Re: markup for circular bowing
Hi Carl, Pierre, Aaron, thanks so much for all your help, amazing! Am Mittwoch, den 14. Februar 2024 um 09:10:59 Uhr (-0700) schrieb Carl Sorensen: > > Is this supposed to be the same thing as circular scrape in chop bowing? > If so, SMUFL has a glyph defined: > > https://w3c.github.io/smufl/latest/tables/chop-percussive-bowing-notation.html > > I'd be willing to add such a glyph to LilyPond, if what you're after is the > same intent as the SMUFL glyph. These signs seem to indicate a scratching (noisy) sound in different directions. All these signs actually are/would be very useful for contemporary playing techniques and the circular bowing sign could be used for "real" circular bowing as well, although it seems that in this context it is intended to indicate a noisy sound (with very low bow pressure). "Real" circular bowing actually is not noise-like but can be performed with continuous "normal" sound always shifting between sul tasto and sul ponticello (fewer or less overtones) and I know it being indicated with the sign I sent in my previous mail. It nevertheless would be quite handy to be able to use the signs from SMUFL in lilypond as well and I'd be willing to sponsor or participate in sponsoring it (would 50,- Euros be ok as a starting point?). Best, Orm ---------- Prof. Orm Finnendahl Komposition Hochschule für Musik und Darstellende Kunst Eschersheimer Landstr. 29-39 60322 Frankfurt am Main https://www.youtube.com/watch?v=2rWha1HTfFE=PLiGfneJSWmNw6dTUvcTHbTkCYOOTiB_N6
markup for circular bowing
Hi, I'd like to make a sign for circular bowing like in the attached png. The example was done using an epsfile, but unfortunately that doesn't export to svg, which I need. So it should be done using lilypond's builtin markup commands (or scheme code). Can someone point me to examples to do circular arcs with attached arrows (can also be scheme code)? I couldn't find anything similar in the docs/internet. -- Orm
Re: convert-ly and lilypond-invoke-editor missing gettext
Hi, I found the reason: In my installation the ~/bin folder was symlinked to the bin folder of the lilypond installation and that threw it off. The following change to the second line of the convert-ly and lilypond-invoke-editor scripts fixes it to facilitate symlinks: change root="$(dirname $0)" to root="$(dirname "$(readlink -f "$0")")/.." That should be backwards compatible and work in any circumstance. -- Orm Am Mittwoch, den 17. August 2022 um 13:13:44 Uhr (+0200) schrieb Orm Finnendahl: > Hi, > > after upgrading from lilpond 2.19 to 2.23, lilypond-invoke-editor and > convert-ly stopped working. > > In both cases I get > > Traceback (most recent call last): > File "~/bin/../libexec/convert-ly", line 24, in > import gettext > ModuleNotFoundError: No module named 'gettext' > > I installed python-gettext on my systemwide python installation but it > seems lilypond gets shipped with its own python3.10 binary and invokes > that. > > Does anybody know how to make it working? > > -- > Orm >
convert-ly and lilypond-invoke-editor missing gettext
Hi, after upgrading from lilpond 2.19 to 2.23, lilypond-invoke-editor and convert-ly stopped working. In both cases I get Traceback (most recent call last): File "~/bin/../libexec/convert-ly", line 24, in import gettext ModuleNotFoundError: No module named 'gettext' I installed python-gettext on my systemwide python installation but it seems lilypond gets shipped with its own python3.10 binary and invokes that. Does anybody know how to make it working? -- Orm
shift accidental
Hi,
below is a snippet and attached a pdf which shows the f sharp
accidental in the lower voice on the downbeat of bar 2 too far away
from the notehead. The distance seems to be related to the tied note
in the upper voice. Although the accidental is not repeated there, it
is taken into account for the placement of the accidental in the lower
voice. How can I fix it? I'm sure this has come up before but I
couldn't find anything in the LSR and google couldn't help with my
search terms either.
