9:28 AM Alasdair McAndrew
> wrote:
>
>> I'm typesetting some 16th century music which has a lot of time changes.
>> And I'd like to add equivalences of notes across bar-lines, to indicate for
>> example, that a quarter note in one bar is equal in time to a half note in
>> the next bar.
>>
>> The sort of notation I want is in this snippet:
>>
>>
>> https://lilypond.org/doc/v2.24/Documentation/snippets/rhythms#rhythms-creating-metronome-marks-in-markup-mode
>>
>> However, I want that equals sign to be aligned with the barline. I have
>> two questions: (a) how can I do this? and (b) is there an easier way than
>> the markup given in the snippet?
>>
>
> In the time-honored tradition of "There's More Than One Way To Do It ™",
> here's another option:
>
> \version "2.25.10"
>
> tempoChange =
> #(define-music-function (alignValue firstNote secondNote) (number?
> ly:duration? ly:duration?)
>#{
> \tweak self-alignment-X #alignValue \textEndMark \markup {
>\concat {
> (
> \fontsize #-3 \general-align #Y #DOWN \note { #firstNote } #UP
> " = "
> \fontsize #-3 \general-align #Y #DOWN \note { #secondNote } #UP
> )
> } }
>#} )
>
> music = \relative c'' {
> c4 c c c | d d d d \tempoChange 0 4 2 | b a a b | d d d d | \break
> d d d e | f f f f | a f e d | e e e e \tempoChange -0.15 2 8. | \break
> e e a g | f f f f | e d d d | b b b b
> \fine
> }
>
> \new Staff {
> \new Voice {
> \music
> }
> }
>
> producing:
>
> [image: image.png]
>
> It's still using the code from the snippet you referenced (slightly
> modified), but wrapped into a function. This way you can tuck the function
> definition away somewhere (such as the top of your source file or off in a
> separate include file, whatever works best for you) so that the function
> code itself is out of the way, but can still be used with a single function
> call.
>
> The first argument to the function call is an alignment value - 0 is
> center, positive moves it left and negative moves it right.. The way the
> code works, if the two notes are of the same size (such as a quarter note
> and a half note) then the markup will be centered with an alignment value
> of 0. But if one of the notes is larger (such as in the second example)
> then the entire thing shifts over a bit. That's why in the second example
> the first argument is -0.15 - that's just enough to put the markup centered
> again.
>
> The second and third arguments are simply note durations. This function
> can only handle single notes, so no triplets or anything like that.
>
> One other thing to note - this function uses the \textEndMark function.
> There's also a \textMark function. The two work similarly, with the
> exception of how they handle line breaks. The one I'm using here
> (\textEndMark) puts the markup at the end of the system before the break.
> The other one (\textMark) puts the markup at the beginning of the system
> after the line break. So depending on which way you want things handled you
> may or may not need to change which of the two you use.
> --
> Michael
>
>
Re: Relative rhythms across bars for time changes?
Thanks for the advice - I can certainly give that a go! Alasdair On Sat, 18 Nov 2023 at 06:14, Knute Snortum wrote: > On Fri, Nov 17, 2023 at 8:15 AM Alasdair McAndrew > wrote: > >> I'm typesetting some 16th century music which has a lot of time changes. >> And I'd like to add equivalences of notes across bar-lines, to indicate for >> example, that a quarter note in one bar is equal in time to a half note in >> the next bar. >> >> The sort of notation I want is in this snippet: >> >> >> https://lilypond.org/doc/v2.24/Documentation/snippets/rhythms#rhythms-creating-metronome-marks-in-markup-mode >> >> However, I want that equals sign to be aligned with the barline. I have >> two questions: (a) how can I do this? and (b) is there an easier way than >> the markup given in the snippet? >> > > I don't know of an automatic way to align the markup with the barline, but > you could tweak the X-offset of the MetronomeMark to get it where you want. > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Relative rhythms across bars for time changes?
I'm typesetting some 16th century music which has a lot of time changes. And I'd like to add equivalences of notes across bar-lines, to indicate for example, that a quarter note in one bar is equal in time to a half note in the next bar. The sort of notation I want is in this snippet: https://lilypond.org/doc/v2.24/Documentation/snippets/rhythms#rhythms-creating-metronome-marks-in-markup-mode However, I want that equals sign to be aligned with the barline. I have two questions: (a) how can I do this? and (b) is there an easier way than the markup given in the snippet? Many thanks! cheers, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Score layout - ragged bottom and page break?
Thanks, Michael - that looks like the perfect answer. Typical of me, I
seem to have explored every page in the documentation except for that one.
Thanks again,
Alasdair
On Mon, 13 Nov 2023, 1:04 am Michael Werner, wrote:
> Hi Alasdair,
>
> On Sun, Nov 12, 2023 at 8:47 AM Alasdair McAndrew
> wrote:
>
>
>> How can I force each score with a book to have a last ragged bottom, and
>> each score beginning on a new page?
>>
>
> Might try putting each score into a \bookpart section. When I put multiple
> scores into a single PDF that's how I go about it - works quite well for
> me. Something like:
>
> \paper {
> ::global paper settings ::
> }
>
> \book {
> \bookpart {
> \paper {
>:: paper settings for just this score ::
> }
> \score {
> :: the score ::
> }
> }
> \bookpart {
> :: and the next score, and so forth ::
> }
> }
>
> One note - using \bookpart inserts a page break between parts, so no need
> for any explicit \pageBreak commands. For some more details have a look at:
>
> http://lilypond.org/doc/v2.24/Documentation/notation/multiple-scores-in-a-book
> --
> Michael
>
>
Score layout - ragged bottom and page break?
Hello, (Note: Lilypond v. 2.24.2, in Linux.) I am setting a group of pieces; each piece is in its own score block. I want each score to start on a new page, and the final page in each score to have a ragged-last-bottom, so that the systems are evenly spaced - these are duets, and I like no more than 6 systems per a4 page. I am managing this so far by having a pageBreak command between each score block. The trouble is that this seems to have the effect of filling each page equally, and overriding the system-system-spacing variables I've set in the paper block. The only score which is properly set is the last one, which is not followed by a pageBreak command. I've tried putting "ragged-last-bottom = ##t" in the global layout block, and in the layout block within a score, but it makes no difference. How can I force each score with a book to have a last ragged bottom, and each score beginning on a new page? Many thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Using a custom bitmap as a character?
Thank you all very much - yes, I know about potrace, although I haven't used it yet. However, the \image command sounds like more the sort of thing I wanted - just a cheap and dirty method of inserting images to see (roughly) what they might look like. cheers, Alasdair On Wed, 23 Aug 2023 at 21:58, Jean Abou Samra wrote: > Le mercredi 23 août 2023 à 13:57 +0200, Jean Abou Samra a écrit : > > > The tool looks quite impressive. OTOH, in 2.25, there's \image to use > a PNG file, so you don't necessarily need to convert the bitmap to a > vector graphics form. > > > (And EPS can contain bitmaps too.) > > > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Using a custom bitmap as a character?
I am slowly creating a font to be used for tablature ... so far I have bitmaps of a couple of characters. I'd like to try them out and get an idea how they look. Is there any way I can replace a character with a small scaled bitmap? I know that Lilypond doesn't support bitmapped fonts, but as I haven't got a font file yet that doesn't matter - eventually I'll create a TTF file. All I want to do now is to create tablature where some of the letters are replaced by my own bitmaps. Can this be done? Thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Fonts for tablature?
Dear Jean - many thanks. In fact, I've discovered since my query that if you go to the Fronimo website, you'll find a "Pavan" font available for use. Also, if you download and install the Fronimo executable - even its demo package (which doesn't allow you to save your files) - you'll get several fonts which can be used. Orlando Lutes provide a package called LuteScribe which includes a font called LeRoy. This latter font is probably the closest to the font used in some early 17th century publications. I'm not fully sure of the copyright issues with these fonts. For my own personal use, it doesn't matter. But I'm not sure about the legality of using these fonts in files made available, for example, on IMSLP. On Wed, 16 Aug 2023 at 10:11, Jean Abou Samra wrote: > > > Le 16 août 2023 à 01:50, Alasdair McAndrew a écrit : > > > If you look at > https://musescore.org/sites/musescore.org/files/2020-05/lute-tab-bug.png > (don't worry about the colours) there's a font which I like. A similar > font is used in abctab2ps (it's called "frFrancisque" there), and you can > see it in use at https://www.lautengesellschaft.de/cdmm/sample.png > > Is a similar font available for Lilypond?There are unicode glyphs at > > > https://www.w3.org/2019/03/smufl13/tables/french-and-english-renaissance-lute-tablature.html > > but these are in fact "private use characters". > > > > Some people have created fonts where these characters of a SMuFL font are > moved to the normal code points for a, b, c, ... You should be able to use > such a font (adding it to the font search path with > ly:font-config-add-file). > https://lists.gnu.org/archive/html/lilypond-user-fr/2019-03/msg00062.html > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Fonts for tablature?
If you look at https://musescore.org/sites/musescore.org/files/2020-05/lute-tab-bug.png (don't worry about the colours) there's a font which I like. A similar font is used in abctab2ps (it's called "frFrancisque" there), and you can see it in use at https://www.lautengesellschaft.de/cdmm/sample.png Is a similar font available for Lilypond?There are unicode glyphs at https://www.w3.org/2019/03/smufl13/tables/french-and-english-renaissance-lute-tablature.html but these are in fact "private use characters". Anyway, such a font, in Lilypond, would be invaluable for typesetting of early to mid 17th century music. Thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: A query about tablature
Many thanks for the link - I'll check it out. Lukas-Fabian's functions
work very well, though.
cheers,
Alasdair
On Tue, 8 Aug 2023 at 19:39, Thomas Morley wrote:
> Am Di., 8. Aug. 2023 um 11:14 Uhr schrieb Lukas-Fabian Moser :
> >
> > Hi Alasdair,
> >
> > > Thank you very much - that is quite amazing!
> > You're very welcome.
> > > But it does show what I have long suspected: that without some extra
> > > programming, Lilypond does not have a current facility to extract the
> > > rhythm from a music definition. All of the tablatures I've seen in
> > > Lilypond require the music to be entered twice: once fully, and the
> > > other as durations only. As well, the tablature section in the
> > > documentation nowhere shows how to do this: to create a tablature
> > > score with just the rhythm above it. Maybe this will be amended in
> > > future versions?
> > > [...]
> > > I should add that those remarks of mine were not meant as complaints
> > > about Lilypond; merely as observations. I'm very aware that as an
> > > open-source project, Lilypond's strength derives from the hard,
> > > unpaid, tireless and often thankless work by its developers. It is
> > > often said about open source projects that if you want some
> > > particular functionality, you should write it yourself and submit it
> > > for review. However, my programming skills (at least in scheme) are
> > > too poor for this myself.
> > Well, I think the point with LilyPond is that - unlike other open-source
> > projects - you actually don't have to modify the program itself in order
> > to add new functionality, but instead, you can implement the function
> > you want _inside_ your own .ly file which you can re-use, share and put
> > on a snippet repository. I have lots of custom-tailored functions like
> > this in an include file (.ily) on my computer which I simply \include in
> > any project where I need them.
> >
> > So that's what I recommend for you: Just copy the relevant parts of my
> > code into a .ily file and \include it whenever you need to use tablature.
> >
> > Of course I concede that I needed to know a bit about LilyPond's inner
> > workings and about Scheme to write a function like this. But nowadays
> > there's even lots of well-written documentation that can get you
> > started; do you know Jean's manual on
> https://extending-lilypond.gitlab.io ?
> >
> > > But maybe your code could be submitted to be part of Lilypond in
> future?
> > That's always a possibility, but the way I see it, there are two
> > requirements for this:
> >
> > 1) The desired functionality should be sufficiently "general" or
> > "standard" that there's a chance that it'll actually be being used. I
> > don't know much about tabulature, so I can't really judge if the
> > notation you want to use is standard in some area.
> >
> > 2) The submitted code should be of high quality. That's definitely not
> > the case with the function I wrote yesterday; it would need quite a bit
> > of polishing in order to gracefully deal with special cases and so on.
> > (E.g. how should we deal with polyphony inside the given music?)
> >
> > At the moment I feel that my function would probably best be put in a
> > LSR snippet, so maybe I should do this.
> >
> > As a side remark: In order to put music into a RhythmicStaff, one
> > doesn't even have to remove the pitches, they will just be ignored. But
> > I noticed yesterday that LilyPond does not behave very well with chords
> > in that situation:
> >
> > \version "2.24.0"
> >
> > mus = { c' d' 4. f'8 }
> >
> > <<
> >\new RhythmicStaff \mus
> >\new Staff \mus
> > >>
> >
> > I'm not sure whether that should be called a bug: one would have to
> > think a bit about the most natural way to deal with chords here.
> >
> > Lukas
> >
> >
> >
>
> There's also an old thread on -devel
> https://lists.gnu.org/archive/html/lilypond-devel/2016-09/msg00023.html
> This is the last public code. After that the discussion went offlist.
> Anway, this code is unfinished, maybe one gets some ideas, though.
>
> Cheers,
> Harm
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: A query about tablature
Dear Lukas-Fabian,
I just ran your example through Frescobaldi, and it worked like a charm.
I like it very much, and I'll use it with great pleasure! I do think you
should follow through on your idea of placing this in an LSR snippet so
that everybody (the no doubt thousands of people desperately trying to
typeset lyra viol music from the 1600s!) can reap the benefits of your
cleverness.
cheers,
Alasdair
On Tue, 8 Aug 2023 at 19:13, Lukas-Fabian Moser wrote:
> Hi Alasdair,
>
> > Thank you very much - that is quite amazing!
> You're very welcome.
> > But it does show what I have long suspected: that without some extra
> > programming, Lilypond does not have a current facility to extract the
> > rhythm from a music definition. All of the tablatures I've seen in
> > Lilypond require the music to be entered twice: once fully, and the
> > other as durations only. As well, the tablature section in the
> > documentation nowhere shows how to do this: to create a tablature
> > score with just the rhythm above it. Maybe this will be amended in
> > future versions?
> > [...]
> > I should add that those remarks of mine were not meant as complaints
> > about Lilypond; merely as observations. I'm very aware that as an
> > open-source project, Lilypond's strength derives from the hard,
> > unpaid, tireless and often thankless work by its developers. It is
> > often said about open source projects that if you want some
> > particular functionality, you should write it yourself and submit it
> > for review. However, my programming skills (at least in scheme) are
> > too poor for this myself.
> Well, I think the point with LilyPond is that - unlike other open-source
> projects - you actually don't have to modify the program itself in order
> to add new functionality, but instead, you can implement the function
> you want _inside_ your own .ly file which you can re-use, share and put
> on a snippet repository. I have lots of custom-tailored functions like
> this in an include file (.ily) on my computer which I simply \include in
> any project where I need them.
>
> So that's what I recommend for you: Just copy the relevant parts of my
> code into a .ily file and \include it whenever you need to use tablature.
>
> Of course I concede that I needed to know a bit about LilyPond's inner
> workings and about Scheme to write a function like this. But nowadays
> there's even lots of well-written documentation that can get you
> started; do you know Jean's manual on https://extending-lilypond.gitlab.io
> ?
