Re: where (if anywhere) does lilypond look for locally shared, files?
I used to keep custom settings and commands in files in a discrete location (later, a synced Dropbox folder) and then symlink to them from the *.ly directory in the LilyPond installation directory. Then I could just \include them like anything else in the *.ly directory. There used to be a little package called Link Shell Extension that would simulate this behavior on Windows XP / Vista / 7, but I don't know if that's even required anymore with BASH (and similar) on Windows. David
Re: Guitar Tab / Bends
I will look into this and read back up on the contributing docs. It's been a while, but since I do software every day now, I hope learning will be quicker! (probably not ) On 3/11/2021 5:50 PM, Federico Bruni wrote: This is a great news! Yes, the development is still active. I guess you'd better subscribe to lilypond-devel for questions about development. Can I suggest something to work on? :-) You may remember that Marc Hohl bend.ly file had bending notation for both Staff and TabStaff. Harm's implementation is more powerful.. see this commit: https://gitlab.com/lilypond/lilypond/-/commit/376a8c362fea5b754ff383dd62f2664f8dea13bb but it lacks the bending notation on Staff. On Thu, Mar 11 2021 at 01:58:50 PM -0500, David Stocker wrote: Now I know that I will definitely fool around with 2.23! I ask because I've been away for a while because I've had a change of scenery from full-time transcription and publishing to full-time software developer (with some other stuff in between). I'm starting to think now about contributing to a project and I may want to dive into LilyPond if there are areas that need work that no one is working on currently. Naturally, I thought of Guitar capabilities since that was the area I worked in for publishers. So glad this community is still active and development continues. On 3/11/2021 11:26 AM, Federico Bruni wrote: On Thu, Mar 11 2021 at 08:20:35 AM -0500, David Stocker wrote: Hello group, Some years ago, someone developed a capability for LilyPond to notate bending notes on Guitar Tab. Is anyone currently using this capability? Hi David We haven't seen you for a while. IIRC I started using LilyPond 12 years ago thanks to a post from you in a Tuxguitar forum :-) Do you know that guitar bending has been included in LilyPond 2.23.0? I'm not using LilyPond much these days, but I do have several scores using this new bending feature and it's working pretty good.
Re: Guitar Tab / Bends
Now I know that I will definitely fool around with 2.23! I ask because I've been away for a while because I've had a change of scenery from full-time transcription and publishing to full-time software developer (with some other stuff in between). I'm starting to think now about contributing to a project and I may want to dive into LilyPond if there are areas that need work that no one is working on currently. Naturally, I thought of Guitar capabilities since that was the area I worked in for publishers. So glad this community is still active and development continues. On 3/11/2021 11:26 AM, Federico Bruni wrote: On Thu, Mar 11 2021 at 08:20:35 AM -0500, David Stocker wrote: Hello group, Some years ago, someone developed a capability for LilyPond to notate bending notes on Guitar Tab. Is anyone currently using this capability? Hi David We haven't seen you for a while. IIRC I started using LilyPond 12 years ago thanks to a post from you in a Tuxguitar forum :-) Do you know that guitar bending has been included in LilyPond 2.23.0? I'm not using LilyPond much these days, but I do have several scores using this new bending feature and it's working pretty good.
Guitar Tab / Bends
Hello group, Some years ago, someone developed a capability for LilyPond to notate bending notes on Guitar Tab. Is anyone currently using this capability?
Re: Professional Engraving
This isn't directly related to LilyPond, but I have a question for people on the mailing list. it seems like several people on this mailing list get payed to engrave music. How did you get started with those jobs? I got started in professional engraving because I am a transcriber. I sought out transcribing work by contacting Guitar Magazines and Songbook Publishers. Some editors wanted the music delivered in Finale or Sibelius format, so I had to learn those programs. Ironically, I was doing the bulk of my work in handwritten manuscript (!!) for my largest steady client until very recently. Now I'm using Sibelius for them. I have a few clients for whom I use LilyPond only. It's a real treat when they have work for me. Early on, I set up a basic website. I'm not much of a coder and I don't have computer skills beyond writing, internet - basic consumer stuff (and of course, LilyPond syntax) - so it's pretty bare bones. Also, it hasn't been updated in a few years now, but it's cheap enough to keep up with and everyone's supposed to have a website nowadays, so here it is if you want to take a look. The most interesting part of it for someone who's interested in doing publishing related work is probably the estimated rates page (Free Quote). The rest of it is basically horn tooting. http://notesettersinc.com There's also a link to my blog, which I don't really keep up with. Some of the older posts may or may not be useful to you. If you have more specific, business-oriented questions, please feel free to contact me off-group. Best regards, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics not starting on 1st bar of music
On 11/16/2013 10:41 PM, ayutheos wrote: Hi David, Yes, I noticed that my replies are not showing on the list, just my question posts. How do I reply to the list so that others can see? I'm using the web interface to read the posts at http://lists.gnu.org/archive/html/lilypond-user, and replying by pressing the button at the bottom of the post. One way to do it is to compose an emial to lilypond-user@gnu.org. You'll have to register first so that the list will accept your emails. Also, make sure to copy the subject line in for the new email. Best regards, David -- TY ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics not starting on 1st bar of music
\skip http://lilypond.org/doc/v2.16/Documentation/notation/writing-rests#index-_005cskip If you're using a development version, search find \skip in the index of the pertinent documentation. Hope that helps. Regards, David On 11/16/2013 8:51 PM, lilypond-user-requ...@gnu.org wrote: How do I add lyrics to Parts One and Two only? Section (3) is a short 4 bars of music. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lyrics not starting on 1st bar of music
Hi Ayutheos,
Please reply all so everyone can see the conversation.
On 11/16/2013 9:48 PM, ayutheos wrote:
I found this in the documentation
http://www.lilypond.org/doc/v2.16/Documentation/snippets/rhythms#rhythms-skips-in-lyric-mode
But I can't get the lyrics to skip more than 1 note. Say for example I
want the lyrics to start on note G:
%===
melody = \relative c' { c d e f g a b c }
lyrics = \lyricmode {
\skip 4 lyric words go here
}
\score {
\new Voice = one { \melody }
\new Lyrics \lyricsto one { \lyrics }
}
%===
--
TY
You have to do
\repeat unfold 4 { \skip 1 }
The number you use after \skip holds no significance - it just has to be
there, so just use 1
But Chris's method is probably more apt, especially if you have to skip
more than just a few notes at the beginning.
This example didn't compile for me, by the way.
Cheers,
David
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Re: Emacs lily mode
Not a huge deal, but I've noticed a strange behavior in automatic indenting using Emacs with lilypond-mode: third-level lines (which would require 3 indentations of 2 spaces each) don't automatically indent correctly. They go way too far to the right and require manual entry of six spaces to look correct. It's been this way for as long as I remember. Might it be something easy to fix, that could be corrected in any update of lilypond-mode? Peace, David On 07/15/2010 10:06 AM, Tim McNamara wrote: Nicolas Sceaux wrote: Having a useful lilypond mode in Emacs would be really great. Using the existing lilypond-mode for all my .ly file editing already and it's pretty useful to me- but of course there is always room for improvement. What are you thinking that you'd like to see? I'd like to see parsing for missing/misplaced brackets, maybe some kind of validation function like Tidy is for HTML, since that is something that trips me up sometimes and can be hard to debug. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Emacs lily mode
On 07/15/2010 10:37 AM, David Kastrup wrote: You can't start a new Lilypond compilation before killing your viewer. You can't, say, quickly play the notes of a passage without running them through Lilypond (since Emacs does not understand the notes it sees). Bar detection barfs on encountering the first bar. You can't let bars be entered automagically. Having to kill your viewer before compiling is a Windows thing. I've always been able to compile a file with the viewer up on Linux. Evince even auto-refreshes. 8-) -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to write drone char/note under the key-signature?
Hi Nils,
In guitar music, where altered tunings are common, a tuning legend
usually appears above the first system, on the left of the page. This
could be done by abusing the piece section of the \header block.
\header {
piece = tuning legend goes here
}
For a single note indication at the beginning of the music, either over
or under the first staff, I'd recommend using a \markup on the first
note and fine-tuning its position using \tweak #'extra-offset
I have no clue as to make such a mark appear persistently in conjunction
with the key signature.
David
On 07/08/2010 10:26 AM, Nils Gey wrote:
Hello World,
I often work with drone-instruments like bagpipes which need to know how to tune their drones. In
my handwritten notation I included the Drone indicator below the keysig as simple text
A or A/E (without absolute pitch).
It should appear anytime the keysig appears. Key-changes, Start of the Staff
etc.
How do I do that in Lilypond?
Or do you have any other ideas where a Drone Signature could be placed?
Either as Notes or as Text.
Nils
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Re: bounties
If you haven't already, have a look at Ardour's subscription page http://ardour.org/why_subscribe This may be a viable answer. At one time, I was a subscriber, contributing $4.00US per month via automated paypal withdrawl. $4.00/mo is pretty painless when you lump it in with your other business expenses. I'd be willing to do that or a little more with LilyPond, since I use it more (often, for client work) than I use Ardour at the moment, if the option was available. Although Ardour's appeal is arguably broader (and perhaps, more commercially oriented) than LilyPond's, just in terms of prospective users, I think LilyPond has a dedicated base of users who would be glad to contribute resources in a concrete and structured way. It might be worth considering. David On 06/17/2010 12:12 PM, Editions IN NOMINE wrote: Hi. I thought one could order pieces of improvment (it's been a long time since I read something on it...). The idea is : I pay for my personnel need, and the improvment is put back in the community. This question strikes me because I've just beginning to set up shop as an editor, and I've planned to pay back part of my (future ;-) ) benefits to Lilypond. As for last point of Valentin's respose, such models must already exist : for instance, the Ubuntu project is worldwide, but the French community is able to receive money on his own (http://www.ubuntu-fr.org/soutien). Any idea ? Best regards JM Valentin Villenave a écrit : On Thu, Jun 17, 2010 at 8:38 AM, Marc Hohl m...@hohlart.de wrote: (I wouldn't surely be the ideal person for founding a lilypond users group), I am willing to spend a fee, say $50 a year, for supporting the lilypond development. If there are 99 people more (and I think there are a lot more!), we would have $5000 to pay someone for improving lilypond. As I mentioned in the other thread, there are plans to build such an organization in France, from scratch (another possibility would be to revive the (Netherlands-based?) LilyPond foundation, but we'd need more information about it). The main obstacle, of course, being the international essence of the project, whereas non-profit organisations, bank accounts, etc. are usually conceived in a nation-centric perspective. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-mode in emacs on WinXP
Glad it worked. Ironically, I'm having trouble getting it up on my new installation of Linux Mint 9, but it probably has to do with permissions or some emacs configuration or another. I had it going fine on Ubuntu 10.04, but I was having trouble with that distro, so I'm searching for a stable Linux distro that doesn't crash on my aging hardware. Cheers, David On 06/10/2010 01:44 PM, Ralph Palmer wrote: Thanks, David - worked beautifully! Saved me a lot of time and aggravation. I had tried searching the docs, but found only Linux instructions. I also tried searching the list archives and found only a thread I could not understand. Ralph On Wed, Jun 9, 2010 at 5:14 PM, David Stocker dstoc...@notesettersinc.com mailto:dstoc...@notesettersinc.com wrote: Hi Ralph, Browse to the folder C:\Documents and Settings\User\Application Data\.emacs.d or, if .emacs.d isn't already present, then create a new directory with that name in Application Data Make sure you change User in the path to whatever your actual user account's name is. In the .emacs.d directory, open (or create) a file called init.el In that file, paste the following lines: (setq load-path (append (list (expand-file-name C:/Program Files/LilyPond/usr/share/emacs/site-lisp)) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) Make sure that in the section starting (expand-file-name C:/... points to the site-lisp folder in you LilyPond installation. Save the file and try opening a *.ly file in Emacs. BTW, I'm not a programmer and I have no experience with lisp. I adapted this from some instructions I found online (possibly the Usage section of the LilyPond docs) and extrapolated from what I knew about the .emacs.d file in my UbuntuStudio installation, which came with LilyPond pre-installed and had Emacs working with lilypond-mode out of the box. I hope this works for you. David On 06/09/2010 03:49 PM, Ralph Palmer wrote: Greetings - I've been forced (temporarily, I hope) onto a WinXP Pro laptop. I've successfully downloaded LilyPond 2.12.3.1 and Emacs 22.3. I cannot figure out how to get Emacs to recognize (much less accept as default for .ly files) lilypond-mode. If anyone out there has successfully gotten Emacs to work with lilypond-mode on WinXP and can explain the process to me, I would be grateful. I appreciate your time and attention, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-mode in emacs on WinXP
Hi Ralph, Browse to the folder C:\Documents and Settings\User\Application Data\.emacs.d or, if .emacs.d isn't already present, then create a new directory with that name in Application Data Make sure you change User in the path to whatever your actual user account's name is. In the .emacs.d directory, open (or create) a file called init.el In that file, paste the following lines: (setq load-path (append (list (expand-file-name C:/Program Files/LilyPond/usr/share/emacs/site-lisp)) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) Make sure that in the section starting (expand-file-name C:/... points to the site-lisp folder in you LilyPond installation. Save the file and try opening a *.ly file in Emacs. BTW, I'm not a programmer and I have no experience with lisp. I adapted this from some instructions I found online (possibly the Usage section of the LilyPond docs) and extrapolated from what I knew about the .emacs.d file in my UbuntuStudio installation, which came with LilyPond pre-installed and had Emacs working with lilypond-mode out of the box. I hope this works for you. David On 06/09/2010 03:49 PM, Ralph Palmer wrote: Greetings - I've been forced (temporarily, I hope) onto a WinXP Pro laptop. I've successfully downloaded LilyPond 2.12.3.1 and Emacs 22.3. I cannot figure out how to get Emacs to recognize (much less accept as default for .ly files) lilypond-mode. If anyone out there has successfully gotten Emacs to work with lilypond-mode on WinXP and can explain the process to me, I would be grateful. I appreciate your time and attention, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing the default dynamics font
Hi Martin,
\version 2.13.21
dynamics = {
\relative c' {
c8\mf\ d e f g\!\ff\ f e d c1\!\mf
}
}
\score {
\new Staff {
\dynamics
\override DynamicText #'font-name = Linux Libertine O Bold Italic
\dynamics
}
}
The exact name (as your system knows it) of the font is important.
FontMatrix http://www.fontmatrix.net/ can that.
Hope that helps.
David
On 05/24/2010 11:01 AM, Martin Hiendl wrote:
Sorry for being unclear.
So I would like to change the typeface of dynamics like \p, \mf, etc.
The command
\override DynamicText #'font-name = Linux Libertine
did work, because all my dynamics now have the plain Linux Libertine typeface.
The problem is that they have their regular fontstyle, whereas I would like
them to be bold and italic.
The manual says that editing font-name in that way overrides all settings in
font-series or font-shape. This is why this part of the command
\override DynamicText #'font-series = #'bold
did not affect the result.
So my question is whether there is another way to change the default typeface
of the dynamics where I can specify the font-styles like bold and italic.
Best
Martin
On May 24, 2010, at 1:30 AM, Xavier Scheuer wrote:
2010/5/24 Martin Hiendlmar...@martinhiendl.com :
Hi!
I hope this hasn't been brought up yet.