--
Orm
8<---
\version "2.23.11"
<< {
cis''1 ~ cis''2
} \\ {
s2 a'4 g'4 fis'2
} >>
8<---
test.pdf
Description: Adobe PDF document
Re: woodwind-diagram overrides
Am Mittwoch, den 20. Juli 2022 um 22:00:53 Uhr (+0200) schrieb David Kastrup: > Well, that's more or less what > > #(begin > > ... > > ) > > does. Wow, cool! I assume #'defines than work in the top-level, right? Should've thougt of that but admittedly my scheme is a bit rusty... -- Orm
Re: woodwind-diagram overrides
Hi, Am Mittwoch, den 20. Juli 2022 um 13:14:25 Uhr (-0600) schrieb Carl Sorensen: > The way to do this is to write the plain scheme code files as lilypond > files. > > Put the functions in a .ly file. > > Preface each function with # (to put the parser into scheme mode). Thanks, I'm aware of that but that's a bit tedious. I hoped there is an on/off command to put the lilypond parser into scheme mode before the scheme code and put it back into the normal mode afterwards, but assume from your answer this hasn't been implemented. -- Orm
woodwind-diagram overrides
Hi, for a new piece I need to display Oboe woodwind fingering diagrams according to the book "The Techniques of Oboe Playing" by Peter Veale. Lilypond's standard woodwind fingerings for oboe in non graphic mode are similar, but have some significant differences to the method used in the book which seems to be common practise nowadays. I managed to find out how to modify the code in "define-woodwind-fingerings.scm" and "display-woodwind-fingerings.scm" to adhere to the way it is displayed in the book. Despite the very elaborate and flexible woodwind fingering interface of lilypond it unfortunately is not possible to entirely mimick the model by defining a custom instrument using #'generate-oboe-family-entry, so I had to overwrite existing functions in the interface. It would be possible to redefine the interface to allow for these changes to be adjustable using properties given to woodwind-fingerings, but that would have to get merged into the main tree (I'd be willing to contribute the code in case the devs like to add it to the code base). Alternatively: Is there a way to load the necessary scheme code of the functions in question by defining some \include statement for plain scheme code files in the .ly file, ensuring they are loaded "after" lilypond's files in /usr/share/lilypond/current/scm? -- Orm
Re: circle around stem
Hi,
FYI: I mostly solved it by setting Stem.details.lengths (see below).
Setting this property within the stencil function doesn't seem to work
(it's the line: "(ly:grob-set-nested-property! grob '(details lengths)
'(3.5 3.5 4.25 5 6 7 8))" in #'damp-stem).
I assume this happens because the stencil function is called after the
length already has been determined, or because I misunderstand the
syntax and I'd be interested if someone can shed a light on that (and
maybe even provide a solution), but this already is very usable the
way it is.
--
Orm
8<---
#(define (damp-stem grob)
(if (ly:stencil? (ly:stem::print grob))
(let* ((stencil (ly:stem::print grob))
(X-ext (ly:stencil-extent stencil X))
(Y-ext (ly:stencil-extent stencil Y))
(dir (ly:grob-property grob 'direction))
(width (interval-length X-ext))
(len (interval-length Y-ext))
(y-offs (if (= dir 1) 1.29 (- len 1.29
(ly:grob-set-nested-property! grob '(details lengths) '(3.5 3.5 4.25 5 6 7
8))
(ly:stencil-translate
(grob-interpret-markup grob
(markup
(#:path width
(list (list 'moveto -0 0)
(list 'lineto -0 len)))
(#:hspace -1.19)
(#:raise y-offs
(#:draw-circle 0.45 width #f
(cons 0 (interval-start Y-ext
#f))
damp = { \once \override Stem.details.lengths = #'(3.5 3.5 4.25 5 6 7 8)
\once \override Stem.stencil = #damp-stem }
{\autoBeamOff
\override Stem.details.lengths = #'(3.5 3.5 4.25 5 6 7 8)
\override Stem.stencil = #damp-stem c'4 c'8 c'16 c'32 c'64 c'128 s32 c''4 c''8
c''16 c''32 c''64 c''128
\revert Stem.details.lengths
\revert Stem.stencil
\damp c'32
\damp c''32
c''32
}
8<---
Am Freitag, den 08. Juli 2022 um 16:22:22 Uhr (+0200) schrieb Orm Finnendahl:
> Hi,
>
> trying to define an overwrite to draw a circle around a stem I came
> up with the code below. Unfortunately it doesn't automagically work
> for all use cases as can be seen in the attached image: The code
> doesn't take the number of flags into account. I know that the stem
> length can be altered with a tweak, but I'd prefer this to be
> corrected without manual intervention. Is there a way within the
> damp-stem function to force a minimum stem-length depending on the
> number of flags if notes aren't beamed?