>
> > But maybe your code could be submitted to be part of Lilypond in future?
> That's always a possibility, but the way I see it, there are two
> requirements for this:
>
> 1) The desired functionality should be sufficiently "general" or
> "standard" that there's a chance that it'll actually be being used. I
> don't know much about tabulature, so I can't really judge if the
> notation you want to use is standard in some area.
>
> 2) The submitted code should be of high quality. That's definitely not
> the case with the function I wrote yesterday; it would need quite a bit
> of polishing in order to gracefully deal with special cases and so on.
> (E.g. how should we deal with polyphony inside the given music?)
>
> At the moment I feel that my function would probably best be put in a
> LSR snippet, so maybe I should do this.
>
> As a side remark: In order to put music into a RhythmicStaff, one
> doesn't even have to remove the pitches, they will just be ignored. But
> I noticed yesterday that LilyPond does not behave very well with chords
> in that situation:
>
> \version "2.24.0"
>
> mus = { c' d' 4. f'8 }
>
> <<
>\new RhythmicStaff \mus
>\new Staff \mus
> >>
>
> I'm not sure whether that should be called a bug: one would have to
> think a bit about the most natural way to deal with chords here.
>
> Lukas
>
>
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: A query about tablature
I should add that those remarks of mine were not meant as complaints about
Lilypond; merely as observations. I'm very aware that as an open-source
project, Lilypond's strength derives from the hard, unpaid, tireless and
often thankless work by its developers. It is often said about open source
projects that if you want some particular functionality, you should write
it yourself and submit it for review. However, my programming skills (at
least in scheme) are too poor for this myself.
But maybe your code could be submitted to be part of Lilypond in future?
Alasdair
On Tue, 8 Aug 2023 at 11:48, Alasdair McAndrew wrote:
> Dear Lukas-Fabian (if I may),
>
> Thank you very much - that is quite amazing! But it does show what I have
> long suspected: that without some extra programming, Lilypond does not have
> a current facility to extract the rhythm from a music definition. All of
> the tablatures I've seen in Lilypond require the music to be entered twice:
> once fully, and the other as durations only. As well, the
> tablature section in the documentation nowhere shows how to do this: to
> create a tablature score with just the rhythm above it. Maybe this will
> be amended in future versions?
>
> Thank you again,
> Alasdair
>
> On Tue, 8 Aug 2023 at 06:15, Lukas-Fabian Moser wrote:
>
>> Hi Alasdair,
>>
>> Am 07.08.23 um 07:05 schrieb Alasdair McAndrew:
>> > In fact you can just look at the snippet at
>> > https://lsr.di.unimi.it/LSR/Item?id=848 I've set mine up slightly
>> > differently, with letters between the lines, but the principle is the
>> > same. But as you see from this snippet, you have to enter the notes
>> > and values for the tablature stave, and the note durations again (with
>> > appropriate "silent" notes) for the rhythm stave. And both these
>> > staves have to be created independently and put together at the end.
>> >
>> > I want to know if you can do this without having to enter the rhythm
>> > durations and stave separately - the information in "myNotes" in the
>> > snippet contains all the information needed. I'm hoping for a solution
>> > where all you need to enter is "myNotes", and then both the tablature
>> > staff and the rhythm staff would be created in one go.
>> >
>> > Thank you again.
>>
>> That's basically a matter of programmatically turning the given music
>> into bare (pitch-less) durations while skipping repeated durations.
>>
>> Question: What should be done for actual rests in the input?
>>
>> One possible approach might be:
>>
>> \version "2.24.0"
>>
>> %% http://lsr.di.unimi.it/LSR/Item?id=848
>> %LSR modified by P.P.Schneider on Feb.2014 for v2.18
>> % modified by L.-F. Moser in Aug. 2023
>> % (added \extractRhythm and \tabStaves)
>>
>> %{ Tablature layout for viol music
>>
>> The snippet defines a specialized group of rhythmic and
>> tablature staves able to handle old english viol tablature
>> scores.
>>
>> The string tunings defaults to the most common viol in d
>> but other usual tunings are also available.
>>
>> The rhythm part is used to provide only the pace changes,
>> and therefore must be provided as a supplementary voice.
>> %}
>>
>> viol-in-d-tuning = \stringTuning
>>
>> viol-in-d-scord-tuning = \stringTuning
>>
>> viol-in-g-tuning = \stringTuning
>>
>> ViolTabLayout = \layout {
>>\context {
>> \RhythmicStaff
>> \type "Engraver_group"
>> \name "ViolTabRhythmicStaff"
>> \alias "RhythmicStaff"
>>
>> \description "Handles rhythm part of viol tablature."
>>
>> \remove "Time_signature_engraver"
>> \remove "Staff_symbol_engraver"
>> \remove "Bar_engraver"
>>
>> fontSize = #-3
>> \override StaffSymbol.staff-space = #(magstep -3)
>> \override Stem.length = #5
>> \override VerticalAxisGroup.staff-staff-spacing =
>> #'((basic-distance . 1)
>> (minimum-distance . 1)
>> (padding . 1))
>>
>> % useful to merge chords noteheads
>> \override NoteHead.X-offset = #0
>>}
>>
>>\context {
>> \TabStaff
>> \type "Engraver_group"
>> \name "ViolTabFingeringStaff"
>> \alias "Staff"
>>
>> \description "Handles fingering part of viol tablature."
>>
>> tablatureFormat = #fret-letter-tabla
Re: A query about tablature
Dear Lukas-Fabian (if I may),
Thank you very much - that is quite amazing! But it does show what I have
long suspected: that without some extra programming, Lilypond does not have
a current facility to extract the rhythm from a music definition. All of
the tablatures I've seen in Lilypond require the music to be entered twice:
once fully, and the other as durations only. As well, the
tablature section in the documentation nowhere shows how to do this: to
create a tablature score with just the rhythm above it. Maybe this will
be amended in future versions?
Thank you again,
Alasdair
On Tue, 8 Aug 2023 at 06:15, Lukas-Fabian Moser wrote:
> Hi Alasdair,
>
> Am 07.08.23 um 07:05 schrieb Alasdair McAndrew:
> > In fact you can just look at the snippet at
> > https://lsr.di.unimi.it/LSR/Item?id=848 I've set mine up slightly
> > differently, with letters between the lines, but the principle is the
> > same. But as you see from this snippet, you have to enter the notes
> > and values for the tablature stave, and the note durations again (with
> > appropriate "silent" notes) for the rhythm stave. And both these
> > staves have to be created independently and put together at the end.
> >
> > I want to know if you can do this without having to enter the rhythm
> > durations and stave separately - the information in "myNotes" in the
> > snippet contains all the information needed. I'm hoping for a solution
> > where all you need to enter is "myNotes", and then both the tablature
> > staff and the rhythm staff would be created in one go.
> >
> > Thank you again.
>
> That's basically a matter of programmatically turning the given music
> into bare (pitch-less) durations while skipping repeated durations.
>
> Question: What should be done for actual rests in the input?
>
> One possible approach might be:
>
> \version "2.24.0"
>
> %% http://lsr.di.unimi.it/LSR/Item?id=848
> %LSR modified by P.P.Schneider on Feb.2014 for v2.18
> % modified by L.-F. Moser in Aug. 2023
> % (added \extractRhythm and \tabStaves)
>
> %{ Tablature layout for viol music
>
> The snippet defines a specialized group of rhythmic and
> tablature staves able to handle old english viol tablature
> scores.
>
> The string tunings defaults to the most common viol in d
> but other usual tunings are also available.
>
> The rhythm part is used to provide only the pace changes,
> and therefore must be provided as a supplementary voice.
> %}
>
> viol-in-d-tuning = \stringTuning
>
> viol-in-d-scord-tuning = \stringTuning
>
> viol-in-g-tuning = \stringTuning
>
> ViolTabLayout = \layout {
>\context {
> \RhythmicStaff
> \type "Engraver_group"
> \name "ViolTabRhythmicStaff"
> \alias "RhythmicStaff"
>
> \description "Handles rhythm part of viol tablature."
>
> \remove "Time_signature_engraver"
> \remove "Staff_symbol_engraver"
> \remove "Bar_engraver"
>
> fontSize = #-3
> \override StaffSymbol.staff-space = #(magstep -3)
> \override Stem.length = #5
> \override VerticalAxisGroup.staff-staff-spacing =
> #'((basic-distance . 1)
> (minimum-distance . 1)
> (padding . 1))
>
> % useful to merge chords noteheads
> \override NoteHead.X-offset = #0
>}
>
>\context {
> \TabStaff
> \type "Engraver_group"
> \name "ViolTabFingeringStaff"
> \alias "Staff"
>
> \description "Handles fingering part of viol tablature."
>
> tablatureFormat = #fret-letter-tablature-format
> stringTunings = #viol-in-d-tuning
>
> % useful for tablature only scores
> \revert TimeSignature.stencil
> \override TimeSignature.style = #'single-digit
>}
>
>\context {
> \type "Engraver_group"
> \name "ViolTabStaff"
> \consists "Vertical_align_engraver"
> topLevelAlignment = ##f
>
> \description "Handles viol tablature."
>
> \defaultchild "ViolTabFingeringStaff"
> \accepts "ViolTabRhythmicStaff"
> \accepts "ViolTabFingeringStaff"
>}
>
>\context {
> \Score
> \accepts "ViolTabStaff"
>}
> }
>
> %
>
> #(define rest-or-skip?
> (music-type-predicate '(skip-event general-rest-event)))
>
> extractRhythm =
> #(define-music-function (mus) (ly:music?)
> (make-music
> 'SequentialMusic
>
Re: A query about tablature
In fact you can just look at the snippet at https://lsr.di.unimi.it/LSR/Item?id=848 I've set mine up slightly differently, with letters between the lines, but the principle is the same. But as you see from this snippet, you have to enter the notes and values for the tablature stave, and the note durations again (with appropriate "silent" notes) for the rhythm stave. And both these staves have to be created independently and put together at the end. I want to know if you can do this without having to enter the rhythm durations and stave separately - the information in "myNotes" in the snippet contains all the information needed. I'm hoping for a solution where all you need to enter is "myNotes", and then both the tablature staff and the rhythm staff would be created in one go. Thank you again. On Sun, 6 Aug 2023 at 22:33, Jean Abou Samra wrote: > Given that a normal instrument music definition includes information both > about pitch and about duration - suitable for printing on a standard staff > - why cannot that same input be used to create all the tablature and its > rhythm together? > > > > Of course it can. Please give your current code and we'll try to help you. > > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: A query about tablature
Thank you, Mark. There is also abctab2ps, which is very simple - you simply enter the tablature letters and note values, and the software does the rest. And it exists for Windows and Linux (probably for MacOS as well). You can see this at https://www.lautengesellschaft.de/cdmm/ It allows for several different tablature formats: rhythm notes with or without note-heads; letters or numbers for the fret positions; and placement on or between the lines. That being said, I'd still rather use Lilypond, for its flexibility, its power, and the excellence of its output. On Mon, 7 Aug 2023 at 13:22, Mark Probert wrote: > You may wish to consider the Windows application “Fronimo.” It is, > arguably, the primary choice of lutenists and those needing such features > as you require. > > The various forms of tablature are an arcane subject of their own and > whilst it is a pity LP doesn’t cover them particularly deeply, it is good > to know that an application like Fronimo exists. > > ..m. > > > On 7 Aug 2023, at 11:10, Alasdair McAndrew wrote: > > > > I'm not quite sure what the "why" refers to: but I'm attempting to > typeset some material from a 1607 publication, which in the original has > two tablature parts and one score part for each piece. I'm aiming to do > several things here: transcribe the publication so that it's easy to read > (so with tablature); create an edition entirely in modern score; and also > allow for playing by instruments at different pitches. The title page > announces that each piece could be "plaied 8, severall waies upon sundry > Instruments", and so I'm trying to make that facility available to the > modern player. > > > > Alasdair > > > > On Mon, 7 Aug 2023 at 00:11, David Kastrup wrote: > > Alasdair McAndrew writes: > > > > > Thank you very much indeed for your offer. I'll try to put something > > > together: currently my files are split up, so that all common > > > definitions are in one file, all music in another, and the layout in a > > > third file (which imports the others). I'll aim to make a simple > > > representative file which includes the lot! > > > > > > But as I said earlier the music is split into two definitions: one > > > contains the pitch information, and the other the rhythm. These are > > > then put together as I described in my first post. > > > > Why? > > > > -- > > David Kastrup > > > > > > -- > > Alasdair McAndrew (he/him) > > mob: 0432 854 858 > > > > https://numbersandshapes.net > > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: A query about tablature
I'm not quite sure what the "why" refers to: but I'm attempting to typeset some material from a 1607 publication, which in the original has two tablature parts and one score part for each piece. I'm aiming to do several things here: transcribe the publication so that it's easy to read (so with tablature); create an edition entirely in modern score; and also allow for playing by instruments at different pitches. The title page announces that each piece could be "plaied 8, severall waies upon sundry Instruments", and so I'm trying to make that facility available to the modern player. Alasdair On Mon, 7 Aug 2023 at 00:11, David Kastrup wrote: > Alasdair McAndrew writes: > > > Thank you very much indeed for your offer. I'll try to put something > > together: currently my files are split up, so that all common > > definitions are in one file, all music in another, and the layout in a > > third file (which imports the others). I'll aim to make a simple > > representative file which includes the lot! > > > > But as I said earlier the music is split into two definitions: one > > contains the pitch information, and the other the rhythm. These are > > then put together as I described in my first post. > > Why? > > -- > David Kastrup > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: A query about tablature
Thank you very much indeed for your offer. I'll try to put something together: currently my files are split up, so that all common definitions are in one file, all music in another, and the layout in a third file (which imports the others). I'll aim to make a simple representative file which includes the lot! But as I said earlier the music is split into two definitions: one contains the pitch information, and the other the rhythm. These are then put together as I described in my first post. I'll get that file sorted tomorrow. Alasdair On Sun, 6 Aug 2023 at 22:33, Jean Abou Samra wrote: > Given that a normal instrument music definition includes information both > about pitch and about duration - suitable for printing on a standard staff > - why cannot that same input be used to create all the tablature and its > rhythm together? > > > > Of course it can. Please give your current code and we'll try to help you. > > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
A query about tablature
I have been experimenting with typesetting some 17th century music for viol; you can see an example of the sort of music I'm trying to emulate at https://bit.ly/3Ympevo As is common with tablature; there is the tablature stave, showing the positions of the fingers on the fingerboard, and a set of notes above showing the rhythm. (As with almost all tablature, a note value is repeated until a new value is needed. So repeated notes aren't shown in the rhythm line.) About a year ago, two very kind people on this list sent me examples of their work, and I've been using their ideas to develop some rough templates. But it still requires two staves: the tablature stave, and the rhythm stave. And these need to be entered separately. The rhythm stave has to be set up using a RhythmicStaff but without clef or time signature, and also removing the staff engraver. Given that a normal instrument music definition includes information both about pitch and about duration - suitable for printing on a standard staff - why cannot that same input be used to create all the tablature and its rhythm together? In my ideal world you'd enter the notes as if you were going to print on a modern staff, but instead ask to print it as tablature, and get both the tab staff and the rhythm staff all created from the one definition. (I hope I've made myself clear!) Many thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Needing space after a user-defined ornament
Hi Kieran,
Many thanks indeed - that works a treat! How does one find out about these
things? I had tried just
- \tweak extra-spacing-width #'(2 . 3)
which hadn't worked. Clearly I needed the extra space property of text.