I tried to change the default dynamics font with the following
command:
\score {
\new Staff \with {
\override DynamicText #'font-name = Linux Libertine
\override DynamicText #'font-series = #'bold
\override DynamicText #'font-size = #1
}
CORRECTION
Maybe it did not work because DynamicText are engraved by
New_dynamic_engraver, which belong to Voice and not Staff...
And try adding a # before the font name.
\override DynamicText #'font-name = #Linux Libertine
BTW are you sure the font name is correct (checking with
lilypond -dshow-available-fonts x)?
Cheers,
Xavier
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\version 2.13.21
dynamics = {
\relative c' {
c8\mf\ d e f g\!\ff\ f e d c1\!\mf
}
}
\score {
\new Staff {
\dynamics
\override DynamicText #'font-name = Linux Libertine O Bold Italic
\dynamics
}
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Re: Changing the default dynamics font
Try \override DynamicText #'font-name = Linux Libertine Bold and omit
the font-series command. (I haven't tried this in your case, but I use
similar font-name commands for my own scores and they work fine).
Hope that helps,
David
On 05/23/2010 07:18 PM, Martin Hiendl wrote:
Hi!
I hope this hasn't been brought up yet.
I tried to change the default dynamics font with the following command:
\score {
\new Staff \with {
\override DynamicText #'font-name = Linux Libertine
\override DynamicText #'font-series = #'bold
\override DynamicText #'font-size = #1
}
As I found out in the manual, font-name overrides all settings in
font-series, font-shape and font-family.
Does that mean that there is no way to change the default dynamics font
if you want to have it bold and italic?
Thanks for your help!
Martin
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Re: OMET: Online Music Editing Tools feedback?
It looks good to me. I looked at it with Firefox 3.5.9 on Ubuntu 9.10. If I get a few minutes, I'll try with Windows XP and Firefox or Safari. Have you had a look at Noteflight? www.noteflight.com It's a similar approach, but Noteflight is a proprietary site. It's still worth a peek, since ultimately a site like OMET will be in competition with Noteflight. Having LilyPond output is, I think, an advantage. Nice job. I'll be checking back regularly. David On 05/10/2010 04:28 AM, Marc Hohl wrote: Mike Blackstock schrieb: If somebody could have a quick look at http://www.vex.net/~mikeb/omet and tell me what they think I'd appreciate it. What I'd like to know specifically is whether the approach is sound - being able to treat the screen as if it were a blank sheet of paper where you can enter notes anywhere and in any order? Before I start uploading other stuff, is there something I'm overlooking in the basic interface? It looks quite interesting and promising - but I am probably not the right guy for a profound opinion, because I would not use a web interface for coding lilypond (at least at the moment). Thanks a lot. I think it works across all browsers, though someone reported problems with FF 3.6.3 on some version of Vista, and IE 6 has the png bug that I gave up on. Also Google Chrome doesn't properly handle the turning off of the cursor it seems, at least on my system. From a technical point of view, everything seems to work properly here with firefox/linux. Marc Mike ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
EPS files
I'm using LilyPond to export *.eps files using -dbackend=eps on the command line (Ubuntu 9.10). Can I tell LilyPond to include the fonts when making an *.eps? I need to import these files in Scribus and I'd really rather have the fonts than not. Thanks, David -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Why are the chords printed below the staff in this example?
The and brackets tell LilyPond to print the staves and contexts
within them concurrently.
http://lilypond.org/doc/v2.13//Documentation/learning/i_0027m-hearing-voices#I_0027m-hearing-Voices
On 05/02/2010 01:55 PM, Romel Anthony S. Bismonte wrote:
From: Alexander Kobel n...@a-kobel.de
wlmailhtml:%7B241203B1-57D1-4FBA-B5C1-1CD0AE140CF7%7Dmid://0042/%21x-usc:mailto:n...@a-kobel.de
Thus, take them out to the same nesting level as Staff:
chd = \chordmode { c1 a:m }
mus = \relative c'' { c4 d4 e2 | a4 b4 c2 }
lyr = \lyricmode { See the E, A bu -- sy }
\score {
\new ChordNames \chd
\new Staff
\new Voice = one \mus
\new Lyrics \lyricsto one \lyr
}
HTH,
Alexander
Aha! This would not have occurred to me, but now that I see it, no other
configuration makes sense. Of course chord names live outside of the
staff.
Thanks for this fix; I will apply it right now. One follow-up question
that
might sound obvious: What do the double angle brackets signify? Do they
group contexts together so they appear together? Is it something more
subtle?
Again, many thanks. I was pulling my hair out over this.
Romel
P.S. Sorry Alexander if you're getting this twice... I forgot to CC
the list.
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Re: Writing Orchestral Parts
-Type: text/plain; charset=utf-8
I found a possible solution in the archives of the other list, the
one for
tablatures. :-) If someone have a better one tell me.
http://lilypond-s-support-for-tablatures.3383434.n2.nabble.com/cross-style-note-heads-in-tablature-was-Pitch-squash-engraver-td3618144.html#a3618144
Thanks,
Bernardo
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Message: 7
Date: Tue, 27 Apr 2010 07:08:08 +0200
From: Federico Bruni federicobr...@sixbarsjail.it
mailto:federicobr...@sixbarsjail.it
Subject: Re: Tablature with squared noteheads
To: Bernardo Barros bernardobarr...@gmail.com
mailto:bernardobarr...@gmail.com
Cc: lilypond-user lilypond-user@gnu.org
mailto:lilypond-user@gnu.org
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Il giorno lun, 26/04/2010 alle 19.26 -0300, Bernardo Barros ha
scritto:
I'm copying a part with a tablature and there is one measure that I
have damped strings on the guitar. I'd like to notate this with a
different notehead (a black square, or maybe a cross) instead
and the
usual numbers. Is it possible?
Yes and you don't need any override, try this:
frag = {
\key e \major
e16 fis gis a b4
\set TabStaff.minimumFret = #8
\deadNotesOn
e16 fis gis a b4
\deadNotesOff
}
BTW, instead of
\override NoteHead #'style = #'cross
you should have used
\override TabNoteHead #'style = #'cross
but I guess \deadNotesOn does exactly what you want to achieve.
Read also the doc:
http://lilypond.org/doc/v2.13/Documentation/notation/guitar#Indicating-harmonics-and-dampened-notes
HTH,
Federico
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End of lilypond-user Digest, Vol 89, Issue 70
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tablature mystery
I'm sure I've messed up somewhere, but I can't see what I'm doing wrong
here.
I'm editing some music for fingerstyle guitar and I'm putting it into a
modern looking tablature. I'm writing all of the notes twice so I can
fine-tune the notation and tablature independently.
I have 4 variables defined, which contain the notes: nfingers and nthumb
for the notation, and tfingers and tthumb for the tablature.
Circumstances will require me to further divide the tablature notes into
voices, as needed to fine-tune how they're displayed.
nthumb and tthumb don't contain music because they enter later in the
piece. I'm working off of a *.ly that was exported from TuxGuitar and
I'd like to do this with as little additional fuss as possible.
In the first example, I'm trying to display the slur in the tab staff as
originating from the 2 and ending at the 0.
In the second example, I've defined voices within the variable
nfingers in an attempt to get the slur how I want it. However,
LilyPond creates two further note staves, each containing one of the
voices from the variables in tfingers, which is, itself part of a TabStaff.
Can anyone point out where I'm going wrong?
Thanks,
David
--
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\version 2.13.16
nfingers = {
%1
e,4\5-.\mf_\markup {
\fontsize #-2
\center-align w/fingers
} gis\2 e\3 b,\4 4-. \slurDown gis\2 e\3 b,\4 8( a,\4 )
}
nthumb = {
%1
s2.
}
fingers = {
%1
e,4\5-. gis\2 e\3 b,\4 4-. gis\2 e\3 b,\4 8( a,\4 )
}
tfingers = {
{
\new Voice = upper {
%1a
e,4\5-. gis\2 e\3 b,\4 4-. gis\2 e\38 s
}
\new Voice = lower {
%1b
s2 b,\4 8( a,\4 )
}
}
}
tthumb = {
%1
s2.
}
\score {
\new Staff = notation {
\clef treble
\key e \major
\time 3/4
\override Staff.StringNumber #'transparent = ##t
\new Voice = fingers {
\transpose c c''
\nfingers
}
\new Voice = thumb {
\nthumb
}
}
\new TabStaff = tablature {
\set TabStaff.stringTunings = #'(-4 -8 -13 -15 -20 -27 )
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \tthumb }
}
}
\score {
\new Staff = notation {
\clef treble
\key e \major
\time 3/4
\override Staff.StringNumber #'transparent = ##t
\new Voice = fingers {
\transpose c c''
\nfingers
}
\new Voice = thumb {
\nthumb
}
}
\new TabStaff = tablature {
\set TabStaff.stringTunings = #'(-4 -8 -13 -15 -20 -27 )
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \tfingers }
{ \tthumb }
}
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Re: tablature mystery
In the second example, I've defined voices within the variable nfingers... Actually, the voices are defined in the variable tfingers Hope that clarifies what I'm trying to do here. -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tablature mystery
Reading through the docs, I discovered TabVoice, of which I was previously not aware. :-) David On 03/29/2010 11:27 AM, David Stocker wrote: I'm sure I've messed up somewhere, but I can't see what I'm doing wrong here. I'm editing some music for fingerstyle guitar and I'm putting it into a modern looking tablature. I'm writing all of the notes twice so I can fine-tune the notation and tablature independently. I have 4 variables defined, which contain the notes: nfingers and nthumb for the notation, and tfingers and tthumb for the tablature. Circumstances will require me to further divide the tablature notes into voices, as needed to fine-tune how they're displayed. nthumb and tthumb don't contain music because they enter later in the piece. I'm working off of a *.ly that was exported from TuxGuitar and I'd like to do this with as little additional fuss as possible. In the first example, I'm trying to display the slur in the tab staff as originating from the 2 and ending at the 0. In the second example, I've defined voices within the variable nfingers in an attempt to get the slur how I want it. However, LilyPond creates two further note staves, each containing one of the voices from the variables in tfingers, which is, itself part of a TabStaff. Can anyone point out where I'm going wrong? Thanks, David -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords
Nice. Thanks, Robin. On 03/27/2010 09:41 AM, Robin Bannister wrote: David Stocker wrote: center the entire chord symbol (root and suffix) on its rhythmic axis? #(define (centerCN grob) (ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER )) and then apply as \override ChordNames.ChordName #'stencil = #centerCN Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords
This function seems to center the chord names (root name and suffix) precisely on the leftmost edge of the notehead. While I feel that this is preferable to LilyPond's default setting, I wonder if there's a way to nudge the chord symbols about 1/2 a space to the right (I'm sure there is, but my total ignorance of Scheme and music functions prohibits me from figuring it out). This really is great. This allows me to get results with chords that I previously thought were not possible with LilyPond. I've started on a list of markups for chord suffixes and intend to combine them with the pop-chords.ly already in circulation. Making a new, expanded list of chord modifiers to supplement what is already available in LilyPond. I may need some pointers in the right direction, as I delve into some of the internals. Thanks again, LilyPond community! David On 03/28/2010 02:22 PM, David Stocker wrote: Nice. Thanks, Robin. On 03/27/2010 09:41 AM, Robin Bannister wrote: David Stocker wrote: center the entire chord symbol (root and suffix) on its rhythmic axis? #(define (centerCN grob) (ly:stencil-aligned-to (ly:text-interface::print grob) X CENTER )) and then apply as \override ChordNames.ChordName #'stencil = #centerCN Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pop-chords.ly
Hi Keith,
Save a copy of the file pop-chords.ly in the same directory that you
want to use it. Alternatively, you can put a copy of the file into your
LilyPond installation in .../usr/share/lilypond/current/ly (Linux,
similar on Windows). After that, just do \include pop-chords.ly in the
top of the file you want to use it in.
Also, you can have a look at some of the chord suffixes I've been
fooling around with. Just run LilyPond on the file to see what the
suffixes look like by themselves. I'm working on how to incorporate this
into a file like pop-chords.ly and even make an expanded set of chord
modifiers to use in \chordmode.
Best regards,
David
On 03/28/2010 04:53 PM, keith Luke wrote:
David,
I saw your post regarding pop-chords. I tried copying the file and
running it through LilyPond, but I don't get any PDF file created.
The only messages that shows in the log file are:
# -*-compilation-*-
Processing `C:/LilyPond Data/Pop-chords-test.ly'
Parsing...
Do you have an example of using pop-chords.ly http://pop-chords.ly?
I'm working on an arrangement which has lots of altered chords and I
would like to see if I can use jazz nomenclature rather than the
LilyPond default.
Thanks,
Keith Luke
--
David Stocker
804-598-3762
http://notesettersinc.com
%{ This is a file that defines custom chord suffixes in the style of Hal Leonard Corp.'s Guitar Recorded Versions® Guitar/Vocal songbooks.
version history:
version 0.1 - mar 2010
%}
\version 2.13.16
%power chord
\markup {
\override #'(font-name . Times LT Std) {
5
}
}
%major sixth
\markup {
\override #'(font-name . Times LT Std) {
6
}
}
%sus second and fourth
\markup {
\override #'(font-name . Times LT Std) {
sus {
\center-column
\teeny {
{ \raise #0.75 2 }
{ \lower #-2.5 4 }
}
}
}
}
%minor seven, flat five
\markup {
\override #'(font-name . Times LT Std) {
m7\hspace #-1 \raise #0.2 \flat \hspace #-1 5
}
}
%minor
\markup {
\override #'(font-name . Times LT Std) {
m
}
}
%suspended 4th
\markup {
\override #'(font-name . Times LT Std) {
sus4
}
}
%suspended 2nd
\markup {
\override #'(font-name . Times LT Std) {
sus2
}
}
%add 9
\markup {
\override #'(font-name . Times LT Std) {
add9
}
}
%add 2
\markup {
\override #'(font-name . Times LT Std) {
add2
}
}
%minor, add 2
\markup {
\override #'(font-name . Times LT Std) {
m(add2)
}
}
%minor, add 4
\markup {
\override #'(font-name . Times) {
m(add4)
}
}
%minor, add 9
\markup {
\override #'(font-name . Times LT Std) {
m(add9)
}
}
%add 2nd and 4th
\markup {
\override #'(font-name . Times LT Std) {
add {
\center-column
\teeny {
{ \raise #0.75 2 }
{ \lower #-2.5 4 }
}
}
}
}
%7th, sharp 9th - the Hendrix chord
\markup {
\override #'(font-name . Times LT Std) {
7\hspace #-1 \raise #0.75 \sharp \hspace #-19
}
}
%minor 6th
\markup {
\override #'(font-name . Times LT Std) {
m6
}
}
%major 7th
\markup {
\override #'(font-name . Times LT Std) {
maj7
}
}
%major 9th
\markup {
\override #'(font-name . Times LT Std) {
maj9
}
}
%7th, no 3rd
\markup {
\override #'(font-name . Times LT Std) {
7(no 3rd)
}
}
%diminished
\markup {
\override #'(font-name . Times LT Std) {
°
}
}
%diminished 7th
\markup {
\override #'(font-name . Times LT Std) {
°7
}
}
%augmented
\markup {
\override #'(font-name . Times LT Std) {
âº
}
}
%sus 2, add 11
\markup {
\override #'(font-name . Times LT Std) {
\center-column
\teeny {
{ \raise #0.75 sus }
{ \lower #-2.5 add }
}
\hspace #-0.2
\center-column
\teeny {
{ \raise #0.75 2 }
{ \lower #-2.5 11 }
}
}
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Re: Chords
I'd very much like to look into this. For now, adding \override ChordName #'extra-offset = #'(0.75 . 0.0) gives a very nice result. Best regards, David On 03/28/2010 05:56 PM, Kieren MacMillan wrote: Hi David, This function seems to center the chord names (root name and suffix) precisely on the leftmost edge of the notehead. While I feel that this is preferable to LilyPond's default setting, I wonder if there's a way to nudge the chord symbols about 1/2 a space to the right (I'm sure there is, but my total ignorance of Scheme and music functions prohibits me from figuring it out). What you really want is a Scheme function to actually centre it on the notehead, regardless of width. A similar thing was being done with lyrics -- perhaps this thread (and the authors thereof) can help: http://lists.gnu.org/archive/html/lilypond-user/2010-02/msg00573.html Cheers, Kieren. -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pop-chords.ly
) ;; WAS: 0.4
(make-tiny-markup (make-raise-markup 1.0
(make-musicglyph-markup accidentals.flat)))
)
)
;; or handle adding the sharp symbol
(make-line-markup
(list
(make-hspace-markup 0.1) ;; WAS: 0.2
(make-teeny-markup (make-raise-markup 1.0
(make-musicglyph-markup accidentals.sharp)))
)
)
)
)
)
)
)
)
%{
popChords =
{
\set chordNameExceptions = #popChordsAdd
\set chordRootNamer = #chord-name-pop-markup
\override ChordName #'extra-spacing-width = #'(-1.25 . 1.25)
}
%}
\layout
{
\context
{
\Score
chordNameExceptions = #popChordsAdd
chordRootNamer = #chord-name-pop-markup
\override ChordName #'extra-spacing-width = #'(-1.25 . 1.25)
}
}
I did have pop-chords.ly http://pop-chords.ly in the same directory
as my source code, but I'm going to try an put it in the
/usr/shar/lilypond/current/ly folder.
