Re: Empty chord construct and \break.
I suppose I spoke too soon, for when I compiled the code, the result was
actually the same.
HC
On Sun, Apr 28, 2024 at 7:47 AM Hwaen Ch'uqi wrote:
> Indeed, that helps tremendously. Thank you so much!!!
>
> Hwaen Ch'uqi
>
>
> On Sun, Apr 28, 2024 at 7:24 AM Thomas Morley
> wrote:
>
>> Am So., 28. Apr. 2024 um 06:25 Uhr schrieb Hwaen Ch'uqi <
>> hwaench...@gmail.com>:
>> >
>> > Greetings,
>> >
>> > I am trying to typeset a stack of spoken lines above a multimeasure
>> rest. This works fine when preceded by notes in the same system. However,
>> when it follows a forced break, the output is not so desirable. Can anyone
>> explain what I am missing? MWE below.
>> >
>> > \version "2.24.3"
>> >
>> > \score {
>> > \new Staff = contrabass {
>> > \relative c' {
>> > \key des \major \time 3/4 \clef bass
>> > des,2. %!
>> > des %2
>> > des %3
>> > des %4
>> > \break
>> > \textLengthOn
>> > <>^\markup \override #'(line-width . 66) \override #'(baseline-skip .
>> 2.3) \wordwrap { But enough with introductions. You are no doubt here to
>> learn about a most difficult episode in the life of our Katz. It was during
>> a particular night of fitful sleep that our beloved Katzlein finally
>> slipped into Traumland, and it is there where our story begins. }
>> > R2.\fermata%29
>> > \textLengthOff
>> > }
>> > }
>> > }
>> >
>> > Thank you so much.
>> >
>> > Hwaen Ch'uqi
>> >
>>
>> Hi,
>>
>> what happens here is, the TextScript attached to the empty chord is
>> printed at
>> start of the measure. \textLengthOn stretches the measure to fit with
>> the TextScript,
>> and the MultiMeasureRest is centered in this stretched measure.
>> This is correct in both cases with and without \break.
>> Though, with the \break the measure has a lonely MultiMeasureRest and
>> is stretched
>> even more by ragged-right being #f, the default for all but the first
>> line.
>> Thus the MultiMeasureRest is centered in a whole single line, the
>> TextScript not.
>>
>> You probably had the idea to attach text to a MultiMeasureRest with:
>> <>^"markup" R2.
>> Alas, text of a MultiMeasureRest is of type MultiMeasureRestText.
>> Nevertheless, you can do so with a little more code. Though,
>> \textLengthOn will
>> then not work, you'll need to stretch the MultiMeasureRest itself:
>>
>>
>> \version "2.24.3"
>>
>> mrkp =
>> \markup
>> \override #'(line-width . 66)
>> \override #'(baseline-skip . 2.3)
>> \wordwrap {
>> But enough with introductions. You are no doubt here to learn about
>> a
>> most difficult episode in the life of our Katz. It was during a
>> particular night of fitful sleep that our beloved Katzlein finally
>> slipped into Traumland, and it is there where our story begins.
>> }
>>
>> mmrText =
>> #(make-music
>> 'MultiMeasureTextEvent
>> 'direction 1
>> 'text mrkp)
>>
>> \score {
>> \new Staff = contrabass {
>> \relative c' {
>> \key des \major \time 3/4 \clef bass
>> des,2. %!
>> des %2
>> des %3
>> des %4
>> \break
>> %% stretch by aprox. half the width of the MultiMeasureRestText:
>> \once \override MultiMeasureRest.bound-padding = 32
>> <>^\mmrText
>> R2.\fermata %29
>> }
>> }
>> }
>>
>>
>> HTH,
>> Harm
>>
>
Re: Empty chord construct and \break.
Indeed, that helps tremendously. Thank you so much!!!
Hwaen Ch'uqi
On Sun, Apr 28, 2024 at 7:24 AM Thomas Morley
wrote:
> Am So., 28. Apr. 2024 um 06:25 Uhr schrieb Hwaen Ch'uqi <
> hwaench...@gmail.com>:
> >
> > Greetings,
> >
> > I am trying to typeset a stack of spoken lines above a multimeasure
> rest. This works fine when preceded by notes in the same system. However,
> when it follows a forced break, the output is not so desirable. Can anyone
> explain what I am missing? MWE below.
> >
> > \version "2.24.3"
> >
> > \score {
> > \new Staff = contrabass {
> > \relative c' {
> > \key des \major \time 3/4 \clef bass
> > des,2. %!
> > des %2
> > des %3
> > des %4
> > \break
> > \textLengthOn
> > <>^\markup \override #'(line-width . 66) \override #'(baseline-skip .
> 2.3) \wordwrap { But enough with introductions. You are no doubt here to
> learn about a most difficult episode in the life of our Katz. It was during
> a particular night of fitful sleep that our beloved Katzlein finally
> slipped into Traumland, and it is there where our story begins. }
> > R2.\fermata%29
> > \textLengthOff
> > }
> > }
> > }
> >
> > Thank you so much.
> >
> > Hwaen Ch'uqi
> >
>
> Hi,
>
> what happens here is, the TextScript attached to the empty chord is
> printed at
> start of the measure. \textLengthOn stretches the measure to fit with
> the TextScript,
> and the MultiMeasureRest is centered in this stretched measure.
> This is correct in both cases with and without \break.
> Though, with the \break the measure has a lonely MultiMeasureRest and
> is stretched
> even more by ragged-right being #f, the default for all but the first line.
> Thus the MultiMeasureRest is centered in a whole single line, the
> TextScript not.
>
> You probably had the idea to attach text to a MultiMeasureRest with:
> <>^"markup" R2.
> Alas, text of a MultiMeasureRest is of type MultiMeasureRestText.
> Nevertheless, you can do so with a little more code. Though, \textLengthOn
> will
> then not work, you'll need to stretch the MultiMeasureRest itself:
>
>
> \version "2.24.3"
>
> mrkp =
> \markup
> \override #'(line-width . 66)
> \override #'(baseline-skip . 2.3)
> \wordwrap {
> But enough with introductions. You are no doubt here to learn about a
> most difficult episode in the life of our Katz. It was during a
> particular night of fitful sleep that our beloved Katzlein finally
> slipped into Traumland, and it is there where our story begins.
> }
>
> mmrText =
> #(make-music
> 'MultiMeasureTextEvent
> 'direction 1
> 'text mrkp)
>
> \score {
> \new Staff = contrabass {
> \relative c' {
> \key des \major \time 3/4 \clef bass
> des,2. %!
> des %2
> des %3
> des %4
> \break
> %% stretch by aprox. half the width of the MultiMeasureRestText:
> \once \override MultiMeasureRest.bound-padding = 32
> <>^\mmrText
> R2.\fermata %29
> }
> }
> }
>
>
> HTH,
> Harm
>
Empty chord construct and \break.
Greetings,
I am trying to typeset a stack of spoken lines above a multimeasure rest.
This works fine when preceded by notes in the same system. However, when it
follows a forced break, the output is not so desirable. Can anyone explain
what I am missing? MWE below.
\version "2.24.3"
\score {
\new Staff = contrabass {
\relative c' {
\key des \major \time 3/4 \clef bass
des,2. %!
des %2
des %3
des %4
\break
\textLengthOn
<>^\markup \override #'(line-width . 66) \override #'(baseline-skip . 2.3)
\wordwrap { But enough with introductions. You are no doubt here to learn
about a most difficult episode in the life of our Katz. It was during a
particular night of fitful sleep that our beloved Katzlein finally slipped
into Traumland, and it is there where our story begins. }
R2.\fermata%29
\textLengthOff
}
}
}
Thank you so much.
Hwaen Ch'uqi
Re: Table of Contents and mixed numbers.
Wow, thank you SO MUCH! Works perfectly!!!
Hwaen Ch'uqi
On 2/18/24, Thomas Morley wrote:
> Am Do., 15. Feb. 2024 um 19:16 Uhr schrieb Hwaen Ch'uqi
> :
>>
>> Greetings,
>>
>> Until upgrading to 2.24, I had been using certain Scheme code and
>> \paper block layouts in order to output books consisting of prefatory
>> material with Roman numeral page numbers and the music itself with
>> Arabic page numbers. When I upgraded one such file to 2.24.3 using
>> convert-ly, the result was puzzling. The actual page numbering is
>> correct - ten pages of either invisible or Roman numerals followed by
>> Arabic numerals starting on page 1. However, the Table of Contents
>> shows Arabic numerals from the beginning, so that the first page of
>> actual music is 11. I am not sure what to present as an MWE; I am
>> guessing that the Scheme code and \paper blocks should suffice. The
>> original was laid out as follows:
>>
>> %%% roman numeral page numbers
>> #(define begin-arabic 11)
>>
>> %% The following is an adaptation of a function found in
>> `define-markup-commands.scm' which is used to create tables of
>> contents. An offset to the Arabic numerals has been incorporated so
>> that the first page of the music is 1.
>> #(define-markup-command (page-ref layout props label gauge default)
>> (symbol? markup? markup?)
>> #:category other
>> "
>> @cindex referencing page numbers in text
>>
>> Reference to a page number. @var{label} is the label set on the
>> referenced
>> page (using the @code{\\label} command), @var{gauge} a markup used to
>> estimate
>> the maximum width of the page number, and @var{default} the value to
>> display
>> when @var{label} is not found."
>> (let* ((gauge-stencil (interpret-markup layout props gauge))
>> (x-ext (ly:stencil-extent gauge-stencil X))
>> (y-ext (ly:stencil-extent gauge-stencil Y)))
>> (ly:make-stencil
>> `(delay-stencil-evaluation
>>,(delay (ly:stencil-expr
>> (let* ((table (ly:output-def-lookup layout
>> 'label-page-table))
>>(page-number (if (list? table)
>> (assoc-get label table)
>> #f))
>>(page-markup
>> (if page-number
>> (if (< page-number begin-arabic)
>> (format #f "~(~@r~)" page-number) ;
>> Roman numerals
>> ; Arabic numerals, but offset to begin on
>> 1
>> (format #f "~a" (- (1+ page-number)
>> begin-arabic)))
>> default))
>>(page-stencil (interpret-markup layout props
>> page-markup))
>>(gap (- (interval-length x-ext)
>>(interval-length (ly:stencil-extent
>> page-stencil X)
>> (interpret-markup layout props
>> (markup #:concat (#:hspace gap
>> page-markup)))
>> x-ext
>> y-ext)))
>>
>> #(define-markup-command (roman-numeral-page-number layout props) ()
>> (let ((page-number (chain-assoc-get 'page:page-number props -1)))
>> (interpret-markup layout props
>> (if (> page-number 0) ; only positive integers can be `romanized'
>> (format #f "~(~@r~)" page-number)
>> (chain-assoc-get 'page:page-number-string props -1)
>>
>> #(define-markup-command (offset-page-number layout props offset)
>> (integer?)
>> (let ((page-number (chain-assoc-get 'page:page-number props -1)))
>> (interpret-markup layout props
>> (format #f "~a" (- page-number offset)
>>
>> #(define (part-not-first-page layout props arg)
>> (if (= (chain-assoc-get 'page:page-number props -1)
>> (ly:output-def-lookup layout 'first-page-number))
>> empty-stencil
>> (interpret-markup layout props arg)))
>>
>> \book {
>>
>> \bookpart {
>>
>> \paper {
>> oddHeaderMarkup = \markup \fill-line {
>> " "
>> }
>> evenHeaderMarkup = \markup \fill-line {
>> " "
>> }
>> }
>>
>> Title, copyright, and dedication pages.
>>
>> }
>>
>> \bookpart {
>>
>> \paper {
>
Table of Contents and mixed numbers.
egin-arabic)
" "
}
}
}
Music.
}
}
The first of the \paper blocks remained unchanged in the new version.
The second and thrid were replaced by the following:
\paper {
oddHeaderMarkup = \markup \fill-line {
" "
}
evenHeaderMarkup = \markup \fill-line {
" "
}
oddFooterMarkup = \markup \fill-line {
" "
\if \should-print-page-number \roman-numeral-page-number
" "
}
evenFooterMarkup = \oddFooterMarkup
tocTitleMarkup = \markup \column {
\vspace #3
\fill-line \abs-fontsize #16 \bold {
"TABLE OF CONTENTS"
}
\vspace #2
}
tocItemMarkup = \markup \column {
\fill-with-pattern #1 #RIGHT . \fromproperty #'toc:text \fromproperty
#'toc:page
\vspace #1
}
}
\paper {
oddHeaderMarkup = \markup {
\fill-line {
" "
\if \should-print-page-numbers-global \offset-page-number #(1-
begin-arabic)
}
}
evenHeaderMarkup = \markup {
\fill-line {
\if \should-print-page-numbers-global \offset-page-number #(1-
begin-arabic)
" "
}
}
}
At the end of the day, I am not familiar enough with Scheme to know
how to solve this issue. I would be grateful for any assistance.
Hwaen Ch'uqi
Re: Texinfo documentation.
Ah, thank you! I must confess having seen that link but misunderstanding precisely what it meant. Hwaen Ch'uqi On 2/10/24, Jean Abou Samra wrote: >> I have recently upgraded from 2.22.2 to 2.24.3. However, as I only use >> LTS distributions of ubuntu, I had to download the tar.gz package. No >> problem. But how may I obtain the documentation in texinfo format for >> use with emacs? In fact, looking through the archive, it does not >> appear that there is any documentation at all! > > > Documentation is in a separate tarball, since most people don't want > to download it. > > https://lilypond.org/all.html > > > >
Texinfo documentation.
Greetings, I have recently upgraded from 2.22.2 to 2.24.3. However, as I only use LTS distributions of ubuntu, I had to download the tar.gz package. No problem. But how may I obtain the documentation in texinfo format for use with emacs? In fact, looking through the archive, it does not appear that there is any documentation at all! Thank you for any help. Hwaen Ch'uqi
Re: Tempo formatting question.
Ah, thank you and Jean A. for this. Works perfectly!
Hwaen Ch'uqi
On 2/8/24, Knute Snortum wrote:
> On Thu, Feb 8, 2024 at 8:26 AM Hwaen Ch'uqi wrote:
>
>> Greetings,
>>
>> I would like to indicate a metronome mark of "Prestissimo" > note tied to dotted quarter note>=96. How may I do this? I am using
>> version 22.04. Thank you for any help!
>>
>
> Jean A. helped me with this a while back. Here's what I did:
>
> %%%
> \version "2.24.2"
>
> tempoMarkupA =
> \markup {
> \large
> "Prestissimo"
> \hspace #0.4
> \teeny
> \rhythm {
> \override Score.SpacingSpanner.spacing-increment = 0.5
> 4~ 4.
> }
> \small
> \normal-text
> "= 96"
> }
>
> {
> \tempo \tempoMarkupA
> c'1
> }
> %%%
>
>
> --
> Knute Snortum
>
Tempo formatting question.
Greetings, I would like to indicate a metronome mark of "Prestissimo" =96. How may I do this? I am using version 22.04. Thank you for any help! Hwaen Ch'uqi
Re: Simple instructions for installing Lilypond
Greetings, David, First, I thank you for venting, for your vent was/is mine as well and is the reason why I am still using V-22.2. Does this then mean that the terminal command is now as straightforward as "sudo apt install lilypond"? Will that automatically install the texinfo files as well? Hwaen Ch'uqi On 5/14/23, David Sumbler wrote: > On Sun, 2023-05-14 at 13:31 +0200, Jean Abou Samra wrote: >> Le dimanche 14 mai 2023 à 12:15 +0100, David Sumbler a écrit : >> > It's a while since I used Lilypond. I have a bit of tweaking I >> > want to do to some scores, so thought I should download the latest >> > version. In the end, I decided to use v2.24.1, rather than 2.25.4, >> > although I have mostly used the "unstable" versions in the past. >> > >> > Lilypond used to use a global install, and it was the work of a few >> > minutes to download and install this on my Linux machines, >> > including all the documentation too if one added the -d flag. >> > >> > I have managed to install Lilypond, and even the docs, a couple of >> > times since it changed to a sort of flatpack design. Each time it >> > has taken me a long time to get it all working. Today I have spent >> > well over an hour messing about, and I have now managed to get >> > lilypond installed and also the documentation. >> > >> > But convert-ly doesn't work: I get a >> > "/home/david/lilypond/usr/bin/python3: not found" error. This is >> > probably because the convert-ly script I have in my ~/bin/ folder >> > needs amending, but I can see myself having to spend another hour >> > or two trying to sort out what is going wrong and how to change it. >> > >> > What seems to be missing is a simple to find and to follow set of >> > instructions on how to install Lilypond. I was surprised to see >> > that the Learning Manual now encourages users to use a package from >> > their distro. This seems to be a change of policy: previously, the >> > website discouraged users from doing this, because the repositories >> > usually have out of date versions. But perhaps this is the path I >> > should go down, simply to save time. >> > >> > Sorry, this is just a grumble about having to mess about so much to >> > get Lilypond functioning. But surely there ought to be some sort >> > of instructions on the download site about how to get everything >> > installed and working. >> >> >> What does “install” mean to you? >> >> This is a serious question, not hair splitting. Depending on what you >> actually want to do with LilyPond, the way to “install” it can be >> vastly different. >> >> If you just want to run it from the command line, then you don't need >> to install it in any way, you can just run >> "~/where/you/unpacked/the/archive/bin/lilypond". >> >> If you want to use it *regularly* from the terminal, or if you want >> some tool (e.g., Emacs) to find it as just "lilypond", you can just >> prepend the right directory to your PATH by adding this to your shell >> startup file (e.g., ~/.bashrc): >> >> export PATH=/where/you/unpacked/the/archive/bin:$PATH >> >> and this will make it callable as "lilypond". >> >> If you want to use it with Frescobaldi, that's in the learning >> manual, but I suppose you saw that. >> >> For the documentation there is no real "installation" process in any >> case (OK, except maybe if you want the Info documentation). >> >> To me, the problem with “there should be a simple way to install >> LilyPond” is that “install LilyPond” is not something well-defined at >> all. There is also a purely psychological issue that some people >> think it's a must to “install” something in some way before being >> able to use it. >> >> There are good reasons why the script that used to be shipped isn't >> shipped anymore (for example: it would not work well with having >> several versions in parallel). > > OK - point taken! > > After writing my previous moaning message, I decided to see what > version of Lilypond I would get if I installed my Linux distro's > version (I'm using Ubuntu-Unity 23.04). Rather to my surprise I found > that it is v.2.24.1, the latest "stable" version, and the same as I > downloaded earlier from the Lilypond download site. I also downloaded > the docs. > > And magically it all seems to work. convert-ly worked straight away, > and all is well. No doubt this is why new users are now encouraged to > use their distro's version, the opposite advice to what used to be > given. So in future I'll probably stick with this policy. Since I > tend to install new versions of Ubuntu fairly frequently, my Lilypond > versions shouldn't be too out of date. > > David > >
Re: pageBreak outside a score?
Greetings, Eric,
This occurs automatically when using \bookpart containers, as in:
\book {
\bookpart {
TEXT
MUSIC
\pageBreak (if you need)
MORE TEXT
MORE MUSIC
}
\bookpart {
...
}
}
Hwaen Ch'uqi
On 5/4/23, Eric Benson wrote:
> I find myself doing this more than once:
>
> Enter a score.
>
> Enter some notes as markup text.
>
> Enter another score.
>
> Between the notes and the second score, I want a page break. I don't see
> how to do this. \pageBreak doesn't work outside of a \score, nor at the
> very beginning of a \score. How can I force a page break in LilyPond after
> the notes but before the second score?
>
Re: Engraving for harp as a member of an ensemble, to play midi, use piano as midi instrument?
That's quite all right. The manuals are, for the most part, beautifully written, but they often require several reads before fully grasping something! HC On 7/30/22, Kenneth Wolcott wrote: > How could I have missed that? Thanks for not ignoring me :-) > > On Fri, Jul 29, 2022 at 10:15 PM Hwaen Ch'uqi wrote: >> >> Greetings Ken, >> >> I have written a few things involving harp, and the instrument name >> that I had to use for MIDI was "orchestral harp". >> >> hth, >> >> Hwaen Ch'uqi >> >> >> On 7/30/22, Aaron Hill wrote: >> > On 2022-07-29 8:33 pm, Kenneth Wolcott wrote: >> >> SInce a harp is not a recognized midi instrument, when using midi to >> >> verify that the rhythm and pitches are correct, should one designate >> >> the midi instrument as an "acoustic grand" or will it automatically >> >> resolve to that instrument? >> > >> > As a long time user of General MIDI, harp is most definitely a >> > supported >> > instrument in the original specification. It is in the "Strings" >> > block: >> > >> > 47 = Orchestral Harp >> > >> > >> > -- Aaron Hill >> > >> > >
Re: Engraving for harp as a member of an ensemble, to play midi, use piano as midi instrument?
Greetings Ken, I have written a few things involving harp, and the instrument name that I had to use for MIDI was "orchestral harp". hth, Hwaen Ch'uqi On 7/30/22, Aaron Hill wrote: > On 2022-07-29 8:33 pm, Kenneth Wolcott wrote: >> SInce a harp is not a recognized midi instrument, when using midi to >> verify that the rhythm and pitches are correct, should one designate >> the midi instrument as an "acoustic grand" or will it automatically >> resolve to that instrument? > > As a long time user of General MIDI, harp is most definitely a supported > instrument in the original specification. It is in the "Strings" block: > > 47 = Orchestral Harp > > > -- Aaron Hill > >
Re: Last note of a first alternative is a tie to the first note in the repeat; how to engrave this?
