Re: LilyPond blog! who wants to join?
On Sun, 2 Jun 2013 15:39:43 +0200 Janek Warchoł janek.lilyp...@gmail.com wrote: However, i think that it should be just another category of posts (as i've already said, i'd like this blog to be multi-authored and i'll be happy to give contributor privileges to everyone, even if they write one post per decade). That's simple and i'll make such a category right away. Would you like to write a post immediately? :) What about giving third party programs, not hosted in the lilypond code, but which deal directly with Lilypond, a platform? For short announcements, not for marketing. The teams could then have an account each and write short messages when they feel they have something important to say. I think of big tools like Frescobaldi and Denemo but also converters and command line programs, if they are not already in the lily git. Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond blog! who wants to join?
On Sat, 1 Jun 2013 13:43:00 +0200 Janek Warchoł janek.lilyp...@gmail.com wrote: and the winner is... 2013/6/1 Urs Liska u...@openlilylib.org: Scores of Beauty Congratulations! Congratulations! I like funny or exotic titles more, but I can see that his might have the broadest appeal. The second place (maybe a subtitle, who knows?) is 2013/6/1 Nils Gey i...@nilsgey.de: Aquatic Plants in Music Does that get me the second interview? :) Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond blog! who wants to join?
On Sat, 01 Jun 2013 21:09:49 +0200 Jan Nieuwenhuizen jann...@gnu.org wrote: Janek Warchoł writes: this cannot wait any longer: there has to be a LilyPond blog. Unless someone has a better idea, i'm going to create a blog on WordPress.com tomorrow morning. Apropos...why wordpress.com? Is that syndicatable? We --the lilypond project-- were invited to get syndicated on planet.linuxaudio.org. We need something that provides rss feeds, and get anything lilypond syndicated there, imvho. Greetings, Jan Feel invited. But there is no inner circle you need no invitation to the planet.linuxaudio.org, just notify If you have a blog that deals (remotely) with Linux and music (this includes release announcements as well) it would be very nice to get you in there. My advice is create a stable URL for any RSS feed you offer. For example www.lilypond.org/feed and give that to the world. Use htaccess to make a non-transparent forward to the actual feed. This way, even if the original feed changes, all subscribers will be able to receive the blog. More info, the original invitation: You can read it by RSS or Atom directly: http://planet.linuxaudio.org/rss20.xml http://planet.linuxaudio.org/atom.xml Or visit the webpage: http://planet.linuxaudio.org/ If you have a blog or website about linux audio feel welcome to get your own news added to the planet. See this page: http://wiki.linuxaudio.org/wiki/planet or write a mail with your website/feed address to pla...@linuxaudio.org Please forward and share this message to your peers and the Linux Audio community. greetings, Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond blog! who wants to join?
On Fri, 31 May 2013 23:59:12 +0200 Janek Warchoł janek.lilyp...@gmail.com wrote: 2013/5/31 Janek Warchoł janek.lilyp...@gmail.com: this cannot wait any longer: there has to be a LilyPond blog. Unless someone has a better idea, i'm going to create a blog on WordPress.com tomorrow morning. and it's time for a first contest! The blog needs a catchy name. Whoever suggests the best name will be the first one interviewed on the new blog! :D Janek Aquatic Plants in Music The Dill Pony (in a tavern style. This is a Lilypond anagram) Accidental at work (a wordplay on accident at work indicating both music and work) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Laborejo 0.4 release
A wild crosspost appears! Laborejo, Esperanto for Workshop, is used to craft music through notation. It is a Lilypond GUI frontend, a MIDI creator and finally a tool collection to inspire and help you compose. It works by reducing music-redundancy and by seperating layout and data. Before you read the details make sure to connect to Laborejos Facebook, Twitter or Google Plus! https://www.facebook.com/Laborejo https://twitter.com/#!/Laborejo https://plus.google.com/b/116744898976321238325/ Screenshot: http://www.laborejo.org/images/screenshots/latestscreenshot.png This is the release of version 0.4 Download: https://github.com/nilsgey/Laborejo/tarball/0.4 Dependencies: http://www.laborejo.org/documentation Linux Instructions: Unpack, cd into the created directoy, execute: ./laborejo-qt Then use the number- and cursor keys for immediate success! Check Help-Manual for navigational and note/rest entry keys. Everything else is in the menus. New since version 0.3 (highlights): * Lyrics are visible under the tracks directly and aligned to their notes * Nicer cursor :) * New dynamics like fp and sfz. * New commandset for note speed entry with the numblock. * Colored always-visible Marker in the GUI to indicate track groups. Also displays small instrument name for better orientation * Lilypond binary and pdf viewer are now a config variable * More Subsitutions (assign a pre-defined group to host notes. Group gets transposed and scaled accordingly). Final Fantasy arpeggio, common melody figures etc. * Many bugfixes and small improvements that make the program work like you expected it to do anyway Most important known problems: * This is Alpha Grade Software. Don't use for long-term work. However, the produced midis and PDFs will last forever. * There is no built-in jack midi output yet. You have to export midi files. * Documentation is nearly non-existent. * Deleting selected objects may result in strange gui behaviour. Nothing a save/reload can't fix for now. Have fun, it would be nice to hear from you! Nils http://www.laborejo.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
why does print-all-headers print the meta-data multiple times?