I'm on Windows usingLilyPond 2.12.2.
Thanks,
Keith
On Sun, Mar 28, 2010 at 11:18 AM, David Stocker
dstoc...@notesettersinc.com mailto:dstoc...@notesettersinc.com wrote:
Hi Keith,
Save a copy of the file pop-chords.ly http://pop-chords.ly in
the same directory that you want to use it. Alternatively, you can
put a copy of the file into your LilyPond installation in
.../usr/share/lilypond/current/ly (Linux, similar on Windows).
After that, just do \include pop-chords.ly
http://pop-chords.ly in the top of the file you want to use it in.
Also, you can have a look at some of the chord suffixes I've been
fooling around with. Just run LilyPond on the file to see what the
suffixes look like by themselves. I'm working on how to
incorporate this into a file like pop-chords.ly
http://pop-chords.ly and even make an expanded set of chord
modifiers to use in \chordmode.
Best regards,
David
On 03/28/2010 04:53 PM, keith Luke wrote:
David,
I d
I saw your post regarding pop-chords. I tried copying the file
and running it through LilyPond, but I don't get any PDF file
created. The only messages that shows in the log file are:
# -*-compilation-*-
Processing `C:/LilyPond Data/Pop-chords-test.ly'
Parsing...
Do you have an example of using pop-chords.ly
http://pop-chords.ly? I'm working on an arrangement which has
lots of altered chords and I would like to see if I can use jazz
nomenclature rather than the LilyPond default.
Thanks,
Keith Luke
--
David Stocker
804-598-3762
http://notesettersinc.com
--
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804-598-3762
http://notesettersinc.com
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Chords
I have some questions/concerns about display of chords in LilyPond: * Is there a way to make LilyPond center the entire chord symbol (root and suffix) on its rhythmic axis? Right now, LilyPond is only centering the root on the rhythmic axis, with the suffix extending on the right. * Does someone on the list have a set of modern custom chord definitions? I'd like to make one myself for work I do in the Hal Leonard style. If someone has something similar already, I can use it as a starting point and share it with the community as I expand it, if other may find it useful. Thanks, David -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tablature without white space around TabNoteHead
Do you need an accompanying text for the docs? On 03/25/2010 09:33 AM, Carl Sorensen wrote: On 3/24/10 11:31 AM, David Stockerdstoc...@notesettersinc.com wrote: Is there a way to prevent LilyPond from whiting out the space around tablature numbers, so that the tablature staff line goes all the way through the tab number? Yes, use \override TabNoteHead #'whiteout = ##t When you get this figured out, would you please make a snippet for inclusion in the LSR and the documentation? Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tablature without white space around TabNoteHead
Carl,
I don't know if this is what you need, but the code snippet works fine
and I think it sufficiently demonstrates what I was after.
For the Notation Reference and LSR:
You can tell LilyPond to break tab lines around the tab numbers, or to
draw tab lines all the way through the numbers. This is controlled with
code\override TabNoteHead #'whiteout/code, which is set to true by
default.
music = {
\relative c {
c e g c e4 g b d g b f' c e g c e2
}
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##t
\music
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##f
\music
}
On 03/25/2010 09:33 AM, Carl Sorensen wrote:
On 3/24/10 11:31 AM, David Stockerdstoc...@notesettersinc.com wrote:
Is there a way to prevent LilyPond from whiting out the space around tablature
numbers, so that the tablature staff line goes all the way through the tab
number?
Yes, use
\override TabNoteHead #'whiteout = ##t
When you get this figured out, would you please make a snippet for inclusion
in the LSR and the documentation?
Thanks,
Carl
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Strange behavior with slurs in Tab when overriding whiteout
Has anyone encountered this? It seems like a bug. Using \override
TabNoteHead #'whiteout = ##f causes slurs to jump to a different voice
in the TabStaff when two voices are present.
For what it's worth, the very presence of the \override seems to be the
trigger. In the first example, uncommenting the override and changing it
to ##t yields the same result (only with whiteout around the tab numbers).
\version 2.13.16
\include english.ly
fingers = {
\relative c' {
\voiceOne
\partial 4
%p
e8( fs )
%1
g4
}
}
thumb = {
\relative c, {
\voiceTwo
\partial 4
%p
fs8 e
%1
e4
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\fingers
}
\new Voice = thumb {
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
%\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\fingers
}
\new Voice = thumb {
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
--
David Stocker
804-598-3762
http://notesettersinc.com
\version 2.13.16
\include english.ly
fingers = {
\relative c' {
\voiceOne
\partial 4
%p
e8( fs )
%1
g4
}
}
thumb = {
\relative c, {
\voiceTwo
\partial 4
%p
fs8 e
%1
e4
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\fingers
}
\new Voice = thumb {
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
%\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\fingers
}
\new Voice = thumb {
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
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Re: Tablature without white space around TabNoteHead
Moving the \voiceOne and \voiceTwo commands out of the variables and
into the appropriate voices in the notation staff avoids the problem
altogether. So the problem seems to be related to delineating anything
having to do with voices in a TabStaff.
\version 2.13.16
\include english.ly
fingers = {
\relative c' {
%\voiceOne
\partial 4
%p
e8( fs )
%1
g4
}
}
thumb = {
\relative c, {
%\voiceTwo
\partial 4
%p
fs8 e
%1
e4
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
%\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
On 03/25/2010 10:22 AM, David Stocker wrote:
Carl,
I don't know if this is what you need, but the code snippet works fine
and I think it sufficiently demonstrates what I was after.
For the Notation Reference and LSR:
You can tell LilyPond to break tab lines around the tab numbers, or to
draw tab lines all the way through the numbers. This is controlled
with code\override TabNoteHead #'whiteout/code, which is set to
true by default.
music = {
\relative c {
c e g c e4 g b d g b f' c e g c e2
}
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##t
\music
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##f
\music
}
On 03/25/2010 09:33 AM, Carl Sorensen wrote:
On 3/24/10 11:31 AM, David Stockerdstoc...@notesettersinc.com wrote:
Is there a way to prevent LilyPond from whiting out the space around tablature
numbers, so that the tablature staff line goes all the way through the tab
number?
Yes, use
\override TabNoteHead #'whiteout = ##t
When you get this figured out, would you please make a snippet for inclusion
in the LSR and the documentation?
Thanks,
Carl
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\version 2.13.16
\include english.ly
fingers = {
\relative c' {
%\voiceOne
\partial 4
%p
e8( fs )
%1
g4
}
}
thumb = {
\relative c, {
%\voiceTwo
\partial 4
%p
fs8 e
%1
e4
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
%\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
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Re: Strange behavior with slurs in Tab when overriding whiteout
Just reposting this to the right thread. My bad.
On 03/25/2010 10:40 AM, David Stocker wrote:
Moving the \voiceOne and \voiceTwo commands out of the variables and
into the appropriate voices in the notation staff avoids the problem
altogether. So the problem seems to be related to delineating anything
having to do with voices in a TabStaff.
\version 2.13.16
\include english.ly
fingers = {
\relative c' {
%\voiceOne
\partial 4
%p
e8( fs )
%1
g4
}
}
thumb = {
\relative c, {
%\voiceTwo
\partial 4
%p
fs8 e
%1
e4
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
%\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
\score {
\new StaffGroup = Guiter/Tab {
\new Staff = notation {
\clef treble_8
\key e \minor
\numericTimeSignature
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
\new TabStaff = tablature {
\clef moderntab
\override TabNoteHead #'whiteout = ##f
{ \fingers }
{ \thumb }
}
}
}
On 03/25/2010 10:22 AM, David Stocker wrote:
Carl,
I don't know if this is what you need, but the code snippet works
fine and I think it sufficiently demonstrates what I was after.
For the Notation Reference and LSR:
You can tell LilyPond to break tab lines around the tab numbers, or
to draw tab lines all the way through the numbers. This is controlled
with code\override TabNoteHead #'whiteout/code, which is set to
true by default.
music = {
\relative c {
c e g c e4 g b d g b f' c e g c e2
}
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##t
\music
}
\new Staff {
\clef treble_8
\music
}
\new TabStaff {
\override TabNoteHead #'whiteout = ##f
\music
}
On 03/25/2010 09:33 AM, Carl Sorensen wrote:
On 3/24/10 11:31 AM, David Stockerdstoc...@notesettersinc.com wrote:
Is there a way to prevent LilyPond from whiting out the space around tablature
numbers, so that the tablature staff line goes all the way through the tab
number?
Yes, use
\override TabNoteHead #'whiteout = ##t
When you get this figured out, would you please make a snippet for inclusion
in the LSR and the documentation?
Thanks,
Carl
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Re: Using Lilypond in LaTeX
The difference is that ragged-right has to go in a \paper block and not
a \layout block.
On 03/23/2010 05:36 PM, Keith Weintraub wrote:
Jon,
That worked like a charm. I used 20 for my staff size but that is
obviously not the game changer!
I thought I had tried the ragged-right fix but I must have done it wrong.
Thanks again,
KW
--
On Mar 23, 2010, at 4:27 PM, Jonathan Kulp wrote:
On Tue, Mar 23, 2010 at 1:58 PM, Keith Weintraub kw1...@gmail.com
mailto:kw1...@gmail.com wrote:
Folks,
I am creating multiple piano staves with text between them for
analysis
on a page.
I would like to make sure that all staves on one page be the same width.
Is there a way to force the line-width to be a certain size AND
(sorry for
shouting) force the staves (across separate \begin{lilypond}
\end{lilypond}
blocks) to fill the lines so they are the same width across the page?
I have done something like this:
\begin{lilypond}
\layout {
line-width = #150
ragged-last = ##f
ragged-last-bottom = ##f
ragged-right = ##f
ragged-bottom = ##f
}
\score {
\new PianoStaff \with {
\override SpacingSpanner #'uniform-stretching = ##t
}
\set Score.tempoHideNote = ##t
...
...
...
\layout{}
\midi{}
}
\end{lilypond}
I am sure that this is wrong and that I have cut and pasted a bunch
of stuff
that I don't really need. Any help that you could give would be greatly
appreciated.
Thanks,
KW
In my counterpoint workbook I use included lilypond files for the
exercises, each of which has the following parameters defined:
\paper {
ragged-right = ##f
}
global = {
#(set-global-staff-size 24)
}
With only these two parameters defined, all of my exercises are the
same staffsize and fill the same width of page. If you're interested
you can see the source code and pdf here:
http://music2.louisiana.edu/Gratis/
HTH,
Jon
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Re: Fingering Infos always above the system
Hello Hajo,
LilyPond requires that for different finger orientations to work, notes
must be part of a chord construct--even if there is only one note at a
time. Try:
melody = \relative e'' {
\set fingeringOrientations = #'(up)
e-04 f-1 g-4 | % 1
}
bass = \relative e {
\set fingeringOrientations = #'(down)
e-02 g-3 | % 1
}
Hope that answers your question.
Regards,
David
On 03/06/2010 02:50 PM, Hajo Dezelski wrote:
Hello,
as always: I just don't get it right. I want to set the fingering for
the melody above and for the bass-line below the system. But they are
written all the time above.
melody = \relative e'' {
\set fingeringOrientations = #'(up)
e4-0 f-1 g2-4 | % 1
}
bass = \relative e {
\set fingeringOrientations = #'(down)
e2-0 g2-3 | % 1
}
Any ideas?
Thanks in advance
Hajo
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Re: Fingering Infos always above the system
The disadvantage of this method is that if you change your mind later,
you have to change each f_1 to f^1, whereas if you do f-1 you can
change them all by doing \set #'fingeringOrientations
This is a good solution if you use only a few fingering orientations in
a piece.
Regards,
David
On 03/06/2010 03:03 PM, James Lowe wrote:
Just use ^ or _
e4^0 or f_1 for example.
You can explicitly set it then.
Thats what I do for my Trumpet Music.
James
-Original Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of Hajo
Dezelski
Sent: Sat 06/03/2010 19:50
To: lilypond
Subject: Fingering Infos always above the system
Hello,
as always: I just don't get it right. I want to set the fingering for the
melody above and for the bass-line below the system. But they are written
all the time above.
melody = \relative e'' {
\set fingeringOrientations = #'(up)
e4-0 f-1 g2-4 | % 1
}
bass = \relative e {
\set fingeringOrientations = #'(down)
e2-0 g2-3 | % 1
}
Any ideas?
Thanks in advance
Hajo
---
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Re: Slur shapes
You have to ctrl.-click on the printed example to see the underlying code in a separate browser tab or window, then you can copy and paste the code which will yield the result in LilyPond. David On 03/04/2010 09:21 AM, Mats Bengtsson wrote: It seems that you have looked at the snippet http://lsr.dsi.unimi.it/LSR/Item?id=639 The command \shapeSlur which is used in this example is not included in LilyPond by default, but is rather defined within the example file itself. To use it, you have to copy the lines from shapeSlur = down to cords)) into the top of your own .ly file. /Mats Phil Holmes wrote: If I use the snippet attached, the slur over the notes goes way higher than I'd want and makes the stave spacing in my score poor. I've tried using: \shapeSlur #'(x1 y1 x2 y2 x3 . .x4 y4) [well, actually \shapeSlur #'(0 -2.5 -1 3.5 0 0 0 -2.5) ] but get an error: error: unknown escaped string: `\shapeSlur' Does anyone have any ideas on how to get a less extreme shape to the slur, please? -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- David Stocker 804-598-3762 http://notesettersinc.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond vs Score
Odds are this was much easier to do in LilyPond than it was in SCORE (or Sibelius, for that matter). I think it looks better than either of the example on Grossman's page. Nice job. On 02/22/2010 08:02 AM, Bertalan Fodor (LilyPondTool) wrote: I found a page about Score at http://www.jeffreygrossman.com/engraving.html showing the problems with Sibelius and showing Score's superiority. I created the same example using LilyPond 2.12.3 (attached) - definitely not perfect, but almost is - using only the default settings and the easiest ways, as I almost never engrave piano music. Certainly beats the Sibelius example (I don't know the Sibelius version, though). Bert Bobber wrote: I have been having a discussion with a small publisher who uses the music manuscript program called Score. He says that neither Lilypond or Finale can produce engraving that is comparable to Score. And that most of the major music publishers in the world use Score. Is anyone familiar with Score and what makes it superior? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Glissando tweaking - help !!