>
> --
> Orm
>
> 8<---
> #(define (damp-stem grob)
>(if (ly:stencil? (ly:stem::print grob))
> (let* ((stencil (ly:stem::print grob))
>(X-ext (ly:stencil-extent stencil X))
>(Y-ext (ly:stencil-extent stencil Y))
>(dir (ly:grob-property grob 'direction))
>(width (interval-length X-ext))
>(len (interval-length Y-ext))
>(y-offs (if (= dir 1) 1.29 (- len 1.29
> (ly:stencil-translate
> (grob-interpret-markup grob
>(markup
> (#:path width
> (list (list 'moveto -0 0)
> (list 'lineto -0 len)))
> (#:hspace -1.13)
> (#:circle
> (#:path 0.15
> (list
>(list 'moveto 0 y-offs))
> (cons 0 (interval-start Y-ext
> #f))
>
> damp = { \once \override Stem.stencil = #damp-stem }
>
> {\autoBeamOff
> \override Stem.stencil = #damp-stem c'4 c'8 c'16 c'32 c'64 s32 c''4 c''8
> c''16 c''32 c''64 }
> 8<---
circle around stem
Hi,
trying to define an overwrite to draw a circle around a stem I came
up with the code below. Unfortunately it doesn't automagically work
for all use cases as can be seen in the attached image: The code
doesn't take the number of flags into account. I know that the stem
length can be altered with a tweak, but I'd prefer this to be
corrected without manual intervention. Is there a way within the
damp-stem function to force a minimum stem-length depending on the
number of flags if notes aren't beamed?
--
Orm
8<---
#(define (damp-stem grob)
(if (ly:stencil? (ly:stem::print grob))
(let* ((stencil (ly:stem::print grob))
(X-ext (ly:stencil-extent stencil X))
(Y-ext (ly:stencil-extent stencil Y))
(dir (ly:grob-property grob 'direction))
(width (interval-length X-ext))
(len (interval-length Y-ext))
(y-offs (if (= dir 1) 1.29 (- len 1.29
(ly:stencil-translate
(grob-interpret-markup grob
(markup
(#:path width
(list (list 'moveto -0 0)
(list 'lineto -0 len)))
(#:hspace -1.13)
(#:circle
(#:path 0.15
(list
(list 'moveto 0 y-offs))
(cons 0 (interval-start Y-ext
#f))
damp = { \once \override Stem.stencil = #damp-stem }
{\autoBeamOff
\override Stem.stencil = #damp-stem c'4 c'8 c'16 c'32 c'64 s32 c''4 c''8 c''16
c''32 c''64 }
8<---
Re: Pat Waing Notation
Hi Jaques, Werner, I wasn't aware of that, thanks that seems to be everything I need! I'm no expert but it might well be that the notation in Myanmar is of Chinese origin. I'll also ask a Chinese student of mine. He is quite knowledgable about Chinese music and might be able to help understanding the notation. Best, Orm -- Prof. Orm Finnendahl Komposition Hochschule für Musik und Darstellende Kunst Eschersheimer Landstr. 29-39 60322 Frankfurt am Main https://www.youtube.com/watch?v=2rWha1HTfFE=PLiGfneJSWmNw6dTUvcTHbTkCYOOTiB_N6 Am Montag, den 15. November 2021 um 15:57:14 Uhr (+0100) schrieb Jacques Menu: > Hello Orm, > > Using jianpu-ly, you can get the following, i.e. numbers only. > > JM > > > > > > > > > > Le 15 nov. 2021 à 15:24, Werner LEMBERG a écrit : > > > > > >> I'm working on a piece for Pat Waing, a traditional instrument from > >> Myanmar consisting of 20 tuned drums. Musicians from Myanmar use a > >> special form of notation, using numbers for the pitches with dots > >> underneath or above indicating the octave. > > > > This notation is looks like jiǎnpǔ (簡譜); have a look at Silas > > Brown's page: > > > > http://ssb22.user.srcf.net/mwrhome/jianpu-ly.html > > > > > > Werner >
Pat Waing Notation
Hi,
I'm working on a piece for Pat Waing, a traditional instrument from
Myanmar consisting of 20 tuned drums. Musicians from Myanmar use a
special form of notation, using numbers for the pitches with dots
underneath or above indicating the octave.
I would like to find a generic way to notate the music in lilypond
using a special Staff with no staff lines, preferably with a
transcription into western notation in a seperate staff above. The
attached image shows an example: the bottom "staff" contains the
Myanmar notation, the western staff above the transcription.