Hello list,
Below is a very short lilypond snippet.
Why is the title printed for each score again if print-all-headers = ##t ?
This is not a question how to work around. I know I can deactivate the
print-all-header or write an extra header into score with title = or ##f.
The question is why is this considered desired behaviour and a feature?
Implying that I want the same title again over each \score part seems wrong. I
would expect a new title only when I set one in one of the \scores.
Imagine you have multiple pieces under the same title, then a new title again
with several pieces, but they still belong to the same project. You need to
explicitly override all headers in the majority of cases.
Or imagine a .ly file with only one \score but the print-all-headers is in that
really complex and brilliant template you normally use. You need to change you
template now or create a redundant version.
So in conclusion:
If there is a paper option I missed to prevent the repeated print for each new
\score I would be happy to use it.
But even if there is I wonder why this is the default behaviour.
Greetings,
Nils
\version 2.16 %2.16.0 to be exact
\paper {
print-all-headers = ##t
}
\header{
title = Hello
copyright = Copy
tagline = Tag
}
\score {g'4}
\score {a'2}
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Re: Parallel music view - inspiration for LilyPond editors.
I thought of a solution. This is not a quick task eventough I know what needs to be done, since such an editor, only more advanced, is Laborejo. For simple purposes it will be easy to do but quickly you encounter shortcomings and the display is unstatisfying again which is the point where the code need extensions and rules, becoming an editor code of its own. Summary: It is totally possible, but I can't do it right now. Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel music view - inspiration for LilyPond editors.
This is not a quick task eventough I know what needs to be done, since such an editor, only more advanced, is Laborejo. For simple purposes it will be easy to do but quickly you encounter shortcomings and the display is unstatisfying again which is the point where the code need extensions and rules, becoming an editor code of its own. Summary: It is totally possible, but I can't do it right now. Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Laborejo 0.3 release
Laborejo, Esperanto for Workshop, is used to craft music through notation. It is a Lilypond GUI frontend, a MIDI creator and finally a tool collection to inspire and help you compose. It works by reducing music-redundancy and by seperating layout and data. Before you read the details make sure to connect to Laborejos Facebook, Twitter or Google Plus! https://www.facebook.com/Laborejo https://twitter.com/#!/Laborejo https://plus.google.com/b/116744898976321238325/ Screenshot: http://www.laborejo.org/images/screenshots/latestscreenshot.png This is the release of version 0.3 Download: https://github.com/nilsgey/Laborejo/tarball/0.3 Dependencies: http://www.laborejo.org/documentation Linux Instructions: Unpack, cd into the created directoy, execute: ./laborejo-qt Then use the number- and cursor keys for immediate success! Check Help-Manual for navigational and note/rest entry keys. Everything else is in the menus. New since version 0.2 (highlights): -Many performance and stability improvements -Improved Midi performance. Slur ends, tenuto etc. -Ardour 3 exporter -Fine control over midi velocity and note durations per note. -Translation is now possible. A partial German translation is included. -Lisalo Importer (convenient way to create new files with all jack connections set up already) -Mirror notes, reverse, shuffle, sort ascending/descending -The GUI can now open multiple files in tabs. -Open as template: Use existing save files as templates for new ones. No need for explicit template files. Every file is one. -Many new Lilypond and GUI functions such as: Auto-Piano staff from a single track (great for arpeggios), piano pedals and many more. -Convert chord-tracks to single voice tracks Most important known problems: * This is Alpha Grade Software. Don't use for long-term work. However, the produced midis and PDFs will last forever. * There is no built-in jack midi output yet. You have to export midi files. * Documentation is nearly non-existent. * Deleting selected objects may result in strange gui behaviour. Nothing a save/reload can't fix for now. Have fun, it would be nice to hear from you! Nils http://www.laborejo.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Parallel music view - inspiration for LilyPond editors.