Thanks again,
Alasdair
On Mon, 10 Apr 2023, 9:33 pm Kieren MacMillan,
wrote:
> Hi Alasdair,
>
> > Lilypond sometimes doesn't recognize this symbol as needing space, so
> depending on the spacing of the notes, this symbol can get very squashed.
> How can I add extra horizontal spacing to my function?
>
> ttr = #(define-event-function (placement) (pair?)
> #{
> -\tweak TextScript.extra-spacing-width #'(1 . 5)
> -\tweak extra-offset #placement
> -\markup { \fontsize #4 \musicglyph #"scripts.rcomma" }
> #} )
>
> ??
>
> Hope that helps!
> Kieren.
Needing space after a user-defined ornament
I'm typesetting some French baroque music, in which a sort of large breath
mark was used to indicate a particular type of trill. And the mark is
positioned close to the note, generally a little to the right and up.
What I've done is create a small function:
ttr = #(define-event-function (placement) (pair?)
#{
-\tweak extra-offset #placement
-\markup {\fontsize #4 \musicglyph #"scripts.rcomma"}
#} )
which can be used like this:
\relative c'' {
g8. ^\ttr #'(2.5 . -3.0) a16
}
The trouble is that Lilypond sometimes doesn't recognize this symbol as
needing space, so depending on the spacing of the notes, this symbol can
get very squashed. How can I add extra horizontal spacing to my function?
Alasdair
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: Ragged bottom for end of a score block?
Thank you very much indeed - that works perfectly!
Alasdair
On Mon, 10 Apr 2023 at 02:48, Jean Abou Samra wrote:
> Le dimanche 09 avril 2023 à 21:59 +1000, Alasdair McAndrew a écrit :
>
> I have a piece with a number of movements, and each movement has its own
> score block. If I set "ragged-bottom==##t" in the paper block, then every
> page has this property. Or if I use "ragged-last-bottom=##t" it affects
> only the very last page of all.
> But what I want is for the last page of each movement to have a ragged
> bottom;
>
> Can this be done?
>
> Try putting each score into a bookpart:
>
> \version "2.24.1"
>
> filler = \repeat unfold 20 { c' \break }
>
> \bookpart {
> \score {
> \filler
> }
> }
>
> \bookpart {
> \score {
> \filler
> }
> }
>
> ragged-(last-)bottom can't be configured per score, since adjacent scores
> can share pages and thus are not independent with respect to page breaking.
> By making separate bookparts, you create independent page breaking units
> (there is always a page break between two bookparts), and they can have
> different page breaking settings.
>
> You won't even need to configure ragged-bottom or ragged-last-bottom,
> since the default does what you want already.
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Ragged bottom for end of a score block?
I have a piece with a number of movements, and each movement has its own score block. If I set "ragged-bottom==##t" in the paper block, then every page has this property. Or if I use "ragged-last-bottom=##t" it affects only the very last page of all. But what I want is for the last page of each movement to have a ragged bottom; Can this be done? Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Converting absolute to relative pitch?
Hello, Frescobaldi has a function that allows you to convert between relative and absolute pitches. I have a document using absolute pitch that I'd like to concert to relative pitch. However, the Frescobaldi function does nothing when applied to a selection in my document. Maybe there's a setting I've missed. I assumed that this would be as simple as a pitch transformation, but it would seem not - at least for me. Of course, what I can do is edit out all the commas and apostrophes that define the absolute octaves, and then go back in and put in the few that I need when successive notes differ by a fifth or more. But that's a pain, and I was hoping Frescobaldi could do it for me. Any advice would be very helpful! Many thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Question about text formatting: hard line breaks?
Hello,
I have a paragraph of descriptive text that I'd like to display in a box.
Currently I have:
\markup \small \box \wordwrap {
several lines of text here ...
}
This works quite well, except that I'd like to modify some of the line
breaks. I could probably do this by either specifying the text as a list
of lines (which I'm not sure how to do: that is, a list of lines all
surrounded by a single box).
But in fact it would be easier to simply insert a "hard break" in the text
where I want it. Is this possible? I know how to add a break to a score,
but I can't find if there's an equivalent for text.
And where would I go looking for this - where can I find a comprehensive
list of all text commands accepted by lilypond?
Many thanks,
Alasdair
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: Tweaking the string number: no circle, and to the right?
Many thanks indeed for that heads-up! But I have another problem, in that
I'm typesetting my chords as per the practice of the time, which was to
have the stem of the upper note up, and the stem of the lower note(s)
down. I have done this using voices, and a simple function to save typing:
chord =
#(define-music-function
(topnote bottomnote)
(ly:music? ly:music?)
#{
<< { $topnote } \\ { $bottomnote } >>
#})
(Thanks to people here - including you! - who helped me with this.) I do
have another function:
stRight = \set stringNumberOrientations = #'(right)
which I can place before any string number. I suppose I could also set a
stencil property here too (when I learn how to include two
variable assignments in one function). But it's a pain to have to include
this function for every string number.
Of course I could get round a lot of this if I could tweak the chord
function so that any chord is typeset as I want.
Thanks again,
Alasdair
On Wed, Jan 4, 2023 at 10:48 AM David Kastrup wrote:
> Alasdair McAndrew writes:
>
> > Hello,
> >
> > I am working my way through a manuscript from 1607 for viols (originally
> in
> > tablature), trying to typeset it in modern notation. For completeness, I
> > also want to have a tablature score as well - this will be not only nice
> in
> > itself, but allow me to check my transcription.
> >
> > This means including string numbers in the score, so that particular
> notes
> > fall on given strings. There's not really a great need for the string
> > numbers in the score, so I could remove them I guess with "\remove
> > String_number_engraver" in a Staff context. But if I wanted to include
> the
> > string numbers I'd prefer them to look like fingering: single numbers,
> and
> > to the right of the note.
> >
> > I've tried "\set stringNumberOrientations = #'(right)" in a music
> > definition, but this doesn't work; at least, the string numbers are set
> > above the note, rather than to the right.
>
> It does work but only for the New_fingering_engraver that exclusively
> deals with in-chord articulations. So it will have an effect on
>
>
>
> but not on
>
> c\1
>
> --
> David Kastrup
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Tweaking the string number: no circle, and to the right?
Hello, I am working my way through a manuscript from 1607 for viols (originally in tablature), trying to typeset it in modern notation. For completeness, I also want to have a tablature score as well - this will be not only nice in itself, but allow me to check my transcription. This means including string numbers in the score, so that particular notes fall on given strings. There's not really a great need for the string numbers in the score, so I could remove them I guess with "\remove String_number_engraver" in a Staff context. But if I wanted to include the string numbers I'd prefer them to look like fingering: single numbers, and to the right of the note. I've tried "\set stringNumberOrientations = #'(right)" in a music definition, but this doesn't work; at least, the string numbers are set above the note, rather than to the right. Then there's the problem of removing the circle around the string number. I believe this can be achieved by modifying the stencil, but I'm not quite sure how, or what to. If anybody can point me in the direction of either documentation or examples for something like this, I'd be very grateful! Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: A question about a scheme function with two input notes
Thank you SO very much! Such a simple thing ... (as is so often the case,
certainly with my queries). It now works perfectly.
Alasdair
On Fri, Dec 30, 2022 at 10:17 AM Jean Abou Samra wrote:
> Le 30/12/2022 à 00:12, Alasdair McAndrew a écrit :
> > Hello,
> >
> > I am typesetting some late Renaissance, early Baroque music for which
> > a double stop (= chord with two notes) on a stringed instrument would
> > be notated with the stem of the top note up and the stem of the lower
> > note down. So instead of using the standard notation
> >
> > 4
> >
> > for a double stop, I am using
> >
> > << {a4} \\ {e4} >>
> >
> > This is convenient as most of the music is with single notes, so I
> > just bung in one of these when I need to.
> >
> > And I thought I'd be clever by writing this into a little Scheme
> function:
> >
> > dStop =
> > #(define-music-function
> > (topnote bottomnote)
> > (ly:music? ly:music?)
> >#{
> > << {#topnote} \\ {#bottomnote} >>
>
>
> Try adding spaces here:
>
> << { #topnote } \\ { #bottomnote } >>
>
> Scheme is very lax about what can happen in identifiers. It mostly
> separates elements by spaces. Therefore, if you write no space between
> '#topnote' and '}', Scheme sees a reference to a variable called
> 'topnote}', which is the meaning of the error message
>
> Unbound variable: #{topnote\x7d;}#
>
> Best,
>
> Jean
>
>
>
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
A question about a scheme function with two input notes
Hello,
I am typesetting some late Renaissance, early Baroque music for which a
double stop (= chord with two notes) on a stringed instrument would be
notated with the stem of the top note up and the stem of the lower note
down. So instead of using the standard notation
4
for a double stop, I am using
<< {a4} \\ {e4} >>
This is convenient as most of the music is with single notes, so I just
bung in one of these when I need to.
And I thought I'd be clever by writing this into a little Scheme function:
dStop =
#(define-music-function
(topnote bottomnote)
(ly:music? ly:music?)
#{
<< {#topnote} \\ {#bottomnote} >>
#})
But this doesn't work; I get multiple GUILE errors in the definition line.
Clearly I'm misunderstanding something, but in my hunting about I haven't
found any examples of scheme functions with multiple musical inputs.
If anybody could point me in the right direction I'd be delighted!
(There might be other ways of obtaining this same effect without voices,
say by somehow tweaking the chord typesetting to have the stem of the top
note up, and the stem of the lower note(s) down ... but I have no idea how
to do this. Multiple voices is easy, if perhaps a bit clumsy.)
Thank you,
Alasdair
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: Re-using "\with" contexts
Dear Lukas, Pierre, David,
Thank you all for your expert advice and examples. It is indeed quite
straightforward - when you know how! I'll now be able to finish off my
current piece, and start on the next one...
cheers,
Alasdair
On Sat, Jul 16, 2022 at 1:21 AM David Kastrup wrote:
> Alasdair McAndrew writes:
>
> > Hello,
> >
> > There are examples of changing a staff context in the manual, for
> example at
> >
> >
> https://lilypond.org/doc/v2.21/Documentation/snippets/pitches#pitches-creating-custom-key-signatures
> >
> > Here a new staff is instantiated; with about 10 lines of "\with" to
> change
> > its appearance and behaviour.
> >
> > However, if I wish to use several such staves, I don't want to be copying
> > the "\with" material into each one. Is it possible to create a new
> context
> > just from such a definition? What I mean is something like
> >
> > myStaff = staff \with {
> > < lots of lines of definition >
> > }
> >
> > so that I can simply create a new staff the way I want it with, for
> example
> >
> > \new myStaff {
> >
> > }
> >
> > All I want is an example. There is some information about defining a new
> > context, but in my case all I want is a tweaked version of a current
> > context.
>
> \layout {
> \context {
> \Staff
> \name "myStaff"
> < lots of lines of definition >
> }
> \inherit-acceptability myStaff Staff
> }
>
> --
> David Kastrup
>
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re-using "\with" contexts
Hello,
There are examples of changing a staff context in the manual, for example at
https://lilypond.org/doc/v2.21/Documentation/snippets/pitches#pitches-creating-custom-key-signatures
Here a new staff is instantiated; with about 10 lines of "\with" to change
its appearance and behaviour.
However, if I wish to use several such staves, I don't want to be copying
the "\with" material into each one. Is it possible to create a new context
just from such a definition? What I mean is something like
myStaff = staff \with {
< lots of lines of definition >
}
so that I can simply create a new staff the way I want it with, for example
\new myStaff {
}
All I want is an example. There is some information about defining a new
context, but in my case all I want is a tweaked version of a current
context.
Thanks everybody,
Alasdair
--
Alasdair McAndrew (he/him)
mob: 0432 854 858
https://numbersandshapes.net
Re: Searching fonts?
Thank you - but of course! Now I feel even more stupid than usual. cheers, Alasdair On Thu, Jul 14, 2022 at 3:51 PM Aaron Hill wrote: > On 2022-07-13 10:35 pm, Alasdair McAndrew wrote: > > Hello, > > > > I'm trying to find a suitable system font for use with some tablature > > I'm > > typesetting. The command "lilypond -dshow-available-fonts" does indeed > > do > > exactly that, but there are so many fonts on my system that this > > command is > > not helpful on its own. What I'd like is some way of searching the > > font > > list. For example, I'd hope to write that font list to a file, which I > > could explore at leisure. > > > > I'm using Linux, and normally I can redirect the output of a command to > > a > > file, such as > > > > ls -l > list.txt > > > > But this doesn't work with the lilypond font command. I'm quite > > mystified > > that the lilypond somehow ignores shell commands; at least in this > > instance. > > > > This same behaviour means I can't pipe the output of the font command > > to > > grep for searching. > > > > How can I search the list of available fonts? > > The fonts are output via stderr. You'll need to use 2>&1 to redirect > the stream. > > lilypond -dshow-available-fonts 2>&1 | grep -i 'something' > > > -- Aaron Hill > -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Searching fonts?
Hello, I'm trying to find a suitable system font for use with some tablature I'm typesetting. The command "lilypond -dshow-available-fonts" does indeed do exactly that, but there are so many fonts on my system that this command is not helpful on its own. What I'd like is some way of searching the font list. For example, I'd hope to write that font list to a file, which I could explore at leisure. I'm using Linux, and normally I can redirect the output of a command to a file, such as ls -l > list.txt But this doesn't work with the lilypond font command. I'm quite mystified that the lilypond somehow ignores shell commands; at least in this instance. This same behaviour means I can't pipe the output of the font command to grep for searching. How can I search the list of available fonts? Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: French tablature (with note heads)?
Dear Jean, That's just perfect - very nicely done indeed - with many thanks. Also - Tobias Hume! (I'm attempting to typeset in modern notation one of the pieces from his "Poeticall Musick" of 1607, for two lyra viols tuned ffeff and one bass viol.) However, from looking at your score, there seem to be quite a few tweaks needed in order to move notes and letters around to get everything in the right place. I wonder if this could be made internal to Lilypond, so that, for example, calling "FrenchTab" would give you everything you needed? Alasdair
French tablature (with note heads)?
Hello, I believe I asked a very similar question some years ago, since when Lilypond has had numerous new releases and improvements. But I still don't know how to typeset French tablature for the viol. This requires six lines, letters printed between the lines, and the notes above the staff printed with heads. Examples are at https://bit.ly/3OZVwXt and at https://bit.ly/3yoHkjP There are other software systems that can manage this, but rather than jump between systems I'd rather stay entirely within Lilypond. Can Lilypond produce tablature of the style shown in the two images above? many thanks, Alasdair -- Alasdair McAndrew (he/him) mob: 0432 854 858 https://numbersandshapes.net
Re: Key change with clef after the bar line?