The music should ideally be written in Western notation in the
lilypond sources, but be presented/rendered as shown in the attached
image. I assume some sort of Tabulature has to be created to
accommodate this and I'm open to any suggestions.
As the traditional notation often also uses horizontal beams below a
group of numbers to indicate rhythms (mainly eighth or sixteenth, used
without stems) my first thought was to notate the music with special
noteheads and invisible stems. As all noteheads should get engraved on
the same vertical position the notehead markup needs to have the
correct vertical offset from its default position, but to me this
seems like an ugly hack.
Here is my first attempt on realizing the markup:
8<-
\version "2.19"
pwaa = \markup {
\abs-fontsize #10 {
\override #'(baseline-skip . 0.5)
\center-column { {} {2} {.} {.}} }}
pwab = \markup {
\abs-fontsize #10 {
\override #'(baseline-skip . 0.5)
\center-column { {} {2} {.} {}} }}
pwac = \markup {
\abs-fontsize #10 {
\override #'(baseline-skip . 0.5)
\center-column { {} {2} {} {}} }}
pwad = \markup {
\abs-fontsize #10 {
\override #'(baseline-skip . 1.8)
\center-column { {.} {2} {} {}} }}
{\clef "bass" \relative c { \time 4/4 g_\pwaa g'_\pwab
\clef "G" g'_\pwac g'_\pwad } }
8<-
Any help is appreciated!
Best,
Orm
pat-waing.pdf
Description: Adobe PDF document
Re: change custom notehead for different stem direction
Hi Lukas,
thanks, looks excellent, will adopt to that style!
Best,
Orm
--
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frankfurt am Main
https://www.youtube.com/watch?v=2rWha1HTfFE=PLiGfneJSWmNw6dTUvcTHbTkCYOOTiB_N6
Am Mittwoch, den 08. September 2021 um 16:49:00 Uhr (+0200) schrieb
Lukas-Fabian Moser:
> Hi Orm,
>
> Am 08.09.21 um 13:23 schrieb Orm Finnendahl:
> > below is a working example for the record. You can tweak the
> > linewidth changing "setlinewidth 1" in flpizzleft and flpizzright or
> > the angles/proportions of the lines in the line containing the moveto,
> > lineto and stroke. Even if you don't know Postscript it should be
> > fairly obvious. When changing the linewidth you might have to adjust
> > the connection points for the stems accordingly.
>
> Motivated in part by recent discussions on -devel on whether or not there's
> a long-term need for \postscript support, I rewrote your code without
> postscript, stream-lining a bit along the way:
>
> \version "2.22.0"
>
> flpizz =
> \markup
> \with-dimensions #'(0 . 0.9) #'(-0.4 . 0.4)
> \path #0.2 #'((moveto 0.9 0.4)
> (lineto 0 0)
> (lineto 0.9 -0.4))
>
> %{
> % Uncomment if \flpizzleft and \flpizzright are both needed e.g. in markups
>
> #(define-markup-command (Xflip layout props arg) (markup?)
> "Flips a markup horizontally keeping its extents (absolute positions)"
> (let* ((orig (interpret-markup layout props arg))
> (extent (ly:stencil-extent orig X)))
> (ly:stencil-translate-axis
> (ly:stencil-scale orig -1 1)
> (+ (car extent) (cdr extent))
> X)))
>
> flpizzleft = \flpizz
> flpizzright = \markup \Xflip \flpizzleft
> %}
>
> flutepizz = \temporary {
> \override NoteHead.stencil =
> #(lambda (grob)
> (let*
> ((notehead (grob-interpret-markup grob flpizz))
> (notecolumn (ly:grob-parent grob X))
> (stem (ly:grob-object notecolumn 'stem))
> (direction (ly:grob-property stem 'direction)))
> (if (positive? direction)
> (ly:stencil-scale notehead -1 1)
> notehead)))
> \override NoteHead.stem-attachment = #'(1.223 . -0.1)
> }
>
> flutepizzOff = \undo\flutepizz
>
> {
> \flutepizz c''4 f'16 c' d' cis'' \flutepizzOff d''4
> }
>
> Lukas
>
Re: change custom notehead for different stem direction
Hi all,
below is a working example for the record. You can tweak the
linewidth changing "setlinewidth 1" in flpizzleft and flpizzright or
the angles/proportions of the lines in the line containing the moveto,
lineto and stroke. Even if you don't know Postscript it should be
fairly obvious. When changing the linewidth you might have to adjust
the connection points for the stems accordingly.