Greetings Ken, I wonder if this isn't a place for \laissezVibrer Hwaen Ch'uqi On 7/28/22, Kenneth Wolcott wrote: > Hi; > > I must be missing something obvious here. > > The last note of a first alternative is a tie to the first note in the > repeat. > > Lilypond 2.22.2 complains: > > La_Bamba.ly:67:40: warning: unterminated tie > r8 f'' f'' f'' f''4^. f''8^. e'' >~ | % m26 > > Thanks in advance for pointing out what I missed in the documentation... > > My engraving, my Lilypond source and the 8notes.com's Brass Quartet > arrangement of "La Bamba" are attached. > > The problem occurs at bar 26 in the first trumpet part. > > Thanks, > Ken Wolcott >
Re: installing lilypond-mode for emacs on Linux
Ah, I'm sorry, I must make one correction. The equals sign was
missing. The location flag looks like this:
--prefix=/usr/
HC
On 4/8/22, Hwaen Ch'uqi wrote:
> Of course, this also assumes that you have downloaded the
> documentation with the `--documentation' flag.
>
> HC
>
>
> On 4/8/22, Hwaen Ch'uqi wrote:
>> Greetings Paul,
>>
>> I don't know if this will help, but this is what I do to get
>> lilypond-mode working on emacs. The one caveat is that I only have one
>> version installed. First, when installing the .sh file, I use the flag
>> `--prefix /usr/'. This ensures that the bin file is in the directory
>> where I want it - namely, /usr/bin. Then, in my .emacs file, I include
>> the following lines:
>>
>> (add-to-list 'load-path "/usr/lilypond/usr/share/emacs/site-lisp/")
>> (add-to-list 'Info-default-directory-list
>> "/usr/lilypond/usr/share/info/")
>> (autoload 'LilyPond-mode "lilypond-mode")
>> (setq auto-mode-alist
>> (cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
>> (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
>>
>> As you can see, this also directs emacs where to search for the
>> texinfo files. But when calling Info with `C-h i', you probably will
>> still not see the lilyond manuals. That is because the dir file within
>> that info directory is empty. So, as root, I put the following lines
>> in that file:
>>
>> LilyPond
>> * LilyPond Changes: (lilypond-changes). New features in 2.22.2 since 2.20
>> * LilyPond Contributor's Guide: (lilypond-contributor).
>> * LilyPond Essay: (lilypond-essay).
>> * LilyPond Extending: (lilypond-extending).
>> * LilyPond Internals Reference: (lilypond-internals).
>> * LilyPond Learning Manual: (lilypond-learning).
>> * LilyPond Music Glossary: (music-glossary).
>> * LilyPond Notation Reference: (lilypond-notation).
>> * LilyPond Snippets: (lilypond-snippets).
>> * LilyPond Usage: (lilypond-usage).
>> * LilyPond Web: (lilypond-web).
>>
>> Everything before the period in each line must stay in that format.
>> After the period, you can write whatever description you like.
>>
>> I hope this helps.
>>
>> Hwaen Ch'uqi
>>
>>
>> On 4/8/22, Paul Scott wrote:
>>>
>>> On 4/7/22 16:17, David Kastrup wrote:
>>>> Paul Scott writes:
>>>>
>>>>> On 4/7/22 15:08, David Kastrup wrote:
>>>>>> Paul Scott writes:
>>>>>>
>>>>>>> On 4/7/22 14:15, David Kastrup wrote:
>>>>>>>> Paul Scott writes:
>>>>>>>>
>>>>>>>>> On 4/7/22 13:02, David Kastrup wrote:
>>>>>>>>>> Paul Scott writes:
>>>>>>>>>>
>>>>>>>>>>> Greetings,
>>>>>>>>>>>
>>>>>>>>>>> I've forgotten too much. I see the instructions for activating
>>>>>>>>>>> lilypond-mode and am not remembering enough to get it to work.
>>>>>>>>>>>
>>>>>>>>>>> TIA for any help,
>>>>>>>>>> cd elisp
>>>>>>>>>> make
>>>>>>>>>> sudo make install
>>>>>>>>> I'm not finding a makefile.
>>>>>>>> Have you tried?
>>>>>>> Yes. I've looked for many files like elisp and lilypond-mode in my
>>>>>>> attempts.
>>>>>>>> There is GNUmakefile which will get picked up by, well,
>>>>>>>> GNU Make.
>>>>>>> I hadn't thought of GNUmakefile but according to updatedb and locate
>>>>>>> there are only two clearly unrelated GNUmakefiles on this computer.
>>>>>> Which begs the question: just what have you installed where and how
>>>>>> with
>>>>>> regard to LilyPond?
>>>>>
>>>>> I have Lily 2.22-2 and 2.23.6 installed.
>>>> Where and how?
>>>
>>> 2.22.2: Debian install
>>>
>>> 2.23.6: .sh file from LilyPond web site.
>>>
>>> Paul
>>>
>>>
>>>
>>>
>>
>
Re: installing lilypond-mode for emacs on Linux
Of course, this also assumes that you have downloaded the
documentation with the `--documentation' flag.
HC
On 4/8/22, Hwaen Ch'uqi wrote:
> Greetings Paul,
>
> I don't know if this will help, but this is what I do to get
> lilypond-mode working on emacs. The one caveat is that I only have one
> version installed. First, when installing the .sh file, I use the flag
> `--prefix /usr/'. This ensures that the bin file is in the directory
> where I want it - namely, /usr/bin. Then, in my .emacs file, I include
> the following lines:
>
> (add-to-list 'load-path "/usr/lilypond/usr/share/emacs/site-lisp/")
> (add-to-list 'Info-default-directory-list "/usr/lilypond/usr/share/info/")
> (autoload 'LilyPond-mode "lilypond-mode")
> (setq auto-mode-alist
> (cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
> (add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
>
> As you can see, this also directs emacs where to search for the
> texinfo files. But when calling Info with `C-h i', you probably will
> still not see the lilyond manuals. That is because the dir file within
> that info directory is empty. So, as root, I put the following lines
> in that file:
>
> LilyPond
> * LilyPond Changes: (lilypond-changes). New features in 2.22.2 since 2.20
> * LilyPond Contributor's Guide: (lilypond-contributor).
> * LilyPond Essay: (lilypond-essay).
> * LilyPond Extending: (lilypond-extending).
> * LilyPond Internals Reference: (lilypond-internals).
> * LilyPond Learning Manual: (lilypond-learning).
> * LilyPond Music Glossary: (music-glossary).
> * LilyPond Notation Reference: (lilypond-notation).
> * LilyPond Snippets: (lilypond-snippets).
> * LilyPond Usage: (lilypond-usage).
> * LilyPond Web: (lilypond-web).
>
> Everything before the period in each line must stay in that format.
> After the period, you can write whatever description you like.
>
> I hope this helps.
>
> Hwaen Ch'uqi
>
>
> On 4/8/22, Paul Scott wrote:
>>
>> On 4/7/22 16:17, David Kastrup wrote:
>>> Paul Scott writes:
>>>
>>>> On 4/7/22 15:08, David Kastrup wrote:
>>>>> Paul Scott writes:
>>>>>
>>>>>> On 4/7/22 14:15, David Kastrup wrote:
>>>>>>> Paul Scott writes:
>>>>>>>
>>>>>>>> On 4/7/22 13:02, David Kastrup wrote:
>>>>>>>>> Paul Scott writes:
>>>>>>>>>
>>>>>>>>>> Greetings,
>>>>>>>>>>
>>>>>>>>>> I've forgotten too much. I see the instructions for activating
>>>>>>>>>> lilypond-mode and am not remembering enough to get it to work.
>>>>>>>>>>
>>>>>>>>>> TIA for any help,
>>>>>>>>> cd elisp
>>>>>>>>> make
>>>>>>>>> sudo make install
>>>>>>>> I'm not finding a makefile.
>>>>>>> Have you tried?
>>>>>> Yes. I've looked for many files like elisp and lilypond-mode in my
>>>>>> attempts.
>>>>>>> There is GNUmakefile which will get picked up by, well,
>>>>>>> GNU Make.
>>>>>> I hadn't thought of GNUmakefile but according to updatedb and locate
>>>>>> there are only two clearly unrelated GNUmakefiles on this computer.
>>>>> Which begs the question: just what have you installed where and how
>>>>> with
>>>>> regard to LilyPond?
>>>>
>>>> I have Lily 2.22-2 and 2.23.6 installed.
>>> Where and how?
>>
>> 2.22.2: Debian install
>>
>> 2.23.6: .sh file from LilyPond web site.
>>
>> Paul
>>
>>
>>
>>
>
Re: installing lilypond-mode for emacs on Linux
Greetings Paul,
I don't know if this will help, but this is what I do to get
lilypond-mode working on emacs. The one caveat is that I only have one
version installed. First, when installing the .sh file, I use the flag
`--prefix /usr/'. This ensures that the bin file is in the directory
where I want it - namely, /usr/bin. Then, in my .emacs file, I include
the following lines:
(add-to-list 'load-path "/usr/lilypond/usr/share/emacs/site-lisp/")
(add-to-list 'Info-default-directory-list "/usr/lilypond/usr/share/info/")
(autoload 'LilyPond-mode "lilypond-mode")
(setq auto-mode-alist
(cons '("\\.ly$" . LilyPond-mode) auto-mode-alist))
(add-hook 'LilyPond-mode-hook (lambda () (turn-on-font-lock)))
As you can see, this also directs emacs where to search for the
texinfo files. But when calling Info with `C-h i', you probably will
still not see the lilyond manuals. That is because the dir file within
that info directory is empty. So, as root, I put the following lines
in that file:
LilyPond
* LilyPond Changes: (lilypond-changes). New features in 2.22.2 since 2.20
* LilyPond Contributor's Guide: (lilypond-contributor).
* LilyPond Essay: (lilypond-essay).
* LilyPond Extending: (lilypond-extending).
* LilyPond Internals Reference: (lilypond-internals).
* LilyPond Learning Manual: (lilypond-learning).
* LilyPond Music Glossary: (music-glossary).
* LilyPond Notation Reference: (lilypond-notation).
* LilyPond Snippets: (lilypond-snippets).
* LilyPond Usage: (lilypond-usage).
* LilyPond Web: (lilypond-web).
Everything before the period in each line must stay in that format.
After the period, you can write whatever description you like.
I hope this helps.
Hwaen Ch'uqi
On 4/8/22, Paul Scott wrote:
>
> On 4/7/22 16:17, David Kastrup wrote:
>> Paul Scott writes:
>>
>>> On 4/7/22 15:08, David Kastrup wrote:
>>>> Paul Scott writes:
>>>>
>>>>> On 4/7/22 14:15, David Kastrup wrote:
>>>>>> Paul Scott writes:
>>>>>>
>>>>>>> On 4/7/22 13:02, David Kastrup wrote:
>>>>>>>> Paul Scott writes:
>>>>>>>>
>>>>>>>>> Greetings,
>>>>>>>>>
>>>>>>>>> I've forgotten too much. I see the instructions for activating
>>>>>>>>> lilypond-mode and am not remembering enough to get it to work.
>>>>>>>>>
>>>>>>>>> TIA for any help,
>>>>>>>> cd elisp
>>>>>>>> make
>>>>>>>> sudo make install
>>>>>>> I'm not finding a makefile.
>>>>>> Have you tried?
>>>>> Yes. I've looked for many files like elisp and lilypond-mode in my
>>>>> attempts.
>>>>>> There is GNUmakefile which will get picked up by, well,
>>>>>> GNU Make.
>>>>> I hadn't thought of GNUmakefile but according to updatedb and locate
>>>>> there are only two clearly unrelated GNUmakefiles on this computer.
>>>> Which begs the question: just what have you installed where and how
>>>> with
>>>> regard to LilyPond?
>>>
>>> I have Lily 2.22-2 and 2.23.6 installed.
>> Where and how?
>
> 2.22.2: Debian install
>
> 2.23.6: .sh file from LilyPond web site.
>
> Paul
>
>
>
>
Re: Ly2video question.
Greetings Valentin, Have you documented your solution? I would be curious to check it out. I also intend to look at mkvideo, though from what little I have read about it thus far, I suspect that its general approach is not what I am looking for. Hwaen Ch'uqi On 3/7/22, Valentin Petzel wrote: > Hello Hwaen Ch'uqi, > > one thing to look out for is that ly2video is quite unmaintained, and relies > on certain behaviour of some modules that do not behave exactly like that > anymore. This means you need to tweak a few things to get everything > running. > > Also I've found that ly2video does not handle my scores well, so I'm > currently doing my own solution for this, which is still missing a few > features, but is working quite nicely so far. > > Cheers, > Valentin > > 07.03.2022 00:00:54 Hwaen Ch'uqi : > >> Ah, thank you. I do very little with git, and I wasn't certain if the >> address to use for cloning was the exact same as that of the page I >> was looking at. I have seen other addresses with a .git extension; >> perhaps those were for gitlab programs? Anyway, thank you again; all >> is well now. >> >> Hwaen Ch'uqi >> >> >> On 3/6/22, Hans Aikema wrote: >>> >>> >>>> On 6 Mar 2022, at 22:32, Hwaen Ch'uqi wrote: >>>> >>>> Greetings All, >>>> >>>> I am asking what surely is a rudimentary question, but I do not see >>>> clear instructions on how to download/install ly2video. As it is on >>>> the github site, should it be done through git? If so, what is the >>>> precise address to use? Instructions on that page for installing the >>>> package itself on ubuntu invoke pip, but I take it that this is a >>>> later step? Any help would be greatly appreciated. >>>> >>>> Hwaen Ch'uqi >>>> >>> >>> The install instructions on github describe how to install from a local >>> clone of the repository. >>> So the steps would be: >>> - install prerequisites >>> - git clone the repository >>> - cd into the folder where you git-cloned the repository >>> - issue the documented pip install command to install ly2video itself >>> >>> >
Documentation confusion regarding MIDI.
Greetings All, I preface this by acknowledging that I know nothing about the innerworkings of MIDI. In section 3.5.7 of the NR, which deals with MIDI channel mapping, there appears to be a discrepancy in the wording about channels and tracks. The third paragraph implies that channels and tracks are synonymous, stating that LilyPond creates separate MIDI tracks for staves, instruments, or voices depending on the value of Score.midiChannelMapping. This is immediately followed by the statement that there is no limit to the number of tracks. The impression left is that layers upon layers of sound could be generated. This obviously is not true. The Selected Snippet at the bottom of that page states that only 16 channels are available per track and then details ways of avoiding the running out of channels. This page appears to need some clarification. I would offer replacement text, but knowing nothing on the topic, I am hardly qualified. I simply know from experience that midiChannelMapping offers a bit of wiggle room in an otherwise restrictive situation, especially for orchestral or other large ensemble context. Hwaen Ch'uqi
Re: Ly2video question.
Ah, thank you. I do very little with git, and I wasn't certain if the address to use for cloning was the exact same as that of the page I was looking at. I have seen other addresses with a .git extension; perhaps those were for gitlab programs? Anyway, thank you again; all is well now. Hwaen Ch'uqi On 3/6/22, Hans Aikema wrote: > > >> On 6 Mar 2022, at 22:32, Hwaen Ch'uqi wrote: >> >> Greetings All, >> >> I am asking what surely is a rudimentary question, but I do not see >> clear instructions on how to download/install ly2video. As it is on >> the github site, should it be done through git? If so, what is the >> precise address to use? Instructions on that page for installing the >> package itself on ubuntu invoke pip, but I take it that this is a >> later step? Any help would be greatly appreciated. >> >> Hwaen Ch'uqi >> > > The install instructions on github describe how to install from a local > clone of the repository. > So the steps would be: > - install prerequisites > - git clone the repository > - cd into the folder where you git-cloned the repository > - issue the documented pip install command to install ly2video itself > >
Ly2video question.
Greetings All, I am asking what surely is a rudimentary question, but I do not see clear instructions on how to download/install ly2video. As it is on the github site, should it be done through git? If so, what is the precise address to use? Instructions on that page for installing the package itself on ubuntu invoke pip, but I take it that this is a later step? Any help would be greatly appreciated. Hwaen Ch'uqi
Re: Possible bug: Grace note at the beginning makes instrumentName disappear?
Greetings Thomas,
In the case of grace notes, the instrumentName must be placed in a \with block.
GraceStaff = \new Staff \with {
instrumentName = #"Grace"
}
<<
\GraceVoice
>>
Not sure if the curly and angled braces work exactly the same way,
because I haven't done this with variables, but this is the principle
involved.