Dear Jean,
Thank you very much for your detailed reply. What a duffer I am not to realize
that \global was not being used! I'll look through - and experiment with -
your solution with care and great interest.
kind regards,
Alasdair
On Sunday 27 February 2022 19:31:17 (+11:00), Jean Abou Samra wrote:
> Le 27/02/2022 à 08:09, Alasdair McAndrew a écrit :
> > In my current project, I'm trying as far as possible to replicate the
> > spirit of the original 18th century publication, in which a key change has
> > a clef printed, and both after the bar line. In one piece, there's a segno
> > in the middle of a bar, with such a key change. In standard Lilypond, this
> > micro-example shows that the printed clef cdeailedomes before the bar line
> > (I've left out the segno marker and all other markers outside the score):
> >
> > global = {
> > \language english
> >
> > \clef treble
> > \time 4/4
> > }
> >
> > \relative c' {\key c \major c4 d e fs | g a \bar "||" \set
> > Staff.forceClef = ##t \key c \minor bf c | bf af g f | ef d c2 }
> >
> >
> > But modern practice is to put the clef before the double bar, and the key
> > change afterwards. I want the clef to come after that double bar.
> > According to the documentation, this can be changed with "break-alignment",
> > in particular with:
> >
> > \override Score.BreakAlignment #'break-align-orders =
> > #(make-vector 3 '(span-bar
> >breathing-sign
> >staff-bar
> >key
> >clef
> >
> > time-signature))
> >
> >
> > However, in the mini example just given above, adding that override in the
> > global declaration has no effect. I tried changing the order of "key" and
> > "clef" in the override, again with no effect. (When I tried his in a
> > larger piece, the key change was printed on the bar-line!)
> >
> > Is there any way I can notate a key change, at a segno with an extra bar
> > line, in order: bar line, clef, key ?
>deailed
>
> Well, the \global is unused in your example, so it's not
> surprising that the override has no effect. With that
> oversight corrected, the problem is that the break align symbol
> for a KeySignature is not 'key but 'key-signature. You
> will find this at
> http://lilypond.org/doc/v2.23/Documentation/internals/keysignature
> (the break-align-symbol property). So this works:
>
> \version "2.22.1"
>
> \language english
>
> global = {
> \clef treble
> \time 4/4
> \override Score.BreakAlignment.break-align-orders =
> #(make-vector 3 '(span-bar
> breathing-sign
> staff-bar
> clef
> key-signature
> time-signature))
> }
>
> \relative c' {
> \global
> \key c
> \majorhttps://lilypond.org/doc/v2.23/Documentation/notation/adjusting-horizontal-spacing-for-specific-layout-objects
> c4 d e fs |
> g a
> \bar "||"
> \set Staff.forceClef = ##t
> \key c \minor
> bf c |
> bf af g f |
> ef d c2
> }
>
>
> If, like me, you find the space between the clef and the
> key signature slightly excessive, you will want to look
> at
> https://lilypond.org/doc/v2.23/Documentation/notation/adjusting-horizontal-spacing-for-specific-layout-objects
> (that documentation was added in 2.23, but it works in
> 2.22 as well).
>
> Best,
> Jean
>
>
--
0432 854 858
https://numbersandshapes.net
Key change with clef after the bar line?
In my current project, I'm trying as far as possible to replicate the
spirit of the original 18th century publication, in which a key change has
a clef printed, and both after the bar line. In one piece, there's a segno
in the middle of a bar, with such a key change. In standard Lilypond, this
micro-example shows that the printed clef comes before the bar line (I've
left out the segno marker and all other markers outside the score):
global = {
\language english
\clef treble
\time 4/4
}
\relative c' {\key c \major c4 d e fs | g a \bar "||" \set Staff.forceClef
= ##t \key c \minor bf c | bf af g f | ef d c2 }
But modern practice is to put the clef before the double bar, and the key
change afterwards. I want the clef to come after that double bar.
According to the documentation, this can be changed with "break-alignment",
in particular with:
\override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(span-bar
breathing-sign
staff-bar
key
clef
time-signature))
However, in the mini example just given above, adding that override in the
global declaration has no effect. I tried changing the order of "key" and
"clef" in the override, again with no effect. (When I tried his in a
larger piece, the key change was printed on the bar-line!)
Is there any way I can notate a key change, at a segno with an extra bar
line, in order: bar line, clef, key ?
Many thanks,
Alasdair
--
0432 854 858
https://numbersandshapes.net
Re: Fatal error messages
Hello Valentin,
Many thanks - your thought about write access was right on the money. For
reasons I can't determine, the folder in which I'm working had user write
access removed, so its permissions were dr-xr-xr-x instead of drwxr-xr-x as
they should have been. I don't know how I removed the write access, but indeed
I did; it's now been re-instated and all works well (phew).
Alasdair
On Saturday 26 February 2022 21:34:04 (+11:00), Valentin Petzel wrote:
> Hello Alasdair,
> midi appears to create a temporary file. The error seems to happen in line 51
> in midi-stream.cc. This temporary file should be placed in the current working
> directory if I’m correct.
>
> Can you make sure you do have write access to the drive? If so, could it be
> that you have some sort of sandbox or AV thats hindering Lilypond to write
> files?
>
> Valentin
>
> Am Samstag, 26. Februar 2022, 01:40:20 CET schrieb Alasdair McAndrew:
> > I've been using Lilypond, with Frescobaldi, on Linux happily for ages. But
> > today, when I tried to compile a few bars in Frescobaldi, I got the error:
> >
> >
> > fatal error: cannot create temp file: my_music_file.midi. 40227fc:
> > Permission denied
> >
> >
> > This is a first for me, and I tried running Lilypond on an old file, which
> > had compiled successfully before - again the same error. But also, when I
> > commented out the "midi" part of my score block, I got a new error:
> >
> >
> > Drawing systems...guile: uncaught throw to system-error: (("open-
> fdes"
> > "~A" ("Permission denied") (13)))
> >
> >
> > Clearly something has gone very wrong - but what? How do I find out where
> > the problem is, and how to fix it?
> >
> >
> > Note that Lilypond always writes its files into the current directory, of
> > which I have full user permission. I don't know if Lilypond writes
> > temporary files into another directory (say "/tmp") but there's plenty of
> > room there - it's not as though the filesystem is full.
> >
> >
> > Anyway, at the moment Lilypond is not working, and I don't know how to fix
> > it - so any help or advice will be very gratefully received!
> >
> >
> > Oh: Lilypond 2.22.1, and on a fairly recently upgraded Arch Linux
> >
> >
> > cheers and thanks,
> > Alasdair
>
>
--
0432 854 858
https://numbersandshapes.net
Re: Creating a book of pieces?
Thank you very much. I already use multiple score blocks for different
movements; each movement has its own heading, time signature etc. So I get
a single file from multiple score blocks. But these multiple blocks form
suites, and I want the book to refer to the suites, rather than their
individual movements.
That is, the contents page might have
Suite 1 ...3
Suite 2 ...14
and so on for the pages for each suite. But Suite 1 itself (and all the
others) is built from the score blocks: Overture, Allemande, Bourree,
Menuet, Gavotte, Gigue (for example). Maybe LaTeX will in fact be my best
bet?
cheers,
Alasdair
On Saturday 26 February 2022 11:37:12 (+11:00), Valentin Petzel wrote:
Hello Alasdair,
Yes, there is. Placing multiple \score{...} blocks in one file will produce
one pdf. Using \book{..} we can split this into multiple pdfs produced from
one file.
Title pages can be designed using \markup{...}, but it is also viable to
create the title page in some other application and join the pdfs (this
might be nescessary if you want to design very intricate pdfs).
Doing a ToC is possible as well, see here:
https://lilypond.org/doc/v2.23/Documentation/notation/table-of-contents
Cheers,
Valentin
Am Freitag, 25. Februar 2022, 22:49:22 CET schrieb Alasdair McAndrew:
> Hello,
> Over the past few weeks I have been transcribing a set of 18th century
> suites into Lilypond (they look very nice, too), and now I'd like to
> collect them into one "book"; that is, a single PDF file with title
page,
> table of contents etc.
>
> Can Lilypond do this, or do I need to invoke some other software? I can
> use LaTeX happily enough - I've been using it professionally for
decades.
> (However, getting page numbers correct in LaTeX from included PDF files
has
> a few pitfalls.) Is there a "standard" way of collecting a whole lot of
> Lilypond pieces into one nice product?
>
> Thanks very much,
> Alasdair
--
0432 854 858
https://numbersandshapes.net
Fatal error messages
I've been using Lilypond, with Frescobaldi, on Linux happily for ages. But
today, when I tried to compile a few bars in Frescobaldi, I got the error:
fatal error: cannot create temp file: my_music_file.midi. 40227fc:
Permission denied
This is a first for me, and I tried running Lilypond on an old file, which
had compiled successfully before - again the same error. But also, when I
commented out the "midi" part of my score block, I got a new error:
Drawing systems...guile: uncaught throw to system-error: (("open-fdes"
"~A" ("Permission denied") (13)))
Clearly something has gone very wrong - but what? How do I find out where
the problem is, and how to fix it?
Note that Lilypond always writes its files into the current directory, of
which I have full user permission. I don't know if Lilypond writes
temporary files into another directory (say "/tmp") but there's plenty of
room there - it's not as though the filesystem is full.
Anyway, at the moment Lilypond is not working, and I don't know how to fix
it - so any help or advice will be very gratefully received!
Oh: Lilypond 2.22.1, and on a fairly recently upgraded Arch Linux
cheers and thanks,
Alasdair
--
0432 854 858
https://numbersandshapes.net
Creating a book of pieces?
Hello, Over the past few weeks I have been transcribing a set of 18th century suites into Lilypond (they look very nice, too), and now I'd like to collect them into one "book"; that is, a single PDF file with title page, table of contents etc. Can Lilypond do this, or do I need to invoke some other software? I can use LaTeX happily enough - I've been using it professionally for decades. (However, getting page numbers correct in LaTeX from included PDF files has a few pitfalls.) Is there a "standard" way of collecting a whole lot of Lilypond pieces into one nice product? Thanks very much, Alasdair -- https://numbersandshapes.net
Re: Setting relative pitch as a global declaration?
Dear Christian,
Many thanks indeed - I hadn't thought of using \transpose for this purpose,
although I have indeed used it for other reasons. Several of the initial
responses to my query recommended \transpose as well. It still means
though that I need a separate declaration for every score block, or for
every invocation of \global_two. In this sense, although it's a much more
efficient and flexible approach, it requires the same amount of work as
changing the relative pitch for each \new \Voice for part two. I was hoping
there was some neat way of including the relative pitch in the global
declaration of the parts (global_one and global_two in my example). But I
do like the neatness of your method and of your function.
The idea of reading through the notation manual systematically is
excellent. The issue for me is that I only really have time to explore and
use Lilypond a few times a year (I get too busy the rest of the time), and
my notational needs are generally fairly simple.
Thank you again,
Alasdair
On Thu, Feb 10, 2022 at 7:27 PM Christian
wrote:
> Hi Alasdair!
>
> Two pretty easy options here as transposing a whole lot of stuff is pretty
> straight forward in lilypond:
>
> You could exchange the lines like
>\new Staff << \global \global_two \global_prelude \prelude_two >>
> with
>\new Staff << \transpose #FROM #TO { \global \global_two
> \global_prelude \prelude_two } >>
> with #FROM and #TO being the respective pitches you want to transpose the
> music.
>
> Or you could use a custom transpose function, that you define at the
> beginning, for example:
>tsp =
> #(define-music-function (parser location msc) (ly:music?)
> #{
> \transpose #FROM #TO #msc
> #}
>)
> and exchange the same line from before with
>\new Staff << \tsp { \global \global_two \global_prelude \prelude_two }
> >>
>
> In the first option you'd have to exchange the transposition for every
> movement, in the second version only at the one point in the beginning of
> the document.
>
> Hope this helps,
> Christian
>
> PS: I really recommend you to work through the notation manual
> systematically even though you may not need most of it right now.
>
> Am Do., 10. Feb. 2022 um 00:18 Uhr schrieb Alasdair McAndrew <
> amc...@gmail.com>:
>
>> Thank you all so much for your help and advice. Given that there might
>> have been some confusion about what I was asking, I've added below a sort
>> of template of what I'm doing. Note that this is a duet, and the notes for
>> the first part (first instrument) are given as variables *_one; and for the
>> second part (second instrument) as *_two.
>>
>> The use of the "french" clef is just to check with the original - they
>> will be changed to "\clef treble" before final typesetting.
>>
>> What I want to do is to produce a version of this where the second part
>> is taken by a bass instrument. This will require two things: first a
>> change of the \global_two decoration, and second a change of relative pitch
>> in its music.
>>
>> There are 8 movements, which would mean - in my example - changing the
>> relative pitch for each variable containing music for this second part.
>> Given that I like to separate the notes from the movement and instrument
>> descriptions, I was hoping that this could be done "in one go" as it were.
>> I was wondering if it would be possible to define one's own version of
>> \Voice in such a way that included a relative pitch - maybe using a Scheme
>> function.
>>
>> Anyway, I shall read all your messages with greater focus later today.
>> Again, many thanks.
>>
>> Alasdair
>>
>> --
>> global_one = {
>> \set Staff.instrumentName = #"Recorder"
>> \override Staff.InstrumentName.self-alignment-X = #RIGHT
>> \set Staff.midiInstrument = #"recorder"
>> \clef french
>> }
>>
>> global_two = {
>> \set Staff.instrumentName = #"Recorder"
>> \override Staff.InstrumentName.self-alignment-X = #RIGHT
>> \set Staff.midiInstrument = #"recorder"
>> \clef french
>> }
>>
>> global_prelude = {
>> \time 4/4
>> \key c \major
>> }
>>
>> global_menuet = {
>> \time 3/4
>> \key c \minor
>> }
>>
>> prelude_one = \new Voice \relative c'' {
>> notes notes notes
>> }
>>
>> prelude_two = \new Voice \relative c'' {
>> notes notes notes
>> }
>>
>> menuet_one = \new Voice \relative c'' {
>> notes notes notes
>>
Re: Setting relative pitch as a global declaration?
Thank you all so much for your help and advice. Given that there might
have been some confusion about what I was asking, I've added below a sort
of template of what I'm doing. Note that this is a duet, and the notes for
the first part (first instrument) are given as variables *_one; and for the
second part (second instrument) as *_two.
The use of the "french" clef is just to check with the original - they will
be changed to "\clef treble" before final typesetting.
What I want to do is to produce a version of this where the second part is
taken by a bass instrument. This will require two things: first a change
of the \global_two decoration, and second a change of relative pitch in its
music.
There are 8 movements, which would mean - in my example - changing the
relative pitch for each variable containing music for this second part.
Given that I like to separate the notes from the movement and instrument
descriptions, I was hoping that this could be done "in one go" as it were.
I was wondering if it would be possible to define one's own version of
\Voice in such a way that included a relative pitch - maybe using a Scheme
function.
Anyway, I shall read all your messages with greater focus later today.
Again, many thanks.