Hi Eby,
You'll need to \override Score.Glissando #'(bound-details left padding)
and adjust the values until they suit you. As far as I can tell, the
bound-details padding adjustments are sensitive down to increments of
0.25, but not smaller than that. Try running the code below, which
compiled successfully on 2.13.9 and gave a satisfactory result.
Adding Gliss. to the line is, if I recall, one of the Known Issues.
I don't know if someone else has an answer but you may try the snippet
repository.
To the list, is LilyPond's not respecting dots and accidentals in the
\glissando command a bug?
Cheers.
%%%
\version 2.12.3
vOne = {
\relative c' {
c4 e g a c d
\once \override Glissando #'style = #' trill
\once \override Score.Glissando #'(bound-details left padding) = #2.25
\once \override Score.Glissando #'(bound-details right padding) = #2.5
e,4. \glissando dis'8
}
}
\score {
\new Voice = Glissando
\vOne
\layout {
\context {
\Voice
\override Glissando #'minimum-length = #10
\override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
}
}
}
%%%
On 02/22/2010 03:12 PM, Eby Mani wrote:
Is there a way to print aesthetically pleasing Glissandos, that doesn't print over Dots and
accidentals ?. It prints over the dot of the starting note and over the sharp of
the ending note.
Also any simple way to print text such as gliss or slide over the
glissando, without using markup and rotate ?.
Many thanks,
Eby
*
\version 2.12.3
vOne = \relative c' { c4 e g a c d \once \override Glissando #'style = #' trill
e,4.\glissando dis'8 }
\score {
\new Voice = Glissando \vOne
\layout {
\context { \Voice
\override Glissando #'minimum-length = #10
\override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
} }
}
***
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Re: recovering LilyPond user....
The answer to the third item is pretty routine.
(3) Can I somehow force a piece of text in the score to reserve more horizontal space for itself? For
example, when there is pizz in one note and arco in the next one is it possible to
force more space for the pizz?
\textLengthOn c4_\markup { pizz } \textLengthOff c2.
Is that what you mean?
best,
Mika Kuuskankare
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left-margin and shortInstrumentName
Hello everyone,
I'm noticing that when I give instruments a shortInstrumentName in a
score, that the short name doesn't respect the left margin the way the
instrumentName does. Is there a way to make this happen? Or, is there a
way to tell LilyPond to print the page margins? That way I could get the
result I'm after using short-indent in the \paper block. As it is, I can
fudge it, but I'm rather particular when it comes to precision.
Thanks,
David
%%%
\version 2.13.13
\paper {
left-margin = 0.5\in
right-margin = 0.5\in
ragged-right = ##t
}
notes = {
a4 e' a e \break
a e a,2 \bar |.
}
\score {
\new Staff = Violin {
\set Staff.instrumentName = Violin
\set Staff.shortInstrumentName = Vn.
\relative c'
\notes
}
}
%%%
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Re: Changing staff size
Trevor, I'll prepare a rewrite, perhaps this afternoon. Thanks! David Trevor Daniels wrote: David, you wrote Wednesday, February 10, 2010 4:53 PM I just saw the warning about staff spaces at the bottom of the documentation page. The question remains, is this behavior beneficial? If so, should the documentation and command wording simply be reworked? David, if you are willing to rewrite this part of the documentation (as you suggested), I'm happy to receive your contribution and edit it into the manuals, or guide you in doing it yourself, whichever you prefer. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing staff size
Chris, Have a look at http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Setting-the-staff-size#Setting-the-staff-size A couple of notes: placing #(set-global-staff-size 15.87) somewhere in your file will change the size of the staff and scale scale all the fonts (music and text, including fonts in the \header block) to match the smaller staff (or bigger, as the case may be). placing #(layout-set-staff-size 15.87) in the \layout block scales only the music fonts and leaves the \header block fonts alone (at least, this is true for 2.13.12). This brings me to a question for the larger community and developers: The wording of the command and the documentation would lead one to believe that #(layout-set-staff-size 15.87) would affect the staff size and the music font size when in fact, it only affects the music font size. Of course, the staff can be made to match the music font by using \override Staff.StaffSymbol #'staff-space = #0.8 for each instrument in the score. The two methods have different effects. Personally, I like being able to reduce the music font size and staff size independently of each other, and also like the \layout method because it doesn't change the scaling of the \header fonts. Is this the desired behavior or a bug? If the difference is intentional, then the documentation (and perhaps eventually, the command wording) ought to be re-worked. It might be good even to add another column to the chart in that section which gives the scaling factors of the staff spaces for the Staff.StaffSymbol command for the corresponding music font sizes. I'd be happy to suggest a new wording for the documentation to make it clear that the two methods differ in their results. I'm open to fixing the documentation myself, if my non-technical brain can handle the procedures. David Chris wrote: Hi! Is it possible to change the staff size? I found in the documentation only a command to change the note size. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing staff size
I just saw the warning about staff spaces at the bottom of the documentation page. The question remains, is this behavior beneficial? If so, should the documentation and command wording simply be reworked? David Chris wrote: Hi! Is it possible to change the staff size? I found in the documentation only a command to change the note size. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Guitar stroke fingering and multiple voices
Very nice!
Nick Payne wrote:
Don't know if this has been thought of before (I couldn't find it in
the lilypond-user archives), but while having to do some tweaking to
get stroke fingering in one voice to avoid notes in another voice, I
realised that multiple stroke fingering indications can be attached to
a single note. So in the attached example, by moving the stroke
fingering indications for notes in the middle voice to the
simultaneous notes in the upper voice, no tweaking is required:
%
\version 2.13.12
P = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 1
I = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 2
M = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 3
A = #(define-music-function (parser location) ()
(apply make-music
(append
(list
'StrokeFingerEvent
'origin location)
(list 'digit 4
\new Staff \relative c'' {
\key c \major
\time 3/4
{
\set strokeFingerOrientations = #'(up)
\override StrokeFinger #'add-stem-support = ##t
e c g4 r16 d-\A c-\I -\A b-\A a-\I -\M g-\M fis-\I
32 g-\M e-\I 16 |
}
\\
\\
{ s4. \autoBeamOff e8 e s | }
\\
{
\set strokeFingerOrientations = #'(down)
\override StrokeFinger #'add-stem-support = ##t
c-\P 8[ c-\P ] c-\P [ c-\P ] c-\P c-\P |
}
}
%
Nick
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Re: Vertical rest alignment
Bob,
The easiest way to do this is to specify the position of the rest by
specifying a pitch (a line or space) to align the rest to, and then
converting to a rest by using \rest.
% measure 16:
{ d''2. \rest^\markup { \bold \large Fine } } \\
{ a,2. }
\bar ||
There are other ways as well. See
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Writing-rests#Rests
Regards,
David
Bobber wrote:
My score is coming along nicely. But I am not satisfied with the
positioning of the rests in the upper voice. Here is an example. The
placement of the dotted half rest here just looks too high to me. How
can I move it so that it is lower?
% measure 16:
{ r2.^\markup { \bold \large Fine } } \\
{ a,2. }
\bar ||
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Re: Community of professional LilyPond engravers?
Michael, I've done some LilyPond engraving for paying clients, including an original arrangement of a popular song by one of my clients. This is something that I'd be interested in. My impression right now (after almost a decade in the commercial print business, doing mostly transcription and some engraving) is that, while LilyPond's spacing and graphics are clearly comparable to the big two (and in many ways, better), LilyPond will have a hard time catching on in the commercial market. One of the reasons for this is online sheet music sales. The ability to control the number of times a downloaded score can be printed, and how to what extent it may be manipulated (after first collecting a fee, of course) is something that Sibelius has the corner market on at the moment. That's not to say that LilyPond music engraving can't fill a niche of smaller, boutique publishers who are committed to quality (both in appearance and content), probably publishing mostly new music. For all I know, this may already be happening somewhere. Keep me posted on what you do. If you have business-related questions, feel free to email me off-list. David dstoc...@thenotesetter.com http://notesettersinc.com Michael J. O'Donnell wrote: I am pondering offering engraving services with LilyPond. I wonder if there are people ready and willing to share information on the possibility to make modest money this way. I found one (slightly broken) thread in the archives: http://lists.gnu.org/archive/html/lilypond-user/2007-10/msg00482.html http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg2.html which indicates that several people use LilyPond for professional projects, but they seem to be activities within a larger job, rather than pay specifically for engraving. I found one person offering Finale engraving ranging from 2 cents to 5 cents per note: http://home.earthlink.net/~rscarbro/russell/music_prep.htm but I didn't understand precisely what he was charging for. His examples looked to me inferior to LilyPond results, but they were in low resolution pictures. I found a list of people offering mostly Finale engraving from $20 to $80 per hour: http://www.musicengravers.com/ I have no idea how much they accomplish in one hour. I like the relative objectivity of a charge per note. So, if there is enough interest (i.e., at least 2 other people), I suggest that we develop a discussion within the LilyPond Wiki: http://wiki.lilynet.net/index.php/Main_Page If there's enough response, I'll join the Wiki, make sure that this is within it's scope, and provide a front page. So far, I have some examples to share, and a crude sed script for counting notes. Cheers, Mike O'Donnell ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Community of professional LilyPond engravers?
Bobber wrote: A commercial publisher that I talked with claims that there is no product currently available which can produce the same quality of output as the Score software. I'm afraid I'd have to agree with him. I haven't yet seen a software program that can match SCORE's emotionless chill ;-) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String number in/out of the staff
Bob,
After fooling around with this, I'm not quite sure what you're after.
Could you please explain where you want the string number indication to
appear?
David
Bobber wrote:
Ok, I'm getting the hang of things a little better now.
Here's a tricky measure I'm working on. It has left hand fingerings
and a string number. I don't quite understand the behavior of the
string number. If I designate right or left, it goes next to the note
and on the staff. But if I put up or down, it goes off the staff. I
would like to designate down but have it go right below the not and on
the staff.
% measure 19:
{ \set fingeringOrientations = #'(left) \set
stringNumberOrientations = #'(down)
r8 e'-4\28 g'-2 e'-4 g'-24 } \\
{ \set fingeringOrientations = #'(left) e-12. }
\break
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Re: Drop D tuning
Brett,
This is a modification of the code I use to draw this mark. Maybe you
can put this in the \header block somewhere where it will appear in the
appropriate place. I place this mark below the first system's clef by
attaching it to the first note an then using an \tweak or an offset
script to maneuver it to where I want it to go.
To really understand how this works and how the command relate to each
other, I'd recommend looking up each of these commands in the Command
index and reading the sections that they are explained in:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/LilyPond-command-index#LilyPond-command-index
\markup {
\column {
\line {
\general-align #Y #CENTER {
\circle \fontsize #-4.5 \musicglyph #six \tiny { = D }
}
}
}
}
Brett McCoy wrote:
I have a score where I need to indicate Drop D tuning for the guitar
(6th string is tuned down to D). The typical way this is indicated in
guitar music is a (6) = D (circle with a 6 in it = D), placed at the
top left of page 1 under the title, but above a tempo mark. I am
relatively new to Lilypond and am unsure how to do this... any
suggestions?
-- Brett
In the rhythm of music a secret is hidden;
If I were to divulge it, it would overturn the world.
-- Jelaleddin Rumi
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Re: Drop D tuning
Kieren suggested piece. James Bailey wrote: On 03.02.2010, at 20:45, David Stocker wrote: Brett, This is a modification of the code I use to draw this mark. Maybe you can put this in the \header block somewhere where it will appear in the appropriate place. Sorry, I'm having difficulty visualizing this. Where in the \header block do you consider to be an appropriate place? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String number tuning
Bob, Not only is it possible, but it is probable that doing so will increase your fun quotient with LilyPond. You'll be interested in http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Inside-the-staff#Fingering-instructions In particular, be aware that modifications like \set fingeringOrientations = '#(left) don't have an effect on fingerings placed on notes which are not within a chord construct. That is, if you want a single note fingering to go left (or right or down), you'll have to put it into chord braces -- b-14 rather than b4-1 (that trips up a lot of new users when they start modifying fingering placements). Have fun, David Bobber wrote: I would like to have more control over where string numbers, left hand fingerings and right hand fingers are placed. I mean putting them below a note, to the side or above. Is this possible? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String number collision
Greetings.
Your example works as is in 2.13.11, with the string number indications
appearing above the beams of the notes.
At any rate, try adding \override StringNumber #'add-stem-support = ##t
% measure 20:
{ \override StringNumber #'add-stem-support = ##t
r8 c'\38 e'\28 c'8 e'4 } \\
{ c2. }
Hope that helps,
David
Bobber wrote:
I'm engraving some guitar music. It's polyphonic on one staff. In
one measure I am indicating string numbers. The numbers are colliding
with the upper voice. Here's the measure where it's happening:
% measure 20:
{ r8 c'\38 e'\28 c'8 e'4 } \\
{ c2. }
The eight notes here have the stems pointing upwards. The numbers
appear to be placed right above the note heads and are colliding with
the stems.
I'm kind of new to Lilypond so I was wondering if someone could give
me some pointers and help me resolve this.
Thanks!
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Re: Lilypond vs Score
Hi Bob, SCORE is an old program and, while I think it is still being supported, I don't think it's under active development. It's a DOS program and there have been rumors for years of a Windows port, but no one seems to know whether it's happening or not. While a small number of publishers and engravers still use SCORE, most publishers (and almost all Major Publishers) are now using Finale or Sibelius. SCORE is notoriously difficult to use (if you believe the people who use it or used to use it) and even now is quite pricey, at US$750.00 It has a reputation for fine control over placement of score elements and can certainly produce some astonishing output configurations (most of which no one would ever need), but I find the look of its output cold and mechanical, even compared with Finale or Sibelius (and certainly when compared to LilyPond). David Bobber wrote: I have been having a discussion with a small publisher who uses the music manuscript program called Score. He says that neither Lilypond or Finale can produce engraving that is comparable to Score. And that most of the major music publishers in the world use Score. Is anyone familiar with Score and what makes it superior? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Accidentals and Fingerings
Is there any reason why fingerings in these two chords should behave
differently relative to the noteheads in their respective chords?
Incidentally, in the score I'm working on, the behavior of these two
examples is reversed, with the 2 on the b in the first chord appearing
closer to its notehead than the fingering indications in the upper voice
are to theirs and I had to fix its position with \tweak. When I compiled
this minimal example, I was surprised to see that the first example
printed the way I would consider normal and the second chord requires
manual positioning for the 1 on the b in the lower voice. This is
interesting, no?
minimal example
\version 2.13
\include english.ly
fingers = {
\relative c {
ds-1 a'-34 r r2
fs-3 a!-1 d-24 r r2
}
}
thumb = {
\relative c {
b-24 r r2
b-14 r r2
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\fingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
end minimal example
\version 2.13
\include english.ly
fingers = {
\relative c {
ds-1 a'-34 r r2
fs-3 a!-1 d-24 r r2
}
}
thumb = {
\relative c {
b-24 r r2
b-14 r r2
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\fingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
}
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Secondary Beams and Spacer rests
Is there a way to make LilyPond respect spacer rests for the purpose of
breaking secondary beams? Is there any reason why this should not be a
default behavior?