Thanks again, Lukas!
--
Orm
8<---
flpizzleft = \markup { \with-dimensions #'(0 . 0.9) #'(0 . 0.8)
\postscript #"0 setgray
1 setlinecap
1 setlinejoin
0.2 setlinewidth
0.9 0.8 moveto 0 0.4 lineto 0.9 0 lineto stroke
" }
flpizzright = \markup { \with-dimensions #'(0 . 0.9) #'(0 . 0.8)
\postscript #"0 setgray
1 setlinecap
1 setlinejoin
0.2 setlinewidth
0 0.8 moveto 0.9 0.4 lineto 0 0 lineto stroke
" }
flutepizz = {
\override NoteHead.stencil = #ly:text-interface::print
\override NoteHead.text =
#(lambda (grob)
(let*
((notecolumn (ly:grob-parent grob X))
(stem (ly:grob-object notecolumn 'stem))
(direction (ly:grob-property stem 'direction)))
(markup #:general-align
Y CENTER
(if (positive? direction) flpizzright flpizzleft
\override NoteHead.stem-attachment =
#(lambda (grob)
(let*
((notecolumn (ly:grob-parent grob X))
(stem (ly:grob-object notecolumn 'stem))
(direction (ly:grob-property stem 'direction)))
(if (positive? direction) '(1.223 . -0.1) '(1.223 . -0.1
}
{ \flutepizz c''4 f'16 c' d' cis''}
8<---
Am Mittwoch, den 08. September 2021 um 10:32:35 Uhr (+0200) schrieb
Lukas-Fabian Moser:
> Hi Orm,
>
> > for flute pizzicato in contemporary music, it is quite common to use
> > a ">" as a notehead. With a stem down, the ">" should be changed to a
> > "<" as visible in the attached png.
> >
> > I know how to change the notehead by overriding the NoteHead stencil
> > with an eps file, but can't find any information about automatically
> > changing the glyph depending on stem direction. Is that possible in
> > lilypond and does anybody have advice?
> >
> > It's cumbersome to do this by hand each time stem direction is
> > changed.
>
> Unfortunately you didn't provide a working example, hence my cumbersome and
> ugly choice of > or < for "note-heads".
>
> \version "2.22.0"
>
> \relative
> {
> \override NoteHead.stencil = #ly:text-interface::print
> \override NoteHead.text =
> #(lambda (grob)
> (let*
> ((notecolumn (ly:grob-parent grob X))
> (stem (ly:grob-object notecolumn 'stem))
> (direction (ly:grob-property stem 'direction)))
> (markup #:general-align
> Y CENTER
> (if (positive? direction) ">" "<"
> c'4 d e f g a b c d e f
> }
>
> Of course, one might adapt the general logic to either use glyphs better
> suited than ">"/"<", or even conditionally rotate/mirror _any_ note-head
> depending on the direction. (One might use grob-transformer for that.)
>
> Lukas
>
Re: change custom notehead for different stem direction
Hi Lukas,
thanks, that's perfect! I'll provide a working example to share as
soon as I've finished the code.
Best,
Orm
Am Mittwoch, den 08. September 2021 um 10:32:35 Uhr (+0200) schrieb
Lukas-Fabian Moser:
> Hi Orm,
>
> > for flute pizzicato in contemporary music, it is quite common to use
> > a ">" as a notehead. With a stem down, the ">" should be changed to a
> > "<" as visible in the attached png.
> >
> > I know how to change the notehead by overriding the NoteHead stencil
> > with an eps file, but can't find any information about automatically
> > changing the glyph depending on stem direction. Is that possible in
> > lilypond and does anybody have advice?
> >
> > It's cumbersome to do this by hand each time stem direction is
> > changed.
>
> Unfortunately you didn't provide a working example, hence my cumbersome and
> ugly choice of > or < for "note-heads".
>
> \version "2.22.0"
>
> \relative
> {
> \override NoteHead.stencil = #ly:text-interface::print
> \override NoteHead.text =
> #(lambda (grob)
> (let*
> ((notecolumn (ly:grob-parent grob X))
> (stem (ly:grob-object notecolumn 'stem))
> (direction (ly:grob-property stem 'direction)))
> (markup #:general-align
> Y CENTER
> (if (positive? direction) ">" "<"
> c'4 d e f g a b c d e f
> }
>
> Of course, one might adapt the general logic to either use glyphs better
> suited than ">"/"<", or even conditionally rotate/mirror _any_ note-head
> depending on the direction. (One might use grob-transformer for that.)