Alasdair
--
global_one = {
\set Staff.instrumentName = #"Recorder"
\override Staff.InstrumentName.self-alignment-X = #RIGHT
\set Staff.midiInstrument = #"recorder"
\clef french
}
global_two = {
\set Staff.instrumentName = #"Recorder"
\override Staff.InstrumentName.self-alignment-X = #RIGHT
\set Staff.midiInstrument = #"recorder"
\clef french
}
global_prelude = {
\time 4/4
\key c \major
}
global_menuet = {
\time 3/4
\key c \minor
}
prelude_one = \new Voice \relative c'' {
notes notes notes
}
prelude_two = \new Voice \relative c'' {
notes notes notes
}
menuet_one = \new Voice \relative c'' {
notes notes notes
}
menuet_two = \new Voice \relative c'' {
notes notes notes
}
\score {
\new StaffGroup <<
\new Staff << \global \global_one \global_prelude \prelude_one >>
\new Staff << \global \global_two \global_prelude \prelude_two >>
>>
\layout { }
\header{
piece = \markup {\fontsize #2 {Prelude}}
}
\midi {
\tempo 4 = 144}
}
\score {
\new StaffGroup <<
\new Staff << \global \global_one \global_menuet \menuet_one >>
\new Staff << \global \global_two \global_menuet \menuet_two >>
>>
\layout { }
\header{
piece = \markup {\fontsize #2 {Menuet}}
}
\midi {
\tempo 4 = 144}
}
On Wed, Feb 9, 2022 at 6:16 PM Alasdair McAndrew wrote:
> I'm sorry about all these damn-fool queries of mine; I promise to go back
> under my rock soon. Anyway:
> In the current 18th century suite I'm typesetting (for two treble
> instruments without bass), there is a separate variable (containing the
> notes) for each part of each movement. Then there are global declarations
> about the instruments, and the key and time-signature of each movement;
> and
> these are all brought together in score blocks.
>
> The one thing I don't know how to do is to declare the relative pitch
> globally. Thus, each music variable looks like
>
> movement1_part1 = \new Voice \relative c'' { notes, notes, and more notes }
>
> The difficulty is that I want to re-set the second part for a bass
> instrument, so it might start off as
>
> movement1_part2 = \new Voice \relative c { notes, notes, and more notes }
>
> Currently this means changing the relative pitch for each movement
> individually. It would be much more efficient to be able to do this just
> once at the beginning, with an appropriate global declaration. Can this
> be
> done? Is there a way to set the relative pitch of some music in a \global
> block?
>
> (Note, I have indeed RTFM, but it's quite hard - even with the search
> function - to find answers to this, or examples of such use. Hence this
> message...)
>
> Thank you,
> Alasdair
> --
> 0432 854 858
> https://numbersandshapes.net
>
--
Alasdair McAndrew
mob: 0432 854 858
https://numbersandshapes.net
Setting relative pitch as a global declaration?
I'm sorry about all these damn-fool queries of mine; I promise to go back
under my rock soon. Anyway:
In the current 18th century suite I'm typesetting (for two treble
instruments without bass), there is a separate variable (containing the
notes) for each part of each movement. Then there are global declarations
about the instruments, and the key and time-signature of each movement; and
these are all brought together in score blocks.
The one thing I don't know how to do is to declare the relative pitch
globally. Thus, each music variable looks like
movement1_part1 = \new Voice \relative c'' { notes, notes, and more notes }
The difficulty is that I want to re-set the second part for a bass
instrument, so it might start off as
movement1_part2 = \new Voice \relative c { notes, notes, and more notes }
Currently this means changing the relative pitch for each movement
individually. It would be much more efficient to be able to do this just
once at the beginning, with an appropriate global declaration. Can this be
done? Is there a way to set the relative pitch of some music in a \global
block?
(Note, I have indeed RTFM, but it's quite hard - even with the search
function - to find answers to this, or examples of such use. Hence this
message...)
Thank you,
Alasdair
--
0432 854 858
https://numbersandshapes.net
Re: Right justifying text between systems
Thank you very much: the use of "\fill-line" and "\null" works perfectly.
I was in fact trying to see how to use fill-line, and I didn't know about
"null". I'll explore the padding as well, but right at the moment even
without it, it seems that fill-line is working very well.
Again - thank you!
Alasdair
On Tuesday 08 February 2022 19:47:41 (+11:00), Aaron Hill wrote:
> On 2022-02-07 11:04 pm, Alasdair McAndrew wrote:
> > \markup {\hspace #70 \fontsize #2 {\italic {Au Rondeau puis au
premier}}}
>
> For right-alignment, you should use \fill-line:
>
>
> \markup \fill-line { \null \italic "Lorem ipsum..." }
>
>
>
> > I could do this by adding the text as a markup to one of the notes in
> > the bottom staff of Rondeau II, but then it's too close to the score
> > block.
>
> You could use a RehearsalMark at the very end with appropriate padding:
>
>
> \paper { #(set-paper-size "a5") }
>
> Rondeau.I = { R1*13 \bar "||" }
> Rondeau.II = { R1*13 \bar "||" }
> Bourree.I = { R1*13 \bar "|." }
>
> \score { \header { piece = "Rondeau I" } { \Rondeau.I } }
> \score { \header { piece = "Rondeau II" }
> { \Rondeau.II
> \tweak break-visibility #end-of-line-visible
> \tweak direction #DOWN
> \tweak font-size #0
> \tweak padding #2
> \tweak self-alignment-X #RIGHT
> \mark \markup \italic "Repeat Rondeau I" }
> }
> \score { \header { piece = "Bourree I" } { \Bourree.I } }
>
>
>
> -- Aaron Hill
>
--
0432 854 858
https://numbersandshapes.net
Re: Right justifying text between systems
Dear Rémy,
Many thanks - that works perfectly. I didn't know about "null", which makes
"fill-line" work just the way I want.
Alasdair
On Tuesday 08 February 2022 19:53:18 (+11:00), Remy CLAVERIE wrote:
Hi Alaisdair,
What about :
\markup\fill-line{ \null \fontsize #2 \italic "Au Rondeau puis au premier"} ??
Rémy
envoyé : 8 février 2022 à 08:04
de : Alasdair McAndrew
à : lilypond-user@gnu.org
objet : Right justifying text between systems
Hello,
I'm typesetting some French late baroque music, which starts with the three
movements Rondeau I, Rondeau II, Bourree I. After Rondeau II I need to
include the text direction to repeat Rondeau I. In order to try to get the
"feel" of the original, I want to have this text right justified on the
page. The best I can find so far is to manually put some space before it
and put this between two \score blocks:
\markup {\hspace #70 \fontsize #2 {\italic {Au Rondeau puis au premier}}}
This works, except for the vertical spacing - it's too far from the Rondeau
II score block, and too close to the next score block for Bourree I. I
want this text to be somehow "anchored" to Rondeau II, and let the page
layout algorithm put as much space as it needs before Bourree I.
I could do this by adding the text as a markup to one of the notes in the
bottom staff of Rondeau II, but then it's too close to the score block.
Does this make sense? What I want is:
Rondeau I
Rondeau II
"repeat Rondeau I" (and right justified)
Bourree I
and with the text closer to Rondeau II than to Bourree I. I would have
thought this would be trivial - and maybe it is - but I still can't work
out how to do it. Thank you all!
Alasdair
--
0432 854 858
https://numbersandshapes.net
Right justifying text between systems
Hello,
I'm typesetting some French late baroque music, which starts with the three
movements Rondeau I, Rondeau II, Bourree I. After Rondeau II I need to
include the text direction to repeat Rondeau I. In order to try to get the
"feel" of the original, I want to have this text right justified on the
page. The best I can find so far is to manually put some space before it
and put this between two \score blocks:
\markup {\hspace #70 \fontsize #2 {\italic {Au Rondeau puis au premier}}}
This works, except for the vertical spacing - it's too far from the Rondeau
II score block, and too close to the next score block for Bourree I. I
want this text to be somehow "anchored" to Rondeau II, and let the page
layout algorithm put as much space as it needs before Bourree I.
I could do this by adding the text as a markup to one of the notes in the
bottom staff of Rondeau II, but then it's too close to the score block.
Does this make sense? What I want is:
Rondeau I
Rondeau II
"repeat Rondeau I" (and right justified)
Bourree I
and with the text closer to Rondeau II than to Bourree I. I would have
thought this would be trivial - and maybe it is - but I still can't work
out how to do it. Thank you all!
Alasdair
--
https://numbersandshapes.net
Re: Dal segno?
Thank you very much - and I realize I should have thought of this myself! In fact I found an example in one of my own files from a few years ago that I'd completely forgotten about. Alasdair On Monday 07 February 2022 02:48:43 (+11:00), Knute Snortum wrote: > On Sun, Feb 6, 2022 at 2:29 AM Alasdair McAndrew wrote: > > > > When I search on "da capo", "dal segno" I get a huge amount of explanatory > > material in the Lilypond glossary, but I can't find examples of their use, > > or a description of their symbols. I'm sure it's there somewhere ... but > > so far I can't find where. > > How do I insert a "DC al fine" or "Dal Segno" or similar in a score? > > If you're looking for examples, then searching for "snippets"[1] or > the LilyPond Snippet Repository (LSR)[2] is a good place to start. In > the documentation snippets you will find what you need in the > "repeats" section. In the LSR, searching for "segno" will give you a > good example. > > 1) https://lilypond.org/doc/v2.22/Documentation/snippets/ > 2) https://lsr.di.unimi.it/LSR/Search > > > -- > Knute Snortum > -- 0432 854 858 https://numbersandshapes.net
Dal segno?
When I search on "da capo", "dal segno" I get a huge amount of explanatory material in the Lilypond glossary, but I can't find examples of their use, or a description of their symbols. I'm sure it's there somewhere ... but so far I can't find where. How do I insert a "DC al fine" or "Dal Segno" or similar in a score? Thank you all, Alasdair -- 0432 854 858 https://numbersandshapes.net
Re: Slurs with "afterGrace"
Thank you! I would never have thought of putting the ending slur inside
the grace note braces - but it works perfectly.
Again, thanks.
Alasdair
On Sunday 06 February 2022 20:53:12 (+11:00), Richard Shann wrote:
>
>
> \afterGrace g4(-+ {a16 g16)} }
>
> Richard
>
> On Sun, 2022-02-06 at 09:13 +0000, Alasdair McAndrew wrote:
> > Thank you very much! (But in Australia, where I am, it is early
> > evening). I did try that, but the difficulty is that I already have
> > a symbol attached to the note (which I should have included in my
> > example):
> >
> > \afterGrace g4-+( {a16 g16} )
> >
> > I've tried moving the beginning of the slur to directly after the
> > note:
> >
> > \afterGrace g4(-+ {a16 g16} )
> >
> > but this is no good either. I'm sorry not to have included this
> > clearly important detail in my first post.
> >
> > Alasdair
> >
> >
> >
> > On Sunday 06 February 2022 19:31:32 (+11:00), Rip _Mus wrote:
> >
> > > Good morning,
> > > try:
> > >
> > > \afterGrace g4( { a16 g16) }
> > >
> > > The slur event must be attached directly after the note.
> > >
> > > Rip_mus
> > >
> > > Il dom 6 feb 2022, 08:59 Alasdair McAndrew ha
> > > scritto:
> > > > This works:
> > > > g4( \grace {a16 g16})
> > > >
> > > > making a slur which includes the grace notes. But in order to
> > > > get the
> > > > right spacing and barring (I need grace notes to occur before the
> > > > bar line,
> > > > rather than after), I need to use "afterGrace":
> > > >
> > > > \afterGrace g4 {a16 g16}
> > > >
> > > > However, if I attempt to include a slur:
> > > >
> > > > \afterGrace g4( {a16 g16} )
> > > >
> > > > I get a warning about an "Unattached SlurEvent". Lilypond makes
> > > > a good
> > > > guess at what I want and bungs a slur in anyway - but what does
> > > > this
> > > > warning mean, and how can I avoid it? Thank you!
> > > >
> > > > Alasdair
>
>
>
--
0432 854 858
https://numbersandshapes.net
Re: Slurs with "afterGrace"
Thank you very much! (But in Australia, where I am, it is early evening).
I did try that, but the difficulty is that I already have a symbol
attached to the note (which I should have included in my example):
\afterGrace g4-+( {a16 g16} )
I've tried moving the beginning of the slur to directly after the note:
\afterGrace g4(-+ {a16 g16} )
but this is no good either. I'm sorry not to have included this clearly
important detail in my first post.
Alasdair
On Sunday 06 February 2022 19:31:32 (+11:00), Rip _Mus wrote:
Good morning,
try:
\afterGrace g4( { a16 g16) }
The slur event must be attached directly after the note.
Rip_mus
Il dom 6 feb 2022, 08:59 Alasdair McAndrew ha scritto:
This works:
g4( \grace {a16 g16})
making a slur which includes the grace notes. But in order to get the
right spacing and barring (I need grace notes to occur before the bar line,
rather than after), I need to use "afterGrace":
\afterGrace g4 {a16 g16}
However, if I attempt to include a slur:
\afterGrace g4( {a16 g16} )
I get a warning about an "Unattached SlurEvent". Lilypond makes a good
guess at what I want and bungs a slur in anyway - but what does this
warning mean, and how can I avoid it? Thank you!
Alasdair
--
0432 854 858
https://numbersandshapes.net
--
0432 854 858
https://numbersandshapes.net
Slurs with "afterGrace"
This works:
g4( \grace {a16 g16})
making a slur which includes the grace notes. But in order to get the
right spacing and barring (I need grace notes to occur before the bar line,
rather than after), I need to use "afterGrace":
\afterGrace g4 {a16 g16}
However, if I attempt to include a slur:
\afterGrace g4( {a16 g16} )
I get a warning about an "Unattached SlurEvent". Lilypond makes a good
guess at what I want and bungs a slur in anyway - but what does this
warning mean, and how can I avoid it? Thank you!
Alasdair
--
0432 854 858
https://numbersandshapes.net
Re: Transposing pitches in the lilypond file itself?
Thanks, David - for the heads up about Emacs Lilypond mode! I don't use Emacs for everything, but I do use it for a lot of things; and certainly for anything involving text (like Lilypond) it's my standard go-to. But what is it about the Lilypond mode which is so abominable? I just use it really for note-entering, and for each new piece I start off with one of my templates. The font-lock minor mode (coloring) is very helpful. (Also, I'm curious - which Emacs mail system are you using? I've tried several, but none of them really appealed to me. I'm now using the inbuilt mail system which is part of the Vivaldi browser. I also agree about LaTeX: I've installed Emacs on my Windows machine as well because Emacs+auctex works for me better than any other editor or LaTeX IDE.) Alasdair On Thursday 13 January 2022 01:02:17 (+11:00), David Kastrup wrote: > Alasdair McAndrew writes: > > > Thanks, Guy. > > > > > > I use the Linux Emacs editor (which has a lilypond mode), and there > > might be something there, but I was just after a little advice - I > > have used Frescobaldi, but for me Emacs is faster and more efficient. > > Emacs' LilyPond-mode is an abomination in desperate need of maintenance > or possibly rewriting from scratch. There is no reason to use it unless > you are one of those people who use Emacs for everything (in contrast, > the mail/news client I am writing this in would be a reason to switch to > Emacs rather than vice versa. As are the LaTeX modes). However, it > probably has the only useable MIDI pitch recognition for polyphonic > entry like those of accordions. > > If I needed to batch-convert some input regarding relative/absolute or > transpose, I'd likely start up Frescobaldi. Never mind that it isn't > the one editor to bring them all and in the darkness bind them. > -- 0432 854 858 https://numbersandshapes.net
RE: Transposing pitches in the lilypond file itself?