hth,
Hwaen Ch'uqi
On 2/16/22, Thomas Scharkowski wrote:
> Grace note at the beginning makes instrumentName disappear:
> macOs 12.1
> LilyPond 2.23.6
>
> --
> \version "2.23.6"
>
> GraceVoice = \new Voice
> {
> \grace
> c'8 b4
> }
>
> GraceStaff = \new Staff
> <<
> \set Staff.instrumentName = "Grace"
> \GraceVoice
>>>
>
> \score {
> \GraceStaff
> }
>
> NoGraceVoice = \new Voice
> {
> b4
> }
>
> NoGraceStaff = \new Staff
> <<
> \set Staff.instrumentName = "NoGrace"
> \NoGraceVoice
>>>
>
> \score {
> \NoGraceStaff
> }
>
>
Re: Blind and visually impaired users learning LilyPond
Greetings Jacques, Admittedly, I cannot find it at the moment, but is there not already a Templates section? Perhaps these additions could be added to that? HC On 2/14/22, Jacques Menu wrote: > Another approach could be to add a new first chapter, maybe named > “Discovering LilyPond”, containing a handful of examples without much > commentary. > > Those could illustrate various features such as <<…>> without a \score > around, \score, \book, chords and lyrics, as well as PDF, SVG and MIDI > output. > > JM > >> Le 14 févr. 2022 à 06:21, Werner LEMBERG a écrit : >> >> >>> I rather like the idea of there being a section in the documentation >>> for visually impaired users; I would even be willing to help >>> contribute to such a section. >> >> Excellent, and thanks for the offer. If you find time to write such a >> section, simply send your suggested text to this list, indicating >> where to insert it. We will then discuss it and do the integration >> into the documentation. >> >> >>Werner >> > > >
Re: Blind and visually impaired users learning LilyPond
Greetings Tyler, I would gently suggest that, when asking for help or making critical suggestions, not to simultaneously accuse people whom you do not know of cardinal faults. Likewise, it is not wise to assume that all people in a certain situation operate or think in the same way; I too am unable to see but have never, until now, identified as such to the LilyPond community. The VERY first subsubsection of the Learning Manual, 1.1.1, indicates that examples in the manual may not always reflect the way they should be written in order to successfully compile. And a quick look into the Table of Contents would have shown you where to find the relevant midi sections. Your and Valentin's suggestions are certainly warranted. I prefer Valentin's, simply because it is much more streamlined and works nicely with the way the manuals are already structured. Hwaen Ch'uqi On 2/13/22, Valentin Petzel wrote: > Hello Tyler, > > Are the defaults biased against people with visual disabilities? I’d say no. > > They are maybe not perfect, but there is surely no intent to make it harder > > for people with visual disabilities to use it. If just has never been a > major > concern for the small set of developers. > > Also I think Lilypond’s way is not really that suitable for such needs. > Lilypond’s syntax is all about being quite powerful with what you can do > with > it, and less about being easy to parse. I suppose many of the structures > Lilypond has will be quite hard to use, considering they can be quite hard > to > read with perfect eyesight. > > This approach allows us to have lots of power, but often this power is not > really nescessary. Thus what I’d suggest is to have a sort of wrapper > language > that relies on text for structure, making it easier to navigate by stuff > like > TTS. We surely could have something like a command line option to create > midi > for each score, but I feel like default Lilypond is not really the most > adequate solution for this problem. > > Concerning the documentation I’d say: Rather than shifting some elements to > be > earlier or later we could have a dedicated point in the documentation for > this > matter, with all of the information especially relevant for visually > impaired > users in one place. > > I’m sure no one here would oppose doing reasonable things to make Lilypond > more accessible, but for most people here this is not an issue, and most > people here do not know a lot about what is important in such cases. So we > also need your help to know what things are important, and what can be done > > better. > > Best, > Valentin
Re: midi sound quality help needed
Oh, brilliant!!! Thanks so much, Guy! I wish I knew this a long time ago! Hwaen Ch'uqi On 9/14/21, Guy Stalnaker wrote: > Sorry, that's not terribly clear ... > > Add "--output-24bit" to the TIMIDITY commandline (there may be a way to > put it in the timidity config, but I just used the CLI anyway) > > %> timidity --output-24bit -Ow > > Sorry about that. > > Guy > > On 9/14/21 6:54 PM, Guy Stalnaker wrote: >> >> Yes!! I used to have that all the time when using timidity from the >> CLI to play MIDI and then convert to WAV/FLAC. >> >> Now to see if I can remember how to fix it. >> >> AH! This ... >> >> From: >> https://henkelmann.eu/2013/03/fixing-timidity-crackling-output-in-gnu-solfege/ >> >> add |--output-24bit| to the options for that entry (my complete >> options for timidity are |--output-24bit -idqq %s|) >> >> That "--output-24bit" is what worked for me. >> >> Regards. >> >> On 9/14/21 6:45 PM, Hwaen Ch'uqi wrote: >> >>> Oh, that's all right! That overall placement of folder did look a bit >>> "interesting" to me. >>> >>> But since we are on the subject of midi/timidity, I wonder if you or >>> someone else could address this: I have noticed that there is much >>> more crackling (not sure how else to describe it) going on in the >>> sound when playing the midi files. Any idea what might be causing >>> that? >>> >>> Thanks! >>> >>> Hwaen Ch'uqi >>> >>> >>> On 9/14/21, Guy Stalnaker wrote: >>>> I did not intend to contradict what you wrote, simply to show that >>>> kubuntu has a more complicated set of configuration files that all >>>> interact with each other, rather than using a single timidity.cfg file >>>> (which was all that there was many years ago). >>>> >>>> I apologize if I gave the impression I was correcting you. I *agree* >>>> with you completely. >>>> >>>> Regards. >>>> >>>> On 9/14/21 6:29 PM, Hwaen Ch'uqi wrote: >>>>> Greetings Guy, >>>>> >>>>> Perhaps I am missing something, but the folder contents that you >>>>> display don't seem to contradict what I wrote. >>>>> >>>>> Hwaen Ch'uqi >>>>> >>>>> >>>>> On 9/14/21, Guy Stalnaker wrote: >>>>>> Thanks Hwaen Ch'uqi! That's not at all how kubuntu does this: >>>>>> >>>>>> √ /mnt/NAS326_Music/music/Radio Drama > ll /etc/timidity/ >>>>>> total 480K >>>>>> -rw-r--r-- 1 root root 230K Nov 11 2016 fluidr3_gm.cfg >>>>>> -rw-r--r-- 1 root root 4.7K Nov 11 2016 fluidr3_gs.cfg >>>>>> -rw-r--r-- 1 root root 4.6K Sep 22 2006 freepats.cfg >>>>>> -rw-r--r-- 1 root root 225K Aug 1 2019 timgm6mb.cfg >>>>>> -rw-r--r-- 1 root root 1.2K Jun 27 2018 timidity.cfg >>>>>> >>>>>> Just people making things more complicated than they need to be. >>>>>> >>>>>> Guy >>>>>> >>>>>> On 9/14/21 5:49 PM, Hwaen Ch'uqi wrote: >>>>>>> Greetings Ken, >>>>>>> >>>>>>> I do not use a mac; I use linux. However, I have a feeling that the >>>>>>> principle for this is the same. Timidity reads its settings from a >>>>>>> file called /etc/timidity.cfg, and those settings can be changed. >>>>>>> Whatever soundfont you wish to use, you should be able to download >>>>>>> it >>>>>>> and tell timidity.cfg where it is located. I use the freepats.cfg >>>>>>> soundfont. The relevant little paragraph in my timidity.cfg looks >>>>>>> like >>>>>>> this: >>>>>>> >>>>>>> # By default, try to use the instrument patches from freepats: >>>>>>> source /etc/timidity/freepats.cfg >>>>>>> >>>>>>> Any other lines that begin with the word "source" I comment with the >>>>>>> pound sign so that timidity ignores it. >>>>>>> >>>>>>> I hope this helps. >>>>>>> >>>>>>> Hwaen Ch'uqi >>>>>>> >>>>>>> >>>>>>> On 9/14/21, Guy Stalnaker wro
Re: midi sound quality help needed
Oh, that's all right! That overall placement of folder did look a bit "interesting" to me. But since we are on the subject of midi/timidity, I wonder if you or someone else could address this: I have noticed that there is much more crackling (not sure how else to describe it) going on in the sound when playing the midi files. Any idea what might be causing that? Thanks! Hwaen Ch'uqi On 9/14/21, Guy Stalnaker wrote: > I did not intend to contradict what you wrote, simply to show that > kubuntu has a more complicated set of configuration files that all > interact with each other, rather than using a single timidity.cfg file > (which was all that there was many years ago). > > I apologize if I gave the impression I was correcting you. I *agree* > with you completely. > > Regards. > > On 9/14/21 6:29 PM, Hwaen Ch'uqi wrote: >> Greetings Guy, >> >> Perhaps I am missing something, but the folder contents that you >> display don't seem to contradict what I wrote. >> >> Hwaen Ch'uqi >> >> >> On 9/14/21, Guy Stalnaker wrote: >>> Thanks Hwaen Ch'uqi! That's not at all how kubuntu does this: >>> >>> √ /mnt/NAS326_Music/music/Radio Drama > ll /etc/timidity/ >>> total 480K >>> -rw-r--r-- 1 root root 230K Nov 11 2016 fluidr3_gm.cfg >>> -rw-r--r-- 1 root root 4.7K Nov 11 2016 fluidr3_gs.cfg >>> -rw-r--r-- 1 root root 4.6K Sep 22 2006 freepats.cfg >>> -rw-r--r-- 1 root root 225K Aug 1 2019 timgm6mb.cfg >>> -rw-r--r-- 1 root root 1.2K Jun 27 2018 timidity.cfg >>> >>> Just people making things more complicated than they need to be. >>> >>> Guy >>> >>> On 9/14/21 5:49 PM, Hwaen Ch'uqi wrote: >>>> Greetings Ken, >>>> >>>> I do not use a mac; I use linux. However, I have a feeling that the >>>> principle for this is the same. Timidity reads its settings from a >>>> file called /etc/timidity.cfg, and those settings can be changed. >>>> Whatever soundfont you wish to use, you should be able to download it >>>> and tell timidity.cfg where it is located. I use the freepats.cfg >>>> soundfont. The relevant little paragraph in my timidity.cfg looks like >>>> this: >>>> >>>> # By default, try to use the instrument patches from freepats: >>>> source /etc/timidity/freepats.cfg >>>> >>>> Any other lines that begin with the word "source" I comment with the >>>> pound sign so that timidity ignores it. >>>> >>>> I hope this helps. >>>> >>>> Hwaen Ch'uqi >>>> >>>> >>>> On 9/14/21, Guy Stalnaker wrote: >>>>> Ken, >>>>> >>>>> You are S close :-) >>>>> >>>>> The issue is neither Lilipond nor its midi output. MIDI is simply a >>>>> specification for musical "events" describing pitch, duration, etc. >>>>> It's >>>>> up to a program that understands MIDI to make actual sound. That is >>>>> typically done via a synthesizer (dedicated synth module, keyboard, or >>>>> other MIDI-capable equipment) or via an application that knows how to >>>>> use a soundfont. >>>>> >>>>> You're getting nice sound with Alda not because Alda is making >>>>> "better" >>>>> MIDI, but because of the FluidR3 soundfont (which has surprisingly >>>>> decent sounds for many, though not all, of its General Midi sounds). >>>>> >>>>> When I was using a MacBook and LP/Frescobaldi, I used >>>>> fluidsynth/QSynth >>>>> configured to use the FluidR3 sound font (but this was some time ago, >>>>> at >>>>> least 7-8 years). On Windows I use CoolSoftVirtualMidiSynth. On Linux >>>>> (my current desktop) I use the fluidsynth/QSynth apps. Both of them >>>>> are >>>>> configured to use the FluidR3 soundfont. >>>>> >>>>> I *know* that you can configure timidity to use a different soundfont >>>>> than its default (which does indeed suck). In fact, timidity on my >>>>> Kubuntu 20.04 desktop is so configured. But this is by default and >>>>> involves ways that timidity is installed on kubuntu, so it's not easy >>>>> for me to tell you how to do it using this setup. But, I'm fairly >>>>> certain Google will provide you options for getting timidity to use >>>>> the >
Re: midi sound quality help needed
Greetings Guy, Perhaps I am missing something, but the folder contents that you display don't seem to contradict what I wrote. Hwaen Ch'uqi On 9/14/21, Guy Stalnaker wrote: > Thanks Hwaen Ch'uqi! That's not at all how kubuntu does this: > > √ /mnt/NAS326_Music/music/Radio Drama > ll /etc/timidity/ > total 480K > -rw-r--r-- 1 root root 230K Nov 11 2016 fluidr3_gm.cfg > -rw-r--r-- 1 root root 4.7K Nov 11 2016 fluidr3_gs.cfg > -rw-r--r-- 1 root root 4.6K Sep 22 2006 freepats.cfg > -rw-r--r-- 1 root root 225K Aug 1 2019 timgm6mb.cfg > -rw-r--r-- 1 root root 1.2K Jun 27 2018 timidity.cfg > > Just people making things more complicated than they need to be. > > Guy > > On 9/14/21 5:49 PM, Hwaen Ch'uqi wrote: >> Greetings Ken, >> >> I do not use a mac; I use linux. However, I have a feeling that the >> principle for this is the same. Timidity reads its settings from a >> file called /etc/timidity.cfg, and those settings can be changed. >> Whatever soundfont you wish to use, you should be able to download it >> and tell timidity.cfg where it is located. I use the freepats.cfg >> soundfont. The relevant little paragraph in my timidity.cfg looks like >> this: >> >> # By default, try to use the instrument patches from freepats: >> source /etc/timidity/freepats.cfg >> >> Any other lines that begin with the word "source" I comment with the >> pound sign so that timidity ignores it. >> >> I hope this helps. >> >> Hwaen Ch'uqi >> >> >> On 9/14/21, Guy Stalnaker wrote: >>> Ken, >>> >>> You are S close :-) >>> >>> The issue is neither Lilipond nor its midi output. MIDI is simply a >>> specification for musical "events" describing pitch, duration, etc. It's >>> up to a program that understands MIDI to make actual sound. That is >>> typically done via a synthesizer (dedicated synth module, keyboard, or >>> other MIDI-capable equipment) or via an application that knows how to >>> use a soundfont. >>> >>> You're getting nice sound with Alda not because Alda is making "better" >>> MIDI, but because of the FluidR3 soundfont (which has surprisingly >>> decent sounds for many, though not all, of its General Midi sounds). >>> >>> When I was using a MacBook and LP/Frescobaldi, I used fluidsynth/QSynth >>> configured to use the FluidR3 sound font (but this was some time ago, at >>> least 7-8 years). On Windows I use CoolSoftVirtualMidiSynth. On Linux >>> (my current desktop) I use the fluidsynth/QSynth apps. Both of them are >>> configured to use the FluidR3 soundfont. >>> >>> I *know* that you can configure timidity to use a different soundfont >>> than its default (which does indeed suck). In fact, timidity on my >>> Kubuntu 20.04 desktop is so configured. But this is by default and >>> involves ways that timidity is installed on kubuntu, so it's not easy >>> for me to tell you how to do it using this setup. But, I'm fairly >>> certain Google will provide you options for getting timidity to use the >>> FluidR3 sound font. >>> >>> See this Google search: >>> >>> https://www.google.com/search?q=tell+timidity+to+use+alternate+soundfont=1=AOaemvKkuOn8r1q2lCX0swD3GgF5Q5AHGg%3A1631650995863=swRBYY6RNJqztQaBhLRw=t_lcp=Cgdnd3Mtd2l6EAMYADIECCMQJzIECCMQJzIECCMQJzIFCAAQkQIyBQgAEJECMgQIABBDMg4ILhCABBCxAxDHARCjAjIECAAQQzIFCAAQgAQyEQguEIAEELEDEIMBEMcBENEDOgcIABBHELADOgcIABCwAxBDOg0ILhCxAxDHARCvARBDOgoIABCxAxCDARBDOgcIABCxAxBDSgQIQRgAUN74EFj_gBFg7pMRaAJwAngAgAGkAYgBwgKSAQMwLjKYAQCgAQHIAQrAAQE=gws-wiz >>> >>> I know nothing about GarageBand, however Google can likely help you >>> learn if you can configure it to use alternate soundfonts. >>> >>> Hope this helps. >>> >>> Guy >>> >>> P.S. A nice thing about using an app and soundfont YOU specify is that >>> you can change the soundfont used. If you've the money you can purchase >>> incredibly good soundfonts (if you like) though there are dozens >>> available for free. One of my favorite is an English Organ sound font >>> with quite good sounds. >>> >>> On 9/14/21 3:13 PM, Kenneth Wolcott wrote: >>>> HI All; >>>> >>>> This is really not a Lilypond question, but I'm sure you have some >>>> helpful information, as you always do :-) >>>> >>>> midi sound quality help needed >>>> >>>> I'm on a Mac. >>>> >>>> I'm using Lilypond 2.22
Re: midi sound quality help needed
Greetings Ken, I do not use a mac; I use linux. However, I have a feeling that the principle for this is the same. Timidity reads its settings from a file called /etc/timidity.cfg, and those settings can be changed. Whatever soundfont you wish to use, you should be able to download it and tell timidity.cfg where it is located. I use the freepats.cfg soundfont. The relevant little paragraph in my timidity.cfg looks like this: # By default, try to use the instrument patches from freepats: source /etc/timidity/freepats.cfg Any other lines that begin with the word "source" I comment with the pound sign so that timidity ignores it. I hope this helps. Hwaen Ch'uqi On 9/14/21, Guy Stalnaker wrote: > Ken, > > You are S close :-) > > The issue is neither Lilipond nor its midi output. MIDI is simply a > specification for musical "events" describing pitch, duration, etc. It's > up to a program that understands MIDI to make actual sound. That is > typically done via a synthesizer (dedicated synth module, keyboard, or > other MIDI-capable equipment) or via an application that knows how to > use a soundfont. > > You're getting nice sound with Alda not because Alda is making "better" > MIDI, but because of the FluidR3 soundfont (which has surprisingly > decent sounds for many, though not all, of its General Midi sounds). > > When I was using a MacBook and LP/Frescobaldi, I used fluidsynth/QSynth > configured to use the FluidR3 sound font (but this was some time ago, at > least 7-8 years). On Windows I use CoolSoftVirtualMidiSynth. On Linux > (my current desktop) I use the fluidsynth/QSynth apps. Both of them are > configured to use the FluidR3 soundfont. > > I *know* that you can configure timidity to use a different soundfont > than its default (which does indeed suck). In fact, timidity on my > Kubuntu 20.04 desktop is so configured. But this is by default and > involves ways that timidity is installed on kubuntu, so it's not easy > for me to tell you how to do it using this setup. But, I'm fairly > certain Google will provide you options for getting timidity to use the > FluidR3 sound font. > > See this Google search: > > https://www.google.com/search?q=tell+timidity+to+use+alternate+soundfont=1=AOaemvKkuOn8r1q2lCX0swD3GgF5Q5AHGg%3A1631650995863=swRBYY6RNJqztQaBhLRw=t_lcp=Cgdnd3Mtd2l6EAMYADIECCMQJzIECCMQJzIECCMQJzIFCAAQkQIyBQgAEJECMgQIABBDMg4ILhCABBCxAxDHARCjAjIECAAQQzIFCAAQgAQyEQguEIAEELEDEIMBEMcBENEDOgcIABBHELADOgcIABCwAxBDOg0ILhCxAxDHARCvARBDOgoIABCxAxCDARBDOgcIABCxAxBDSgQIQRgAUN74EFj_gBFg7pMRaAJwAngAgAGkAYgBwgKSAQMwLjKYAQCgAQHIAQrAAQE=gws-wiz > > I know nothing about GarageBand, however Google can likely help you > learn if you can configure it to use alternate soundfonts. > > Hope this helps. > > Guy > > P.S. A nice thing about using an app and soundfont YOU specify is that > you can change the soundfont used. If you've the money you can purchase > incredibly good soundfonts (if you like) though there are dozens > available for free. One of my favorite is an English Organ sound font > with quite good sounds. > > On 9/14/21 3:13 PM, Kenneth Wolcott wrote: >> HI All; >> >>This is really not a Lilypond question, but I'm sure you have some >> helpful information, as you always do :-) >> >>midi sound quality help needed >> >>I'm on a Mac. >> >>I'm using Lilypond 2.22.0 via MacPorts. >> >>I'm using Garageband as my midi player, with Timidity (from home >> brew) as an alternative. >> >>I don't do rock music, synthesizers, sound effects, etc. I do >> traditional classical music. I do some pop, and folks music, but in a >> classical manner... >> >>I'm not asking for a professional live performance output quality >> from midi, but most often the midi output sounds really bad. >> >>Now here's an interesting twist to the story. >> >>I installed Alda from home brew which is a more rudimentary >> text-based musical scoring system. I also installed the suggested >> alternative soundfont (FluidR3). >> >>The Alda coding is much more rudimentary than what Lilypond offers, >> so I'm not in any way going to abandon Lilypond!!! >> >>But the sound quality of what comes out of playing the Alda scripts >> is phenomenal (!) compared to what I get out of GarageBand and/or >> Timidity. I've even tried MidiAndMusicXmlPlayer as an alternative >> midi player. >> >>How do I improve my midi output quality? >> >> Thanks in advance for your advice, >> Ken Wolcott >> > -- > -- > > “Happiness is the meaning and the purpose of life, the whole aim and end of > human existence.” > > ― Aristotle > >
Re: Positioning new staff
Greetings Paul,
It would be best to see a code example. However, I have done this
several times. You need to give the lower staff of the first piano a
name, and then tell that temporary staff to be placed under that named
context. Here is a template for just one piano, where staves are added
above and below:
\score {
\new PianoStaff <<
\new Staff = up {
\relative c' {
MUSIC
<<
\new Voice {
\oneVoice MORE MUSIC
}
\new Staff \with {
alignAboveContext = #"up"
}
{
ADDED STAFF
}
>>
}
}
\new Staff = down {
\relative c' {
MUSIC
<<
\new Voice {
\oneVoice MORE MUSIC
}
\new Staff \with {
alignBelowContext = #"down"
}
{
ADDED STAFF
}
>>
}
}
>>
}
hth,
Hwaen Ch'uqi
On 9/4/21, Paul Hodges wrote:
> I can't find anything bearing on this, I'm afraid.
>
> I am writing out a piece for two pianos; so there is a grand score
> containing two piano scores. I need to add a third staff to the first
> piano part for just two bars. It will be under the two staves already
> existing. I can add the necessary staff, and it has the correct music
> on it - however, it is positioning itaself under the second piano (and
> drawing barlines right through):
>
> How can I make the extra staff appear in the middle where it should be?
>
> Thanks for any suggestions,
> Paul
Re: Line breaking issue
Aww, buried in this explanation is the fact that you are "sharing the gospel" of LilyPond with your students: Fantastic!!! Hwaen Ch'uqi On 8/12/21, Rachel Green wrote: > Thanks all! That did fix the problem. A student typeset this for me, and I > was so fixated on the cadenza measure, I did not check the syntax of the > first measure well. > > Rachel > >> On Aug 12, 2021, at 12:24 PM, David Kastrup wrote: >> >> Valentin Petzel writes: >> >>> Hello Rachel, >>> >>> As others have said before, the Beam syntax is wrong, you need to >>> specify >>> >>> Note[ note note note] >>> >>> Instead of >>> >>> [note note note note] >>> >>> (the same way as slurs work). The big problem here is that Lilypond by >>> default >>> forbids breaks during Beams, which is normally only relevant when you do >>> have >>> Beaming over Measures. But in your case Lilypond is so confused, that it >>> >>> basically does not know exactly, where the beams are. So it thinks you >>> have a >>> beam going on when you haven’t. Fix the beams and it will work! If >>> everythings >>> works, Lilypond will in fact break this by itself, without you telling it >>> to. >>> >>> Just a remark: You are using \voiceOne and \oneVoice for what I assume to >>> be >>> different hands. This is not good, as \oneVoice will change it’s >>> behaviour >>> depending on the note position, so if you were to change the clef or >>> transpose >>> the piece or something this might change the direction. Instead you can >>> either >>> use \voiceOne/\voiceTwo or \stemUp/\stemDown. >> >> \stemUp/\stemDown is pretty much always a very bad idea to use in >> anything but the definitions of more complex voice-changing commands >> that also cater for notehead collision strategies and other stuff. >> >> It was probably a mistake to make those explicit commands rather than >> requiring them to be entered as overrides. >> >> -- >> David Kastrup > >
Re: set page number
Greetings David,
Not knowing what you halve already, it's a bit tricky to advise.
However, here is the code that I use, given a long time ago on this
list. It may be more than you need, because it also includes
provisions for correct numbering in the Table of Contents. This first
part goes above the \book block:
%%% roman numeral page numbers
#(define begin-arabic 11)
%% The following is an adaptation of a function found in
`define-markup-commands.scm' which is used to create tables of
contents. An offset to the Arabic numerals has been incorporated so
that the first page of the music is 1.
#(define-markup-command (page-ref layout props label gauge default)
(symbol? markup? markup?)
#:category other
"
@cindex referencing page numbers in text
Reference to a page number. @var{label} is the label set on the referenced
page (using the @code{\\label} command), @var{gauge} a markup used to estimate
the maximum width of the page number, and @var{default} the value to display
when @var{label} is not found."
(let* ((gauge-stencil (interpret-markup layout props gauge))
(x-ext (ly:stencil-extent gauge-stencil X))
(y-ext (ly:stencil-extent gauge-stencil Y)))
(ly:make-stencil
`(delay-stencil-evaluation
,(delay (ly:stencil-expr
(let* ((table (ly:output-def-lookup layout 'label-page-table))
(page-number (if (list? table)
(assoc-get label table)
#f))
(page-markup
(if page-number
(if (< page-number begin-arabic)
(format #f "~(~@r~)" page-number) ;
Roman numerals
; Arabic numerals, but offset to begin on 1
(format #f "~a" (- (1+ page-number)
begin-arabic)))
default))
(page-stencil (interpret-markup layout props
page-markup))
(gap (- (interval-length x-ext)
(interval-length (ly:stencil-extent
page-stencil X)
(interpret-markup layout props
(markup #:concat (#:hspace gap
page-markup)))
x-ext
y-ext)))
#(define-markup-command (roman-numeral-page-number layout props) ()
(let ((page-number (chain-assoc-get 'page:page-number props -1)))
(interpret-markup layout props
(if (> page-number 0) ; only positive integers can be `romanized'
(format #f "~(~@r~)" page-number)
(chain-assoc-get 'page:page-number-string props -1)
#(define-markup-command (offset-page-number layout props offset) (integer?)