On Wed, 26 Sep 2012 10:53:23 +0200
Janek Warchoł janek.lilyp...@gmail.com wrote:
Hi,
one of the things that i find inconvenient in reading Lily syntax is
its sequential nature. For example,
{
a4 b c d
e f g a
e a g f
}
{
e4 a g f
c2 e
d8 c f4 d2
}
it's hard to read the harmonies from the code, because voices are separate.
I know about \parallelMusic, but it has weaknesses:
- music cannot be easily copied and pasted (unless you copy whole measures)
- it requires effort to maintain the alignment,
- it is not feasible to write longer fragments this way (e.g. whole piece)
- when there is a lot of overrides, articulations etc, it becomes
not-so-effective in my opinion.
What about editors like Frescobaldi having the ability to convert
regular lilypond to horizontal scroll and back? E.g. the code
above would be displayed as (view using monospace font):
{ a4 b c d e f g a ea g f }
{ e4 a g f c2e d8 c f4 d2}
I think it would be absolutely awesome. And i'm willing to pay $50
for implementing thist in Frescobaldi!
What do you think? Will you add some amount to the bounty, so that it
will be easier for Wilbert to find time to add this? ;)
Janek
Interesting, let me see..
I have to see if Frescobaldi has an internal representation of durations and
time signatures/bar length, but I guess not. This way the conversion from
parallel back to sequential is a bit tricky since you need to keep track of the
current time signature.
I try to do it as as a standalone Python function so Fresobaldi and other
editors can use it. No promises..
Nils
http://www.laborejo.org
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Re: Reviews of LilyPond...
On Fri, 7 Sep 2012 14:25:14 -0700 Nathan when.possi...@gmail.com wrote: On Fri, Sep 7, 2012 at 2:15 PM, Brett McCoy idragos...@gmail.com wrote: On Fri, Sep 7, 2012 at 4:42 PM, David Kastrup d...@gnu.org wrote: Well, I found LilyPond rated on a download site URL:http://download.cnet.com/LilyPond/3000-2141_4-73566.html#rateit. The download info appears more or less accurate, the reviews appear to be from 2.12. But I doubt that they would have changed significantly with 2.16... The interface is extremely primitive. The programmer probably just doesn't know Windows programming. That made me laugh somewhat out loud. This bit made me chuckle: There was also an open CMD window. Maybe I'm just being paranoid, but it struck me as suspicious. Why would a true Windows program have a CMD window and need user interaction to start? They have discovered the true nature of Lilypond. An elaborate virus. But since the Lilypond devs never learned proper windows programming the virus failed so far. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Translation for musical phrase Niveau-Überschreitung or Niveau-Unterschreitung?
Voice overlapping seems to be the nearest match. The example on Wikipedia is a
bit confusing because it also shows the correct resolution of both chords (b'
to c'' and g' to c'') which make the e'' sounds like appearing out of nowhere.
But from the description I think this is not what Wikipedia means.
thanks!
Nils
On Mon, 31 Jan 2011 09:40:52 +0100
Jan Warchoł lemniskata.bernoulli...@gmail.com wrote:
2011/1/31 Christ van Willegen cvwille...@gmail.com
Hello Nils,
2011/1/30 Nils Gey den...@nilsgey.de:
do you know the name for the music theoretical voice progression which
can be seen in this picture?
The lower voice in the second cord is higher than the higher voice in the
first chord. Second measure shows the same, inverted.
Perhaps 'voice crossing' is what you are looking for?
No, i don't think so.
I think the example was meant to be read in this way:
\new Staff {
\new Voice {
\voiceOne e'2 c'' e'' g'
}
\new Voice {
\voiceTwo c'2 a' b' e'
}
}
(see attachment)
Nils, maybe its voice overlapping? I've just stumbled upon this term
mentioned in this Wikipedia article:
http://en.wikipedia.org/wiki/Voice_crossing
HTH,
Janek
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Re: Translation for musical phrase Niveau-Überschreitung or Niveau-Unterschreitung?