Thanks,
David
minimal example
\version 2.13
\include english.ly
fingers = {
\relative c' {
b cs fs16[ b8 \rest e, as cs16 ]
}
}
thumb = {
\relative c {
cs16[ s8 fs,16 ]
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
}
end minimal example
\version 2.13
\include english.ly
fingers = {
\relative c' {
b cs fs16[ b8 \rest e, as cs16 ]
}
}
thumb = {
\relative c {
cs16[ s8 fs,16 ]
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\fingers
}
\new Voice = thumb {
\voiceTwo
\thumb
}
}
}
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The q repeat command and fingerings
The q command is really a time saver and I'm really glad to have it.
After using it in scores, I have the following observation:
q makes it really easy to reprint chords and articulations that are
attached to them, but it also reprints fingerings. As a general rule,
fingering indications are not repeated for every chord or note. Writing
c-3 e-2 g-0 c-1 e-04 q q q will result in the fingering indications
being repeated for each repetition of the chord. I avoid this by writing
c-3 e-2 g-0 c-1 e-04 c e g c e q q instead. Is this something that
can be modified, or will we just have to live with the way it is?
BTW, I'm not at all displeased with the way it currently works; like I
said, it saves time regardless. I just wonder if it's possible to refine it.
minimal example
\version 2.13
\include english.ly
fingers = {
\relative c' {
\partial 16
ds-1 gs-3 cs-416~
q q8 q16 q q8 q16 q4
}
}
rFingers = {
\relative c' {
\partial 16
ds-1 gs-3 cs-416~
ds gs cs q8 q16 q q8 q16 q4
}
}
thumb = {
\relative c {
\partial 16
fs-216~
fs4 fs fs
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\fingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\rFingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
}
end minimal example
\version 2.13
\include english.ly
fingers = {
\relative c' {
\partial 16
ds-1 gs-3 cs-416~
q q8 q16 q q8 q16 q4
}
}
rFingers = {
\relative c' {
\partial 16
ds-1 gs-3 cs-416~
ds gs cs q8 q16 q q8 q16 q4
}
}
thumb = {
\relative c {
\partial 16
fs-216~
fs4 fs fs
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\fingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
}
\score {
\new Staff = Guitar {
\clef treble_8
\key d \major
\time 4/4
\new Voice = fingers {
\voiceOne
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\rFingers
}
\new Voice = thumb {
\voiceTwo
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
\thumb
}
}
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Re: measure length and decresendo
Hi Kim,
I wasn't reading carefully enough. I thought you were having alignment
issues.
You'll want to override the minimum-length property of the hairpins like
this:
%1
\drums {
\time 4/8
\tupletUp
\override Hairpin #'minimum-length = #15
\times 2/3 {r2 sn4:32~ \f \ }
\times 2/3 {sn4:32 \! \ppp r2 }
}
15 is probably extreme, but you get the idea.
I found this answer in the Notation Reference, section 1.3.1 Dynamics.
Scroll down to the Selected Snippets part.
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Attached-to-notes#Dynamics
Hope that helps.
David
Kim Cascone wrote:
David
try compiling this code fragment in OooLilypond and see what I'm
trying to do
%1
\drums {
\time 4/8
\tupletUp
\times 2/3 {r2 sn4:32~ \f \ }
\times 2/3 {sn4:32 \! \ppp r2 }
}
David Stocker wrote:
Kim,
Have you tried exploiting OpenOffice.org's tables capabilities?
http://notesettersinc.blogspot.com/2009/11/openofficeorg-and-ooolilypond-extension_11.html
Regards,
David
Kim Cascone wrote:
I need to make a chart of rhythmic fragments consisting of
one or two measures per line
the measures need to be centered on the line
there will be 10 - 12 lines per page
and each fragment needs to be uniformly approx 3-4 inches in length
and contain the meter (4/8) and a rhythm 'clef'
next to each of the fragments will be a small text box with some
instructions or notes
so far what I've been doing is using the Lilypond plugin for OpenOffice
and generating the measure one at a time
and centering them on a page
now that I've gotten this far I now need to add dynamics and stick info
here is a problem I'm running into:
one measure I want to make has the last note of a tuplet tied to the
first note of another tuplet in the following measure
and I get a 'decresendo too small' warning when I try to compile it
how do I make the measures longer so I can place the descresendo?
%1
\drums {
\time 4/8
\tupletUp
\times 2/3 {r2 sn4:32~\f\ }
\times 2/3 {sn4:32\! \ppp r2 }
}
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Re: measure length and decresendo
\paper blocks don't work in OpenOffice.org with OOoLilyPond. I didn't
think they did, but I tried just to be sure.
James Bailey wrote:
You can add \paper { ragged-right = ##f line-width = 4\in } to your
file to control the line length and force the measure to fill the
whole line. That will ensure that the measures are exactly the length
you want them to be, and the diminuendo comes out a bit longer.
On 20.01.2010, at 06:36, Kim Cascone wrote:
I need to make a chart of rhythmic fragments consisting of
one or two measures per line
the measures need to be centered on the line
there will be 10 - 12 lines per page
and each fragment needs to be uniformly approx 3-4 inches in length
and contain the meter (4/8) and a rhythm 'clef'
next to each of the fragments will be a small text box with some
instructions or notes
so far what I've been doing is using the Lilypond plugin for OpenOffice
and generating the measure one at a time
and centering them on a page
now that I've gotten this far I now need to add dynamics and stick info
here is a problem I'm running into:
one measure I want to make has the last note of a tuplet tied to the
first note of another tuplet in the following measure
and I get a 'decresendo too small' warning when I try to compile it
how do I make the measures longer so I can place the descresendo?
%1
\drums {
\time 4/8
\tupletUp
\times 2/3 {r2 sn4:32~\f\ }
\times 2/3 {sn4:32\! \ppp r2 }
}
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Re: measure length and decresendo
Kim,
Have you tried exploiting OpenOffice.org's tables capabilities?
http://notesettersinc.blogspot.com/2009/11/openofficeorg-and-ooolilypond-extension_11.html
Regards,
David
Kim Cascone wrote:
I need to make a chart of rhythmic fragments consisting of
one or two measures per line
the measures need to be centered on the line
there will be 10 - 12 lines per page
and each fragment needs to be uniformly approx 3-4 inches in length
and contain the meter (4/8) and a rhythm 'clef'
next to each of the fragments will be a small text box with some
instructions or notes
so far what I've been doing is using the Lilypond plugin for OpenOffice
and generating the measure one at a time
and centering them on a page
now that I've gotten this far I now need to add dynamics and stick info
here is a problem I'm running into:
one measure I want to make has the last note of a tuplet tied to the
first note of another tuplet in the following measure
and I get a 'decresendo too small' warning when I try to compile it
how do I make the measures longer so I can place the descresendo?
%1
\drums {
\time 4/8
\tupletUp
\times 2/3 {r2 sn4:32~\f\ }
\times 2/3 {sn4:32\! \ppp r2 }
}
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Re: LilyPond on Linux
Hi Keith, You might consider setting up a dual-boot environment. There are lots of resources on the web detailing how to do this, but I've found the best and most comprehensive to be the Illustrated Dual Boot Site: http://members.iinet.net/~herman546/index.html I too was a Windows only user until about 2 years ago when I started experimenting with GNU/Linux. BTW, I'm an Ubuntu user and I've never had problems getting LilyPond installed and working in either Windows or Ubuntu. Happy New Year! David keith Luke wrote: My PC experience is with Windows, but I would like to use the Frescobaldi GUI. A friend suggested that I install Linux on a virtual machine then install KDE and Frescobaldi on the system. I told him I was not Linux-literate and he said you don't have to be. All you need is to be able to install it and install the apps and you're good to go. I've seen some of the posts in this forum where some users have problems when installing LilyPond on Linux systems, especially Ubuntu. We just hired at new employee at my shop and he is a Unix/Linux expert. When I was introduced to him, I mentioned my plans to install LilyPond and Frescobaldi on a Linux virtual machine. He recommended downloading and installing Kubuntu as it is Linux packaged with KDE which should meet Frescobaldi requirements. I'm just ordered a new hard drive for my laptop so I can do a clean install of Windows 7 Ultimate 64-bit, then install Virtual PC for Windows 7 to run Kubuntu to run LilyPond and Frescobaldi. Don't know when I'll have time to do this as I just got a bar gig filling in for my friend's band playing keyboards for the next three months. I have not gigged in over 15 years other than sitting in with friends about once a month playing only a tune or two. I'm spending my time re-learning how to sight read and listening to lots of mp3s to learn all of the songs which is taking quite a bit of time. It's a lot of work, but provides a nice contrast to my real day job. I'll report back after I get my new hard drive and start installing. Mele Kalikimaka e ka Hauoli Makahiki Hou - Merry Christmas and Happy New Year in Hawaiian. Alha!!! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond on Linux
The Dual-Boot would be an alternative to installing Kubuntu as a virtual machine. David Stocker wrote: Hi Keith, You might consider setting up a dual-boot environment. There are lots of resources on the web detailing how to do this, but I've found the best and most comprehensive to be the Illustrated Dual Boot Site: http://members.iinet.net/~herman546/index.html I too was a Windows only user until about 2 years ago when I started experimenting with GNU/Linux. BTW, I'm an Ubuntu user and I've never had problems getting LilyPond installed and working in either Windows or Ubuntu. Happy New Year! David keith Luke wrote: My PC experience is with Windows, but I would like to use the Frescobaldi GUI. A friend suggested that I install Linux on a virtual machine then install KDE and Frescobaldi on the system. I told him I was not Linux-literate and he said you don't have to be. All you need is to be able to install it and install the apps and you're good to go. I've seen some of the posts in this forum where some users have problems when installing LilyPond on Linux systems, especially Ubuntu. We just hired at new employee at my shop and he is a Unix/Linux expert. When I was introduced to him, I mentioned my plans to install LilyPond and Frescobaldi on a Linux virtual machine. He recommended downloading and installing Kubuntu as it is Linux packaged with KDE which should meet Frescobaldi requirements. I'm just ordered a new hard drive for my laptop so I can do a clean install of Windows 7 Ultimate 64-bit, then install Virtual PC for Windows 7 to run Kubuntu to run LilyPond and Frescobaldi. Don't know when I'll have time to do this as I just got a bar gig filling in for my friend's band playing keyboards for the next three months. I have not gigged in over 15 years other than sitting in with friends about once a month playing only a tune or two. I'm spending my time re-learning how to sight read and listening to lots of mp3s to learn all of the songs which is taking quite a bit of time. It's a lot of work, but provides a nice contrast to my real day job. I'll report back after I get my new hard drive and start installing. Mele Kalikimaka e ka Hauoli Makahiki Hou - Merry Christmas and Happy New Year in Hawaiian. Alha!!! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond on Linux
Someone else mentioned Ubuntu Studio... I'd definitely opt for a dual-boot environment for any of the studio flavors of GNU/Linux...especially if you plan to fool around with any of the production software available to you. David craigbakalian wrote: On Fri, 2010-01-01 at 12:00 -0500, lilypond-user-requ...@gnu.org wrote: Re: LilyPond on Linux Wipe out the hard drive. Install some flavor of linux and start your digital life fresh and new. Then install Lilypond 2.12.2. Then sell your Windows 7 DVD to a senior citizen. Craig Bakalian 560 Keswick Drive Yardley, PA 19067 215-428-0856 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Music Publishing Blog [slightly O/T]
Hello everyone, I've set up a blog dedicated to issues in Music Publishing, and specifically, the use of Open-Source tools in the print side of things. I've just put up two posts, aimed at Educators, dealing with the use of LilyPond, OpenOffice.org and the OOoLilyPond extension. The posts can be found by clicking the links below. OpenOffice.org and LilyPond - Part One http://notesettersinc.blogspot.com/2009/11/openofficeorg-and-ooolilypond-extension.html OpenOffice.org and LilyPond - Part Two http://notesettersinc.blogspot.com/2009/11/openofficeorg-and-ooolilypond-extension_11.html Feedback is welcome. Best regards, David Stocker ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simultaneous text spanners
One possible solution is to make a hidden voice. The code is a little
more laborious, and you'll get lots of clashing note column warnings
from the terminal, but it produces two separate spanners with individual
start and stop points.
Hope that helps,
David
%%begin duling-spanners
\version 2.13.6
spanOne = {
\override TextSpanner #'(bound-details left text) = \markup { span
one }
}
spanTwo = {
\override TextSpanner #'(bound-details left text) = \markup { span
two }
}
\score {
\new Staff {
\clef bass
\time 4/4
\new Voice = visible {
\relative c {
\oneVoice
\spanOne c4 \startTextSpan c c c
d4 d d d \stopTextSpan
e4 e e e
}
}
\new Voice = hidden {
\relative c {
\hideNotes
c4 c \spanTwo c \startTextSpan c
d4 d d d
e4 e \stopTextSpan e e
}
}
}
\layout { }
}
%%end duling-spanners
James W. wrote:
Hello,
Kind of new to Lilypond (been using it for a few months), but love it so far.
My question: Is it possible to have simultaneous text spanners in a single
voice context? In my example below, there are obvious problems with the
two undistinguished \stopTextSpanner commands. But I think it illustrates
what I'm trying to do. If it is not possible this way, how would I go about
doing it? I've read the Learning Manual a couple of times, the Notation
Manual, looked in the archives of this mailing list, etc. Any help will be
greatly appreciated.
% begin example
\version 2.13.6
spanOne = {
\override TextSpanner #'(bound-details left text) = \markup { span one }
}
spanTwo = {
\override TextSpanner #'(bound-details left text) = \markup { span two }
}
\score {
\new Staff {
\relative c {
\clef bass
\time 4/4
\spanOne c4 \startTextSpan c \spanTwo c \startTextSpan c
d4 d d d \stopTextSpan
e4 e \stopTextSpan e e
}
}
\layout { }
}
% end example
Thanks,
James Worlton
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\version 2.13.6
spanOne = {
\override TextSpanner #'(bound-details left text) = \markup { span one }
}
spanTwo = {
\override TextSpanner #'(bound-details left text) = \markup { span two }
}
\score {
\new Staff {
\clef bass
\time 4/4
\new Voice = visible {
\relative c {
\oneVoice
\spanOne c4 \startTextSpan c c c
d4 d d d \stopTextSpan
e4 e e e
}
}
\new Voice = hidden {
\relative c {
\hideNotes
c4 c \spanTwo c \startTextSpan c
d4 d d d
e4 e \stopTextSpan e e
}
}
}
\layout { }
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Re: tieDown -- repeatTie
Hi Roland,
Using \voiceTwo to set stems, ties and dots to go down/under works on
\repeatTie in 2.13.4. Interestingly, with \voiceTwo in force, \tieUp
affects everything but the \repeatTie.
Try:
\version 2.12
ties = {
\relative c'{
\voiceTwo
%\stemDown
%\tieDown
%\tieUp
c4 c c c~ c1 \bar ||
c4 \repeatTie c c c~ c1 \bar |.
}
}
\score {
\ties
}
Hope that fixes it for you. See
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Multiple-voices#Multiple-voices
regarding how to automatically control item placement (stems, slurs,
etc.) using the \voiceXxx commands.