(let ((page-number (chain-assoc-get 'page:page-number props -1)))
(interpret-markup layout props
(format #f "~a" (- page-number offset)
#(define (part-not-first-page layout props arg)
(if (= (chain-assoc-get 'page:page-number props -1)
(ly:output-def-lookup layout 'first-page-number))
empty-stencil
(interpret-markup layout props arg)))
You can change the begin-arabic number to whatever you need, the
number being the first Roman page that should have the Arabic number
1. Then, in the bookparts containing Arabic numbers, I include this in
the \paper block:
oddHeaderMarkup = \markup {
\fill-line {
" "
\on-the-fly #create-page-number-stencil \offset-page-number #(1-
begin-arabic)
}
}
evenHeaderMarkup = \markup {
\fill-line {
\on-the-fly #create-page-number-stencil \offset-page-number #(1-
begin-arabic)
" "
}
}
hth,
Hwaen Ch'uqi
On 2/7/21, bobr...@centrum.is wrote:
> I have a series of scores in a small book. I want to have the first couple
> of pages numbered in Roman numerals and then switch to Arabic. I have
> accomplished that. The problem I face now is that I want the first Arabic
> numbered page to be page 1. There is '\set currentBarNumber' but there does
> not seem to be a corresponding '\set currentPageNumber' or equivalent.
>
> There must be a way to do this.
>
> Thanks for any help.
>
> David
>
>
Re: header material too close to staff
Greetings David,
You can invoke the \column and \vspace commands inside markup, like this:
\header {
piece = \markup \column {
"blah blah"
\vspace #2
}
}
hth,
Hwaen Ch'uqi
On 2/1/21, David Zelinsky wrote:
> Is there a way to put some space between the header material and the
> first staff? None of my searching as produced anything relevant.
>
> Here's an example:
>
> -
>
> \version "2.20.0"
> \include "english.ly"
>
> \score {
> {
> c''' c''' c''' c'''
> }
> }
> \header {
> piece = "blah blah blah blah blah blah"
> }
>
> -
>
>
>
>
Re: Help a newb: Formatting custom instrument names
Greetings Michael,
I believe that, in your \with block, you should add the following lines:
fontSize = #-3
\override StaffSymbol.staff-space = #(magstep -3)
Hth,
Hwaen Ch'uqi
On 12/7/20, Michael Blankenship wrote:
> Hi,
>
> I’m trying to use an instrument name as a sort of clef for a 12 line staff,
> where a column of characters are engraved just before the staff and each row
> of characters lines up with one of the 11 staff spaces.
>
> So far I’ve only been able to assign the column of text to the instrument
> name, but it’s WAY to big and spaced out. I tried to find the commands to
> tweak the instrument name in the reference manuals, but I just couldn’t
> figure it out. I need to tweak the size of the font, the vertical scale
> (assuming the characters are evenly spaced vertically) and the position. Can
> anyone help out a hapless newbie?
>
> Here’s the code i’ve got so far:
> \new Staff \with {
> instrumentName = \markup {
>\roman {
> \right-column {
>i/iɚ
>ɪ
>eɪ/ɛ/ɛɚ
>æ
>ʌ/ə
>aɪ/ɑ/ɑ˞/aʊ
>ɝ/ɚ
>ɔɪ/ɔ˞/ɔ
>oʊ
>ʊ
>uɚ/u
>} } }
> shortInstrumentName = \markup {
>\roman {
> \right-column {
>i
>ɪ
>ɛ
>æ
>ʌ
>ɑ
>ɝ
>ɔ
>oʊ
>ʊ
>u
>} } }
> }
>
> and here’s a screen cap of the output so far:
>
>
>
>
> Best,
> Michael
>
Re: Custom page numbers in table of contents
Ah, I see what Noah means. The code quoted is not misleading, but
neither is it practical. It is meant to demonstrate a specific point,
not to show a real-world example. Not sure if there is anything to be
done about that on the documentation side, but the confusion is
certainly understandable.
Hwaen Ch'uqi
On 11/6/20, Jon Arnold wrote:
> No need to be sorry! Glad we could figure out the problem.
>
> On Fri, Nov 6, 2020, 1:39 PM Noah Landis wrote:
>
>> > The tocitem needs to go right above or in each score block. You've put
>> them
>> > on the same page as your table of contents, which is why they're
>> displaying
>> > the same page number.
>> Oh man, sorry for all that then. I more or less just copied a snippet
>> from the manual; more specifically this one:
>>
>> \book {
>> \markuplist \table-of-contents
>> \tocItem \markup { Allegro }
>> \tocItem \markup { Largo }
>> \markup \null
>> }
>>
>
Re: Custom page numbers in table of contents
Greetings Noah, Could you provide an actual skeletal example of what you described? Without it, I don't know how helpful people can be. Under the conditions you presented, you shouldn't need to manually change page numbers. Hwaen Ch'uqi On 11/5/20, Noah Landis wrote: > Hello list, > > I have two uses of \pageBreak making three total pages. There is a > title page on the first, my table of contents (using > \table-of-contents) on the second, and some songs on the third. > > Currently the table of contents is displaying for song, the same page > number as the one that the table of contents is itself on (the table > of contents is on page 0 and says the songs are as well, which they > aren't). > > How do I manually change the page number displayed for the songs in > \table-of-contents? > > Thank you in advance. > >
Re: Piano sustain pedal
Greetings Martin, You could use the \tag command in a separate voice or staff block and so generate midi output but not visual output. HTH, Hwaen Ch'uqi On 10/13/20, Martin Tarenskeen wrote: > > Hi, > > I am typesetting a Piano solo score. > I want to add \sustainOn and \sustainOff stuff in my lilypond source only > for more realistic MIDI output, but I don't want to print the > pedalmarkings in my score. How to do this? If possible without the need to > have separate midi and layout versions of the same lilypond code for the > notes. > > -- > > MT > > >
Re: Tremolo in MIDI
Greetings Andrew,
I use \unfoldRepeats in order to get any sort of repeat - including
tremolos - to work with midi.
New Complexity! I haven't heard that term since my school days. Pretty cool!
Hwaen Ch'uqi
On 10/7/20, Andrew Bernard wrote:
> I am new to MIDI output, so pardon me if a stupid question, but a
> search of the user archives did not reveal anything.
>
> According to the supported notation for MIDI in the NR, using \repeat
> tremolo instead of :n works. Yet this MWE produces no tremolo in the
> MIDI (as far as I can hear). What do I need to add to make it work? It
> would be a pity if this can't be made to work because the very piece I
> am setting is the usual New Complexity type of work for a woodwind
> instrument and it just so happens that about 15% of the piece is
> tremolo, so it would tedious to emulate tremolo by hand.
>
> Andrew
>
> %=
>
> \version "2.21.6"
>
> music = {
> c''4 d''
> \repeat tremolo 4 c''16 c''4 |
> d'' \repeat tremolo 4 g'16
> c'2 |
> }
>
> \score {
> \new Staff { \music }
> \layout { }
> \midi { }
> }
>
>
Re: Custom dynamic mark on several lines
Greetings Claire,
This SHOULD work.
dals = \tweak DynamicText.self-alignment-X #CENTER
#(make-dynamic-script #{ \markup \normal-text \column { "11"
\fill-line { "12" } 13 } #})
Hwaen Ch'uqi
On 8/30/20, Claire Meyer wrote:
> Thank you very much ! Would you know as well how to center it vertically on
> the second line ?
>
> On Sun, Aug 30, 2020 at 10:12 PM Aaron Hill
> wrote:
>
>> On 2020-08-30 12:59 pm, Claire Meyer wrote:
>> > Hello,
>> >
>> > I was wondering if I could write a custom dynamic mark on several
>> > lines.
>> > Something along the lines of :
>> >
>> > dals = \tweak DynamicText.self-alignment-X #CENTER
>> > #(make-dynamic-script
>> > (markup #:normal-text "l1"
>> > #:normal-text "l2"
>> > #:normal-text "l3"
>> > ))
>> >
>> > Where l1 is on line 1, l2 is on line 2, and l3 is on line 3. Can
>> > someone
>> > help me ?
>>
>> You should be able to use \column:
>>
>>
>> dals = \tweak DynamicText.self-alignment-X #CENTER
>> #(make-dynamic-script #{ \markup \normal-text \column { 11 12 13 } #})
>>
>>
>>
>> -- Aaron Hill
>>
>>
>
Re: Help with Midi
Greetings David, You are echoing many questions that I have had for quite a while. The only tidbit that I can offer is that, using the freepats sound font, nonpitched percussion seems to work. Once you have installed freepats, go into your /etc/timidity/timidity.cfg file, and you should find a line that says: # source /etc/timidity/freepats.cfg Uncomment that line and comment the line showing where fluidr3_gm is found, and then the freepats should be accessible. Interestingly, the first line of the freepats.cfg file reads: dir /usr/share/midi/freepats Looking at that directory, one finds two subdirectories containing the various .pat files that are the basis of that sound font. What I wonder is whether or not other .pat files - assuming that this is the common extension used in other sound fonts (I have absolutely no idea of this) - could be swapped in or out to create the ideal set of sounds that you are looking for. Has anyone else thoughts on this or other of David's questions? Hwaen Ch'uqi On 8/14/20, David Sumbler wrote: > When working on a project in Lilypond I usually set things up to > generate midi files as well as printable output, mainly for note- > checking. But it is interesting to generate an ensemble midi file too. > I play these files with TiMidity, using the fluidr3_gm soundfont. > > I know the (very) basics about midi instruments (although I'm a bit > vague about midi channels), and I know how to improve things by using > timidity to generate wav files which I can import into qtractor or > similar and then edit the combined result. > > What I am about to ask is not really a Lilypond question at all (at > least, I don't think it is), but I am hoping that somebody on this list > can point me in the right direction. Clearly I am not making the right > searches on line, because I have never managed to find the information > I want. > > What I should like to know is > 1) how can I use drum and other untuned percussion sounds? > 2) I notice that fluidr3_gm has dozens - probably hundreds - of extra > sounds and instruments beyond the standard 128. How can I access > these? > 3) how can I use other soundfonts? There seem to be a lot of free > soundfonts available on line, but I have no idea how I would use them. > It would be nice to have a decent trumpet sound (the fluidr3-gm one is > very poor), the sound of violin section as will as solo violin, string > harmonics, timpani roll and so on. > > Can anyone point me to a useful online source of such information? > > David > > > >
Frenched score and rehearsal marks.
Greetings All,
Perhaps I have hit a bug in 2.21? When ALL staves of a StaffGroup
happen to be empty within a particular system, the rehearsal letter
continues to appear and at the top of the system. Below is code meant
to render the result.
\version "2.21"
music = \repeat unfold 5 {
\repeat unfold 5 c'1
\mark \default
}
rests = \repeat unfold 5 {
\repeat unfold 5 R1
\mark \default
}
\score {
<<
\new StaffGroup <<
\new Staff {
\rests
}
\new Staff {
\music
}
>>
\new StaffGroup <<
\new Staff {
\rests
}
\new Staff {
\rests
}
>>
>>
\layout {
\context {
\Score
\remove "Mark_engraver"
\remove "Staff_collecting_engraver"
}
\context {
\StaffGroup
\consists "Mark_engraver"
\consists "Staff_collecting_engraver"
}
\context {
\Staff
\RemoveEmptyStaves
}
}
}
I gladly point out that this is already a marked improvement over
2.20, where moving "Staff_collect_engraver" to the StaffGroup context
resulted in all rehearsal/tempo marks atop the uppermost staff. Thank
you for any suggestions/input.
Hwaen Ch'uqi
Frenched score and rehearsal marks.
Greetings All, In preparing an orchestral score, I am running into a very practical question that others surely must have encountered. I have removed Mark_engraver from the score context and placed it in the appropriate staff contexts - that is, in the uppermost staff of each instrument family. Furthermore, in order to reduce space, I have invoked \RemoveEmptyStaves in the staff context of the layout block. However, there are then many occasions when rehearsal marks naturally do not appear, because the relevant staff is appropriately hidden. In fact, I have entire pages where no rehearsal marks appear, even though more than one has actually occurred! Of course, I could get around this by including Mark_engraver in all staves, but this sort of duplication is precisely what I am trying to avoid. Has anyone a solution? This question also applies to Metronome_mark_engraver. Could the answer lie somehow in the StaffGroup context? Having trouble to wrap my head around it! Thank you for any help. Hwaen Ch'uqi
Re: line-breaking issue
Greetings Ahanu,
Without seeing something concrete, I think any further advice is
purely speculative at best. Not sure that _I_ will be able to shed
further light on the matter or that someone else will be willing to
wade through what is not an MWE, but it may be worth a shot to attach
your working code for review.
Hwaen Ch'uqi
On 8/9/20, Ahanu Banerjee wrote:
> I tried playing around with base-shortest-duration earlier, and it didn't
> help. Pasted Kevin's text to make sure, and nothing changed.
>
> -Ahanu
>
>
> On Sun, Aug 9, 2020 at 3:48 AM Kevin Barry wrote:
>
>> Hi Ahanu,
>>
>> It might help if you add this:
>> \layout {
>> \context {
>> \Score
>> \override SpacingSpanner.base-shortest-duration = #(ly:make-moment
>> 1/32)
>> }
>> }
>> It might make LilyPond more willing to squash sixteenths closer together
>> than it would normally like.
>>
>> Kevin
>>
>> On Sun, 2020-08-09 at 02:48 -0400, Ahanu Banerjee wrote:
>> > I tried setting systems-per-page to 10. It gave the same error as
>> > setting system-count to 20, and ran off the page.
>>
>> 3 measures per line is less than ideal, but it's readable. I'm
>> typesetting an etude book and am trying to avoid having fold-out pages
>> as much as possible.
>>
>>
>> On Sun, Aug 9, 2020, 02:41 Hwaen Ch'uqi wrote:
>> Greetings Ahanu,
>>
>> What happens if you set the systems-per-page variable to 10 instead
>> of
>> using system-count = 20? Does the music then spill over onto a third
>> page? Just from experience, it seems that 48 sixteenth-notes per
>> line
>> would get rather cramped, no? I usually use 32-40 16ths per line as
>> my
>> guide.
>>
>> Hwaen Ch'uqi
>>
>>
>> On 8/9/20, Ahanu Banerjee wrote:
>> > Hello,
>> >
>> > An étude I'm typesetting needs to fit on 2 pages with reasonable
>> vertical
>> > space. Normally, I'd just set system-count in \paper (in this
>> case, 20
>> > systems in 2 US letter pages), but this time it says "warning:
>> cannot find
>> > line breaking that satisfies constraints" and just runs off the
>> page. If I
>> > don't set system-count, it gives me 25 cramped systems on 2 pages.
>> >
>> > The piece is almost entirely sixteenth notes in 4/4. Some systems
>> fill with
>> > 3 bars, others with 2, and I can't figure out why. Ideally, most
>> would have
>> > 3 bars, but manual line breaks won't fix it. I've checked for
>> rhythmic
>> > errors (every measure has a barcheck) and didn't find any. I don't
>> want to
>> > decrease the font size.
>> >
>> > Unfortunately, I can't come up with a tiny example to demonstrate
>> this
>> > behaviour. If anyone has suggestions or someone would be willing
>> to look
>> > over my file, I'd really appreciate it.
>> >
>> > Cheers,
>> > -Ahanu
>> >
>>
>>
>
Re: line-breaking issue
Greetings Ahanu, What happens if you set the systems-per-page variable to 10 instead of using system-count = 20? Does the music then spill over onto a third page? Just from experience, it seems that 48 sixteenth-notes per line would get rather cramped, no? I usually use 32-40 16ths per line as my guide. Hwaen Ch'uqi On 8/9/20, Ahanu Banerjee wrote: > Hello, > > An étude I'm typesetting needs to fit on 2 pages with reasonable vertical > space. Normally, I'd just set system-count in \paper (in this case, 20 > systems in 2 US letter pages), but this time it says "warning: cannot find > line breaking that satisfies constraints" and just runs off the page. If I > don't set system-count, it gives me 25 cramped systems on 2 pages. > > The piece is almost entirely sixteenth notes in 4/4. Some systems fill with > 3 bars, others with 2, and I can't figure out why. Ideally, most would have > 3 bars, but manual line breaks won't fix it. I've checked for rhythmic > errors (every measure has a barcheck) and didn't find any. I don't want to > decrease the font size. > > Unfortunately, I can't come up with a tiny example to demonstrate this > behaviour. If anyone has suggestions or someone would be willing to look > over my file, I'd really appreciate it. > > Cheers, > -Ahanu >
Re: Creating midi file that is not empty
Greetings Claire,
Puzzling. I just tried your code, and it worked just fine for me. The
terminal output was:
Playing Claire.midi
MIDI file: Claire.midi
Format: 1 Tracks: 2 Divisions: 384
Sequence:
Text: creator:
Text: GNU LilyPond 2.20.0
Track name: \new:
Playing time: ~5 seconds
Notes cut: 0
Notes lost totally: 0
And, indeed, three quarter note C's were played. It makes me wonder if
the issue hasn't something to do with your midi configuration itself?
Just a thought. I am using timidity for midi playback with the
freepats sound fonts.
Hwaen Ch'uqi
On 8/7/20, Claire Meyer wrote:
> Hi everyone,
>
> I have read the documentation and have gone through the archives of the
> mailing list, and don't understand what I've got wrong. The midi file I
> generate is empty and doesn't contain music. My .ly file is as follows :
>
> \score {
> {c''4 c'' c''}
> \layout {}
> \midi {\context {
> \Score tempoWholesPerMinute = #(ly:make-moment 120 4)
> }
> }
> }
>
> The terminal doesn't give any errors at compilation, and says that :
>
> Requested buffer size 32768, fragment size 8192
> ALSA pcm 'default' set buffer size 32768, period size 8192 bytes
> Playing pianoClarinetUriTzion.midi
> MIDI file: pianoClarinetUriTzion.midi
> Format: 1 Tracks: 2 Divisions: 384
> Sequence:
> Text: creator:
> Text: GNU LilyPond 2.20.0
> Track name: \new:
> No instrument mapped to tone bank 0, program 0 - this instrument will not
> be heard
> No pre-resampling cache hit
> Last 1 MIDI events are ignored
> Playing time: ~4 seconds
> Notes cut: 0
> Notes lost totally: 0
>
> When I try to read my midi file. Can someone help me ?
>
> Thanks in advance,
> Claire
>
Re: How to insert a simple "rit."?
Greetings Ken,
Not exactly sure what you mean by "simple." I just insert a markup
where I wish the rit. to begin, as in
_\markup \italic "rit."
HTH,
Hwaen Ch'uqi
On 7/5/20, Kenneth Wolcott wrote:
> Hi;
>
> Looks like I must be missing something obvious in the lilypond docs
> (2.20.2)...
>
> How to insert a "rit."?
>
> I saw the following in the "Hiding the extender line for text dynamics"
> snippet.
>
> \relative c'' {
> \override DynamicTextSpanner.style = #'none
> \crescTextCresc
> c1\< | d | b | c\!
> }
>
> Obviously snippet pertains to dynamics; is there something similar for
> tempo adjustments?
>
> Thanks,
> Ken Wolcott
>
>
Re: best practice for score structure
Greetings claire,
And welcome to LilyPond!
This may not be the kind of answer that you are looking for, but I
thought to throw in my "two cents." In principle, I like the idea of
variables, and I do use them on occasion. But apart from certain
pitchless content, such as dynamics or or unusual notehead or
accidental modifications, I try to stay away from employing them for
large swaths of pitch content. This is because I find them to be less
flexible when I need to return to a score to make changes, especially
if those changes happen to be structural in nature - i.e. voltas and
alternatives, da cappo and d.c. al fine, etc. So, a piano score for me
might look something like:
\version "2.20.0"
dynamics = { DYNAMICS }
pedals = { PEDALS }
\score {
\new PianoStaff <<
\new Staff \relative c' {
<<
{
VOICEONE MUSIC
}
\\
{
VOICETWO MUSIC
}
\\
{
VOICETHREE MUSIC (if necessary)
}
>>
}
\new Dynamics \dynamics
\new Staff \relative c' {
LEFTHAND MUSIC (similarly structured)
}
\new Dynamics \pedals
>>
}
But even this structure only works in optimal cases. There are many
instances in my scores where dynamics simply cannot go between the
staves, or when each staff requires its own dynamics. The same holds
true for pedaling. This is why I prefer to have most of the content
within the \PianoStaff block itself, even if it may look less tidy. I
allot one line of text per measure of music. At the end of each line
of music, I comment measure numbers, such as %1 or %2 - or, in the
case of many voices, %1A or %1B. These make locating the necessary
text extremely easy.
HTH,
Hwaen Ch'uqi
On 7/5/20, Claire Meyer wrote:
> Hi everybody,
>
> I'm a new user (~1 month old) wondering about best practice for score
> structure. Let's say I've got a piano score, with two voices per hand, and
> the occasional third voice here and there, and all my dynamics between the
> two staves of the piano. Then I'll probably write it with :
> - four variables for my four voices (and add the occasional additional
> voices in those when needed)
> - one variable for the dynamics
>
> And round everything nicely in my score (with some intermediate variables,
> like one for each hand etc...).
>
> But I have yet to find a place that seems like good practice (let alone
> best practice) for the structural aspects of my score, like bars and
> voltas, especially when they stop being trivial. I don't mind much when
> I've got one "||" bar at the end of my score to put it wherever. But when I
> have several voltas, dal segnos, alternative ends, special bars, etc... I
> wonder where is the best place to write that. Maybe in a null voice, like
> for lyrics that aren't aligned with any written rhythm ? Should I write it
> in each voice ?
>
> Thanks,
> Claire
>
Re: Double-stemming question.
Greetings Carl, Thank you for your explanation. What you say makes sense. I suppose I would have liked an appearance where, at first glance, the second pair of chords in the example do not look like four chords but two, like the first two chords. Given that the entire piece is made up of these gestures, one should fairly easily intuit that the chords with seconds are in fact the same chords from upper to lower voice. Thank you again. Hwaen Ch'uqi On 7/4/20, Carl Sorensen wrote: > On Sat, Jul 4, 2020 at 9:20 AM Hwaen Ch'uqi wrote: > >> Greetings, >> >> In the following measure of code, there are several instances of >> double-stemming. The single notes and triads merge correctly, but the >> four-note chords do not. I feel like the reason and solution should be >> straightforward, but I cannot seem to wrap my head around the >> situation. Any help would be greatly appreciated. Please forgive the >> slight length of the code. I have also attached the pdf output. >> > > What would you like to have happen with double-stemming when the chord > includes an interval of a second? > > For a chord not including a second, the stem is on the left side for a down > stem and on the right side for an up stem. > > For a chord including a second, both the down stem and the up stem have the > same position. For a quarter-note or half-note chord, that notation would > be confusing. For an eighth-note or shorter chord, the flags or beams can > show the direction of the stem. > > It seems to me that if you want to have a chord containing a second in two > voices, the current LilyPond way of doing it is correct for quarter note or > longer chords. If there is a problem, it is that we might not need to do > it that way for shorter chords. > > Carl >
Double-stemming question.