Thanks, Leo – I didn’t known about that command so I'll have to experiment with it. Sent from Mail for Windows From: Leo Correia de VerdierSent: Wednesday, 12 January 2022 7:49 PMTo: Mark KnoopCc: Alasdair McAndrew; lilypond-user@gnu.orgSubject: Re: Transposing pitches in the lilypond file itself? Depending on how you’ll use it \displayLilyMusic may also be useful. (Från telefonen) > 12 jan. 2022 kl. 09:35 skrev Mark Knoop :> > You might be interested in python-ly (https://python-ly.readthedocs.io/en/latest/) which is actually written by the Frescobaldi developers and used within it.> > This provides a command-line tool that can do transposition (and more) and shouldn't be too hard to use from within Emacs.> > At 05:06 on 12 Jan 2022, Alasdair McAndrew wrote:>> Thanks, Guy.>> >> I use the Linux Emacs editor (which has a lilypond mode), and there might be something there, but I was just after a little advice - I have used Frescobaldi, but for me Emacs is faster and more efficient.>> >> cheers,>> Alasdair>> >>> On Wednesday 12 January 2022 16:03:58 (+11:00), Guy Stalnaker wrote:>>> >>> Alasdair,>>> >>> Though it may not match your use, Frescobaldi, the LilyPond Editor, can do this using one of its built-in features. In essence you specify the interval to transpose when selecting the feature, e.g., "c d" would transpose up a major 2nd.>>> >>> Many on this list use other editors, but personally I cannot imagine writing Lilypond without Frescobaldi given its features. For your purpose, it might be worth an install simply to use the transpose feature?>>> >>> If there are other ways of doing this in other editors, I'm sure list subscribers will chime in.>>> >>> Regards>>> >>> -->>> >>> “Happiness is the meaning and the purpose of life, the whole aim and end of human existence.”>>> >>> ― Aristotle>>> >>> On Tue, Jan 11, 2022 at 10:27 PM Alasdair McAndrew wrote:>>>> >>>> I'm not quite sure how to search online for this, hence my asking here. I'm doing a little bit of arranging of some baroque pieces for specific instruments, which usually requires some transposition. I can transpose within the lilypond file so that the output score has the correct (transposed) notes, but what I really want is to have the transposed notes in the lilypond file itself. This means I can print out the score without needing to transpose anything. So basically I want to change an input from, say \transpose c,f {c d e f}>>>> >>>> to simply>>>> >>>> {f g a bf}>>>> >>>> In other words, I want the transposition in the file itself, not just in the typeset output. Is there a way of doing this - maybe with an external command (I'm using Linux)?>>>> >>>> Thank you very much,>>>> Alasdair> --> Mark Knoop>
RE: Transposing pitches in the lilypond file itself?
Mark – I've just had a look at python-ly and it appears to be exactly what I was after. Thank you very much! Sent from Mail for Windows From: Mark KnoopSent: Wednesday, 12 January 2022 7:32 PMTo: Alasdair McAndrewCc: lilypond-user@gnu.orgSubject: Re: Transposing pitches in the lilypond file itself? You might be interested in python-ly (https://python-ly.readthedocs.io/en/latest/) which is actually written by the Frescobaldi developers and used within it. This provides a command-line tool that can do transposition (and more) and shouldn't be too hard to use from within Emacs. At 05:06 on 12 Jan 2022, Alasdair McAndrew wrote:> Thanks, Guy.> > I use the Linux Emacs editor (which has a lilypond mode), and there might be something there, but I was just after a little advice - I have used Frescobaldi, but for me Emacs is faster and more efficient.> > cheers,> Alasdair>a a> On Wednesday 12 January 2022 16:03:58 (+11:00), Guy Stalnaker wrote:>> >> Alasdair,>> >> Though it may not match your use, Frescobaldi, the LilyPond Editor, can do this using one of its built-in features. In essence you specify the interval to transpose when selecting the feature, e.g., "c d" would transpose up a major 2nd.>> >> Many on this list use other editors, but personally I cannot imagine writing Lilypond without Frescobaldi given its features. For your purpose, it might be worth an install simply to use the transpose feature?>> >> If there are other ways of doing this in other editors, I'm sure list subscribers will chime in.>> >> Regards>> >> -->> >> “Happiness is the meaning and the purpose of life, the whole aim and end of human existence.”>> >> ― Aristotle>> >> On Tue, Jan 11, 2022 at 10:27 PM Alasdair McAndrew wrote:>>> >>> I'm not quite sure how to search online for this, hence my asking here. I'm doing a little bit of arranging of some baroque pieces for specific instruments, which usually requires some transposition. I can transpose within the lilypond file so that the output score has the correct (transposed) notes, but what I really want is to have the transposed notes in the lilypond file itself. This means I can print out the score without needing to transpose anything. So basically I want to change an input from, say \transpose c,f {c d e f}>>> >>> to simply>>> >>> {f g a bf}>>> >>> In other words, I want the transposition in the file itself, not just in the typeset output. Is there a way of doing this - maybe with an external command (I'm using Linux)?>>> >>> Thank you very much,>>> Alasdair--Mark Knoop
Re: Transposing pitches in the lilypond file itself?
Thanks, Guy.
I use the Linux Emacs editor (which has a lilypond mode), and there might be
something there, but I was just after a little advice - I have used
Frescobaldi, but for me Emacs is faster and more efficient.
cheers,
Alasdair
On Wednesday 12 January 2022 16:03:58 (+11:00), Guy Stalnaker wrote:
Alasdair,
Though it may not match your use, Frescobaldi, the LilyPond Editor, can do this
using one of its built-in features. In essence you specify the interval to
transpose when selecting the feature, e.g., "c d" would transpose up a major
2nd.
Many on this list use other editors, but personally I cannot imagine writing
Lilypond without Frescobaldi given its features. For your purpose, it might be
worth an install simply to use the transpose feature?
If there are other ways of doing this in other editors, I'm sure list
subscribers will chime in.
Regards
--
“Happiness is the meaning and the purpose of life, the whole aim and end of
human existence.”
― Aristotle
On Tue, Jan 11, 2022 at 10:27 PM Alasdair McAndrew wrote:
I'm not quite sure how to search online for this, hence my asking here.
I'm doing a little bit of arranging of some baroque pieces for specific
instruments, which usually requires some transposition. I can transpose
within the lilypond file so that the output score has the correct
(transposed) notes, but what I really want is to have the transposed notes
in the lilypond file itself. This means I can print out the score without
needing to transpose anything. So basically I want to change an input
from, say
\transpose c,f {c d e f}
to simply
{f g a bf}
In other words, I want the transposition in the file itself, not just in
the typeset output. Is there a way of doing this - maybe with an external
command (I'm using Linux)?
Thank you very much,
Alasdair
--
0432 854 858
https://numbersandshapes.net
Transposing pitches in the lilypond file itself?
I'm not quite sure how to search online for this, hence my asking here.
I'm doing a little bit of arranging of some baroque pieces for specific
instruments, which usually requires some transposition. I can transpose
within the lilypond file so that the output score has the correct
(transposed) notes, but what I really want is to have the transposed notes
in the lilypond file itself. This means I can print out the score without
needing to transpose anything. So basically I want to change an input
from, say
\transpose c,f {c d e f}
to simply
{f g a bf}
In other words, I want the transposition in the file itself, not just in
the typeset output. Is there a way of doing this - maybe with an external
command (I'm using Linux)?
Thank you very much,
Alasdair
Re: Fingerings within voiced chord throw an error (Lilypond 2.20.0)
Just a follow up to say that (almost) all my problems have been resolved by
moving from 32-bit Lilypond on Windows to 64-bit Lilypond on Linux. Many
thanks to all the kind folk who have helped me try to determine the
causes. Problems left are minor syntactical ones which I'll wrestle with
quietly. But the exit code error seems to have been caused by a memory
issue on Windows.
Thank you all again,
Alasdair
On Fri, Sep 11, 2020 at 11:46 PM Alasdair McAndrew wrote:
> I have a chord of two notes. And I'd like to split it into two voices so
> that the top note's stem points up, and the bottom note's stem points down,
> and with a fingering, like this:
>
> <<{\set fingeringOrientations = #'(left) 4}\\{c,4}>>
>
> However, in Frescobaldi this throws the error "return code -1073741819".
> I can voice it without a fingering, or within a single voice, so that
> either of these work:
>
> <>
> \set fingeringOrientations = #'(left left) 4
>
> but voiced, and with a left-hand fingering, seems impossible. What's
> annoying is that I was able to do exactly this a few bars ago. So
> somehow something's happened in the last few bars which has thrown Lilypond
> off and is now causing an error. But all the intervening bars compile
> without any errors or warnings.
>
> Here's a picture of the last line so far:
>
> [image: marais_error.png]
> You'll see the correct output in the second beat of bar 92. Also notice
> that in bar 91 there is a chord of five notes of which the top stem points
> up, the bottom stems down. When I copied this into bar 95 I got the same
> error, so I had to put all notes into the same voice.
>
> How can I find out what's causing this error?
>
> Thanks very much,
> Alasdair
>
> --
> https://numbersandshapes.net
>
--
https://numbersandshapes.net
Re: Fingerings within voiced chord throw an error (Lilypond 2.20.0)
It's got even worse. Now I can barely do anything. This bar:
f,-1 f'-3 f, f' g,-2 f' |
now causes that error - also without the fingerings. I don't know what to
do.
On Sat, Sep 12, 2020 at 11:48 AM Alasdair McAndrew wrote:
> Thanks David.
>
> What a pain. I've tried a few other things: to formally instantiate new
> voices with "voiceOne" and "voiceTwo", to include a "\relative" call - but
> it makes no difference. Currently I seem to have run out of the ability in
> this current score of changing the fingering styles when having more than
> one voice. The issue seems to be with the chord notation of fingering.
> For example, standard fingering outside the staff works:
>
> <<{g-2}\\c,>>
>
> but the moment I try to change the position of the fingering, and enter
>
> <<{}\\c,>>
>
> I get the error. The same thing happens if I want a voice which includes
> a chord:
>
> <<{4}\\{4}>>
>
> This means that basically I can't include a chord in a new voice. Is
> there a way of getting a more detailed log so that I could try to see what
> might be causing this error in my score?
>
> Thanks again,
> Alasdair
>
> On Sat, Sep 12, 2020 at 12:32 AM David Wright
> wrote:
>
>> On Fri 11 Sep 2020 at 23:46:03 (+1000), Alasdair McAndrew wrote:
>> > I have a chord of two notes. And I'd like to split it into two voices
>> so
>> > that the top note's stem points up, and the bottom note's stem points
>> down,
>> > and with a fingering, like this:
>> >
>> > <<{\set fingeringOrientations = #'(left) 4}\\{c,4}>>
>> >
>> > However, in Frescobaldi this throws the error "return code
>> -1073741819". I
>> > can voice it without a fingering, or within a single voice, so that
>> either
>> > of these work:
>> > […]
>>
>> It's a bug in LP, I believe. If you have more editing to carry out on
>> the score, just plough on regardless and the error will probably
>> disappear. (Sorry to sound like 45. :) )
>>
>> Convert -1073741819 to hex, and it translate into Access Violation,
>> ie reading/writing to an out-of-bounds address. Not easy to debug.
>>
>> Cheers,
>> David.
>>
>
>
> --
> https://numbersandshapes.net
>
--
https://numbersandshapes.net
Re: Fingerings within voiced chord throw an error (Lilypond 2.20.0)
Thanks David.
What a pain. I've tried a few other things: to formally instantiate new
voices with "voiceOne" and "voiceTwo", to include a "\relative" call - but
it makes no difference. Currently I seem to have run out of the ability in
this current score of changing the fingering styles when having more than
one voice. The issue seems to be with the chord notation of fingering.
For example, standard fingering outside the staff works:
<<{g-2}\\c,>>
but the moment I try to change the position of the fingering, and enter
<<{}\\c,>>
I get the error. The same thing happens if I want a voice which includes a
chord:
<<{4}\\{4}>>
This means that basically I can't include a chord in a new voice. Is there
a way of getting a more detailed log so that I could try to see what might
be causing this error in my score?
Thanks again,
Alasdair
On Sat, Sep 12, 2020 at 12:32 AM David Wright
wrote:
> On Fri 11 Sep 2020 at 23:46:03 (+1000), Alasdair McAndrew wrote:
> > I have a chord of two notes. And I'd like to split it into two voices so
> > that the top note's stem points up, and the bottom note's stem points
> down,
> > and with a fingering, like this:
> >
> > <<{\set fingeringOrientations = #'(left) 4}\\{c,4}>>
> >
> > However, in Frescobaldi this throws the error "return code
> -1073741819". I
> > can voice it without a fingering, or within a single voice, so that
> either
> > of these work:
> > […]
>
> It's a bug in LP, I believe. If you have more editing to carry out on
> the score, just plough on regardless and the error will probably
> disappear. (Sorry to sound like 45. :) )
>
> Convert -1073741819 to hex, and it translate into Access Violation,
> ie reading/writing to an out-of-bounds address. Not easy to debug.
>
> Cheers,
> David.
>
--
https://numbersandshapes.net
Fingerings within voiced chord throw an error (Lilypond 2.20.0)
I have a chord of two notes. And I'd like to split it into two voices so
that the top note's stem points up, and the bottom note's stem points down,
and with a fingering, like this:
<<{\set fingeringOrientations = #'(left) 4}\\{c,4}>>
However, in Frescobaldi this throws the error "return code -1073741819". I
can voice it without a fingering, or within a single voice, so that either
of these work:
<>
\set fingeringOrientations = #'(left left) 4
but voiced, and with a left-hand fingering, seems impossible. What's
annoying is that I was able to do exactly this a few bars ago. So
somehow something's happened in the last few bars which has thrown Lilypond
off and is now causing an error. But all the intervening bars compile
without any errors or warnings.
Here's a picture of the last line so far:
[image: marais_error.png]
You'll see the correct output in the second beat of bar 92. Also notice
that in bar 91 there is a chord of five notes of which the top stem points
up, the bottom stems down. When I copied this into bar 95 I got the same
error, so I had to put all notes into the same voice.
How can I find out what's causing this error?
Thanks very much,
Alasdair
--
https://numbersandshapes.net
Consecutive text-spanners next to teach other?
My use of a text-spanner is to indicate that the note is held while other
notes are played, and is indicated by a square bracket (like a mensural
ligature, but below the staff).
I am using
\override TextSpanner.direction = #DOWN
\override TextSpanner.style = #'line
\override TextSpanner.bound-details.left.text = \markup { \draw-line #'(0 .
1) }
\override TextSpanner.bound-details.right.text = \markup { \draw-line #'(0
. 1) }
which works, except that sometimes one spanner ends, and another starts, on
the same note:
g \stopTextSpan \startTextSpan
What happens is that the second spanner is typeset below the first one.
But what I want is for the two spanners to be aligned horizontally, with a
small space between the finish of the first spanner, and the start of the
second.