David
Roland Goretzki wrote:
Hi,
\version 2.12.2
if I use \stemDown for the lower voice in one staff, the ties
automatically show up, and normaly this is fine.
In some situations, however, I want to have them showing down, too.
This is possible with \tieDown, but this doesn't have any effect to a
\repeatTie.
How can I make a \repeatTie also show down, if the stems show down?
Thanks for any hint!
Best Regards Roland
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Re: emacs on Ubuntu
Okay. If you still want to enable lilypond-mode in Emacs, go to /home/yourusername/.emacs.d and edit the file called init.el If the directory or the file (or both) don't exist, then create them. In init.el, paste in the following: **begin copy and paste section** (setq load-path (append (list (expand-file-name /usr/local/lilypond/usr/share/emacs/site-lisp)) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) **end copy and paste section** If something similar was already there, just delete it first and paste in what you've got above. Save the file and exit. That should be it. You should be good to go. If you change your LilyPond installation in any way (like uninstalling the repositories version and installing a newer version using the executable from the website), then you'll most likely have to change init.el to reflect the new location of the lilypond-mode files. Hope this helps. David Ralph Palmer wrote: Hi, David - I installed through Synaptic, but by downloading from the LilyPond site, because the regular Ubuntu repositories didn't have 2.12.2. I'm not sure, but I think the Ubuntu repositories were only up to 2.10 at that point. At any rate, the repostitories are at 2.12.1 now, so I think I would have to uninstall and re-install if I were to go to an Ubuntu official install. I have : /usr/local/lilypond/usr/share/emacs/site-lisp/lilypond-mode.el Hmmm. I think maybe I'll try vim. Ralph On Wed, Sep 16, 2009 at 9:52 PM, David Stocker dstoc...@thenotesetter.com mailto:dstoc...@thenotesetter.com wrote: Hi Ralph, To my novice eyes, it seems there is one of two possible issues here: 1. The path indicated in your init.el file, which is supposed to point to the lilypond-mode files in your LilyPond installation folder is incorrect, or 2. init.el points to the place where the lilypond-files are supposed to be, but the files are missing. How did you install LilyPond? Did you do it through Add/Remove or Synaptic, or by downloading the executable from the LilyPond site? Ralph Palmer wrote: Hi, I've been here before, but I've still got a problem. I'm running Ubuntu (Jaunty Jackalope), Lilypond 2.12.2, and emacs 22.2.1. Whenever I try to open a .ly file in emacs, I get : File mode specification error: (file-error Cannot open load file lilypond-mode) Has anyone else had this problem and/or found a fix? I tried some instructions I got a while back from someone on the lilypond user list, and they didn't work. I re-installed emacs, and no joy. I then tried following the instructions again, and still no luck. Any suggestions? Or is there another helpful text editor (with highlighting), other than jedit (with seems to be slow and resource intensive, in my experience)? Thanks for your time and attention, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org mailto:lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Chords with multiple glissandos
Is there any way to make this work, so that both sets of notes are
connected with glissandos?
**minimal example**
\version 2.13
\include english.ly
\paper {
ragged-right = ##f
}
\relative c'' {
cs1
{cs4 \glissando b \glissando cs2}
{gs4 \glissando fs \glissando gs2}
}
**end minimal example**
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Re: Chords with multiple glissandos
Thanks Kieren.
I actually do need the chords expressed as one voice. I'll look
through the list archives and see if I can use your solution.
Thanks,
David
Kieren MacMillan wrote:
Hi David,
Is there any way to make this work, so that both sets of notes are
connected with glissandos?
If you correct your polyphonic code, it works fine:
\version 2.13.3
\include english.ly
\paper { ragged-right = ##f }
\relative c'' {
cs1
{ \voiceOne cs4 \glissando b \glissando cs2 }
\new Voice { \voiceTwo gs4 \glissando fs \glissando gs2 }
\oneVoice
}
If you want these to be chords instead — which is not what your
original example suggests — look for my solution in the list archive.
Hope this helps!
Kieren.
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Re: emacs on Ubuntu
Hi Ralph, To my novice eyes, it seems there is one of two possible issues here: 1. The path indicated in your init.el file, which is supposed to point to the lilypond-mode files in your LilyPond installation folder is incorrect, or 2. init.el points to the place where the lilypond-files are supposed to be, but the files are missing. How did you install LilyPond? Did you do it through Add/Remove or Synaptic, or by downloading the executable from the LilyPond site? Ralph Palmer wrote: Hi, I've been here before, but I've still got a problem. I'm running Ubuntu (Jaunty Jackalope), Lilypond 2.12.2, and emacs 22.2.1. Whenever I try to open a .ly file in emacs, I get : File mode specification error: (file-error Cannot open load file lilypond-mode) Has anyone else had this problem and/or found a fix? I tried some instructions I got a while back from someone on the lilypond user list, and they didn't work. I re-installed emacs, and no joy. I then tried following the instructions again, and still no luck. Any suggestions? Or is there another helpful text editor (with highlighting), other than jedit (with seems to be slow and resource intensive, in my experience)? Thanks for your time and attention, Ralph -- Ralph Palmer Montague City, MA USA palmer.r.vio...@gmail.com mailto:palmer.r.vio...@gmail.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: arpeggio placement
Works perfectly. Thanks Robin! David Robin Bannister wrote: David Stocker wrote: Any hints on forcing the arpeggio line to the right to make the placement more natural would be appreciated. For the first case, fiddle with the padding. Negative works too, e.g. \override Staff.Arpeggio #'padding = #-0.4 For situations where this doesn't work, see http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00658.html Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
arpeggio placement
I'm having trouble with altered fingering placements fouling up the
position of an arpeggio line. It only happens when fingering indications
are placed to the left of the notes--the arpeggio line and fingerings
are moved way to the left, leaving a significant amount of space between
the line and the notes. Fiddling with the placement of the fingerings
using \tweak #'extra-offset changes the position of the fingerings, but
leaves the arpeggio line where LilyPond's decided it should go, which is
still too far to the left of the notes.
I've attached a minimal example below. Any hints on forcing the arpeggio
line to the right to make the placement more natural would be appreciated.
Thanks,
David
%%begin test file%%
\version 2.13.3
\include english.ly
guitarFinUpper = {
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
}
guitarFinLower = {
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
}
staff = {
\clef treble_8
\key a \major
\time 4/4
}
%%arpeggio with fingerings
fingersOne = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs,-1 b-0 e-02 \arpeggio
}
}
%%arpeggio without fingerings
fingersTwo = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs, b e2 \arpeggio
}
}
fingersThree = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs,-\tweak #'extra-offset #'(4.0 . 0)-1 b-\tweak
#'extra-offset #'(4.0 . 0)-0 e-\tweak #'extra-offset #'(4.0 . 0)-02
\arpeggio
}
}
%%arpeggio with fingerings
thumbOne = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d'-\tweak #'extra-offset #'(0 . -0.5)-0 fs-\tweak
#'extra-offset #'(0 . -0.5)-3 \arpeggio
}
}
%%arpeggio without fingerings
thumbTwo = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d' fs \arpeggio
}
}
thumbThree = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d'-\tweak #'extra-offset #'(4.0 . -0.5)-0 fs-\tweak
#'extra-offset #'(4.0 . -0.5)-3 \arpeggio
}
}
%%the arpeggio line is shifted too far left
\score {
\new Staff = guitar
\with {
\consists Span_arpeggio_engraver
}
{
\set Staff.instrumentName = Guitar
\set Staff.connectArpeggios = ##t
\set Staff.beatLength = #(ly:make-moment 1 8)
\set Staff.beatGrouping = #'(4 4)
\staff
\new Voice = fingers {
\fingersOne
}
\new Voice = thumb {
\thumbOne
}
}
}
%%this arpeggio line is acceptable, but I need the fingerings to be
diplayed as well
\score {
\new Staff = guitar
\with {
\consists Span_arpeggio_engraver
}
{
\set Staff.instrumentName = Guitar
\set Staff.connectArpeggios = ##t
\set Staff.beatLength = #(ly:make-moment 1 8)
\set Staff.beatGrouping = #'(4 4)
\staff
\new Voice = fingers {
\fingersTwo
}
\new Voice = thumb {
\thumbTwo
}
}
}
%%even moving the fingerings an appropriate distance to the right leaves
the arpeggio line in the same place
\score {
\new Staff = guitar
\with {
\consists Span_arpeggio_engraver
}
{
\set Staff.instrumentName = Guitar
\set Staff.connectArpeggios = ##t
\set Staff.beatLength = #(ly:make-moment 1 8)
\set Staff.beatGrouping = #'(4 4)
\staff
\new Voice = fingers {
\fingersThree
}
\new Voice = thumb {
\thumbThree
}
}
}
%%end test file
\version 2.13.3
\include english.ly
guitarFinUpper = {
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
}
guitarFinLower = {
\set fingeringOrientations = #'(left)
\override Fingering #'font-size = #-6
}
staff = {
\clef treble_8
\key a \major
\time 4/4
}
%%arpeggio with fingerings
fingersOne = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs,-1 b-0 e-02 \arpeggio
}
}
%%arpeggio without fingerings
fingersTwo = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs, b e2 \arpeggio
}
}
fingersThree = {
\relative c' {
\voiceOne
\guitarFinUpper
d8 e fs e gs,-\tweak #'extra-offset #'(4.0 . 0)-1 b-\tweak #'extra-offset #'(4.0 . 0)-0 e-\tweak #'extra-offset #'(4.0 . 0)-02 \arpeggio
}
}
%%arpeggio with fingerings
thumbOne = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d'-\tweak #'extra-offset #'(0 . -0.5)-0 fs-\tweak #'extra-offset #'(0 . -0.5)-3 \arpeggio
}
}
%%arpeggio without fingerings
thumbTwo = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d' fs \arpeggio
}
}
thumbThree = {
\relative c {
\voiceTwo
\guitarFinLower
b fs' a2 e, d'-\tweak #'extra-offset #'(4.0 . -0.5)-0 fs-\tweak #'extra-offset #'(4.0 . -0.5)-3 \arpeggio
}
}
%%the arpeggio line is shifted too far left
\score {
\new Staff = guitar
\with {
\consists Span_arpeggio_engraver
}
{
\set Staff.instrumentName = Guitar
\set Staff.connectArpeggios = ##t
\set Staff.beatLength = #(ly:make-moment 1 8)
\set Staff.beatGrouping = #'(4 4)
\staff
Re: website: why do you use lilypond?
I did some guitar ensemble (4 guitars) arrangements of Joplin rags some years ago that are now published (Maple Leaf Rag, Cascades) by Doberman-Yppan. I can check with them to see if we can use passages as examples for LilyPond Tablature if you like. Also, I wouldn't be averse to working up any new arrangements of Joplin rags for guitar--solo or ensemble--provided they're in the public domain. What would be the timeline for such an endeavor? David Federico Bruni wrote: Tim Rowe wrote: 2009/8/1 Federico Bruni brunol...@gmx.com: I'd be really glad to help with the tablature example. I think a modern piece would be better in this case, as tablature are used by modern guitarists. What about a Scott Joplin ragtime arranged for guitar? (it is in the public domain) I guess a good example should show the best features of tablature support in Lilypond.. There are any other requirements? Scott Joplin rags may be public domain, but are any guitar arrangements of them? Or were you offering to do one? I'm not sure at all, but... .. I think that an arrangement of a public domain piece of music can be copyrighted just if it's a kind of 'original' elaboration by the musician; I mean something different, somehow. As far as I use an arrangement which is very close to the original music, it should be fine, shouldn't? ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: TextSpanner Line Padding
You could simply use a hard space, i.e. rit. (with a space after the period and before the closing quote). David Jonathan Wilkes wrote: Hello, If I create a rit.--- as a TextSpanner, how can I start the line a bit to the right so that there's a little room between the word rit. and the dotted line? I went through the internals reference and tried every property I though would be relevant, but I can't figure it out. Thanks, Jonathan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: text with \musicglyph
Try this:
\mark
\markup
\line
\general-align #Y #CENTER {
\bold \large D.S. al
\musicglyph #scripts.varcoda
}
and see if that does what you want. You can make life easier by doing:
varCoda = {
\mark
\markup
\line
\general-align #Y #CENTER {
\bold \large D.S. al
\musicglyph #scripts.varcoda
}
}
and then just doing \varCoda whenever you need to use that sign. And,
adding some \hspace before the varcoda glyph will help with the spacing.
See B.8.2 Align in the documentation:
http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Align#Align
HTH,
David
Gilles Sadowski wrote:
Hi.
...and I'm not getting entirely what I need. The varcoda sign is too
low and too close to the preceding text. I've been searching through
the docs to find a solution and have not yet come across what I need.
Ideas?