Greetings,
In the following measure of code, there are several instances of
double-stemming. The single notes and triads merge correctly, but the
four-note chords do not. I feel like the reason and solution should be
straightforward, but I cannot seem to wrap my head around the
situation. Any help would be greatly appreciated. Please forgive the
slight length of the code. I have also attached the pdf output.
Hwaen Ch'uqi
\version "2.20.0"
\score {
\new PianoStaff <<
\new Staff = up {
\relative c' {
\key gis \minor \time 4/4 \clef treble
<<
{
\mergeDifferentlyHeadedOn
s8.. 32 4 s8.. 32
4
}
\\
{
s1
}
>>
}
}
\new Staff = down {
\relative c' {
\key gis \minor \time 4/4 \clef bass
<<
{
\mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
gis,,32 gis'' cis \change Staff = up \voiceTwo eis eis' cis gis'
gis cis eis, gis, \change Staff = down
\voiceOne eis gis, gis,, gis gis'' dis' \change Staff = up \voiceTwo
fisis fisis' cis ais' ais,
cis dis, ais \change Staff = down \voiceOne fisis gis, gis,,
}
\\
{
gis4... gis32 gis4... gis32
}
>>
}
}
>>
}
MWE.pdf
Description: Adobe PDF document
Re: "Dangling" ties.
Wow, thank you all for your prompt responses! It was in fact the lengthening of the ties that I was searching for. Hwaen Ch'uqi On 5/20/20, Andrew Bernard wrote: > For sure your next question is how to make them longer. There are a few > ways, but check LSR 715. > > Andrew > > > >
"Dangling" ties.
Greetings,
Is there a way to force LilyPond to engrave ties at the end of a
snippet of music? I was hoping that \set tieWaitForNote = ##t would
work, but it too had no results. Here is the snippet in question:
\score {
\new PianoStaff <<
\new Staff {
\relative c' {
\key es \major \time 6/8 \clef bass
r4. \grace { a16[ bes c] } 4.~ %123
}
}
\new Staff {
\relative c' {
\key es \major \time 6/8 \clef bass
f,,8 r r \grace { s16 s s } 4.~ %123
}
}
>>
}
Thank you so much.
Hwaen Ch'uqi
Coloring a staff line.
Greetings,
I have customized a clefless staff with eleven lines, and I would like
the center line to be colored red. I thought I followed properly this
LSR snippet:
http://lsr.di.unimi.it/LSR/Item?id=700
But the center line is still not red. Below is as "simple" a code as I
can make, and I have attached a pdf of the output.
\version "2.19.82"
%%Color individual staff lines
#(define-public ((color-staff-lines . rest) grob)
(define (index-cell cell dir)
(if (equal? dir RIGHT)
(cdr cell)
(car cell)))
(define (index-set-cell! x dir val)
(case dir
((-1) (set-car! x val))
((1) (set-cdr! x val
(let* ((common (ly:grob-system grob))
(span-points '(0 . 0))
(thickness (* (ly:grob-property grob 'thickness 1.0)
(ly:output-def-lookup (ly:grob-layout grob)
'line-thickness)))
(width (ly:grob-property grob 'width))
(line-positions (ly:grob-property grob 'line-positions))
(staff-space (ly:grob-property grob 'staff-space 1))
(line-stencil #f)
(total-lines empty-stencil)
;; use a local copy of colors list, since
;; stencil creation mutates list
(colors rest))
(for-each
(lambda (dir)
(if (and (= dir RIGHT)
(number? width))
(set-cdr! span-points width)
(let* ((bound (ly:spanner-bound grob dir))
(bound-ext (ly:grob-extent bound bound X)))
(index-set-cell! span-points dir
(ly:grob-relative-coordinate bound common X))
(if (and (not (ly:item-break-dir bound))
(not (interval-empty? bound-ext)))
(index-set-cell! span-points dir
(+ (index-cell span-points dir)
(index-cell bound-ext dir))
(index-set-cell! span-points dir (- (index-cell span-points dir)
(* dir thickness 0.5
(list LEFT RIGHT))
(set! span-points
(coord-translate span-points
(- (ly:grob-relative-coordinate grob common X
(set! line-stencil
(make-line-stencil thickness (car span-points) 0 (cdr
span-points) 0))
(if (pair? line-positions)
(for-each (lambda (position)
(let ((color (if (pair? colors)
(car colors)
#f)))
(set! total-lines
(ly:stencil-add
total-lines
(ly:stencil-translate-axis
(if (color? color)
(ly:stencil-in-color line-stencil
(first color)
(second color)
(third color))
line-stencil)
(* position staff-space 0.5) Y)))
(and (pair? colors)
(set! colors (cdr colors)
line-positions)
(let* ((line-count (ly:grob-property grob 'line-count 5))
(height (* (1- line-count) (/ staff-space 2
(do ((i 0 (1+ i)))
((= i line-count))
(let ((color (if (and (pair? colors)
(> (length colors) i))
(list-ref colors i)
#f)))
(set! total-lines (ly:stencil-add
total-lines
(ly:stencil-translate-axis
(if (color? color)
(ly:stencil-in-color line-stencil
(first color)
(second color)
(third color))
line-stencil)
(- height (* i staff-space)) Y)))
total-lines))
\paper {
tagline = ##f
}
\score {
\new Staff \with {
\override StaffSymbol.line-count = #11
\override Staff.StaffSymbol.stencil = #(color-staff-lines #f #f #f
#f #f red #f #f #f #f #f)
\remove "Clef_engraver"
}
\relative c' {
\key c \major \time 2/2
s1
}
}
Thank you so much for any help.
Hwaen Ch'uqi
PatWaing.pdf
Description: Adobe PDF document
Re: How does one get rid of a tagline?
Greetings Peter, Are you placing `tagline = ##f' in the uppermost \paper block? Hwaen Ch'uqi On 12/24/19, Peter Toye wrote: > I want an absolutely clean end to a score, but whatever I try I still get a > tagline advertising LilyPond. I've tried setting tagline to ##f and "" and > neither works. > > Don't worry, it's for piano 4-hands so LilyPond gets its advertising on the > Primo page. > > > Regards, > > Peter > mailto:lilyp...@ptoye.com > www.ptoye.com
Baseline-skip question.
Greetings All, If I am understanding correctly, a baseline-skip unit of #1 is equivalent to one staff space, and a \vspace unit of #1 is equivlent to three staff spaces. What is the default baseline-skip setting in a simple \markup context, and what is the baseline-skip unit in a \column? Where can I find these bits of information in the manuals? It appears that the default baseline-skip setting in a \column is larger, but I can't find exactly what it is. Many thanks for any help. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Producing scores for visually impaired and blind people
Greetings Karlin, Braille music does indeed exist, though significant variation in its structure and even syntax persists despite attempts at standardization. The main difference between Braille music and printed music is that the former is not in any wise spatial. One benefit of this is that stem directions need never be an issue, and, therefore, voices in - for example, a piano or organ score - can be accumulated with ease and clarity, so long as the hands can play them. But there are certainly benefits to enjoying the spatial dimentions, especially where a full score for an ensemble would be concerned. Hwaen Ch'uqi On 9/13/19, Karlin High wrote: > On 9/13/2019 2:52 PM, Hwaen Ch'uqi wrote: >> But I wonder if, now 200 years later, some of >> that bulk could be streamlined. > > Here is a thread from November 2017, with a new user introduction from > Daniel Chavez. A blind musician using LilyPond to make sheet music for > sighted people. > > <https://lists.gnu.org/archive/html/lilypond-user/2017-11/msg00176.html> > > That's where I learned that Music Braille exists: > <https://braillebug.org/music_braille.asp> > > How that would compare in practice to LilyPond's standard output printed > in 3D is probably a question for someone who knows the experience of > blind musicians. > -- > Karlin High > Missouri, USA > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Producing scores for visually impaired and blind people
Greetings Jacques, In truth, I hardly think the idea is silly. In fact, if my limited historical knowledge of Braille generally is correct, something like this was done before Napoleon's martial code was adapted by Louis Braille. The drawback at that time was the sheer volume of a text and thus its portability. But I wonder if, now 200 years later, some of that bulk could be streamlined. Hwaen Ch'uqi On 9/13/19, Jacques Menu wrote: > Hello folks, > > I’ve thought of a possibility which surely others have already considered, > and I’m not sure whether the idea makes sense at all. > > This would consist in printing LilyPond scores in 3D on thin plates, analog > to was was done at the time when engravers built scores with pieces of > metal. > > Maybe with a large enough scaling factor, such ‘printbossing’ would be > readable by trained braille readers with their fingers, benefitting from the > non-linear nature of graphical scores and the high quality of Lily’s scores. > Such plates could also be piled up without the risk of damaging the > contents, which may occur with embossed paper. > > What do you think? Please excuse me if my question is silly... > > JM > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Emacs lilypond mode formatting and indenting
I'm not sure if this is still on topic, but I have found that LilyPond indentation on emacs goes off kilter when brackets (i.e., for beaming) and parentheses (i.e., for slurs and phrasing slurs) are used. The solution for brackets is easy enough; putting space around them alleviates the problem. But parentheses are another matter. I code one measure per line, and when slurs/phrasing slurs cross the barline, the indentation goes asew. It "corrects" itself in the measure after the slur has been closed. Any solution for this would be most fabulous! Hwaen Ch'uqi On 1/26/19, David Wright wrote: > On Sun 27 Jan 2019 at 11:58:30 (+1100), Andrew Bernard wrote: >> Frescobaldi has a great formatting function that indents all the code >> very >> nicely and nearly flawlessly. >> >> But since an upgrade to Debian 9 and as the complexity of my current >> score >> increases, F. has slowed down to a molasses like rate and has sadly >> become >> unusable. [I have never seen that before until now.] Consequently I have >> returned to Emacs, as a long term Emacs user anyway. The PDF point and >> click with Emacs all works splendidly on Debian 9, and everything is >> lightning quick. >> >> The indenting in the current lilypond mode is to put it politely, less >> than >> optimal. My question is, can the lilypond-mode reformat and entire buffer >> like F. does? > > Probably not the fastest way, but I > > . move to BOT to see how many lines, say, 1234 > . move to TOP start at the top > . ^X ( ^I ^N ^X ) define a macro that runs > . ESC 1234 ^PgDnrun the last-defined macro 1234 times > > to reindent (not reformat). > > Cheers, > David. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pedal gradual release
Greetings Aaron, This is very exciting what you are doing! I have nothing to offer but encouragement. As a professional pianist, I can tell you that the technique is hardly new. As a composer who loves LilyPond, the ability to at last achieve this pedal marking with a degree of flexibility is sorely needed and thus priceless. Thank you so much for your endeavors. Hwaen Ch'uqi On 1/22/19, Andrew Bernard wrote: > Hi Aaron, > > This would be great to go in the openlilylib library when ready, Thanks for > your help. I am sure that once available, many people will use this. It can > go alongside my pedal decoration code there (down with the help of several > others). Pedals have been somewhat neglected in lilypond, being rather > restricted to 19c practice, with that awful Ped. font from 1850 or so. > > Andrew > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Altering page numbers
Greetings David, I may be wading into this discussion a bit late, but the following links should address exactly what you initialy asked. They are somewhat dated, but the solution still works for me using 2.19.82. Many thanks to David Nalesnik for his work on this. http://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00665.html http://lists.gnu.org/archive/html/lilypond-user/2014-01/msg00878.html Hwaen Ch'uqi On 1/12/19, Thomas Morley wrote: > Am Sa., 12. Jan. 2019 um 20:44 Uhr schrieb Kieren MacMillan > : >> >> Hi Harm, >> >> > You could go for: >> > >> > #(define-markup-command (bookpart-page-number layout props) () >> >(let ((first-page-number (ly:output-def-lookup layout >> > 'first-page-number)) >> > (page-number (chain-assoc-get 'page:page-number props 0))) >> > (interpret-markup layout props >> >(number-format >> > (ly:output-def-lookup layout 'page-number-type) >> > (1+ (- page-number first-page-number)) >> >> Thanks! I’ll study your solution as part of my Scheme education. =) > > Not much scheme here... > You need to know LilyPond's 'number-format'-procedure exists at all. > And how to get 'page-number-type, but that's a minor problem (some as > for 'first-page-number). > >> >> > Though, what about the table-of-content? >> > Right now I've not a good idea what should be printed if several >> > bookparts have equal page-numbers. >> >> That’s almost more of an editorial choice than a technical one, no? If for >> some reason I want the score for my Opera In Three Acts to have per-act >> page numbers, then I will end up with a TOC that looks something like >> >> Act One >> Aria 1 I-1 >> Aria 2 I-22 >> >> Act Two >>Aria 3 II-1 >>Aria 4 II-9 >> >> etc. >> >> The Dover reprints of Bach works often include per-sub-collection >> numbering alongside the main page numbering, e.g. >> >> 1 [1], 2 [2], … 25 [25], 26 [1], 27 [2], … 124 [99], 125 [1], 126 [2], >> … >> >> In musical theatre scores, it’s also useful to have double numbering >> (e.g., >> page-number-within-entire-score [page-number-within-this-song] > > Well, I'll think about the problem... > > Thanks, > Harm > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Braille scores
Greetings Jacques, Could you further clarify your questions? Are you asking how Braille music is generally structured on the physical page? And what is meant by a non confidential example? Hwaen Ch'uqi On 10/17/18, Jacques Menu wrote: > Hello folks, > > I read in the recent Export to MusicXML thread about braille scores. > > Sorry if this is offtrack : I didn’t find on the Internet how such scores > are structured (the details of notes and the like is there alright) and what > font(s) should be used to display them. > > Accessing non confidential examples would be a great help too I guess. > > Thanks if you can help! > > JM > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano duet with facing pages
Greetings Peter, See if this link is helpful for you: http://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00149.html Hwaen Ch'uqi On 8/30/18, Peter Toye wrote: > I’m trying to engrave a piano duet with the primo and secondo parts on > facing pages, but can't find a way of doing this. I found a discussion from > 2010 on Nabble which didn't seem to come to a conclusion. > > Is there a way of doing this (with synchronised page-breaks, of course!) in > more recent versions of LP? > > If not, how do people manage it? Producing separate primo and secondo files > with manual page breaks works, but the page numbering goes awry. > > > Regards, > > Peter > mailto:lilyp...@ptoye.com > www.ptoye.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: More spacing troubles.
Greetings Andrew,
Thank you so much for slogging through my code and for the solution!
Hwaen Ch'uqi
On 7/16/18, Andrew Bernard wrote:
> Hi Hwaen,
>
> \fill-line spreads out text evenly spaced across a line. You don't need it.
> Also, if you want to specify indents, one way to do so is to use the text
> on a line with \line. Try something like your modified example below. [You
> could have made it much more minimal.]
>
> Andrew
>
>
> \version "2.19.82"
>
> \markuplist {
> \line \bold {
> Course Work and Expectations:
> }
> \vspace #1
> \hspace #6 \wordwrap-string #"Each week, there will be a
> lecture/discussion at Hochstein. Feel free to ask questions!"
>
> \vspace #1
> \line {
> \hspace #6 \wordwrap-string #"Homework will consist of listening
> to music, practicing basic music theory skills, and dabbling a bit in
> writing down your own musical ideas."
> }
>
> }
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
More spacing troubles.
Greetings All,
I return with another spacing question, this time horizontal. Below is
the code for part of a syllabus. The result is that single lines of
text are properly indented, but none of the wrapped strings correctly
indent. I must be missing something fundamental here, but I cannot
figure it out.
\version "2.19.82"
\paper {
top-margin = 1\in
bottom-margin = 1\in
left-margin = .75\in
right-margin = .75\in
tagline = ##f
}
\markuplist {
\fill-line \abs-fontsize #16 \bold {
"Beginning Again: Course Syllabus"
}
\vspace #1
\draw-hline
\vspace #1
\fill-line \abs-fontsize #12 \italic {
" " "Hochstein School of Music and Dance, Summer, 2018"
}
\vspace #2
\line \abs-fontsize #12 \bold {
Meeting Times:
}
\vspace #1
\line {
\hspace #6 Tuesdays, 6-7 PM July 17 through August 14
}
\vspace #2
\line \bold {
Instructor:
}
\vspace #1
\line {
\hspace #6 Hwaen Ch'uqi
}
\vspace #1
\line {
\hspace #6 E-mail:
}
\vspace #1
\line {
\hspace #6 Tel:
}
\vspace #2
\line \bold {
Materials:
}
\vspace #1
\line {
\hspace #6 Collect the handouts in a folder and bring them to
class each week.
}
\vspace #1
\fill-line {
\hspace #6 \wordwrap-string #"Watch for weekly emails with the
listening assignments. Use the links to YouTube videos, or look up
the pieces on Classical Archives"
}
\vspace #2
\line \bold {
Course Work and Expectations:
}
\vspace #1
\fill-line {
\hspace #6 \wordwrap-string #"Each week, there will be a
lecture/discussion at Hochstein. Feel free to ask questions!"
}
\vspace #1
\fill-line {
\hspace #6 \wordwrap-string #"Homework will consist of listening
to music, practicing basic music theory skills, and dabbling a bit in
writing down your own musical ideas."
}
\vspace #1
\fill-line {
\hspace #6 \wordwrap-string #"There is no grade for this course,
but homework will be corrected and given back to you with feedback.
Enjoy what you are learning through the course! Do not worry if you
must hand in incomplete homework if you can't finish the homework in a
week."
}
\vspace #2
\line \bold {
Absences:
}
}
Thank you in advance.
Hwaen Ch'uqi
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question about baseline-skip.
Greetings Torsten,
Thank you so much for the explanation AND for the examples, despite my
lack of a minimal example. It was most helpful.
Hwaen Ch'uqi
On 7/14/18, Torsten Hämmerle wrote:
> Hi Hwaen,
>
> I get your point (although a minimal example for demonstration purposes
> would have helped).
>
> In a 20 pt score, the default font size will be 11 pt and the default
> baseline-skip will be 3 staff spaces (set in paper-defaults-init.ly).
> Within a \wordwrap block (or anything comparable), this baseline-skip will
> apply.
>
>
> Between two \markup blocks, however, there will be no baseline-skip at all:
> these boxes will just be stacked on top of each other with no padding at
> all. This becomes apparent when enclosing the markup blocks in boxes:
>
> %%
> \version "2.19.82"
>
> \paper { line-width = #70 }
>
> \markup \override #'(box-padding . 0) \column {
> \box \wordwrap {
> To be, or not to be, that is the question:
> Whether ’tis nobler in the mind to suffer
> }
> \box \wordwrap {
> The slings and arrows of outrageous fortune,
> Or to take Arms against a Sea of troubles,
> And by opposing end them: to die, to sleep
> }
> \box \wordwrap {
> No more; and by a sleep, to say we end
> the heart-ache, and the thousand natural shocks
> that Flesh is heir to?
> }
> }
> %
>
> <http://lilypond.1069038.n5.nabble.com/file/t3887/stacking-markup.png>
>
> The boxes stick together without any space between them.
> The distance between the last line of the second box and the first line of
> the third box is a bit wider, but only because of the descender ("p") in the
> last line of the second box.
>
>
> To avoid this unwanted effect (for text paragraphs, it might be desirable
> for graphic elements), you might use \markuplist instead of \markup:
>
> %
> \version "2.19.82"
>
> \paper { line-width = #70 }
>
> \markuplist {
> \wordwrap-lines {
> To be, or not to be, that is the question:
> Whether ’tis nobler in the mind to suffer
> }
> \wordwrap-lines {
> The slings and arrows of outrageous fortune,
> Or to take Arms against a Sea of troubles,
> And by opposing end them: to die, to sleep
> }
> \wordwrap-lines {
> No more; and by a sleep, to say we end
> the heart-ache, and the thousand natural shocks
> that Flesh is heir to?
> }
> }
> %
>
> <http://lilypond.1069038.n5.nabble.com/file/t3887/stacking-markup-2.png>
>
> HTH,
> Torsten
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Question about baseline-skip.
Greetings All, Is there a place in any of the manuals that documents baseline-skip - its default setting, for example? I find that vertical spacing of text is negatively affected in \wordwrap blocks, where spacing within the block is larger than expected and the final wrapped line interferes with the next independent line. Is there a way to accurately anticipate this behavior? Thank you in advance. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Extending a blank staff.
Ah, yes! Thank you, Malte!
Hwaen Ch'uqi
On 7/9/18, Malte Meyn wrote:
>
>
> Am 09.07.2018 um 21:09 schrieb Hwaen Ch'uqi:
>> I have found snippets that produce a series of blank systems, each
>> system naturally spreading across the page. How can I do this for a
>> single system?
>
> \paper {
>ragged-right = ##f
> }
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Extending a blank staff.
Greetings All,
I suspect that the answer to this is extremely obvious, but it
currently eludes me. I would like to produce a blank staff that fills
the page horizontally. Here is my code for an eleven-line staff.
\version "2.19.80"
\paper {
#(set-paper-size "letter") tagline = ##f
}
\score {
\new Staff \with {
\remove "Time_signature_engraver"
\remove "Clef_engraver"
\remove "Bar_engraver"
}
{
\relative c' {
\override Staff.StaffSymbol.line-count = #11
s1
}
}
\layout {
indent = 0\in
}
}
I have found snippets that produce a series of blank systems, each
system naturally spreading across the page. How can I do this for a
single system?