What sort of tweaks can I use to make that happen?
Thanks,
Alasdair
--
https://numbersandshapes.net
Inserting a "hard" white space?
Hello, I have created a few expression marks (for some early 18th century music I'm trying to typeset) which I put into place with carefully adjusted x and y offsets. The trouble is that Lilypond doesn't take these marks into account when spacing out notes and bars, and sometimes the expression mark is written over by a bar line. All I want is some way of adding some extra space after a bar line. Something like | "" would be lovely if it worked, which of course it doesn't. I know that "s" adds a blank note; what I'm after is like a blank note that also has zero duration! What is the approved or simplest way of adding extra space after a bar line? Note that I don't need to add extra space after every bar line, just occasionally. Thank you! -- https://numbersandshapes.net
Re: Shorthand for "once override"?
Many thanks, both for the event function, and to the blog post. The latter
looks quite tricky, but when I feel brave enough I'll give it a go.
Meanwhile, I'll experiment with the event function - which might in fact be
preferable given that some of the marks are going to have to be
individually tweaked anyway.
I wonder why Lilypond does not have some sort of simple system - which
doesn't require lines of complex Scheme code - for creating a new
accidental (or other expressive mark) to be attached to a note-head.
Alasdair
On Thu, Sep 3, 2020 at 10:28 PM Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> wrote:
> You can have an event function like:
>
> \version "2.20.0"
>
> mx = #(define-event-function (placement) (pair?)
> #{
> -\tweak extra-offset #placement
> -\markup { \teeny \sans x }
> #} )
>
> { f4 -\mx #'(1.6 . 1.4)
> f' -\mx #'(1.5 . 1.43)
> f'' -\mx #'(1.5 . 4.93)
> f''' -\mx #'(1.5 . 8.53)
> }
>
> But if possible I would still follow Andrews suggestion go for a way where
> you don’t have to place each ornament by hand. Its quite advanced but as he
> said there is help to be gotten. Here is the first blog post he wrote about:
>
>
> https://lilypondblog.org/2013/08/adding-ornamentations-to-note-heads-part-1/
>
>
> > 3 sep. 2020 kl. 01:11 skrev Alasdair McAndrew :
> >
> > Thanks, Martin - that would be a great suggestion except that the
> numbers will change depending on the position of the note on the staff, and
> its surrounds - even including the direction of the stem. Every time the
> symbol appears it will need to be carefully placed by hand, so to speak, to
> ensure it's in the right place.
> >
> > cheers,
> > Alasdair
> >
> > On Wed, Sep 2, 2020 at 4:41 PM Martín Rincón Botero <
> martinrinconbot...@gmail.com> wrote:
> > Hi Alasdair,
> >
> > what about
> >
> > mx = \markup { \translate #'(1.5 . -1.5) \teeny \sans x }
> > \score {
> > f4^\mx
> > }
> >
> > Regards,
> > Martín.
> >
> > Am Mi., 2. Sept. 2020 um 08:00 Uhr schrieb Alasdair McAndrew <
> amc...@gmail.com>:
> > In my attempt to typeset some early 18th century French music for viola
> da gamba, I'm trying to keep to the original notation as closely as
> possible. Thus I'm using a breath mark to indicate a trill, and a
> sans-serif x for a mordent. So for example, I have
> >
> > mx = \markup {\teeny \sans x}
> >
> > But to put this symbol next to its note (where it belongs), I have to
> write something like
> >
> > \once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
> >
> > to ensure it goes in the right place. Is there any way of simplifying
> this? Ideally, it'd be nice to be able to write something like
> >
> > f4.^{\mx 1.5 -1.5}
> >
> > and leave all the once override stuff out of the score itself. Or is
> there another way of placing a symbol where I want it?
> >
> > Thanks,
> > Alasdair
> >
> > --
> > https://numbersandshapes.net
> >
> >
> > --
> > www.martinrinconbotero.com
> >
> >
> > --
> > https://numbersandshapes.net
>
>
--
https://numbersandshapes.net
Re: Shorthand for "once override"?
Thanks, Martin - that would be a great suggestion except that the numbers
will change depending on the position of the note on the staff, and its
surrounds - even including the direction of the stem. Every time the
symbol appears it will need to be carefully placed by hand, so to speak, to
ensure it's in the right place.
cheers,
Alasdair
On Wed, Sep 2, 2020 at 4:41 PM Martín Rincón Botero <
martinrinconbot...@gmail.com> wrote:
> Hi Alasdair,
>
> what about
>
> mx = \markup { \translate #'(1.5 . -1.5) \teeny \sans x }
> \score {
> f4^\mx
> }
>
> Regards,
> Martín.
>
> Am Mi., 2. Sept. 2020 um 08:00 Uhr schrieb Alasdair McAndrew <
> amc...@gmail.com>:
>
>> In my attempt to typeset some early 18th century French music for viola
>> da gamba, I'm trying to keep to the original notation as closely as
>> possible. Thus I'm using a breath mark to indicate a trill, and a
>> sans-serif x for a mordent. So for example, I have
>>
>> mx = \markup {\teeny \sans x}
>>
>> But to put this symbol next to its note (where it belongs), I have to
>> write something like
>>
>> \once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
>>
>> to ensure it goes in the right place. Is there any way of simplifying
>> this? Ideally, it'd be nice to be able to write something like
>>
>> f4.^{\mx 1.5 -1.5}
>>
>> and leave all the once override stuff out of the score itself. Or is
>> there another way of placing a symbol where I want it?
>>
>> Thanks,
>> Alasdair
>>
>> --
>> https://numbersandshapes.net
>>
>
>
> --
> www.martinrinconbotero.com
>
--
https://numbersandshapes.net
Re: Shorthand for "once override"?
Errr... because I don't know enough about Lilypond to distinguish between
an override and a tweak. I just happened to have found a Lilypond score
(admittedly an old one) which uses overrides to place special symbols next
to notes, and I'm doing that because I can see that it works. But if
tweaking is the better option, I'll do that instead!
Thank you for the suggestion.
On Wed, Sep 2, 2020 at 8:08 PM David Kastrup wrote:
> Alasdair McAndrew writes:
>
> > In my attempt to typeset some early 18th century French music for viola
> da
> > gamba, I'm trying to keep to the original notation as closely as
> possible.
> > Thus I'm using a breath mark to indicate a trill, and a sans-serif x for
> a
> > mordent. So for example, I have
> >
> > mx = \markup {\teeny \sans x}
> >
> > But to put this symbol next to its note (where it belongs), I have to
> write
> > something like
> >
> > \once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
> >
> > to ensure it goes in the right place. Is there any way of simplifying
> > this? Ideally, it'd be nice to be able to write something like
> >
> > f4.^{\mx 1.5 -1.5}
> >
> > and leave all the once override stuff out of the score itself. Or is
> there
> > another way of placing a symbol where I want it?
>
> Why wouldn't you use a tweak rather than an override?
>
> --
> David Kastrup
>
--
https://numbersandshapes.net
Shorthand for "once override"?
In my attempt to typeset some early 18th century French music for viola da
gamba, I'm trying to keep to the original notation as closely as possible.
Thus I'm using a breath mark to indicate a trill, and a sans-serif x for a
mordent. So for example, I have
mx = \markup {\teeny \sans x}
But to put this symbol next to its note (where it belongs), I have to write
something like
\once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
to ensure it goes in the right place. Is there any way of simplifying
this? Ideally, it'd be nice to be able to write something like
f4.^{\mx 1.5 -1.5}
and leave all the once override stuff out of the score itself. Or is there
another way of placing a symbol where I want it?
Thanks,
Alasdair
--
https://numbersandshapes.net
Question about abbreviations
Hello, I don't know if this is possible in Lilypond, so I'm asking the experts... In a bar of 3/4 time I might have, say: c4. c8 c4 - a very standard rhythm. I remember once that in a score-writing system I used years ago, this could be abbreviated as c>c c. I know that < > are used in Lilypond for chords - but is some other similar abbreviation possible? Thanks, Alasdair -- https://numbersandshapes.net
Fingering: showing strings by dots?
I am trying to typeset some early 18th century French music for viola da gamba. The standard notation, which I would like to keep, is that the string is indicated by a row of dots above the finger number. That is, for example, a 4 with three dots over it (generally in a slight arc, rather than in a straight line), indicates using the fourth finger on the third string. Can this be achieved in Lilypond? I can't find any references in the manual, but maybe I haven't looked hard enough... Thank you very much, Alasdair -- https://numbersandshapes.net
Re: A fatal error with a new installation
Many thanks - yes, that's what it was. I'm using VSCode and its Lilypond extension, and I had installed the vscode-pdf viewer, which clashed with my LaTeX-Workshop extension, which has its own PDF viewer in it. Anyway, after a bit of fiddling and a few VSCode restarts I was able to use the LaTeX pdf viewer for the Lilypond output. All good now! As it's now 1am, and I have been wrestling with some 17th century music (full of huge leaps and multiple changes of clef), time for whisky... and sleep! Thank you again, Alasdair On Sun, May 24, 2020 at 11:56 PM Phil Holmes wrote: > You get this sort of error if the PDF from the previous compilation is > still open in many PDF viewers - they lock the file. Try closing your PDF > viewer and trying again. > > -- > Phil Holmes > > > > - Original Message ----- > *From:* Alasdair McAndrew > *To:* lilypond-user Mailinglist > *Sent:* Sunday, May 24, 2020 1:43 PM > *Subject:* A fatal error with a new installation > > I have just installed Lilypond on Windows 10, following the instructions > to basically download, install, and add its path to the environment > variable. > > However, it won't compile; on a simple file; the log finishes with: > > warning: `(gs -q -dNOSAFER -dDEVICEWIDTHPOINTS=595.28 > -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 > > -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -dAutoRotatePages=/None -dPrinted= > false -sOutputFile=/Users/amca/Lilypond/Butler_divisions_D_major.pdf > -c.setpdfwrite -f./tmp-lilypond-c5ihri)' failed (1) > > fatal error: failed files: > "C:\\Users\\amca\\Lilypond\\Butler_divisions_D_major.ly" > > > When I changed the name of the file it compiled once, and then wouldn't > compile again - it threw the same error message. > > As I say, this is a new installation - just installed this afternoon, and > there were no previous versions of Lilypond on this system. I've checked a > few times, and the only way I can get a new compilation is to rename the > file. > > What's going on here and how can I fix it? > > Thanks, > Alasdair > > -- > https://numbersandshapes.net > > -- https://numbersandshapes.net
A fatal error with a new installation
I have just installed Lilypond on Windows 10, following the instructions to basically download, install, and add its path to the environment variable. However, it won't compile; on a simple file; the log finishes with: warning: `(gs -q -dNOSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS= 841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -dAutoRotatePages=/None -dPrinted= false -sOutputFile=/Users/amca/Lilypond/Butler_divisions_D_major.pdf -c.setpdfwrite -f./tmp-lilypond-c5ihri)' failed (1) fatal error: failed files: "C:\\Users\\amca\\Lilypond\\Butler_divisions_D_major.ly" When I changed the name of the file it compiled once, and then wouldn't compile again - it threw the same error message. As I say, this is a new installation - just installed this afternoon, and there were no previous versions of Lilypond on this system. I've checked a few times, and the only way I can get a new compilation is to rename the file. What's going on here and how can I fix it? Thanks, Alasdair -- https://numbersandshapes.net
Re: French tablature?
Many thanks - I've taken your advice to upgrade to version 2.19.53 (also advised by other correspondents), and ran your example with the code block to fix the alignment. It looks lovely! Is it possible to write tablature directly as letters on the 6-line staff, rather than as pitches? The reason I ask is that some of the music I typeset uses a multitude of different tunings (scordatura, if you like), and keeping track of the pitches and their positions on the frets is fiddly. On the other hand, if I'm copying from a manuscript, I can type out letters directly. Thank you again for your time and trouble. cheers, Alasdair Malte Meyn writes: Am 30.12.2016 um 09:09 schrieb Alasdair McAndrew: I tried it without the RhythmicStaff, just to see what the tablature looks like. However, the tablature is written on the lines, rather than between them. I suppose this could be tweaked by moving all the letters up by half the distance between lines, but it would be nice to have this done automatically. I would strongly recommend to use version 2.19 not only because of the bass string support (I don’t know whether you need it) but because of a better letter positioning. In 2.18.2 the letters are positioned around their vertical center instead of the base line so the “d” sits lower than the “a” and “c”; see attachment. Then you can add the following code to the \layout-\context-\TabStaff block (f. e. after setting tablatureFormat): \override TabNoteHead.before-line-breaking = #(lambda (grob) (ly:grob-set-property! grob 'Y-offset (+ (ly:grob-property grob 'Y-offset) 0.5))) This moves the letters 0.5 staff spaces up from their original position. This code works also in 2.18.2 but it won’t fix the misalignment. Attached you’ll find the original and the tweaked versions for both 2.18.2 and 2.19.53. -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: French tablature?
I tried it without the RhythmicStaff, just to see what the
tablature looks like. However, the tablature is written on the
lines, rather than between them. I suppose this could be tweaked
by moving all the letters up by half the distance between lines,
but it would be nice to have this done automatically.
Anyway, I'll keep a-fiddlin'.
Thanks,
Alasdair
Am 29.12.2016 um 23:15 schrieb Alasdair McAndrew:
Is it likely that Lilypond will provide such tablature at some
stage?
Currently, if I want to typeset tablature, I need to use
different
software.
LilyPond already supports this type of tablature: You have to
set the
tablatureFormat to #fret-letter-tablature, set a string tuning
including
bass strings, and maybe change the default fret labels to not
include j.
The rhythm can be added in a separate RhythmicStaff; maybe one
could
extract it somehow from the music using a music function (might
be
tricky with polyphonic music) but of course it can also be done
by hand.
\version "2.19.53"
% maybe this could be automatically extracted from mel?
rh = {
4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1
}
mel = \relative {
a,,4 b c d8 e f4. g8
a b c d e4 f g8
a b c d16 e f g
a8. b16 c8 cis d4
d,2 d, d,1
}
\score {
<<
\new RhythmicStaff \rh
\new TabStaff \mel
\new Staff { \clef "treble_8" \mel }
>>
\layout {
\context {
\TabStaff
tablatureFormat = #fret-letter-tablature-format
stringTunings = \stringTuning <a, d f a d' f'>
additionalBassStrings = \stringTuning <a,, b,, c, d, e,
f, g,>
% don’t use j as a fret label:
%fretLabels = #'("a" "b" "c" "d" "e" "f" "g" "h" "i"
"k")
}
\context {
\RhythmicStaff
\override StaffSymbol.line-count = 0
\autoBeamOff
\remove Bar_engraver
\override
VerticalAxisGroup.staff-staff-spacing.basic-distance = 6
% you might want
% 1. no time signature:
%\remove Time_signature_engraver
% 2. straight flags:
%\override Flag.stencil = #old-straight-flag
% 3. other note head shape or no note heads:
%\override NoteHead.style = #'petrucci
%\omit NoteHead
}
}
}
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http://numbersandshapes.net
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Re: French tablature?