Try fiddling with
\raise #1.0
and
\hspace #1.0
Best,
Gilles
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Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
Hi Paul, I'm not familiar with Debian, (I'm using Ubuntu 8.04, 9.04 and Windows XP) so if you have a directory called .emacs in your home directory already, go ahead and try creating and modifying your init.el inside it (instead of inside .emacs.d) and see where it gets you. Let me know what the result is. Regards, David Paul Scott wrote: David Stocker wrote: Paul, Are you using Linux or Windows XP? After you install LilyPond, you'll have all the files you need for lilypond-mode to work right there in your installation directory. You'll just need to tell Emacs where to locate them. In your .emacs.d directory you'll need a file called init.el It may already be present. If it's not, create it. Did you mean .emacs? .emacs.d (in my home directory) is owned by root. Thanks, Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
You can always sudo chown -hR username .emacs.d In any case, creating the directory .emacs.d and making a new init.el inside it shouldn't foul anything up. Then you could proceed with making your init.el point to lilypond-mode when you want to use it. Also, if you open up Emacs and start working with files, it might automatically make you a new auto-save-list (and a new .emacs.d for that matter). Regards, David Paul Scott wrote: Tim McNamara wrote: On Jul 24, 2009, at 1:51 AM, Paul Scott wrote: David Stocker wrote: Paul, Are you using Linux or Windows XP? After you install LilyPond, you'll have all the files you need for lilypond-mode to work right there in your installation directory. You'll just need to tell Emacs where to locate them. In your .emacs.d directory you'll need a file called init.el It may already be present. If it's not, create it. Did you mean .emacs? .emacs.d (in my home directory) is owned by root. .emacs.d is a directory, .emacs is a file. Yes. For some reason your permissions are not correct: .emacs.d should be owned by you, not root. That's what I would have thought. This is the way it is on both my Debian sid systems. On both these systems .emacs.d contains the directory auto-save-list both of which are owned by root. On this, my home system, I just removed .emacs.d and reinstalled emacs. Now there is no .emacs.d. I don't understand how .emacs.d would have been owned by root on two different systems since I would never do it that way. I will work on this and get back to the list. I am still concerned why AU 2.2.1 doesn't seem to make sense. Thanks, Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
Paul Scott wrote: Doing that to the best of my ability I get: File mode specification error: (file-error Cannot open load file lilypond-mode) This is how I interpreted your instructions: (setq load-path (append (list (expand-file-name /usr/local/lilypond/usr/share/emacs/site-lisp/* )) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) I think you need to delete the * near the beginning after .../emacs/site-lisp/* )) It should be .../emacs/site-lisp/ )) Even though I have done some scheme I don't know enough to diagnose this. Thanks for any help, Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
Glad this worked for you. I just went through this to set up lilypond-mode on a fresh install of Ubuntu 9.04. It was still fresh in my mind. Best regards, David Paul Scott wrote: David Stocker wrote: Paul Scott wrote: Doing that to the best of my ability I get: File mode specification error: (file-error Cannot open load file lilypond-mode) This is how I interpreted your instructions: (setq load-path (append (list (expand-file-name /usr/local/lilypond/usr/share/emacs/site-lisp/* )) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) I think you need to delete the * near the beginning after .../emacs/site-lisp/* )) It should be .../emacs/site-lisp/ )) That was it!! Thanks, Paul ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
Paul, Are you using Linux or Windows XP? After you install LilyPond, you'll have all the files you need for lilypond-mode to work right there in your installation directory. You'll just need to tell Emacs where to locate them. In your .emacs.d directory you'll need a file called init.el It may already be present. If it's not, create it. In that file, past the following lines: (setq load-path (append (list (expand-file-name *//home/david/lilypond/usr/share/emacs/site-lisp/*)) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) I've bolded and italicized the path to my lilypond-mode files. Change them to in your init.el to point to the location of yours and you should be all set. Hope that helps, David Paul Scott wrote: James E. Bailey wrote: On 23.07.2009, at 04:20, Paul Scott wrote: Hi, I'm resurrecting a laptop whose hard drive died. I'm trying to set up Emacs lilypond-mode. AU 2.2.1 tells me to do a 'make install' in the elisp directory. I don't see a makefile and 'make install' doesn't find an install target rule. Am I missing something or are the docs behind? Thanks, Paul Scott That only applies if lilypond-mode isn't installed on your platform (first paragraph, last sentence). I believe that lilypond isn't installed. This is a fresh install of everything since the hard drive died. Even so why would the makefile be gone if I had done the lilypond-mode install. Usually you can just move the files to where they need to go and ammend your ~/.emacs appropriately I do see where the lilypond-mode file is so I can probably install it manually but I still wonder about the documentation. Thanks, Paul James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
To clarify, replace everything between the with the exact syntax and spelling of your site-lisp directory. I just realized that bold and italic may show up on some people's system as * * and extra / / David David Stocker wrote: Paul, Are you using Linux or Windows XP? After you install LilyPond, you'll have all the files you need for lilypond-mode to work right there in your installation directory. You'll just need to tell Emacs where to locate them. In your .emacs.d directory you'll need a file called init.el It may already be present. If it's not, create it. In that file, past the following lines: (setq load-path (append (list (expand-file-name *//home/david/lilypond/usr/share/emacs/site-lisp/*)) load-path)) (autoload 'LilyPond-mode lilypond-mode LilyPond Editing Mode t) (add-to-list 'auto-mode-alist '(\\.ly$ . LilyPond-mode)) (add-to-list 'auto-mode-alist '(\\.ily$ . LilyPond-mode)) (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock))) I've bolded and italicized the path to my lilypond-mode files. Change them to in your init.el to point to the location of yours and you should be all set. Hope that helps, David Paul Scott wrote: James E. Bailey wrote: On 23.07.2009, at 04:20, Paul Scott wrote: Hi, I'm resurrecting a laptop whose hard drive died. I'm trying to set up Emacs lilypond-mode. AU 2.2.1 tells me to do a 'make install' in the elisp directory. I don't see a makefile and 'make install' doesn't find an install target rule. Am I missing something or are the docs behind? Thanks, Paul Scott That only applies if lilypond-mode isn't installed on your platform (first paragraph, last sentence). I believe that lilypond isn't installed. This is a fresh install of everything since the hard drive died. Even so why would the makefile be gone if I had done the lilypond-mode install. Usually you can just move the files to where they need to go and ammend your ~/.emacs appropriately I do see where the lilypond-mode file is so I can probably install it manually but I still wonder about the documentation. Thanks, Paul James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [dal segno / da capo] - Kopf Kopf
Werner,
You may achieve some of what you're looking for with these variables
that I've been meaning to add to the LSR. You can play around with them
and change some them to suit your purpose.
I've had good luck with putting them in parts and having them display
only once in the score, above the first staff.
There is a fix somewhere on the list to get more than one \mark to
display in a measure, but you'll have to search for it.
Hope this helps,
David
%%% Segno sign
segnoSign = {
\mark
\markup {
\musicglyph #scripts.segno
}
}
%%% includes the words To Coda before the Coda sign and centers the
coda sign horizontally on the barline
textToCoda = {
\once
\override Score.RehearsalMark #'self-alignment-X = #0.770
\mark
\markup
\line
\general-align #Y #CENTER {
\small
\bold
\italic To Coda
\musicglyph #scripts.coda
}
}
%%% text D.S. al Coda right-aligned
dalSegno = {
\once
\override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\mark
\markup {
\small
\bold
\italic D.S. al Coda
}
}
%%% includes the word Coda after the coda sign
textCoda = {
\once
\override Score.RehearsalMark #'self-alignment-X = #-0.15
\mark
\markup
\line
\general-align #Y #CENTER {
\musicglyph #scripts.coda
\small
\bold Coda
}
}
Werner wrote:
Hello,
I was looking for quite a long time till I found
\mark \markup { \musicglyph #scripts.coda }
1.: In german this symbol is often called Kopf so this should be mentioned in
the glossary.
2.: There could be an example for a dal segno al Ø-Ø in the NR.
3.: I have some questions about this:
The \mark \markup { \musicglyph #scripts.coda } command I can place after a
\bar || an its printed above.
But unfortunately I cannot put \bar ||_\markup { \italic \bold {{d.s. }}}.
So I have to add the _\markup to a note instead of to the barline.
When I write several voices and put them once in one file, once together in a
Staffgroup, I would like to optain the Symbols (segno an coda) only once (above
the StaffGroup) and also the d.s. only once (beneath).
How to obtain this?
It would be nice to have a possibility to put ^\mark \markup { \musicglyph
#scripts.coda } and _\mark \markup { \italic \bold {{d.s. }}} to the same \bar
||
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Re: new website: draft 3
Fransisco, Your English is good (better than my Spanish!) Some proposed edits from a native English speaker: Francisco Vila wrote: 2009/7/3 Graham Percival gra...@percival-music.ca: Anyway*2, what other questions would you propose? My idea is that the FAQ should contain 4-10 questions. Currently, we have 1: Why do you change the syntax? 2: Something isn't working! 3: Where is the app (_maybe_) 3.- could be replaced or followed by I've proposed some simple edits in the text below... Q: Do I have to read the manuals if I want to do anything with LilyPond? A: Yes, indeed. Undoubtedly. Absolutely. No, really. It's not a joke: please read the manuals. Do /(changed from /Make/)/ yourself a favour. [link to the tutorial] %% Another one that could well go anywhere else: (for absolute beginners) Q: This [text interface] seems to be rather limited, why should I consider using this program without a GUI? A: Take a look to our nice examples [link to the nice examples page] and judge by yourself. The strength of LilyPond lays in the power and flexibility of its language. Some environments will help you [link to the helper programs page] but still, /(addd comma)/ the language is the key to successful high-quality engraving, as we see it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: good rendering of PDF
9.1.2 on Ubuntu 8.04 Upgrades come later for Linux, but they get around in time. David Jonathan Kulp wrote: Werner LEMBERG wrote: - the actual acrobat reader version on windows is 9.1.2 Not on Linux... I'm using acroread 9.1.0 on xubuntu 9.04. Jon ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: spanner question
Thanks, Nick.
I'll fiddle with it some and see how it works for me.
David
Nick Payne wrote:
Here's the function I use for indicating harmonics:
%===
==
harmonics = #(define-music-function (parser location text osp shorten
adjBreak adjEnd)
(string? number? pair? number? number?)
#{
% osp can be normally be set to zero unless you need to resolve a
collision
\once \override TextSpanner #'outside-staff-priority = #$osp
\once \override TextSpanner #'bound-details #'left #'text = \markup
{ \teeny $text }
% setup dashed line and draw a bracket edge on RHS
\once \override TextSpanner #'dash-period = #1.5
\once \override TextSpanner #'dash-fraction = #0.6
\once \override TextSpanner #'thickness = #0.8
\once \override TextSpanner #'bound-details #'right #'text = \markup
{ \draw-line #'(0 . -0.5) }
% set alignment of line with reference to left text
\once \override TextSpanner #'bound-details #'left
#'stencil-align-dir-y = #CENTER
\once \override TextSpanner #'bound-details #'left #'padding = #(car
$shorten)
\once \override TextSpanner #'bound-details #'right #'padding =
#(cdr $shorten)
% allow adjustment of line end when it wraps to following stave
\once \override TextSpanner #'bound-details #'right-broken #'padding
= #$adjEnd
% adjust LH end of line when it wraps to following stave so that it
doesn't
% extend to the left of the notes on the stave
\once \override TextSpanner #'bound-details #'left-broken #'X =
#$adjBreak
% optional override to remove text and bracket edge at line breaks
% \once \override TextSpanner #'bound-details #'left-broken #'text =
##f
\once \override TextSpanner #'bound-details #'right-broken #'text =
##f
#})
%===
==
Here is its actual use in a score:
%==
\override NoteHead #'style = #'harmonic-mixed
\harmonics harm. 8va #0 #'(0 . -1.5) #5 #1
e,4\startTextSpan\ppp\ fs4. gs8 |
a4\ g4. f8\! |
e4\ fs4. gs8\! |
b4 d4.\sf c8 |
b4\p\ a4. g8\! |
e4\ d4. c8 |
fs4\pp\ e4. d8 |
c4 as4. c8\! |
\once\override Hairpin #'minimum-length = #8
b4\pp\stopTextSpan\
\revert NoteHead #'style fs''4.\ b,8\! |
%==
Nick
-Original Message-
From: lilypond-user-bounces+nick.payne=internode.on@gnu.org
[mailto:lilypond-user-bounces+nick.payne=internode.on@gnu.org] On
Behalf Of David Stocker
Sent: Wednesday, 1 July 2009 1:28 PM
To: lilypond-user@gnu.org
Subject: spanner question
Hello folks,
I have a question about a text spanner in a pre-defined variable.
In the snippet below, the first example does everything I want except
that in the first line of music, the spanner line doesn't extend to the
barline at the end of the line. I've achieved this by using two
pre-defined variables for the text spanner I want: one to start it, and
one to finish it with a terminal ending.
In the second example, the spanner extends to the end of the first line
of music (with a terminal ending that I *don't* want) and then, starts
too far to the left on the second line. The terminal ending at the
conclusion of the chord acts the way I want it to.
My goal is to define a single variable (perhaps a music function) that
will fulfill these requirements:
* Extends over multiple systems, extending to the last measure's
barline without the terminal ending
* Picks up at the beginning of subsequent lines with identical
positioning as the initiation of the spanner
* Dynamically adds a terminal ending to the end of the spanner
Has anyone worked on this issue already (possibly with a scheme
function)?
Also, the final destination for this is most probably going to be a
\include file with many (dozens?) pre-defined variables for common
text spanners used in guitar music. If I achieve the results I hope
for,
I plan to share it with the community.
Thanks,
David
Here's the snippet:
%%% begin ly snippet %%%
\version 2.13.1
harmOn = {
\override Voice.NoteHead #'style = #'harmonic-mixed
\tieDashed
} %% Set harmonics to diamond noteheads with dashed ties
harmXII = {
\override TextSpanner #'(bound-details left text) = \markup { \teeny
\uprightArm. XII }
\once \override TextSpanner #'(bound-details right padding) = #-0.75
\once \override TextSpanner #'(bound-details left padding) = #-0.25
\once \override TextSpanner #'(bound-details left stencil-align-dir-
y)
= #CENTER
}
harmXIIterm = {
\override TextSpanner #'(bound-details left text) = \markup { \teeny
\uprightArm. XII }
\override TextSpanner #'(bound-details right text) = \markup {
\draw-line #'(0 . -0.75
spanner question
Hello folks,
I have a question about a text spanner in a pre-defined variable.
In the snippet below, the first example does everything I want except
that in the first line of music, the spanner line doesn't extend to the
barline at the end of the line. I've achieved this by using two
pre-defined variables for the text spanner I want: one to start it, and
one to finish it with a terminal ending.
In the second example, the spanner extends to the end of the first line
of music (with a terminal ending that I *don't* want) and then, starts
too far to the left on the second line. The terminal ending at the
conclusion of the chord acts the way I want it to.
My goal is to define a single variable (perhaps a music function) that
will fulfill these requirements:
* Extends over multiple systems, extending to the last measure's
barline without the terminal ending
* Picks up at the beginning of subsequent lines with identical
positioning as the initiation of the spanner
* Dynamically adds a terminal ending to the end of the spanner
Has anyone worked on this issue already (possibly with a scheme function)?
Also, the final destination for this is most probably going to be a
\include file with many (dozens?) pre-defined variables for common
text spanners used in guitar music. If I achieve the results I hope for,
I plan to share it with the community.
Thanks,
David
Here's the snippet:
%%% begin ly snippet %%%
\version 2.13.1
harmOn = {
\override Voice.NoteHead #'style = #'harmonic-mixed
\tieDashed
} %% Set harmonics to diamond noteheads with dashed ties
harmXII = {
\override TextSpanner #'(bound-details left text) = \markup { \teeny
\uprightArm. XII }
\once \override TextSpanner #'(bound-details right padding) = #-0.75
\once \override TextSpanner #'(bound-details left padding) = #-0.25
\once \override TextSpanner #'(bound-details left stencil-align-dir-y)
= #CENTER
}
harmXIIterm = {
\override TextSpanner #'(bound-details left text) = \markup { \teeny
\uprightArm. XII }
\override TextSpanner #'(bound-details right text) = \markup {
\draw-line #'(0 . -0.75) }
\once \override TextSpanner #'(bound-details right padding) = #-0.75
\once \override TextSpanner #'(bound-details left padding) = #-0.25
\once \override TextSpanner #'(bound-details left stencil-align-dir-y)
= #CENTER
}
exOne= {
\relative c' {
\harmOn
\harmXII
\textSpannerUp
\mark \markup { \bold Example 1 }
e a d g b e1~ \startTextSpan | e a d g b e1 | e a d g b e1~ |
e a d g b e1 \stopTextSpan \break \harmXIIterm e a d g b e1~
\startTextSpan e a d g b e \stopTextSpan \bar ||
}
}
exTwo = {
\relative c' {
\harmOn
\harmXIIterm
\textSpannerUp
\mark \markup { \bold Example 2 }
e a d g b e1~ \startTextSpan | e a d g b e1 | e a d g b e1~ | e a
d g b e1 \break e a d g b e1~ e a d g b e \stopTextSpan \bar ||
}
}
\score {
\exOne
}
\score {
\exTwo
}
%%% end ly snippet %%%
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Re: RehearsalMark under Volta Bracket
Thanks Gilles, for the response.
Neither of these worked for me. Happily, I had the solution in the first
place. I just had the command in the wrong place and (I think) needed to
add a Context to the override.
This works:
I inserted
\once \override Score.RehearsalMark #'outside-staff-priority = #1
right before the \customToCoda variable.
%%%begin ly example%%%
\version 2.13.1
\include english.ly
textToCoda = {
\once
\override Score.RehearsalMark #'self-alignment-X = #0.770
\once
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\mark
\markup
\line
\general-align #Y #CENTER {
\small
\bold
\italic To Coda
\musicglyph #scripts.coda
}
}
\relative c' {
\repeat volta 2 { c1 c c }
\alternative {
{ c1 }
{ f1 \bar || \once \override Score.RehearsalMark
#'outside-staff-priority = #1 \textToCoda }
}
}
%%%end ly example%%%
Gilles Sadowski wrote:
Hi.