Thanks very much.
Hwaen Ch'uqi
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simple midi player
Greetings Guy, Pretty cool! I am currently on ubuntu-16.04, but I shall have a look at those links. Thank you. Hwaen Ch'uqi On 3/5/18, Guy Stalnaker <jimmyg...@gmail.com> wrote: > http://www.midish.org > > From the manual (if you use *nix operating systems): > > 7.1 Moving within the song > > The following selects the current position in the song to measure number 3: > > g 3 > > This will make ``p <http://www.midish.org/manual.html#func_p>'' and ``r > <http://www.midish.org/manual.html#func_r>'' commands start at this > particular position instead of measure number 0. Furthermore all track > editing function will process the track starting at this position.] > > Sounds like what you were looking for. > > Regards. > > Guy Stalnaker > jimmyg...@gmail.com > > On Mon, Mar 5, 2018 at 6:16 PM, Guy Stalnaker <jimmyg...@gmail.com> wrote: > >> There are a lot of tools on this page: >> >> http://linux-sound.org/midi.html >> >> Neither of you indicated the operating system you use. >> >> Regards >> >> Guy Stalnaker >> jimmyg...@gmail.com >> >> On Mon, Mar 5, 2018 at 5:32 PM, Hwaen Ch'uqi <hwaench...@gmail.com> >> wrote: >> >>> Greetings All, >>> >>> I should like to piggy-back onto Nathan's question, though as an emacs >>> user. I have been using timidity, which is directly mentioned in the >>> documentation, but I too would like the ability to fast-forward or >>> rewind or to start at a particular place. >>> >>> Hwaen Ch'uqi >>> >>> >>> On 3/5/18, Nathan Sprangers <nathan.r.sprang...@maine.edu> wrote: >>> > Yes, Frescobaldi is very nice, but it's not vim. I find myself in >>> > situations often enough where vim would be faster/more convenient for >>> me. I >>> > don't know if you're aware, but lilypond comes with vim support >>> > (highlighting, macros, etc). The beauty of lilypond being text based >>> > is >>> you >>> > can customize your environment. Frescobaldi is a very good option and >>> has >>> > served me well, but it's not the only option. >>> > >>> > Thanks, >>> > -Nathan >>> > >>> > On Mon, Mar 5, 2018 at 3:11 AM, Jacques Menu Muzhic < >>> imj-muz...@bluewin.ch> >>> > wrote: >>> > >>> >> Hello Nathan, >>> >> >>> >> Frescobaldi/SimpleSynth provides this, what’s the advantage of using >>> >> vim/a >>> >> pdf reader? >>> >> >>> >> JM >>> >> >>> >> > Le 5 mars 2018 à 03:10, Nathan Sprangers < >>> nathan.r.sprang...@maine.edu> >>> >> a écrit : >>> >> > >>> >> > Hello all, >>> >> > >>> >> > Can anyone suggest a simple midi player that can begin or cue >>> playback >>> >> from a specified measure/beat? I would like to be able to work using >>> vim >>> >> and a pdf reader. I've been using VLC for midi playback, but it only >>> >> indicates a timestamp, not a measure/beat. >>> >> > >>> >> > Thanks, >>> >> > Nathan >>> >> > ___ >>> >> > lilypond-user mailing list >>> >> > lilypond-user@gnu.org >>> >> > https://lists.gnu.org/mailman/listinfo/lilypond-user >>> >> >>> >> >>> > >>> >>> ___ >>> lilypond-user mailing list >>> lilypond-user@gnu.org >>> https://lists.gnu.org/mailman/listinfo/lilypond-user >>> >> >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Simple midi player
Greetings All, I should like to piggy-back onto Nathan's question, though as an emacs user. I have been using timidity, which is directly mentioned in the documentation, but I too would like the ability to fast-forward or rewind or to start at a particular place. Hwaen Ch'uqi On 3/5/18, Nathan Sprangers <nathan.r.sprang...@maine.edu> wrote: > Yes, Frescobaldi is very nice, but it's not vim. I find myself in > situations often enough where vim would be faster/more convenient for me. I > don't know if you're aware, but lilypond comes with vim support > (highlighting, macros, etc). The beauty of lilypond being text based is you > can customize your environment. Frescobaldi is a very good option and has > served me well, but it's not the only option. > > Thanks, > -Nathan > > On Mon, Mar 5, 2018 at 3:11 AM, Jacques Menu Muzhic <imj-muz...@bluewin.ch> > wrote: > >> Hello Nathan, >> >> Frescobaldi/SimpleSynth provides this, what’s the advantage of using >> vim/a >> pdf reader? >> >> JM >> >> > Le 5 mars 2018 à 03:10, Nathan Sprangers <nathan.r.sprang...@maine.edu> >> a écrit : >> > >> > Hello all, >> > >> > Can anyone suggest a simple midi player that can begin or cue playback >> from a specified measure/beat? I would like to be able to work using vim >> and a pdf reader. I've been using VLC for midi playback, but it only >> indicates a timestamp, not a measure/beat. >> > >> > Thanks, >> > Nathan >> > ___ >> > lilypond-user mailing list >> > lilypond-user@gnu.org >> > https://lists.gnu.org/mailman/listinfo/lilypond-user >> >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: More than one tempo mark in a score
Greetings Peter,
Well, I don't know exactly how you are setting up the code for your
score, but something like this should do the trick:
\score {
<<
\new PianoStaff <<
\new Staff \with {
\consists "Metronome_mark_engraver"
}
{
. . .
}
\new Staff {
. . .
}
>>
\new PianoStaff <<
\new Staff \with {
\consists "Metronome_mark_engraver"
}
{
. . .
}
\new Staff {
. . .
}
>>
>>
\layout {
\context {
\SCORE
\remove "Metronome_mark_engraver"
}
}
}
Hwaen Ch'uqi
On 2/11/18, Peter Toye <lilyp...@ptoye.com> wrote:
> Is it possible to force a score to put tempo markings above more than the
> top line? I'd like to put the tempo changes above both of the piano parts in
> a duet, so the secondo player changes tempo at the same time as the primo
> when sight-reading. I've looked through the snippets and the internals
> manuals and can't see anything (which probably means I've been looking in
> the wrong place).
>
>
> Regards,
>
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [OT] Linux Users
Greetings Brett, I am a Linux user through and through. I use LilyPond with Emacs. As for LaTeX, I find it useful when authoring purely textual documents. However, when a mix of text and music is involved, I use LilyPond's rather robust \markup and \markuplist commands, finding lilypond-book to be too cumbersome or specific. I have deep interest in csound, but the manual seems to assume so much knowledge by the perspective user from the outset that I have simply shyed away from it - which, incidentally, is less a criticism of the csound manual writers as it is ringing praise of all who have contributed to LilyPond documentation over the years! Hwaen Ch'uqi On 11/18/17, Urs Liska <li...@openlilylib.org> wrote: > Hi Brett, > > > Am 17.11.2017 um 23:59 schrieb Brett M. Gilio: >> How many Linux users are out there in the Lilypond community? > > Numbers are not available, for sure. > As David pointed out you'll have less Linux users than you might expect. > But you'll have substantially more Linux users than when asking > Finale/Sibelius/Dorico users ... > >> Do any of >> you use other type-setting software such as LaTeX or Csound rather than >> graphical tools? > > As some have mentioned the use of LaTeX with LilyPond can be found. > Maybe you'll find this interesting: http://lilypondblog.org/?s=latex > > Searching the blog for linux does give a few results, but I don't think > anything specific is in these posts. > > Another aspect is version control which seems to be biased towards Linux > users: http://lilypondblog.org/tag/version-control/ > > In an earlier life I was involved in improvised electronic music using > PureData and synthesizers. If I hadn't given that up completely I'd > surely be using SuperCollider by now and would probably be using > programming languages to generate PureData patches (or anything similar) > and also generating scores from that environment using LilyPond and LaTeX. > > Urs > >> >> BMG >> > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: install lilypond info doc on linux
Greetings Orm, To populate your dir file, you need to add entries into that file manually, likely as root. Mine looks like this: LilyPond * LilyPond Changes: (lilypond-changes). New features in 2.19.46 since 2.18 * LilyPond Contributor's Guide: (lilypond-contributor). * LilyPond Essay: (lilypond-essay). * LilyPond Extending: (lilypond-extending). * LilyPond Internals Reference: (lilypond-internals). * LilyPond Learning Manual: (lilypond-learning). * LilyPond Music Glossary: (music-glossary). * LilyPond Notation Reference: (lilypond-notation). * LilyPond Snippets: (lilypond-snippets). * LilyPond Usage: (lilypond-usage). * LilyPond Web: (lilypond-web). This follows a specific format that is outlined in the info manual on texinfo, I believe. Hwaen Ch'uqi On 10/14/17, Orm Finnendahl <orm.finnend...@selma.hfmdk-frankfurt.de> wrote: > Hi, > > is there any information somewhere how to install lilypond's info > documentation into info/emacs on linux? On my machine the documents > are in /usr/share/info but the dir file in that directory is more or > less empty and I would like to populate it in the correct/recommended > way. > > -- > Orm > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Question regarding instrumentName.
Wow, though in theory I was aware of that principle, that would have
NEVER occurred to me! Thank you so much for that solution!
Hwaen Ch'uqi
On 8/1/17, Thomas Morley <thomasmorle...@gmail.com> wrote:
> 2017-08-01 11:40 GMT+02:00 Hwaen Ch'uqi <hwaench...@gmail.com>:
>> Greetings All,
>>
>> The code below is drawn from a work for piano four hands. However, the
>> instrumentName indications do not print in the first system. In the
>> following systems, the shortInstrumentName indications print as
>> requested. If I remove all the \grace sections, the instrumentName
>> indications appear in the output. Can anyone explain what I am doing
>> wrong?
>
> A minimal:
>
> \new PianoStaff
> <<
> \set PianoStaff.instrumentName = #"Primo"
> { \grace s4 r1 }
> >>
>
> If I understand correctly:
> It's simultaneous music, but the context-setting of instrumentName is
> not synchronisized with { \grace s4 r1 }.
> (It comes too late.)
> Related to issue 34.
>
> One should never set instrumentName in another place than \with to
> avoid such things.
> Usually the same holds for shortInstrumentName, but ofcourse
> shortInstrumentName can be reset later. In this case you need to care
> about synchronisation yourself. Although this may be a rare case.
>
> Your example:
>
> \score {
> <<
> \new PianoStaff \with {
> instrumentName = #"Primo"
> shortInstrumentName = #"pr."
> }
> <<
> \new Staff = up \with {
> \consists "Metronome_mark_engraver"
> }
> \relative c' {
> \key a \minor \time 2/4 \clef treble
> \ottava #2 \grace { e'''16[ fis gis] } 8 r r4 %1
> \grace { e16[ fis gis] } 8 \ottava #0 r r4 %2
> }
> \new Staff = down {
> \relative c' {
> \key a \minor \time 2/4 \clef treble
> \grace { s16 s s } <a' c e a>8 r r4 %1
> \grace { s16 s s } 8 r r8. dis,16 %2
> }
> }
> >>
> \new PianoStaff \with {
> instrumentName = #"Secondo"
> shortInstrumentName = #"sec."
> }
> <<
> \new Staff = felice \with {
> \consists "Metronome_mark_engraver"
> }
> \relative c' {
> \key a \minor \time 2/4 \clef bass
> \grace { s16 s s } 8 r r4 %1
> \grace { s16 s s } 8 r r4 %2
> }
> \new Staff = hwaen {
> \relative c' {
> \key a \minor \time 2/4 \clef bass
> \grace { s16 s s } r8 \ottava #-1 <a,,, a'> r4 %1
> \grace { s16 s s } r8 \ottava #0 r4 %2
> }
> }
> >>
> >>
> }
>
> HTH,
> Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Question regarding instrumentName.
Greetings All,
The code below is drawn from a work for piano four hands. However, the
instrumentName indications do not print in the first system. In the
following systems, the shortInstrumentName indications print as
requested. If I remove all the \grace sections, the instrumentName
indications appear in the output. Can anyone explain what I am doing
wrong?
\version "2.19.54"
\score {
<<
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Primo"
\set PianoStaff.shortInstrumentName = #"pr."
\new Staff = up \with {
\consists "Metronome_mark_engraver"
}
\relative c' {
\key a \minor \time 2/4 \clef treble
\ottava #2 \grace { e'''16[ fis gis] } 8 r r4 %1
\grace { e16[ fis gis] } 8 \ottava #0 r r4 %2
}
\new Staff = down {
\relative c' {
\key a \minor \time 2/4 \clef treble
\grace { s16 s s } <a' c e a>8 r r4 %1
\grace { s16 s s } 8 r r8. dis,16 %2
}
}
>>
\new PianoStaff <<
\set PianoStaff.instrumentName = #"Secondo"
\set PianoStaff.shortInstrumentName = #"sec."
\new Staff = felice \with {
\consists "Metronome_mark_engraver"
}
\relative c' {
\key a \minor \time 2/4 \clef bass
\grace { s16 s s } 8 r r4 %1
\grace { s16 s s } 8 r r4 %2
}
\new Staff = hwaen {
\relative c' {
\key a \minor \time 2/4 \clef bass
\grace { s16 s s } r8 \ottava #-1 <a,,, a'> r4 %1
\grace { s16 s s } r8 \ottava #0 r4 %2
}
}
>>
>>
}
Thank you for any help!
Hwaen Ch'uqi
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: print rehearsal marks in multiple parts
Greetings Josh,
In your \layout block, include this to allow you more flexibility with
your tempo and rehearsal markings:
\context {
\Score
\remove Metronome_mark_engraver
\remove Mark_engraver
}
Then, in the approriate staves, include this block
\new Staff \with {
\consists "Metronome_mark_engraver"
\consists "Mark_engraver"
}
Hope this helps!
Hwaen Ch'uqi
On 7/14/17, Joshua Nichols <josh.d.nich...@gmail.com> wrote:
> Elaine Gould recommends that rehearsal and tempo marks be printed in
> multiple places in addition to the top of the systems.
>
> How can I force Lilypond do print tempo marks in multiple places? e.g. at
> the top of the vocal section and at the top of the keyboard accompaniment.
>
> Thanks!
> --
> Josh
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frenched score and instrumentName.
Greetings Kieren, Yes, I had considered that but had hoped that there would be a smoother solution that would not then require me to change shortInstrumentName for each part to reflect the desired abbreviations to follow. But no matter; this is to me an insignificant hiccup in a program that I otherwise simply adore! Thank you for your reply. Hwaen Ch'uqi On 5/31/17, Kieren MacMillan <kieren_macmil...@sympatico.ca> wrote: > Hi Hwaen Ch’uqi, > >> I am working on an orchestral score in which not all instruments begin >> together; hence, I would like to produce a Frenched score. Is there a >> way to redefine instrumentName such that, in combination with >> \RemoveAllEmptyStaves, the full name is printed when the part actually >> appears in the score? Currently, instrumentName seems only to print at >> the first system, so if there is no music in a particular part, the >> long instrument name never appears. > > shortInstrumentName > > Hope this helps! > Kieren. > > > Kieren MacMillan, composer > ‣ website: www.kierenmacmillan.info > ‣ email: i...@kierenmacmillan.info > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Frenched score and instrumentName.
Greetings all, I am working on an orchestral score in which not all instruments begin together; hence, I would like to produce a Frenched score. Is there a way to redefine instrumentName such that, in combination with \RemoveAllEmptyStaves, the full name is printed when the part actually appears in the score? Currently, instrumentName seems only to print at the first system, so if there is no music in a particular part, the long instrument name never appears. I would be grateful for any advice. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tie from measure with one voice to a measure with two voices
Greetings JC,
Well, this may not be as simple as what you are looking for, but it
certainly would help to streamline your code>
\score {
\relative c'' {
<<
{
d2 e2~
e2 f
}
\\
{
s1
c4 d e f
}
>>
}
}
Hwaen Ch'uqi
On 3/16/17, Juan Cristóbal Cerrillo <jccerri...@gmail.com> wrote:
> Hello,
>
> I’m looking for a simpler way of being able to tie notes in a voice from a
> measure with only one voice to a measure with two voices. The only way I
> have managed to do so is to create an empty voice in the first measure (see
> last example of snippet). Is there a simpler way of doing this?
>
> Any help would be greatly appreciated.
>
> jc
>
> \version "2.18.2"
> %this is what I want in the first voice
> \score {
> \relative c''
> {d2 e2~
>e f
> }
> }
>
>
> %this doesn’t work, no tie in first voice
> \score {
> \relative c''
> {
> d2 e2~
> <<
> {e f}
> \\
> {c4 d e f}
> >>
> }
> }
>
> %this works but seems cumbersome
> \score {
> \relative c''
> {
> <<
> {\voiceOne
>d2 e2~
> }
> \\
> {}
> >>
> |
> <<
> {\voiceOne
>% \voice principal
>
>e2 f
> }
> \\
> {
> c4 d e f}
> >>
> }
> }
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Creating multi-score books
Greetings Don,
To add to the suggestions, you might consider using pdftk - assuming
of course that both LaTeX and LilyPond files will be converted to pdf.
Hwaen Ch'uqi
On 2/16/17, Abbé Jacques Peron <abbe.jacques.pe...@gmail.com> wrote:
> Hello,
>
> Another alternative is lyluatex, that you may find here :
> https://github.com/jperon/lyluatex.
>
> For this to work, you'll have to use lualatex.
>
> Jacques Peron +
>
>
> Le 16 févr. 2017 14:32, "Urs Liska" <u...@openlilylib.org> a écrit :
>
>
>
> Am 16. Februar 2017 07:02:10 MEZ schrieb Don Gingrich <
> gingr...@internode.on.net>:
>>I've got a basic problem, and I'm not having much
>>joy with the documentation.
>>
>>Over the past few years I've created several scores
>>for folk songs.
>>
>>Now, I'm going to be doing a workshop discussing
>>their origins.
>>
>>What I'd like to create is:
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>and so on
>>
>>I'm probably more familiar with LaTeX than
>>LilyPond, so I'd really prefer to do the cover
>>page and discussion in TeX and the scores
>>in LilyPond.
>
> If I don't misunderstand you I would compile the songs individually and
> include them using \includepdf.
>
> HTH
> Urs
>
>
>>
>>Note that some of the scores were originally
>>entered using MuseScore and the converted
>>using xml2ly -- so the LilyPond code is *ugly*
>>but works as a standalone score. In my copious
>>free time I'd like to shift these converted scores
>>into clean code, but it's in the "if it ain't broke."
>>category unless the converted stuff is likely to be
>> breaking things.
>>
>>My minimal example winds up being several hundred
>>lines, so I've not included it.
>>
>>I tried this:
>>
>>\header {
>> title = "Eight miniatures"
>> composer = "Igor Stravinsky"
>>}
>>\score {
>> …
>> \header { piece = "Romanze" }
>>}
>>\markup {
>> …text of second verse…
>>}
>>\markup {
>> …text of third verse…
>>}
>>\score {
>> …
>> \header { piece = "Menuetto" }
>>}
>>
>>With including the score files and it
>>did not work.
>>
>>I tried this first:
>>
>>\documentclass[a4paper]{article}
>>
>>\begin{document}
>>
>>Documents for \verb+lilypond-book+ may freely mix music and text.
>>For example,
>>
>>Options are put in brackets.
>>
>>Larger examples can be put into a separate file, and introduced with
>>\verb+\lilypondfile+.
>>
>>\lilypondfile[quote,noindent]{MyFileName.ly}
>>
>>(If needed, replace @file{screech-and-boink.ly} by any @file{.ly} file
>>you put in the same directory as this file.)
>>
>>\end{document}
>>
>>And all that I got was the filename printed where the score should
>>have been.
>>
>>I also looked at the thread titled:
>>"Problem with lilypond-book and \markup blocks" from 2007
>>But when I tried to add a header after the \score{ -- e.g.
>>\score {
>> \header{
>> title = "some silly thing"
>> composer = "Not Mozart"
>>}
>>{
>><<
>>
>>The title and composer disappeared into the ether -- clearly
>>the method here only works for snippets, not full or multi-page
>>scores.
>>
>>I keep banging at this and getting nowhere.
>>
>>
>>As putting a bunch of individual scores together into a book may
>>be a more or less common task, a good template would be brilliant
>>and potentially useful for others
>>
>>Thanks,
>>
>>-Don
>>
>>--
>>Don Gingrich
>>
>>
>>
>>___
>>lilypond-user mailing list
>>lilypond-user@gnu.org
>>https://lists.gnu.org/mailman/listinfo/lilypond-user
>
> --
> Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail
> gesendet.
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Documentation question.
Greetings Phil, Thank you so much for the mirroring site. All is now installed. Hwaen Ch'uqi On 2/7/17, Phil Holmes <m...@philholmes.net> wrote: > - Original Message - > From: "Hwaen Ch'uqi" <hwaench...@gmail.com> > To: <lilypond-user@gnu.org> > Sent: Tuesday, February 07, 2017 10:52 AM > Subject: Documentation question. > > >> Greetings All, >> >> I have been trying to install lilypond-2.18.2 along with its >> documentation. From the command line, I have called >> >> sudo sh lilypond-2.18.2-1.linux-64.sh --prefix /usr/ --documentation >> >> LilyPond itself installs just fine, but I get these messages relative >> to the documentation: >> >> No ./lilypond-2.18.2-1.documentation.tar.bz2 found, downloading. >> --2017-02-07 05:19:21-- >> http://lilypond.org/download/binaries/documentation/lilypond-2.18.2-1.documentation.tar.bz2 >> Resolving lilypond.org (lilypond.org)... 82.94.241.173 >> Connecting to lilypond.org (lilypond.org)|82.94.241.173|:80... connected. >> HTTP request sent, awaiting response... 404 Not Found >> 2017-02-07 05:19:21 ERROR 404: Not Found. >> >> Is this a temporary problem? Thanks for any advice. >> >> Hwaen Ch'uqi > > > I don't understand the Linux command for installing the documentation, but I > > can say that we do not recommend the use of the lilypond server for large > downloads. The documentation is mirrored at > http://download.linuxaudio.org/lilypond/binaries/documentation/ > > -- > Phil Holmes > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Documentation question.