This is not about voice crossing. For something simple like crossing you look up wikipedia and don't steal time from real humans on a mailing list :) In German speaking music theory the term Niveauüberschreitung is quite common. A quick google search shows some amateur theory websites about this http://www.musiktheorie.org/glossar/niveauueberschreitung.htm http://www.lehrklaenge.de/html/weitere_regeln.html and others. To specify I have attached a new image, created by Janek Warchoł. If we assume Soprano and Alt you can see that there is no voice crossing. On each chord soprano sings the higher and alt the lower note. However: Alt first sings c' and soprano e'. Second chord alt sings a' which is e', the former soprano note. Thats the fact and I need a word for it. Not something made up but an established phrase I can use in documentation and programs menu-labels. Greetings, Nils On Mon, 31 Jan 2011 09:27:44 +0100 David Kastrup d...@gnu.org wrote: Christ van Willegen cvwille...@gmail.com writes: Hello Nils, 2011/1/30 Nils Gey den...@nilsgey.de: do you know the name for the music theoretical voice progression which can be seen in this picture? The lower voice in the second cord is higher than the higher voice in the first chord. Second measure shows the same, inverted. Perhaps 'voice crossing' is what you are looking for? The German term for that would be Stimmkreuzung. I never ever heard Niveauüberschreitung. From the image you sent, it's not clear that the notes are from different voices. Were I to show this to the choir I sing in, the sopranos would sing the highest note, and not the lowest in the second chord. Yup. The description is so vague and inconsistent, it is hard to figure out what he is trying to describe. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user attachment: test.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Translation for musical phrase Niveau-Überschreitung or Niveau-Unterschreitung?
Hello list, do you know the name for the music theoretical voice progression which can be seen in this picture? The lower voice in the second cord is higher than the higher voice in the first chord. Second measure shows the same, inverted. The German term is Niveau-Überschreitung or Niveau-Unterschreitung which means something like going above or falling below a level. Nils http://www.denemo.org attachment: niveau-ueberschreitung-unterschreitung.png.png___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Fermata in four voice pieces: Inner ones visible in single-staff but not visible in combined staffs
Hey people, I have vocal pieces which have all fermatas in all voices so that I can print each voice alone. But for a reduction to a 2-staff system I only want the Soprano and Bass fermata visible (top first and bottom of second staff) but not the inner ones. Do you know a way to do that? I currently use the voice presets \voiceOne and \voiceTwo. Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Stem Length (in percent?)
I hope this will be a quick answer. I am currently preparing scores, vocal SATB, but the publisher thinks the Bass staff stem length are not long enough. Is there a way to keep the auto-length but increase the length by, maybe, a percent value? I think I need around 105 or 106 percent of the original length. Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: ways of using Lilypond?
An important but unasked question is for what do you need notation?
If it is just transcribing from paper the task is not that critical.
You need to get in information you already know. But if you compose
or arrange and you are not a conservative person who was taught to
repeat the sentence real composers use pen and paper over and over
again you want to have more control over your music.
I think that lilypond is not suited for composing in its syntax. Its an
engraver with the purpose to create notation sheets. How the
information was generated does not matter.
So you need an additional tool to write and modify your notes in a
more musical way. And thats Denemo.
Nils
Am Sun, 19 Dec 2010 12:53:57 +0100
schrieb Alexander Kobel n...@a-kobel.de:
On 2010-12-19 10:30, Jan Warchoł wrote:
2010/12/19 Ludo Beckerslazy...@gmail.com:
I guess I asked this question because I'm not sure whether or not
I should first learn Lilypond syntax and then see if I want/need
to use tools besides it.
I recommend doing so. I'm not a very skilled user yet, but it
appears certain to me that you'll better understand how LilyPond
works if you learn it's syntax.
+1. On the other hand, I do not recommend using NotePad for this. I
don't think you really need syntax highlighting, but parentheses
matching and automatic indentation is incredibly helpful.
Most editors should be able to handle the { } constructs;
typically requires a LilyPond mode or some manual configuration, but
is less important IMHO.
Personally, I use Emacs with lilypond-mode and a few .ly templates I
wrote by hand, but I happen to run Frescobaldi every now and then for
its Lyric hyphenator feature. For larger scores, I typically also
write a Makefile, and I use Okular as preview.
Cheers,
Alexander
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Unknown final note shape / object. What it is?
I stumbled upon this picture of notation and I've never seen the final note (in each voice, the right page voices have a slightly different version) http://anaigeon.free.fr/mes_facs/fsjosq.jpg From the position it must be a longa, the fermata over it indictates the same. Best visible on the top left version is that there is indeed the right-handed stem from a longa at the end of this symbol. Has anyone seen this in a different context? I would like to see more pictures or versions. Btw. if you know any other strange or seldom used notation symbols please let me know :) Greetings, Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Unknown final note shape / object. What it is?