In this example, is there a way to move the To Coda rehearsal mark so
that it is underneath the Volta Bracket? Also, I'd like to have the
brackets on the same baseline (after the mark is moved down).
Any hints?
Things you might try to fiddle with are:
\override Score.RehearsalMark #'padding = #2.0
\override Score.VoltaBracket #'minimum-space = #4.0
Best,
Gilles
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RehearsalMark under Volta Bracket
In this example, is there a way to move the To Coda rehearsal mark so
that it is underneath the Volta Bracket? Also, I'd like to have the
brackets on the same baseline (after the mark is moved down).
Any hints?
Thanks,
David
%%%ly exmaple below%%%
\version 2.13.1
\include english.ly
textToCoda = {
\once
\override RehearsalMark #'outside-staff-priority = #1
\once
\override Score.RehearsalMark #'self-alignment-X = #0.770
\once
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\mark
\markup
\line
\general-align #Y #CENTER {
\small
\bold
\italic To Coda
\musicglyph #scripts.coda
}
}
\relative c' {
\repeat volta 2 {
c1 c c
}
\alternative {
{
c1
}
{
f1 \bar || \textToCoda
}
}
}
%%%end ly example%%%
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Re: new website: initial comments
Nice new layout. I have only two suggestions: 1. Perhaps justified text (without hyphenation?) would be better for pages with large with paragraphs of text. I'm thinking of the /Engraving Essay/. I think it's cleaner looking and fits better with LilyPond's ethos of beautiful typography. 2. On the documentation page, maybe it would be better to choose a wording other than Normal Users for the second section of documentation links. This might imply that Beginning Users are somehow /abnormal/. Maybe Regular Users or Experienced Users would be a better choice. I know the second one seems nitpicky, but LilyPond is becoming a mature 'brand' and when you're advertising a brand, every aspect of your image should be carefully considered. Nice site. Thanks for all the effort. David Graham Percival wrote: Here's a very rough initial draft of our new website: http://percival-music.ca/blogfiles/out/lilypond-general_1.html Any comments or offers of help? At the moment, I'm looking for overall design issues, like you should have a `blarg' section on the main menu or I can't find the current documentation on this new website. If you have any requests, go ahead and list them, although (as always) I will highly filter these requests with respect to our available resources. Requests which are accompanied by offers of help will almost certainly make it through the filter. :) Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: new website: initial comments
Graham Percival wrote although that said, even the apple webpage is getting awfully cluttered. (and it requires horizontal scrolling in my browser! ok, this *is* a netbook, but it still has 800 pixels. I *hate* sites that attempt to force a particular resolution. :/ ) I concur. I'm apt to simply delete html emails before reading them if they require horizontal scrolling. I almost invariably navigate away from sites that require this. If this is at all avoidable, it should be prevented. Cheers, - Graham David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tablature.ly - please test and comment
I've got some things typed out, but I still need to write explanations for the placement and display of objects, and suggestions for the program behavior. As soon as I have those written out, I'll post the first batch. I'll try to get it done today or tomorrow. David Grammostola Rosea wrote: David Stocker wrote: Thanks, Marc and Carl for making this happen. I'll post some editorial suggestions here for how bends should look soon (next week, really! I've had occasion to work on it this week) David Hi, Some progress here? Regards, \r ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Notation Editor with MIDI
While MuseScore's ability to import *.ly files is a nice feature, the greatest thing about its export of *.ly files is the ability to type a score with keyboard and mouse, and then use LilyPond as the typesetter on the exported *.ly file. MuseScore is still in beta status. Although its feature set doesn't yet rival Finale and Sibelius, a thorough walk through the menus and dialogs reveals that the groundwork has been laid to make it every bit as feature rich, and more. It's quite a bit buggier than even Finale (which is saying something), but then again, it's still in beta status. Their goal--to become the de-facto standard notation program for learning institutions--is ambitious to be sure. It's not clear at this point if it will ever mature into a professional grade engraving tool. Nevertheless, I'm watching with interest... David Andy wrote: Grammostola Rosea rosea.grammostola at gmail.com writes: Try Musescore \r btw why don't you install ubuntu 9.04? It has all you want. Lilypond Musescore Nted Rosegarden Frescobaldi Do I need all these programs to generate MIDI? It looks like I had only to install MuseScore on VISTA. I installed it within a minute and it runs. Except... Since I asked in a Lilypond forum, I tried to generate a .ly file. This works, but MuseScore hangs, when I try to open the saved file. But this was only an experiment and should not affect normal work. I will report it in MuseScore forum. Many thanks to all who answered. regards, Andy ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond and Jazz chords
Has anyone checked out the Brandt-Roemer (sp?) volume on chord naming for Jazz/Pop? I read it some time ago and at the time it seemed theoretically and notationally sound. I'll see if I can track down a copy. David Tim McNamara wrote: On May 30, 2009, at 9:50 AM, Carl D. Sorensen wrote: On 5/30/09 3:21 AM, Brett Duncan bdd1...@bigpond.net.au wrote: Grammostola Rosea wrote: Do we have an Jazz/pop chord expert on the list (I'm sure he/she exist)? And who wants to help with this? I don't consider myself an expert, but after 20 years of playing with various pop, rock and jazz groups, I've got a pretty good idea of what's out there as far as chord notation goes, and I'm willing to be part of the discussion. I'm also willing to help on the programming side _if_ I can get my head around Scheme. Brett On 5/30/09 3:32 AM, Tao Cumplido tao_lilypondu...@gmx.net wrote: Original-Nachricht Do we have an Jazz/pop chord expert on the list (I'm sure he/she exist)? And who wants to help with this? I wouldn't call myself an expert but I do know some display methods for chords. I don't know if pop chords differ much from jazz though but if it's for sharing knowledge on jazz chords count me in. I could make a table with a rough overview of the variations for chord names I am aware of and maybe some information on different typographical approaches I know of. My currently-planned starting point for chord naming is http://www.dolmetsch.com/musictheory17.htm#namechords If you have any disagreement with this reference, please let me know. The problem with this sort of thing is that there is really no standardized nomenclature and there is a lot of personal preference. For example, some people like Fmaj7 and others like F-delta (F with a triangle), or Dm7b5 versus DØ, etc. Satisfying all personal preferences might be impossible. However, that reference table looks reasonable to my eyes. My preferences were pretty strongly formed by the old Real Book 5th Edition. There are some chord name exception files that have been written by other LilyPond users. Two of them were generously sent to me by James Hammons and B Duncan. These could be good references to look at, since the chord names look pretty good to me, and might be more easily incorporated without a lot of extra work. Let me know if you want me to post them. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tablature.ly - please test and comment
If I may chime in...
This may just be a matter of editorial taste, but would it be possible
to make it so the 'X' on in the Tab staff is not the musical glyph from
Feta, but rather the character 'capital X' from the same font set being
used for tab numbers? For example, instead of #'glyph-name #2cross,
use whatever command would call the capital X from whichever font tab
numbers are set to?
I believe that this looks better on the page than mixing music glyphs
and text glyphs in the tab staff, particularly where tab numbers and
muted strings are part of the same chord.
In the industry, most houses are currently using Helvetica Condensed
Bold or some derivative (which, incidentally, matches better with the
'modern' tab clef) for tab numbers, but I've seen older copy done with a
Roman font in the tab staff (and a fancier, more rustic looking tab clef).
Thanks, Marc and Carl for making this happen. I'll post some editorial
suggestions here for how bends should look soon (next week, really! I've
had occasion to work on it this week)
David
Carl D. Sorensen wrote:
On 5/28/09 7:22 AM, Julian jul...@casadesus.com.ar wrote:
But still not within the tablature staff
At the moment, I don't know how to manage this.
I found it,
% Dead Note
\tweak #'stencil #ly:note-head::print
\tweak #'glyph-name #2cross
\tweak #'style #'special
f'\1
% End of Dead Note
f\4
4
Dead note is applied only to f'\1 as we expect, and X is displayed on
both,
staff and tabStaff.
Now i don't have idea how to make it in a lilypond function :) to use
\chordNoteDead instead of add all tweaks lines...
however it don't matters, now we know that it is possible to show X in tab too
by notes instead of chord.
Here's one way to do it:
deadNote =
#(define-music-function (parser location note) (ly:music?)
(set! (ly:music-property note 'tweaks)
(acons 'stencil ly:note-head::print
(acons 'glyph-name 2cross
(acons 'style 'special (ly:music-property note 'tweaks)
note)
{
f\4 \deadNote f'\1
}
Marc, feel free to add this to tablature.ly if you want to.
HTH,
Carl
Thanks for your patience.
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Re: The fastest way to typeset orchestral scores, especially when splitting the work to many workers
It'd be best to split the work amongst many workers who each typeset individual instruments. Then, all the parts can be collected in the conductor's score using \include. See here http://lilypond.org/doc/v2.13/Documentation/user/lilypond/Including-LilyPond-files#index-_005cinclude-1 and here http://lilypond.org/doc/v2.13/Documentation/user/lilypond-learning/Scores-and-parts#Scores-and-parts in the documentation. Hope that helps. David Daryna Baikadamova wrote: I plan to typeset some orchestral works. Within a movement, is it faster to typeset a instrument at time, or an orchestral page (i.e. open edit display for all instruments, so I need to 13 tabs in my editor) at a time? Also if I am able to split the work to a group of workers, is it a good idea to give each worker an instrument? Thanks! Daryna ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur / phrasingSlur half dashed, half solid
2. Does it (now) bother anyone else that dashed slurs do not look like real slurs? I guess I always assumed — without visually confirming, obviously — that dashed slurs were real slurs (that thickened and tapered, etc.) with cutouts; I now see that dashed slurs are simply dashed lines (of invariant thickness) which curve along the path that a slur would take between two notes. What is standard engraving practice when it comes to such things? Cheers, Kieren. In older scores made with the program SCORE, dashed ties and slurs thickened in the middle as you describe and they looked good. In Finale, dashed-slurs have a similarly non-dynamic shape (that is, they don't thicken in the middle), and dashed ties aren't available at all, except by 'fooling' Finale by slurring two notes of the same pitch, and this is an ugly and time consuming process in Finale. Sibelius is similar. The publisher of my guitar music (Les Productions D'Oz in Quebec, Canada) uses dashed slurs like these with invariant thickness to indicate pull-offs and hammer-ons, and uses regular slur markings for phrase slurs. I can't say that I've noticed dashed slurs in other places before. Sylvain (the editor at D'Oz) always uses these dashed-line things, though. It probably would look nicer if they thickened in the middle and tapered at the ends. :) In popular guitar-tab music, we use dashed-ties to connect held harmonic pitches over the bar line. I have also seen dashed-slurs to denote ligado technique in classical guitar music (and perhaps other string music, I can't recall). Jon David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur / phrasingSlur half dashed, half solid
Kieren MacMillan wrote: Hi Jon (et al.), The publisher of my guitar music [...] uses dashed slurs like these with invariant thickness I note that Barenreiter also uses invariant-thickness dashed lines (e.g., Mozart Jupiter Symphony, m. 167). So that appears to be standard practice. I think this is probably a case of engravers doing what is possible within the constraints of whatever system they're using. Sylvain (Lemay, of D'Oz) uses Finale, or at least he used to when he did (still does?) engraving for Doberman-Yppan (also out of Quebec), so it's not surprising that the dashed-slurs in his scores are non-dynamic with regard to shape. Is the Barenreiter engraving done by hand, or is it a computer engraving? It probably would look nicer if they thickened in the middle and tapered at the ends. :) It would, at least, be interesting to compare output. Best, Kieren. David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond, Finale and Sibelius (was Review of Valentin's Opera)
Please see this picture of what it looks like when I'm hand-writing
music with repeated chords.
http://notesettersinc.com/Hal_Leonard_Project-1.html
Notice that I don't write out each repeated chord in the manuscript.
It's understood by the editors and engravers that the | means simply
print the previous chord again. It would be great if there was a
shorthand for this in LilyPond code for situations (like in many forms
of popular music) an accompaniment pattern consists of many repeated
chords--perhaps something like r--simply instructing LilyPond to
reprint the previous chord. It would be doubly useful if the command
were sensitive enough to allow the user to specify things like different
rhythms or whether the chord is tied or has different articulations
attached to it, etc. on the repeated chords (as in c e g4 r2. ~ r1 ).
David
Jan Nieuwenhuizen wrote:
Op donderdag 02-04-2009 om 21:53 uur [tijdzone -0600], schreef Andrew
Hawryluk:
Hi Andrew,
The full report is at
http://www.musicbyandrew.ca/finale-lilypond-4.html, but here's my
conclusion:
At least for me, MIDI entry is much faster than typing the pitches
and durations myself.
That's a real interesting report!. You note that entering chords in
lilypond is real slow as compared to using MIDI entry.
While that's no surprise, I wonder if there's anything that we can or
should do about it. Typing is just real awkward...
In certain cases, such as the Handel piece, it may be advantageous to
enter all chords seperate as voices, and combine them later? Ie, type
\relative c''{
\time 3/4
\context Voice
{ b4( b4. c8 d4 d2) }
{ g,4 g4. g8 a4 a2 }
{ d,4 d4. e8 d4 d2 }
}
Wouldn't that be much faster? It shouldn't even be necessary to enter
the note durations in every voice.
Also, the plain lilypond timing you did on the wtc prelude 3
Counting only the note entry time, by computer keyboard it took me
2:51
struck me as a bit much, so I did my own timing. We're talking about
8 measures with 6 eight notes, plus 7 measures with 2 notes and 5
loose ones. Also I count 9 commas and apostrophes, which makes for
8*6 + 7*2 + 5 + 9 = 76
pitches to enter. Double that for typing spaces (hmm, come to think
of it, even spaces are not necessary in this case) makes for 152
keystrokes. Taking 2:51 for that, is 171 seconds, which means you
took 1.1 seconds per keystroke, or 55 keystrokes per minute).
For a regular touch typing course, you need more than 150 keystrokes
per minute to graduate, ie, 0.4 seconds per character: about three
times faster. So I'm sure there's much room for you to improve ;-)
You noted that what you measure is your own skill rather than the
program's speed, but the 152 keystrokes of the wtc piece took me 46
seconds (198 keystrokes per minute).
That is without the search and replace needed to add is after
each note, adding that took me 15 seconds ( M-% \(.\) SPACE RET
\1is SPACE RET !), making a total time of 1:01.
Greetings,
Jan.
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Re: LilyPond, Finale and Sibelius (was Review of Valentin's Opera)
I offer LilyPond engraving alongside output from Finale and Sibelius. None of my corporate clients ask for LilyPond, but I recommend it to them for classical engraving (of which I do very little). I have a handful of folks who take output from LilyPond. David Stocker http://notesettersinc.com Neil Thornock wrote: In my experience, LilyPond *is* capable of producing scores of the highest caliber. However, I often spend so much time tweaking the score to get it to look perfect that it really becomes a labor of love. I think until LilyPond is able to achieve that perfect type of score with minimal effort, employers at firms that produce music scores will rely on software that is more intuitive and gives quicker results - they have to pay someone for their time to notate this stuff. Meanwhile, I am convinced LilyPond's output is capable of much greater beauty than anything else out there... but I frankly don't think it will ever touch a very large user base (compared to you-know-who). I am curious who out there is in a professional music-related position that relies on Lilypond when Finale or Sibelius is also an option provided by the employer. I'm one. Just curious who else. For whatever it's worth. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