Greetings All, I have been trying to install lilypond-2.18.2 along with its documentation. From the command line, I have called sudo sh lilypond-2.18.2-1.linux-64.sh --prefix /usr/ --documentation LilyPond itself installs just fine, but I get these messages relative to the documentation: No ./lilypond-2.18.2-1.documentation.tar.bz2 found, downloading. --2017-02-07 05:19:21-- http://lilypond.org/download/binaries/documentation/lilypond-2.18.2-1.documentation.tar.bz2 Resolving lilypond.org (lilypond.org)... 82.94.241.173 Connecting to lilypond.org (lilypond.org)|82.94.241.173|:80... connected. HTTP request sent, awaiting response... 404 Not Found 2017-02-07 05:19:21 ERROR 404: Not Found. Is this a temporary problem? Thanks for any advice. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using .info documentation in emacs
Greetings Kevin, Hmmm. The line in your .emacs file looks identical to mine, though the location itself is different. Is it possible that some permissions need to be changed? I am not familiar with the lilypond-doc package, having downloaded the documentation with the --documentation flag to the .sh script. Also, my distro is Ubuntu, not Fedora. Anyone else with ideas? I don't understand how you can access the Internals and the Music Glossary but not other .info files! Hwaen Ch'uqi On 9/9/16, Kevin Barry <barr...@gmail.com> wrote: > Hi Hwean, > > Thank you very much for your response. I added the entries you > suggested to dir, but they still have not showed up in my main > directory, despite this entry in .emacs: > (add-to-list 'Info-default-directory-list > "/usr/share/doc/lilypond-doc/share/info") > Have I done something wrong? The image links are also broken. > > Best wishes, > Kevin > > On 9 September 2016 at 22:47, Hwaen Ch'uqi <hwaench...@gmail.com> wrote: >> Greetings Kevin, >> >> I think the easiest thing to do would be to put someting into the dir >> file that you cited above. Most likely, you will have to do this as >> root. In my file, I have the following: >> >> LilyPond >> * LilyPond Changes: (lilypond-changes). New features in 2.19.46 since >> 2.18 >> * LilyPond Contributor's Guide: (lilypond-contributor). >> * LilyPond Essay: (lilypond-essay). >> * LilyPond Extending: (lilypond-extending). >> * LilyPond Internals Reference: (lilypond-internals). >> * LilyPond Learning Manual: (lilypond-learning). >> * LilyPond Music Glossary: (music-glossary). >> * LilyPond Notation Reference: (lilypond-notation). >> * LilyPond Snippets: (lilypond-snippets). >> * LilyPond Usage: (lilypond-usage). >> * LilyPond Web: (lilypond-web). >> >> Of course, you may adjust things as you please (for example, adding >> more annotations after each location given in parentheses), though >> take care that the general format, including punctuation, remains as >> above. >> >> Hwaen Ch'uqi >> >> >> On 9/9/16, Kevin Barry <barr...@gmail.com> wrote: >>> Hi all, >>> >>> I have installed the lilypond-doc package on my system (Fedora), but >>> it didn't add anything to the main info directory. In the LilyPond >>> menu in emacs two of the info buttons work (Internals and Glossary) >>> and the other two (LilyPond and index search) both give errors. I >>> tried adding the directory including them to the emacs path with >>> (add-to-list 'Info-default-directory-list >>> "/usr/share/doc/lilypond-doc/share/info") >>> but it didn't make any difference (which isn't surprising since the >>> `dir' file is empty). >>> >>> Before I start trying all kinds of hackery to make the manuals appear >>> in my directory or make them accessible through lilypond-mode, is >>> there a proper way to do it? >>> >>> Best wishes, >>> Kevin >>> >>> ___ >>> lilypond-user mailing list >>> lilypond-user@gnu.org >>> https://lists.gnu.org/mailman/listinfo/lilypond-user >>> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using .info documentation in emacs
Greetings Kevin, I think the easiest thing to do would be to put someting into the dir file that you cited above. Most likely, you will have to do this as root. In my file, I have the following: LilyPond * LilyPond Changes: (lilypond-changes). New features in 2.19.46 since 2.18 * LilyPond Contributor's Guide: (lilypond-contributor). * LilyPond Essay: (lilypond-essay). * LilyPond Extending: (lilypond-extending). * LilyPond Internals Reference: (lilypond-internals). * LilyPond Learning Manual: (lilypond-learning). * LilyPond Music Glossary: (music-glossary). * LilyPond Notation Reference: (lilypond-notation). * LilyPond Snippets: (lilypond-snippets). * LilyPond Usage: (lilypond-usage). * LilyPond Web: (lilypond-web). Of course, you may adjust things as you please (for example, adding more annotations after each location given in parentheses), though take care that the general format, including punctuation, remains as above. Hwaen Ch'uqi On 9/9/16, Kevin Barry <barr...@gmail.com> wrote: > Hi all, > > I have installed the lilypond-doc package on my system (Fedora), but > it didn't add anything to the main info directory. In the LilyPond > menu in emacs two of the info buttons work (Internals and Glossary) > and the other two (LilyPond and index search) both give errors. I > tried adding the directory including them to the emacs path with > (add-to-list 'Info-default-directory-list > "/usr/share/doc/lilypond-doc/share/info") > but it didn't make any difference (which isn't surprising since the > `dir' file is empty). > > Before I start trying all kinds of hackery to make the manuals appear > in my directory or make them accessible through lilypond-mode, is > there a proper way to do it? > > Best wishes, > Kevin > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: intentionally blank cover page ?
Greetings Paul,
When I wish to affect a blank page, I use
\markup \null
So your first bookpart would look like this:
\bookpart {
\markup \null
\pageBreak
\header{}
{ MUSIC }
} %End first bookpart
I hope this helps!
Hwaen Ch'uqi
On 8/21/16, B~M <viola1...@gmail.com> wrote:
> Dear All, I have a simple little problem.
> I have two viola suites, each two pages long. I would like to print these
> two pieces
> double sided, but with an intentionally blank first page so there is only
> one page turn
> from the first to the second piece in the collection
>
> I use (crudely)
>
> \book
> {
>
> \bookpart
> {
> \header {}
> music.
> }
> \bookpart
> {
> \header{}
> music
> }
>
> } % end book
>
>
>
> if I use \pageBreak after \book I get the header of the first work on the
> front page.
> Is there a simple way just to have a blank first/cover page please ?
>
>
> Paul
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Arpeggio and spacing question.
Greetings All,
The following code results in the second arpeggio sign running into
the preceding D-flat in the left hand. As there is very little room to
move the arpeggio to the right before running into the following
accidentals (also in the left hand), is there another spacing solution
to this problem that I am not considering? Any help would be greatly
appreciated.
Hwaen Ch'uqi
\version "2.19.46"
#(set-global-staff-size 17.82)
\score {
<<
\new Staff {
\relative c' {
\key des \major \time 2/4 \clef treble
f8 es aes, es' %271
}
}
\new PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\new Staff = up \with {
\consists "Span_arpeggio_engraver"
}
\relative c' {
\key des \major \time 2/4 \clef treble
<<
{
<bes' f des>4\arpeggio^\markup \italic "molto rit." \arpeggio %271A
}
\\
{
aes,8 g \once \override NoteColumn.force-hshift = #1.5 \shiftOn
des' c %271B
}
>>
}
\new Staff = down \with {
\consists "Span_arpeggio_engraver"
}
\relative c' {
\key des \major \time 2/4 \clef bass
<es,,,>16\arpeggio es'8 des'16 \ottava #-1 <a,, aes'!>\arpeggio
\ottava #0 aes''8 \clef treble <aes''' aes'>16\arpeggio %271
}
>>
>>
}
Snippet.pdf
Description: Adobe PDF document
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 4 hands piano pieces book
Greetings Urs, You had asked for a reminder concerning the piano four-hand solution and wrapping it into the page-layout library. Also, I would like to reiterate my correction regarding the use of pdftk for arranging the pages. The option to use is "shuffle," not "collate." From the manual, the following template applies: pdftk A=even.pdf B=odd.pdf shuffle A B output collated.pdf For my own purposes, I recast it as follows: pdftk A=Secondo.pdf B=Primo.pdf shuffle A B output PerformanceScore.pdf Hwaen Ch'uqi On 5/9/16, Hwaen Ch'uqi <hwaench...@gmail.com> wrote: > Greetings David, > > In fact, your process of determining pagebreaks is exactly what I do. > I choose to write the breaks directly into my files. It's just a > personal preference as I have never been fond of global settings or > variables. > > On the subject of pdftk, I miswrote: it is the "shuffle" option which > is used, like this: > > pdftk A=even.pdf B=odd.pdf shuffle A B output collated.pdf > > Or, mor practically, > > pdftk A=Secondo.pdf B=Primo.pdf shuffle A B output PerformanceScore.pdf > > VERY easy and straightforward. > > Hwaen Ch'uqi > > > On 5/9/16, David Wright <lily...@lionunicorn.co.uk> wrote: >> On Mon 09 May 2016 at 14:35:17 (-0400), Hwaen Ch'uqi wrote: >>> I have been wwriting A LOT of four-hand music, and I agree in >>> principle with most of what I have read in this thread. Even so, I >>> thought to chime in with my approach. >> >> I bow to your experience... >> >>> In my experience, I have found that there can be no "master file" used >>> for determining page breaks, due to the lovely but unpredictable way >>> that LilyPond lays out pages. So this must still be done by trial and >>> error. I do, however, use the Secondo file in the end as a "master" >>> for generating a Table of Contents. >> >> ... but that *sounds* a bit hit-or-miss. Can you find fault with the >> following? >> >> Set primo and secondo separately. Examine pairs of pages starting at >> the beginning. If the page break occurs at the same bar, insert a >> \pageBreak at that point in your master variable. Once you meet a >> discrepancy, insert the \pageBreak at the earlier position. Rerun >> LP. Re-examine from where you left off. >> >> (I don't know where the "master file" concept came in. However, you >> certainly want a master *variable*, rather than inserting the page >> breaks into the source at two different places.) >> >>> Finally, I also use pdftk to produce the full book, but the process >>> outlined earlier can be extremely streamlined if you use the "collate" >>> feature. You do not need to burst the files into separate pages; pdftk >>> will automatically alternate the pages when combining the two files. >> >> Sorry not to suggest the collate option; I forget it exists because I >> never use it, the reason being that I typically don't build files >> from mere pairs of L and R pages, but from scanned pages which have >> needed masking at the margins. I put different masked/offset copies >> into different directories, then move the best version of each page >> into the assembly-directory. Everything's quick and easy to that >> point, but the final collation has to be done manually. I find >> moving pages in Midnight Commander less error-prone even than using >> page-ranges in pdftk. >> >> Cheers, >> David. >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: "unroll code"
Greetings All, I am by no means offering up a solution to "unroll" code, but I certainly was intrigued by the question, because, as a composer, I have had instances where such an ability would have been immensely useful. When I felt fluent enough in Lily to use variables (or, for that matter, "q" for chordal repetition), I applied the "shortcuts" with enthusiasm and - foolishly - with abandon. Inevitably, I would later desire to make fine alterations in the completed score, but doing so would often force me to burst the tight construction I had coded, resulting in much manual unrolling. After a while, application of such general substitutions came to seem dangerously risky business for a composer but incredibly beneficial for a transcriber of a fixed artifact. This is why I no longer use these tools, preferring to write out all the information directly in the \score block and, in the end, saving myself an untold amount of time. Hwaen Ch'uqi On 5/14/16, Gianmaria Lari <gianmarial...@gmail.com> wrote: > Thank you to Robert Schmaus, Andrew Bernard, David Wright for the > suggestions. > > I try to be more precise. > It's not that really I need to be able to enroll some lilypond code. > (1) I was curios to know if LP or Frescobaldi give this functionality > (2) I thought that maybe this functionality was available because LP > compiler probably create a intermediate enrolled structure (substituting > variable with their contents, substituing function like "\traspose" with > the > trasnposed music etc.). > (3) I have written some lilypond music in a terrible way and I would be > curios to see it in a more linear way :) > > I also thought that having the music enrolled would be the preliminary step > for the opposite process. Having an alghorithm that looks for repetition > and > try to rewrite the music in a more more compacted way (using repetition, > transpose etc. etc.) > > As you can understand this is very much a curiosity than a need. But I'm > expecially curious about (2). > > The Robert idea: LP -> Midi -> LP is correct but I have some experience > going from Midi to LP and I always hope to be able to avoid it :) As Andrew > and David point out you need a lot of work after the conversion. In my > opinion this is to be considered possible only just in theory or for > simple/short music. > g. > > > > -- > View this message in context: > http://lilypond.1069038.n5.nabble.com/unroll-code-tp190602p190618.html > Sent from the User mailing list archive at Nabble.com. > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 4 hands piano pieces book
Greetings David, In fact, your process of determining pagebreaks is exactly what I do. I choose to write the breaks directly into my files. It's just a personal preference as I have never been fond of global settings or variables. On the subject of pdftk, I miswrote: it is the "shuffle" option which is used, like this: pdftk A=even.pdf B=odd.pdf shuffle A B output collated.pdf Or, mor practically, pdftk A=Secondo.pdf B=Primo.pdf shuffle A B output PerformanceScore.pdf VERY easy and straightforward. Hwaen Ch'uqi On 5/9/16, David Wright <lily...@lionunicorn.co.uk> wrote: > On Mon 09 May 2016 at 14:35:17 (-0400), Hwaen Ch'uqi wrote: >> I have been wwriting A LOT of four-hand music, and I agree in >> principle with most of what I have read in this thread. Even so, I >> thought to chime in with my approach. > > I bow to your experience... > >> In my experience, I have found that there can be no "master file" used >> for determining page breaks, due to the lovely but unpredictable way >> that LilyPond lays out pages. So this must still be done by trial and >> error. I do, however, use the Secondo file in the end as a "master" >> for generating a Table of Contents. > > ... but that *sounds* a bit hit-or-miss. Can you find fault with the > following? > > Set primo and secondo separately. Examine pairs of pages starting at > the beginning. If the page break occurs at the same bar, insert a > \pageBreak at that point in your master variable. Once you meet a > discrepancy, insert the \pageBreak at the earlier position. Rerun > LP. Re-examine from where you left off. > > (I don't know where the "master file" concept came in. However, you > certainly want a master *variable*, rather than inserting the page > breaks into the source at two different places.) > >> Finally, I also use pdftk to produce the full book, but the process >> outlined earlier can be extremely streamlined if you use the "collate" >> feature. You do not need to burst the files into separate pages; pdftk >> will automatically alternate the pages when combining the two files. > > Sorry not to suggest the collate option; I forget it exists because I > never use it, the reason being that I typically don't build files > from mere pairs of L and R pages, but from scanned pages which have > needed masking at the margins. I put different masked/offset copies > into different directories, then move the best version of each page > into the assembly-directory. Everything's quick and easy to that > point, but the final collation has to be done manually. I find > moving pages in Midnight Commander less error-prone even than using > page-ranges in pdftk. > > Cheers, > David. > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 4 hands piano pieces book
THAT would be brilliant!
Hwaen Ch'uqi
On 5/9/16, Urs Liska <u...@openlilylib.org> wrote:
>
>
> Am 9. Mai 2016 20:35:17 MESZ, schrieb Hwaen Ch'uqi <hwaench...@gmail.com>:
>>Greetings Alberto,
>>
>>I have been wwriting A LOT of four-hand music, and I agree in
>>principle with most of what I have read in this thread. Even so, I
>>thought to chime in with my approach. As has been advised, I create
>>two separate book files, one for Secondo and one for Primo. The top of
>>each file is headed with the following:
>>
>>#(define-markup-command (four-hand-page layout props offset) (number?)
>> (let* (
>>(two-hand (chain-assoc-get 'page:page-number-string props))
>>(four-hand (number->string (+ offset (* 2 (string->number
>>two-hand))
>>(interpret-markup layout props four-hand)))
>>
>>Then, in the \paper block, I include the following for the Secondo
>>part:
>>
>>oddHeaderMarkup = \markup \fill-line {
>> \four-hand-page #0
>> " "
>>}
>>evenHeaderMarkup = ##f
>>
>>Or, for the Primo part:
>>
>>oddHeaderMarkup = \markup \fill-line {
>> " "
>> \four-hand-page #1
>>}
>>evenHeaderMarkup = ##f
>>
>>In this way, each part will begin with the correct page number, and
>>the numbering will increase by two automatically.
>>
>>In my experience, I have found that there can be no "master file" used
>>for determining page breaks, due to the lovely but unpredictable way
>>that LilyPond lays out pages. So this must still be done by trial and
>>error. I do, however, use the Secondo file in the end as a "master"
>>for generating a Table of Contents.
>>
>>Finally, I also use pdftk to produce the full book, but the process
>>outlined earlier can be extremely streamlined if you use the "collate"
>>feature. You do not need to burst the files into separate pages; pdftk
>>will automatically alternate the pages when combining the two files.
>>
>>I hope this has been helpful.
>>
>>Hwaen Ch'uqi
>
> This looks very interesting. Maybe we should try to wrap this into the
> page-layout library. I would also like to try triggering the pdftk stuff
> from within LilyPond.
>
> Urs
>
>>
>>
>>On 5/8/16, David Wright <lily...@lionunicorn.co.uk> wrote:
>>> On Sun 08 May 2016 at 19:13:37 (+0200), Jacques Menu Muzhic wrote:
>>>> Would dynamics parts dedicated to breaks and pageBreaks, stored in
>>>> variables, be useful? They might contain only spacer rests and such
>>>> breaks, and be used by Piano I and Piano II parts.
>>>>
>>>> I use this satisfactorily to produce director and musicians parts,
>>with
>>>> the same breaks in the first drafts to facilitate cross checking of
>>the LP
>>>> input code.
>>>
>>> This seems to be the mainstream way of handling breaks and pageBreaks
>>> (though I hadn't thought of specifically using a Dynamics context).
>>>
>>>> One would still have to place things in the right order in the input
>>file
>>>> to build the left and right pages, of course.
>>>
>>> I wouldn't try to build the score in display order at all. In fact,
>>> if you want to be able to start a new piece halfway down the page, I
>>> think you'd get into a real mess.
>>>
>>> I would typeset the primo and secondo in separate scores, using
>>\books
>>> to write separate PDF files.
>>>
>>> I would use breakbefore = ##t to get the titling out of the way on
>>> page 1.
>>>
>>> Consequently, primo would have its first music on page 2. All
>>> subsequent page breaks would be written:
>>>
>>> \pageBreak % skips to the next page...
>>> \markup { " " }
>>> \pageBreak % ...and that leaves a page blank (except the page
>>number).
>>>
>>> so that a blank page is left for secondo, and every odd page is
>>blank.
>>> (Probably put this construction in a variable.)
>>>
>>> Secondo would start with an immediate extra:
>>>
>>> \pageBreak % skips to the next page...
>>> \markup { " " }
>>> \pageBreak % ...and that leaves a page blank (except the page
>>number).
>>>
>>> so that its first music is on page 3. Continue as with primo, so
>>every
>>> even page is blank.
>>>
>>> If this looks familiar, it's because this is a rehash of
>>> http://lists.gnu
Re: 4 hands piano pieces book
Greetings Alberto,
I have been wwriting A LOT of four-hand music, and I agree in
principle with most of what I have read in this thread. Even so, I
thought to chime in with my approach. As has been advised, I create
two separate book files, one for Secondo and one for Primo. The top of
each file is headed with the following:
#(define-markup-command (four-hand-page layout props offset) (number?)
(let* (
(two-hand (chain-assoc-get 'page:page-number-string props))
(four-hand (number->string (+ offset (* 2 (string->number two-hand))
(interpret-markup layout props four-hand)))
Then, in the \paper block, I include the following for the Secondo part:
oddHeaderMarkup = \markup \fill-line {
\four-hand-page #0
" "
}
evenHeaderMarkup = ##f
Or, for the Primo part:
oddHeaderMarkup = \markup \fill-line {
" "
\four-hand-page #1
}
evenHeaderMarkup = ##f
In this way, each part will begin with the correct page number, and
the numbering will increase by two automatically.
In my experience, I have found that there can be no "master file" used
for determining page breaks, due to the lovely but unpredictable way
that LilyPond lays out pages. So this must still be done by trial and
error. I do, however, use the Secondo file in the end as a "master"
for generating a Table of Contents.
Finally, I also use pdftk to produce the full book, but the process
outlined earlier can be extremely streamlined if you use the "collate"
feature. You do not need to burst the files into separate pages; pdftk
will automatically alternate the pages when combining the two files.
I hope this has been helpful.
Hwaen Ch'uqi
On 5/8/16, David Wright <lily...@lionunicorn.co.uk> wrote:
> On Sun 08 May 2016 at 19:13:37 (+0200), Jacques Menu Muzhic wrote:
>> Would dynamics parts dedicated to breaks and pageBreaks, stored in
>> variables, be useful? They might contain only spacer rests and such
>> breaks, and be used by Piano I and Piano II parts.
>>
>> I use this satisfactorily to produce director and musicians parts, with
>> the same breaks in the first drafts to facilitate cross checking of the LP
>> input code.
>
> This seems to be the mainstream way of handling breaks and pageBreaks
> (though I hadn't thought of specifically using a Dynamics context).
>
>> One would still have to place things in the right order in the input file
>> to build the left and right pages, of course.