On Fri, 10 Dec 2010 21:40:15 + Owain Sutton m...@owainsutton.co.uk wrote: On 21:32, Fri, 10 Dec 2010, Nils Gey wrote: I stumbled upon this picture of notation and I've never seen the final note (in each voice, the right page voices have a slightly different version) http://anaigeon.free.fr/mes_facs/fsjosq.jpg From the position it must be a longa, the fermata over it indictates the same. Best visible on the top left version is that there is indeed the right-handed stem from a longa at the end of this symbol. Has anyone seen this in a different context? I would like to see more pictures or versions. Btw. if you know any other strange or seldom used notation symbols please let me know :) Greetings, Nils Probably just a scribal quirk - the incomplete illuminations give some idea of how prestigious this volume was (or was intended to be). Which source is it? If going to the root of this URL does not help I don't know. Google image search. I searched through mensural music (and medieval) for exactly these things. Strange looking or nice looking things in notation (without the usual Ars Subtilior Heart-Shape Notation) Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musescore
We will see where this leads. Set course to intercept, Number One Nils, out. http://www.denemo.org On Thu, 09 Dec 2010 11:49:57 +0100 Jan Nieuwenhuizen jann...@gnu.org wrote: This is smart pr http://www.facebook.com/l.php?u=http%3A%2F%2Fmusescore.org%2Fen%2Fabout%2Ftestimonialsh=cd3b2 also note they have 1500 fans on #fb today! Greetings, Jan -- Jan Nieuwenhuizen jann...@gnu.org | GNU LilyPond http://lilypond.org Freelance IT http://JoyofSource.com | Avatar® http://AvatarAcademy.nl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Lyrics] Ignoring tie
What a great example of how Lilypond saves the day. In my eyes thats exactly the reason why Lilypond exists, because it usually knows better how to do things. Janek and Bill are correct: Removing the ties is the correct musical/notation decision. A tie and two syllabes are mutually excluisve. Breaking this notation-rule will confuse your musicians. Nils On Thu, 11 Nov 2010 09:01:47 +0100 Jan Warchoł lemniskata.bernoulli...@gmail.com wrote: Hi, 2010/11/11 Carlo Stemberger carlo.stember...@gmail.com: Hi, how can I obtain the correct syllabification? http://img132.imageshack.us/img132/5413/schermataminuitchretien.png https://github.com/Stemby/open- scores/blob/master/AdamCantiqueDeNoel/minuit_chretiens.ly (see lines 95--97 and 156) You have two options: - specify syllabe durations manually, as described in Notation Reference 2.1.3 Manual Syllabe Durations http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Aligning-lyrics-to-a-melody#Manual-syllable-durations, this way you can have ties where they are (but there will be some problems with some syllabes being improperly left-aligned) - do as Bill suggested: remove tie. The second option is better because it is more logical: a tie means that two notes should be merged and sound as one, but that's impossible because singing two syllabes makes two sounds. The situation is similar when there is a slur across some notes: the slur means that the notes should be performed without any perceptible interruption between them (music glossary 1.166), but if you sing many syllabes over a slurred passage, there certainly will be perceptible interruption between notes. Note that this situation is different when /phrasing slur/ is used (unfortunately phrasing slur looks exactly like a regular slur...). Hope that helps, Janek ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar line at the point where all voices overflow
But it rather common _not_ to write the bar lines _inside_ of the staffs (where they would have to cross the occasional note), but between the staffs. The snippets for ancient music have an example, but I can't quite figure out what produces the in-between bar lines. -- David Kastrup The In-Between barlines are not a special thing. You need to use a StaffGroup, which has barlines in between by default. The snippet just shows how to not engrave the barlines which are in the staff itself. So whats left is the part of the barline in between. Don't forget to enable engraving again at the end of the piece (or you will not have a final barline. The starting barline is there by default) Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar line at the point where all voices overflow
Its even easier.
You don't need to create global. The global method has the problem that you
need to fill in all these skips.
Instead, place this before the first note in any staff:
\override Score.BarLine #'transparent = ##t
and as last item, in any staff again:
\revert Score.BarLine #'transparent (or \override Score.BarLine
#'transparent = ##f)
\bar |.
This together with StaffGroup is enough for a mensural score. You can even put
the transparent = ##t override into the movements (\score = {} ) layout block.
I did not find a way to place the \revert (or better: the final barline)
outside of the staff itself. If you know any, please tell me.