Many thanks! I didn't know about RhythmicStaff. Is this all
possible in version 2.18.2 (which I'm using)? Certainly when I
copied and pasted your text into a file ("tabTest.ly"), Lilypond
returned an error:
/home/Lilypond/tabTest.ly:5:4: error: syntax error, unexpected
UNSIGNED
4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1
Maybe version 2.18.2 requires a little extra tweaking. Again,
thank you very much.
-Alasdair
Malte Meyn writes:
Am 29.12.2016 um 23:15 schrieb Alasdair McAndrew:
Is it likely that Lilypond will provide such tablature at some
stage?
Currently, if I want to typeset tablature, I need to use
different
software.
LilyPond already supports this type of tablature: You have to
set the
tablatureFormat to #fret-letter-tablature, set a string tuning
including
bass strings, and maybe change the default fret labels to not
include j.
The rhythm can be added in a separate RhythmicStaff; maybe one
could
extract it somehow from the music using a music function (might
be
tricky with polyphonic music) but of course it can also be done
by hand.
\version "2.19.53"
% maybe this could be automatically extracted from mel?
rh = {
4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1
}
mel = \relative {
a,,4 b c d8 e f4. g8
a b c d e4 f g8
a b c d16 e f g
a8. b16 c8 cis d4
d,2 d, d,1
}
\score {
<<
\new RhythmicStaff \rh
\new TabStaff \mel
\new Staff { \clef "treble_8" \mel }
>>
\layout {
\context {
\TabStaff
tablatureFormat = #fret-letter-tablature-format
stringTunings = \stringTuning <a, d f a d' f'>
additionalBassStrings = \stringTuning <a,, b,, c, d, e,
f, g,>
% don’t use j as a fret label:
%fretLabels = #'("a" "b" "c" "d" "e" "f" "g" "h" "i" "k")
}
\context {
\RhythmicStaff
\override StaffSymbol.line-count = 0
\autoBeamOff
\remove Bar_engraver
\override
VerticalAxisGroup.staff-staff-spacing.basic-distance = 6
% you might want
% 1. no time signature:
%\remove Time_signature_engraver
% 2. straight flags:
%\override Flag.stencil = #old-straight-flag
% 3. other note head shape or no note heads:
%\override NoteHead.style = #'petrucci
%\omit NoteHead
}
}
}
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French tablature?
The tablature examples given (section 2.4.1) show Italian lute tablature: frets given as numbers, and written on the line. However, French tablature uses letters between lines, as shown here: http://sologuitarist.net/score/BachFugueFrenchTab.jpg Note durations are given above the staff, with only changes given. A variation on this was for music for the bass viol in different tunings (called playing "lyra way"; sometimes the viol thus played was called a "lyra viol") has the notes given with heads, not stems alone: http://atelierphilidor.com/contents/media/l_bi128%20page2_.png Is it likely that Lilypond will provide such tablature at some stage? Currently, if I want to typeset tablature, I need to use different software. Thanks, Alasdair -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Which Linux distro for Lilypond
Well that makes sense: yes, Ubuntu of course (although my favorite flavour is Kubuntu). Or Mint. And of course you can just download a live CD and check it out without installing it. Or, if you're using windows, install Linux as a virtual machine using VirtualBox. I do this at work, which requires my use of Windows to access the local shared drives. On the other hand, I think that time spent getting to grips with Linux internals is no bad thing, even for a newbie. After all, I started off with slackware - when it was distributed on 3 1/4" floppies. My concern with "easy" distros - and maybe I'm wrong here - is that if something goes wrong (and it invariably will) you will need the ability to fix it, which will require digging into the file system, editing configuration files, etc. I don't know what the happy medium is, though! -Alasdair Andrew Bernard writes: The OP is just moving to Linux for the first time. As a user since just about forever of a dozen distros, while I have a good deal of admiration for Arch Linux, the initial installation is difficult for a beginner, and not everybody wants to be a sysadmin. That's why I would still suggest Ubuntu or Mint which is based on Ubuntu. Andrew On 29 December 2016 at 12:57, Alasdair McAndrew <amc...@gmail.com> wrote: I haven't followed the complete thread, but I'm a current happy user of Archlinux, and it runs Lilypond, Frescobaldi fine. Also, I have managed to set up the Midi interface so that I can play the midi output from within Frescobaldi. Arch has particularly fine documentation, and its wiki contains some of the best, clearest, and most useful help and advice I've found for any distribution (and I've used plenty!). There's a perception that Arch is "difficult", which I think is overplayed. Anyway, the time spent tinkering with Arch and getting it running to your satisfaction is good sysadmin practice. As well as the wiki, there's a helpful forum, and a subreddit. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Which Linux distro for Lilypond
I haven't followed the complete thread, but I'm a current happy user of Archlinux, and it runs Lilypond, Frescobaldi fine. Also, I have managed to set up the Midi interface so that I can play the midi output from within Frescobaldi. Arch has particularly fine documentation, and its wiki contains some of the best, clearest, and most useful help and advice I've found for any distribution (and I've used plenty!). There's a perception that Arch is "difficult", which I think is overplayed. Anyway, the time spent tinkering with Arch and getting it running to your satisfaction is good sysadmin practice. As well as the wiki, there's a helpful forum, and a subreddit. cheers, Alasdair -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Changing spacing in a piece?
I have enlarged the spacing between systems (for readability) with
\paper{
system-system-spacing = #'((basic-distance . 15) (padding . 5))
}
But there's one part of this score which consists of several lines
of just one voice on one staff, and for which this enlarged
spacing is unnecessary.
How can I override my spacing for this one section? Or more
generally, how can I adjust the spacing for different parts of the
score?
Thanks,
Alasdair
--
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http://numbersandshapes.net
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Vertical placement of title, tempo, segno
Sorry for being such a pain around here... I promise that soon
I'll leave you all in peace!
Anyway, my problem du jour: I have a piece which starts with three
text elements: the title of the piece, the tempo indication, and a
segno sign. This last occurs at the first bar line, immediately
after the initial partial bar.
The problem is that the segno sign is placed above the tempo
indication, which I think looks messy. My preference would be
(from top to bottom): title, tempo, segno.
Here is an MWE for this issue:
--
\version "2.18.2"
\score {
\new Staff {
\tempo "Faster than possible"
\partial 4 r4 \mark \markup {\small \musicglyph #"scripts.segno"
}| r1
}
\layout { }
\header{
piece = "A piece"
}
}
--
How can I have the segno sign occur below the tempo indication?
Thanks,
Alasdair
--
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http://numbersandshapes.net
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Re: Not enough vertical room for headers?
I solved it by replacing the "instrument" directive with "subtitle", which gets a line on its own. Thanks again, Alasdair Andrew Bernard writes: Hi Alasdair, In this case, lilypond is trying to center the instrument name on the same line as the composer name. As they are both long they do not fit, and consequently overlap. You can make a custom header, and probably put the instrument name on a separate line. Refer to the Notation Reference (affectionately called the NR around here) Section 3.2.2. Custom titles headers and footers. The MWE enables us to solve it quickly! Andrew -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Not enough vertical room for headers?
In answer to people's enquiries, here is my mini-example. I
thought it would be something to do with the length of the score,
but apparently not:
--
\version "2.18.2"
\header{
title = "Duo Galante Number 1"
instrument = "Treble recorder and viola da gamba"
composer = "Esprit Philippe Chedeville (1692 - 1762)"
}
\score {
r4
\layout { }
}
--
I'm also attaching the output I obtain.
mini_example.pdf
Description: Mini lilypond example
I tried to wrap the whole thing in a book environment, but it made
no difference.
Many thanks,
Alasdair
--
Alasdair McAndrew writes:
A recent project gives me one page of typeset score. However,
the
header information is all squashed into insufficient vertical
space, so that the instrumentation and composer are overwritten.
I have given no directives for Lilypond to force the score to be
on a single page, nor have I changed any of the page layout and
paper parameters. I've spent plenty of time looking through the
manuals, but I can't find any easy way to simply increase the
amount of vertical space available for the header.
Any advice would be very welcome!
Thanks,
Alasdair
--
Alasdair McAndrew
http://numbersandshapes.net
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Not enough vertical room for headers?
A recent project gives me one page of typeset score. However, the header information is all squashed into insufficient vertical space, so that the instrumentation and composer are overwritten. I have given no directives for Lilypond to force the score to be on a single page, nor have I changed any of the page layout and paper parameters. I've spent plenty of time looking through the manuals, but I can't find any easy way to simply increase the amount of vertical space available for the header. Any advice would be very welcome! Thanks, Alasdair -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Suddenly, not getting any output score
Yes - many thanks - you are quite right! And in fact I discovered this just after I had sent off my initial email. I've added a layout section to the score section, and now it's all good. And the transposition seems to work very well indeed! cheers, Alasdair -- Andrew Bernard writes: Hi Alasdair, Check you have a /layout section as well as the midi still. To debug this, make a minimal working example (MWE) with just a note or two and the layout and midi sections. I am sure this will immediately solve your problem, but if not, post the MWE. Andrew -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Suddenly, not getting any output score
I'm just getting back into using Lilypond after some years away from it. And I'm trying to first typeset a baroque duet for two melody instruments - which should just be a matter of copying down note names - and then transposing the piece for use by different instruments. I got the first part OK. But then, after trying to put in a few "transpose" directives (and taking them out again), I have the piece as I first had it - except that when I run lilypond, it now only produces midi output, and not the pdf score. I tried running lilypond with "lilypond --loglevel=DEBUG mymusic.ly" which shows no errors, but it only produces the midi output, and not the pdf score. So something I've done seems to be inhibiting the score production. I'm not quite sure what information I should provide (other than my whole file), but are there any known reasons for this? Thanks, Alasdair -- Alasdair McAndrew http://numbersandshapes.net ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Two time signatures?
I'm typesetting a piece of music from the 17th century with the double time signature of both 6/2 and 3/1. Is it possible to put two time signatures on a staff in LilyPond, and if so, how? Thanks, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Shifting a markup
I have a time change (from 6/2 to 9/4), and at the time change I have the
markup:
\markup {
\smaller \note #2 #1 = \smaller \note #2. #1
}
above the first note in the new time signature. But I'd like to shift the
entire markup to the left and up (ideally, I'd like the = sign to sit over
the bar line between the two times). My attempts to move the markup have
resulted in the three symbols being printed over each other.
What is the correct way of doing such a shift? I'm using version 2.10.33,
but I shall upgrade to version 2.11 when I'm back at work in eight days, and
can afford to download large files! Or is there a smallish patch to upgrade
2.10.33 to 2.11. 37?
Thanks,
Alasdair
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Lilypond-book and LaTeX; a few issues
I am using lilypond-book (with LaTeX) to collect several different lilypond files into one nice document - with title page, table of contents, and an introduction. However, the music never comes out properly on the page. Using lilypond on a single file, the music is nicely laid out, appropriate space between the systems, and the first system (there are only two staves - it's a collection of duets) indented for the instrument names. However, the same music in lilypond-book comes out either moved partly off the page, or on the page but with huge margins - and the first system not indented, but with the instrument names set to its left. (This accounts for the huge margin - there is white space beneath the instrument names for the rest of the page). Also, the systems are more crowded vertically then they are in plain lilypond. Clearly I need to do some fiddling to make lilypond's page formatter, and LaTeX's page formatter, go well together. Can anybody give me some advice on this? Thanks very much, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-book and LaTeX; a few issues
Thanks - your code may do the job! Will it work with version 2.10.33? I guess what would be nice would be for a page of lilypond to be pasted onto a blank LaTeX page by lilypond-book, but as you say LaTeX does the page filling. -Alasdair On Jan 12, 2008 8:45 AM, Nicolas Sceaux [EMAIL PROTECTED] wrote: Le 11 janv. 08 à 22:31, Alasdair McAndrew a écrit : I am using lilypond-book (with LaTeX) to collect several different lilypond files into one nice document - with title page, table of contents, and an introduction. However, the music never comes out properly on the page. Using lilypond on a single file, the music is nicely laid out, appropriate space between the systems, and the first system (there are only two staves - it's a collection of duets) indented for the instrument names. However, the same music in lilypond-book comes out either moved partly off the page, or on the page but with huge margins - and the first system not indented, but with the instrument names set to its left. (This accounts for the huge margin - there is white space beneath the instrument names for the rest of the page). Also, the systems are more crowded vertically then they are in plain lilypond. Clearly I need to do some fiddling to make lilypond's page formatter, and LaTeX's page formatter, go well together. Can anybody give me some advice on this? The vertical layout cannot be as finely tuned using lilypond-book and LaTeX as it can be using LilyPond only. Indeed, in the first case, LilyPond layout engine computes the line breaks, and LaTeX takes care of filling the pages. Using LilyPond only, the layout engine can compute line breaks together with page breaks, and space nicely the systems. You may get rid off LaTeX and use LilyPond only, for instance with the help of this titling stylesheet: http://lsr.dsi.unimi.it/LSR/Item?id=368 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Collision of clef and note - how to fix?
The attached image shows the problem I have - a clef colliding with a note beam. How can I fix this? (I'm using 2.10.33). I would be happy to either move the note, or include some hard space (if that exists in Lilypond) or fiddle with the beam properties. But I'm not sure how to easily do any of these. Thanks, Alasdair attachment: map2.jpg___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Creating a book of music
I'm typesetting up a 17th century manuscript which contains eight pieces. I'd like to place them all in a book which contains a title page, table of contents, introduction etc. I'm very happy to use LaTeX for this, but I'd like to see examples of other people's work. I've had a small look around the mutopia site, but so far the pdf files I've looked at are just individual scores. Are there examples of books created with lilpond/LaTeX out there? Thanks, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
A spacing issue - moving a single note
I have a situation like f8.[ \clef alto c'16] where the alto clef and the extra beam on the 16th note overlap. I want to keep the beam, as I want my typeset score to reflect as much as possible the original 17th century manuscript from which I'm working. So what I want to do is to move the c'16 to the right a little bit. Alternatively, add some hard space (such as can be done in TeX/LaTeX). What is the best way of doing this? Thanks, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Defining user abbreviations
The problem I have is placing a single beam between the fourth and fifth notes of a run of 32nd notes, as in: g32[ a b \set stemRightBeamCount = #1 c \set stemLeftBeamCount = #1 d c b a] But this is rather verbose. How can I define my own commands or abbreviations to do this with less typing, and where in my file would such commands go? Thanks, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Positions of notes in chords
I'm typesetting some music, and in order to stay as close as possible to the
original 17th century manuscript, I'm typesetting my chords as voices: top
note stem up, other notes stem down as a separate voice. However, I have a
chord {d4}\\ {g, c4} in which the top d ends up to the left of the
lower chord. But I want it typeset to the *right*. How can I achieve this?
Thanks,
Alasdair
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Two midi questions
1. I have used \set Staff.midiInstrument = viola but the midi output still seems to contain a piano sound in it. It's as though I can add an instrument sound to the midi file, but not turn off the default piano sound. What's going on, and how can I fix it? 2. To change the midi tempo, I used \tempo 4=80 \once \override Score.MetronomeMark #'transparent = ##t which seems unnecessarily clumsy. Wouldn't it be easier to have a midiTempo command, so that \midiTempo 4=80 would have the same effect as the line above? Thanks, Alasdair ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