>
> I wouldn't try to build the score in display order at all. In fact,
> if you want to be able to start a new piece halfway down the page, I
> think you'd get into a real mess.
>
> I would typeset the primo and secondo in separate scores, using \books
> to write separate PDF files.
>
> I would use breakbefore = ##t to get the titling out of the way on
> page 1.
>
> Consequently, primo would have its first music on page 2. All
> subsequent page breaks would be written:
>
> \pageBreak % skips to the next page...
> \markup { " " }
> \pageBreak % ...and that leaves a page blank (except the page number).
>
> so that a blank page is left for secondo, and every odd page is blank.
> (Probably put this construction in a variable.)
>
> Secondo would start with an immediate extra:
>
> \pageBreak % skips to the next page...
> \markup { " " }
> \pageBreak % ...and that leaves a page blank (except the page number).
>
> so that its first music is on page 3. Continue as with primo, so every
> even page is blank.
>
> If this looks familiar, it's because this is a rehash of
> http://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00069.html
>
> Burst the two PDFs into two directories and delete all the empty pages
> (ie every other file). Move the remaining files from either directory
> into the other. Concatenate the PDFs exactly as before, except now the
> output file is called interleaved-output.pdf instead of
> decimated-output.pdf.
>
>> [A.N.Other] said:
>
>> > The initial problem is getting the page breaks in sync.
>> > Once you've achieved that (presumably by manually adding page breaks)
>> > you can easily create two separate pdfs and use an external tool to
>> > create the bound volume.
>
> Write your page breaks into *one* variable. Where you give this variable
> to \new Dynamics in the \score structures, prefix *only* secondo with
> an extra copy of the three-liner above. This approach guarantees the same
> pagebreaks for the two players, but pushes secondo forward by one page.
>
> Cheers,
> David.
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Another Lyrics spacing issue.
Greetings,
Yes, this is perfect! I am sheepish to admit that I do not quite
understand the solution. For example, if I were to leave out the first
measure in the code I submitted and then compiled, there appears a
large gap between the penultimate and the final word of the spoken
dialogue? Could you enlighten me as to this? Thank you again for your
solution!
Hwaen Ch'uqi
On 3/16/16, Thomas Morley <thomasmorle...@gmail.com> wrote:
> 2016-03-16 19:54 GMT+01:00 Hwaen Ch'uqi <hwaench...@gmail.com>:
>> Greetings All,
>>
>> I have been having another puzzling alignment issue involving
>> competing Lyrics contexts.. The result of this code is again that the
>> part to be shouted by the chorus prints before the spoken line of the
>> single character is finished. I believe I have correctly attempted the
>> spacing solution given in the NR, but to no avail. I have tried other
>> ways of manipulating the code (which I alas cannot reproduce at the
>> moment), which results in a correct alignment between the solo
>> character and the Chorus, but there is then an unwanted gap between
>> the penultimate and last words of the spoken line. Is there a way to
>> resolve this so that there is neither a gap in the spoken text nor a
>> collision between the two lines? Ideally, I would like to accomplish
>> this using a double-dotted half rest rather than the half and dotted
>> quarter rsts shown below. Thank you so much for any help.
>>
>> Hwaen Ch'uqi
>>
>> \version "2.18.2"
>>
>> #(set-global-staff-size 17.82)
>>
>> \score{
>> <<
>> \new Voice = "Darcy" \relative c' {
>> \autoBeamOff
>> \compressFullBarRests
>> \key d \major \time 2/2 \clef treble
>> a'8 r r4 r2 %62
>> R1*3 %63-65
>> <<
>> {
>> r2 r4.\fermata
>> }
>> \new Lyrics \with {
>> % \consists "Bar_engraver"
>> % \override BarLine.transparent = ##t
>> \override LyricText.font-shape = #'italic
>> \override LyricText.self-alignment-X = #LEFT
>> }
>> {
>> \lyricmode {
>> \markup {
>> \line {
>> \fontsize #1 \upright \smallCaps Esther: "Hey! I don't
>> feel so icky"
>> }
>> }8*4
>> "anymore!"8*3
>> }
>> }
>> >>
>> \override NoteHead.style = #'cross
>> b8^\markup \fontsize #1 \smallCaps {Sasha and Chorus} %66
>> b r r4 r2\bar "|." %67
>> }
>> \new Lyrics \lyricsto "Darcy" {
>> \override LyricHyphen.minimum-distance = #1.0
>> \set lyricMelismaAlignment = #CENTER
>> long.
>> Hur -- ray!
>> }
>> >>
>> }
>
>
>
> Hi,
>
> do you mean like below?
>
> \version "2.18.2"
>
> #(set-global-staff-size 17.82)
>
> \score{
> <<
> \new Voice = "Darcy" \relative c' {
> \autoBeamOff
> \compressFullBarRests
> \key d \major \time 2/2 \clef treble
> a'8 r r4 r2 %62
> R1*3 %63-65
> <<
> {
> r2..\fermata
> }
> \context Lyrics = "lyr"
> {
> \lyricmode {
> \override LyricText.font-shape = #'italic
> \override LyricText.self-alignment-X = #LEFT
> \markup {
> \line {
> \fontsize #1 \upright \smallCaps Esther: "Hey! I
> don't feel so icky"
> }
> }8*4
> "anymore!"8*3
> \revert LyricText.self-alignment-X
> }
> }
> >>
> \override NoteHead.style = #'cross
> b8^\markup \fontsize #1 \smallCaps {Sasha and Chorus} %66
> b r r4 r2\bar "|." %67
> }
> \context Lyrics = "lyr" \lyricsto "Darcy" {
> \override LyricHyphen.minimum-distance = #1.0
> \set lyricMelismaAlignment = #CENTER
> long.
> Hur -- ray!
> }
> >>
> }
>
>
> Cheers,
> Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Another Lyrics spacing issue.
Greetings All,
I have been having another puzzling alignment issue involving
competing Lyrics contexts.. The result of this code is again that the
part to be shouted by the chorus prints before the spoken line of the
single character is finished. I believe I have correctly attempted the
spacing solution given in the NR, but to no avail. I have tried other
ways of manipulating the code (which I alas cannot reproduce at the
moment), which results in a correct alignment between the solo
character and the Chorus, but there is then an unwanted gap between
the penultimate and last words of the spoken line. Is there a way to
resolve this so that there is neither a gap in the spoken text nor a
collision between the two lines? Ideally, I would like to accomplish
this using a double-dotted half rest rather than the half and dotted
quarter rsts shown below. Thank you so much for any help.
Hwaen Ch'uqi
\version "2.18.2"
#(set-global-staff-size 17.82)
\score{
<<
\new Voice = "Darcy" \relative c' {
\autoBeamOff
\compressFullBarRests
\key d \major \time 2/2 \clef treble
a'8 r r4 r2 %62
R1*3 %63-65
<<
{
r2 r4.\fermata
}
\new Lyrics \with {
% \consists "Bar_engraver"
% \override BarLine.transparent = ##t
\override LyricText.font-shape = #'italic
\override LyricText.self-alignment-X = #LEFT
}
{
\lyricmode {
\markup {
\line {
\fontsize #1 \upright \smallCaps Esther: "Hey! I don't feel
so icky"
}
}8*4
"anymore!"8*3
}
}
>>
\override NoteHead.style = #'cross
b8^\markup \fontsize #1 \smallCaps {Sasha and Chorus} %66
b r r4 r2\bar "|." %67
}
\new Lyrics \lyricsto "Darcy" {
\override LyricHyphen.minimum-distance = #1.0
\set lyricMelismaAlignment = #CENTER
long.
Hur -- ray!
}
>>
}
Sample.pdf
Description: Adobe PDF document
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spacing with \new Lyrics and a full measure rest.
Greetings Simon, Jan-Peter, and Trevor,
Thank you all for your help; it was most informative, especially as I
will be encountering many like situations going forward with this
project!
Hwaen Ch'uqi
On 3/1/16, Trevor Daniels <t.dani...@treda.co.uk> wrote:
>
> "Simon Albrecht wrote Tuesday, March 01, 2016 10:37 AM
>
>
>> On 01.03.2016 11:04, Hwaen Ch'uqi wrote:
>>> Greetings All,
>>>
>>> This is an example from a vocal score for a musical. What is the best
>>> way of ensuring that the barline and subsequent measure respects the
>>> length of the spoken text rather than the full bar rest?
>>
>> Add a Bar_engraver to the Lyrics context. The BarLine will be made very
>> small, so it’s invisible, but the LyricTexts still have to avoid it:
>
> A further trick is shown in the NR which may be better under some
> circumstances as it makes the bar and the lyrics the same length.
> See
> http://www.lilypond.org/doc/v2.19/Documentation/notation/opera-and-stage-musicals#dialogue-over-music
>
> But this section in the NR doesn't mention adding the Bar_engraver.
> That would be a useful addition.
>
> Applied to your music:
>
> \version "2.18.2"
>
> \score {
><<
> \new Voice = "Darcy" \relative c' {
>\key es \major \time 3/2 \clef treble
><<
> {
>R1.^\fermataMarkup %170
> }
> \new Lyrics \with {
>\consists "Bar_engraver"
>\override LyricText.font-shape = #'italic
>\override LyricText.self-alignment-X = #LEFT
> }
> {
>\lyricmode {
> \markup {
>\column {
> \line {
>\fontsize #1 \upright \smallCaps Esther: "Oh. It's just what
> I've
> always"
> }
>}
> }8*10
> "wanted!"8*2
>}
> }
>>>
>\override NoteHead.style = #'cross
>bes'8^\markup \fontsize #1 \smallCaps Chorus r r4 r1\bar "|." %171
>
> }
> \new Lyrics \lyricsto "Darcy" {
>\override LyricHyphen.minimum-distance = #1.0
>\set lyricMelismaAlignment = #CENTER
>jah!
> }
>>>
> }
> \layout {
>\context {
> \Lyrics
> \override BarLine.bar-extent = #'(-0.0001 . 0.0001)
>}
> }
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Spacing with \new Lyrics and a full measure rest.
Greetings All,
This is an example from a vocal score for a musical. What is the best
wway of insuring that the barline and subsequent measure respects the
length of the spoken text rather than the full bar rest?
\version "2.18.2"
\score {
<<
\new Voice = "Darcy" \relative c' {
\key es \major \time 3/2 \clef treble
<<
{
R1.^\fermataMarkup %170
}
\new Lyrics \with {
\override LyricText.font-shape = #'italic
\override LyricText.self-alignment-X = #LEFT
}
{
\lyricmode {
\markup {
\column {
\line {
\fontsize #1 \upright \smallCaps Esther: "Oh. It's just what
I've
always wanted!"
}
}
}8*12
}
}
>>
\override NoteHead.style = #'cross
bes'8^\markup \fontsize #1 \smallCaps Chorus r r4 r1\bar "|." %171
}
\new Lyrics \lyricsto "Darcy" {
\override LyricHyphen.minimum-distance = #1.0
\set lyricMelismaAlignment = #CENTER
jah!
}
>>
}
Snippet.pdf
Description: Adobe PDF document
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Install on linux
Greetings Peter, When I install LilyPond, I use the --prefix flag and direct it to be installed in folder /usr/ In this way, the bin files will be created in the proper places. The "down side" is that the directories of the .el files and .info files will need to be explicitly stated somewhere in order for them to be usable. In my case, the former is stated in my .emacs file, and the latter is reflected in the main dir file of the /usr/share/info folder. This is a bit more manual work, but the benefit is that, whenever you install the latest LilyPond version (which the ubuntu's repository will likely not find), you should not have to make those adjustments again. Hwaen Ch'uqi On 2/21/16, Jean Bréfort <jean.bref...@free.fr> wrote: > Hi, > > Why don't you directly use the lilypond package? > sudo apt-get install lilypond > > The installation would be clean. > > Hope this helps, > Jean > > Le dimanche 21 février 2016 à 13:13 +0100, Peter O'Doherty a écrit : >> Hi, >> >> When I install lilypond on Ubuntu (following the instructions on the >> website i.e. >> cd PATH-TO-DOWNLOAD-DIRECTORY >> sh lilypond-2.18.2-OS-TYPE.sh >> ) >> it installs two folders in my home directory, lilypond and bin. >> What's >> the best way to organise these? Should I just put the bin in the >> lilypond folder and move that to .local/share or /usr/share? >> >> Thanks, >> Peter >> >> //= >> // Peter O'Doherty >> // http://www.peterodoherty.net >> // m...@peterodoherty.net >> //= >> >> >> ___ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Vertical spacing question.
Greetings All, I would like to temporarily influence the vertical spacing of a piece, idally using this form: \override StaffGrouper.staff-staff-spacing.padding = #5 In the NR for version 2.19.36, this type of command is shown in a \with block, resulting in the entire score spaced accordingly. So I thought to try the stretchability key; this improved the overall spacing slightly, though the staves in the final system of my piece were curiously spaced much further apart than necessary. So I moved on to the \overrideProperty command with NonMusicalPaperColumn.line-break-system-details and the alignment-distances key. However, I could not find how one undoes \overrideProperty. Or is it like \tweak, a once-and-done command? Thank you for any advice. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Grace notes and voices.
Greetings All,
Having searched rather thoroughly through the archives, I understand
that the issue of grace notes within voice contexts is a perenial one.
Unfortunately, the Known Issues and Warnings does not address my
problem, and the example is, to my mind, incredibly contrived. At the
root of my problem is that the grace notes in my example appear on the
downbeat, so there is no rest or note to insert between any \voice and
\grace command. Any thoughts on how I might rectify this situation
would be greatly appreciated! Below is the code, and the output is
attached.
Hwaen Ch'uqi
\version "2.18.2"
\score {
\new PianoStaff <<
\new Staff {
\relative c' {
\key es \major \time 3/4 \clef treble
<<
{
g'8 f g4 g %1A
}
\\
{
\grace <bes, g>8~\arpeggio 2 \grace { 8~\arpeggio }
4 %1B
}
>>
}
}
\new Staff {
\relative c' {
\key es \major \time 3/4 \clef bass
<<
{
g8 f g4 <bes, g'> %1A
}
\\
{
\grace <es,, es'>8~\arpeggio 2 \grace { 8~\arpeggio
} 4 %1B
}
\\
{
bes''2 s4 %1C
}
\\
{
s2. %1D
}
>>
}
}
>>
}
Example.pdf
Description: Adobe PDF document
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Compressing percent repeats.
Greetings Pierre,
Thank you so much for your solutions! It took me a while to realize
that I in fact needed to upgrade to 2.19.35 in order to implement
them, but once squared away, they worked magnificently. True, the
latter approach is especially hackish, but I did find it much easier
to comprehend exactly what was going on. Thank you again!
Hwaen Ch'uqi
On 1/21/16, Pierre Perol-Schneider <pierre.schneider.pa...@gmail.com> wrote:
> E.g.:
>
> \version "2.19.35"
>
> compressPercentRepeat =
> #(define-music-function (repeats notes) (integer? ly:music?)
> (let* (
>(mea (ly:music-length notes))
>(num (ly:moment-main-numerator mea))
>(den (ly:moment-main-denominator mea))
>(dur (ly:make-duration 0 0 (* num (1- repeats)) den)))
> #{
> #notes
> \set Score.restNumberThreshold = #1
> \set Score.skipBars = ##t
> \temporary\override MultiMeasureRest.stencil =
> #ly:multi-measure-rest::percent
> \temporary\override MultiMeasureRestNumber.stencil =
> #(lambda (grob)
>(grob-interpret-markup grob
> (markup #:concat
> ( ;; Optional:
>;#:fontsize -3 "x"
>#:fontsize -2 (number->string repeats)
> \temporary\override MultiMeasureRest.thickness = #0.48
> \temporary\override MultiMeasureRest.Y-offset = #0
> #(make-music 'MultiMeasureRestMusic 'duration dur)
> \revert MultiMeasureRest.Y-offset
> \revert MultiMeasureRest.thickness
> \revert MultiMeasureRestNumber.stencil
> \revert MultiMeasureRest.stencil
> \unset Score.skipBars
> \unset Score.restNumberThreshold
> #}))
>
> Test:
> soloInstrumentOne = \relative {
> \time 4/4
> c'4 c c c
> \compressPercentRepeat #8 { c'4 c c c }
> \break
> c,4 c c c
> \bar "|."
> }
>
> soloInstrumentTwo = \relative {
> \repeat unfold 10 { c''4 c c c }
> }
>
> \markup\italic "Orchestral score:"
> \score {
> \new StaffGroup <<
> \new Staff
> \with { instrumentName = "Inst 1" }
> \soloInstrumentOne
> \new Staff
> \with { instrumentName = "Inst 2" }
> \soloInstrumentTwo
> >>
> }
>
> \markup\italic "Solo score:"
> \score {
> \new Staff
> \with { instrumentName = "Inst 1" }
> \soloInstrumentOne
> }
>
> \layout {
> ragged-last = ##t
> }
>
>
> Cheers,
> Pierre
>
> 2016-01-19 12:44 GMT+01:00 Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com>:
>
>> BTW, another hacky solution would be to use \compressFullBarRests and
>> simply change its stencil with the 'percent' sign.
>> Not nice though.
>> ~Pierre
>>
>> 2016-01-19 12:27 GMT+01:00 Pierre Perol-Schneider <
>> pierre.schneider.pa...@gmail.com>:
>>
>>> Hi Hwaen Ch'uqi,
>>>
>>> Far from being perfect but it's a start:
>>>
>>> \version "2.19.35"
>>>
>>> compressPercent =
>>> #(define-music-function (repeats notes) (integer? ly:music?)
>>> #{
>>> \tag Orch {
>>> %% Optional:
>>> %\set countPercentRepeats = ##t
>>> \repeat percent #repeats \absolute { #notes }
>>> }
>>> \tag Solo {
>>> \repeat percent 2 {
>>> \set countPercentRepeats = ##t
>>> \override PercentRepeatCounter.stencil = #(lambda (grob)
>>>(grob-interpret-markup grob
>>> (markup #:concat
>>>( ;; Optional:
>>> #:fontsize -3 "x"
>>> (number->string repeats)
>>> #notes
>>> \applyContext #(lambda (c)
>>> (set! (ly:context-property
>>> (ly:context-find c 'Timing)
>>> 'currentBarNumber)
>>>(+ (- repeats 2) (ly:context-property c
>>> 'currentBarNumber
>>> }
>>> }
>>> #})
>>>
>>> soloInstrumentOne = \relative {
>>> c' c c c
>>> \compressPercent 8 \relative { c''4 c c c }
>>> \break
>>> c4 c c c
>>> \bar "|."
>>> }
>>>
>>> soloInstrumentTwo = \relative {
>&
Compressing percent repeats.
Greetings All, I am generating parts from an orchestral score and am wondering if there is any way of handling percent repeats in the same manner as \compressFullBarRests does for multimeasure rests? That is, a number would be placed above, say, an isolated repeat informing the player how many times to repeat the measure; meanwhile, currentBarNumber would be automatically updated. I see from this thread https://lists.gnu.org/archive/html/lilypond-user/2014-02/msg00050.html that text could be placed manually (though not optimally) above the isolated repeat, and so too could I manually reset currentBarNumber, but that will surely prove to be time-consuming for a piece of this magnitude. Any help would be greatly appreciated. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff customization question.
On 1/5/16, Paul Morris <p...@paulwmorris.com> wrote: >> On Jan 4, 2016, at 8:48 PM, Hwaen Ch'uqi <hwaench...@gmail.com> wrote: >> >> Is there a way to create a specific calibration of pitch >> to line/space where the lowest and highest notes align with the lowest >> and highest lines? > > Briefly, here’s a small hint: setting “staffLineLayoutFunction” in the Staff > context to a custom scheme procedure is a way to do this. Try searching the > LSR for examples of how this is done. > > Cheers, > -Paul > > Yes, I had seen this snippet before. It appears though that this function assumes a certain regularity - i.e., by semitones, whole tones, etc. In this case, the intervals between pitches are not uniform, varying from minor seconds to major thirds. Will this take a list of numbers to define each line and space? If so, can I simply plug in a series of numbers, or must they be surrounded by parentheses and a hash or something? I am quite nervous with Scheme! Thanks again. Hwaen Ch'uqi ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Staff customization question.
Greetings Paul,
This is EXACTLY what I was looking for: Thank you so much!
Hwaen Ch'uqi
On 1/5/16, Paul Morris <p...@paulwmorris.com> wrote:
>> On Jan 5, 2016, at 11:03 AM, Hwaen Ch'uqi <hwaench...@gmail.com> wrote:
>>
>> Yes, I had seen this snippet before. It appears though that this
>> function assumes a certain regularity - i.e., by semitones, whole
>> tones, etc. In this case, the intervals between pitches are not
>> uniform, varying from minor seconds to major thirds. Will this take a
>> list of numbers to define each line and space? If so, can I simply
>> plug in a series of numbers, or must they be surrounded by parentheses
>> and a hash or something? I am quite nervous with Scheme!
>
> For your use-case I would just use a lookup-table (alist) that maps
> semitones to staff positions, as shown in the snippet below.
>
> HTH,
> -Paul
>
>
> \version "2.18"
>
> #(define (my-procedure pitch)
>(let
> ;; get the semitone of the pitch
> ((semitone (ly:pitch-semitones pitch))
> ;; lookup-alist maps semitones to positions on the staff
> (lookup-alist
> '((0 . 0)
> (2 . 3)
> (4 . 6)
> (5 . 9)
> ;; ...edit and add more here as needed
> )))
> ;; for development / debugging to see what semitones you are working
> with
> (display semitone)(newline)
> ;; lookup the position and return the position that goes with it
> (assoc-ref lookup-alist semitone)))
>
> \new Staff \with {
> staffLineLayoutFunction = #my-procedure
> } {
> c'4 d' e' f’
> }
>
>
>
>
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