Nils
On Tue, 9 Nov 2010 12:11:43 +0100
Jan Warchoł lemniskata.bernoulli...@gmail.com wrote:
2010/11/9 David Kastrup d...@gnu.org:
Xavier Scheuer x.sche...@gmail.com writes:
BTW as a musician, I would not know how to play such scores where some
players have more notes (beats) to play than other in the same
measure...
They don't.
Are we supposed to wait the last one that has the higher overflow?
Are you sure it is not an error?
In Renaissance music, you don't write ties for syncopes crossing the bar
(and writing them would give a false impression of the rhythmic flow).
But it rather common _not_ to write the bar lines _inside_ of the staffs
(where they would have to cross the occasional note), but between the
staffs. The snippets for ancient music have an example, but I can't
quite figure out what produces the in-between bar lines.
It's called mensurstriche layout.
Take a look at Notation Reference 2.8.5.
Basically it's acheved in LilyPond by using StaffGroup instead of
ChoirStaff, and making barlines invisible.
Vit, have you tried using it with newest development version
(2.13.38)? I think it solves your problem (if i understood you
correctly), take a look at this:
\version = 2.13.38
global = {
\override Staff.BarLine #'transparent = ##t
s1 s s
% the final bar line is not interrupted
\revert Staff.BarLine #'transparent
\bar |.
}
\new StaffGroup \relative c'' {
\new Staff { \global { c1 c2 c1 c2 } }
\new Staff { \global { c1 c2. c1 c4 } }
}
cheers,
Jan
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Redefining barline command
Hello Lilyponds, I want to redefine (advanced version: only for the current movement) that everytime I use \bar |. instead, internaly, this should be used: \once \override Score.BarLine #'transparent = ##f \bar |. How can I do this? Background: I deactivated barlines to get a mensural output. This deactivates the final, closing, barline, too. |. The transparent == ##t override can be placed in the movements layout block which is fine because its valid only for one movement. But how do I get the final barline back without placing the directive inside of a staff? A staff can be deleted and the instruction would be lost. My solution is to override the |. bar to be drawn over the complete staff. Maybe there is a better solution to place \revert Score.BarLine #'transparent ? Greetings, Nils http://www.denemo.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Triple b or # - do they exist?
Hello list, last night in a discussion someone claimed that there is a triple bbb in real music, he said it was in a Chopin piece but could not say which. I think I am fairly educated in music but never heard of a triple bbb or ###. Do you know any? Nils http://www.denemo.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Denemo 0.8.18 Release - Free and Open Music Notation Editor
Get Denemo 0.8.18 http://denemo.org/index.php/Get_Denemo Release Notes: -Default behavior is now non-modal * You can choose one out of four Shortcut systems, including the Classic one. * an easy to understand and very slick interface via keyboard * seamless integration with MIDI controllers -Better Paste command. -Musical Snippets - store musical riffs/motifs to be pasted at will or as rhythmic templates for playing over. Maximize the space for the score (with/without user's choice of menus). * Standard View - window size, zoom, number of systems etc * No-Menu version of this view * Page View - user chooses a window size, zoom and number of systems, which is stored with the movement for instant recall. * Single keyboard shortcut for toggling between these views (Esc by default). -MIDI transport work for JACK users. -Fix Chord Symbols for music starting with triplets, grace notes etc. -Fix display of dotted rests -Arbitrary Tuplets built in: correct MIDI output as well as engraving, of course. -Diatonic Transposition: Shift notes and chords up and down respecting the current key signature. -Support for figured bass extenders, including those with no starting figure. -Cursor can be highlighted, making it easier to locate -Page turning is animated: as the last line starts to play, the page visibly turns at the top. -Purely rhythmic notes playback using percussion - click tracks more easily generated. -Split Notes and Chords to smaller notes while preserving the original duration (make a quarter note two 8th or tuplet of 8th or 7-tuplet) -Duplicate a Note or Chord as command -Command line interface for interactive scheme use -Support for the French clef (G on bottom line) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
How to write drone char/note under the key-signature?
Hello World, I often work with drone-instruments like bagpipes which need to know how to tune their drones. In my handwritten notation I included the Drone indicator below the keysig as simple text A or A/E (without absolute pitch). It should appear anytime the keysig appears. Key-changes, Start of the Staff etc. How do I do that in Lilypond? Or do you have any other ideas where a Drone Signature could be placed? Either as Notes or as Text. Nils ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