>
> Lukas
>
change custom notehead for different stem direction
Hi, for flute pizzicato in contemporary music, it is quite common to use a ">" as a notehead. With a stem down, the ">" should be changed to a "<" as visible in the attached png. I know how to change the notehead by overriding the NoteHead stencil with an eps file, but can't find any information about automatically changing the glyph depending on stem direction. Is that possible in lilypond and does anybody have advice? It's cumbersome to do this by hand each time stem direction is changed. -- Orm
solved: move Full Measure Rest up
Hi,
I found it, sorry for the noise!
8<---
\version "2.19"
<<
\override MultiMeasureRest.staff-position = #8
{ R1 } \\ { aes'2 des''4 c''4 }
>>
8<---
Using a note name with \rest will place the rest on the first
beat. Is there a way to move the rest up but keep it centered in the
measure?
--
Orm
move Full Measure Rest up
Hi,
the example in the previous mail was inconsistent with the mail text,
so here again:
In the following snippet the whole measure rest in the upper voice
collides with the des in the lower voice an needs to be moved up:
8<---
\version "2.19"
<<
{ R1 } \\ { aes'2 des''4 c''4 }
>>
8<---
Using a note name with \rest will place the rest on the first
beat. Is there a way to move the rest up but keep it centered in the
measure?
--
Orm
move Full Measure Rest up
Hi,
in the following snippet the whole measure rest in the upper voice
collides with the des in the lower voice an needs to be moved up:
8<---
\version "2.19"
<<
{ R1 }
\\
{ aes'2 bes'4 c''4 | %40
bes'4 des'4 ges'4 f'4 | %41
}
>>
8<---
Using a note name with \rest will place the rest on the first
beat. Is there a way to move the rest up but keep it centered in the
measure?
--
Orm
Re: Piano pedal gradual release
Am Samstag, 30 Nov 2019 10:24:30 - schrieb Phil Holmes: > What on earth does a gradual piano pedal release achieve? Either the > dampers are touching the strings or they're not, so it's in effect a > binary choice. So a gradual release simply makes the time the sustain > ends somewhat arbitrary. not really: The right pedal actually controls the amount of pressure of the dampers to the strings at the pivot point (when the dampers start to lift) and fine control there changes the damping behaviour. This effect is not unusual in contemporary music and normally indicated using a dashed line with an arrow. -- Orm
Re: [OT] dicemusic -- a common-lisp generator of lilypond scores
Hi Mark, thanks for sharing. It's always good to know about people using CL. I'm an avid CL user for many years and maintain some packages. If you're interested, drop me a note off-list and we can share ideas. In case this is unintentional: Rather than "Eine Kleine Waltzer" you'd say "Ein kleiner Walzer" in German (you can capitalize the "kleiner" if you prefer). -- Orm Am Sonntag, den 29. September 2019 um 14:12:22 Uhr (+1000) schrieb Mark Probert: > > Hi, all. > > While not of general interest, I thought some of you might find this > small project of mine amusing. I was recently inspired by a YT video > to have a go at coding one of the late 18th C dice music games (the > "Mozart" Waltz generator Simrock published in 1793). It was a fun > exercise and then I found out that the clever folk at opus-infinity.org > had trodden this ground before me... oh well. Still I give away the > source code :-) > > Anyhow, this is one way of creating lilypond scores and I'd be grateful > if people had comments either on the lilypond idioms I've used (it is a > parallelMusic thing) or on my CL (I'm pretty new to that idiom as well). > > Anyhow, as it currently is it generates 2xbar 3/8 waltzes in a late-18C > style. They are really quite cute. > > More here > > http://archsys.net/pages/coding/#dicemusic > > Kind regards .. mark. > > ___ > 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
Hiding cautionary clef
Hi, is there a straightforward way to remove a cautionary clef at the end of a line when the clef changes between the current and the next line while keeping it at the beginning of the next line? I tried different settings for break-visibility and \omit but that either removes the Clefs alltogether or doesn't have any effect. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Including a score fragment in LaTeX document
Hi Francesco
try this:
\version "2.19.80"
\score {
\new Staff {
\clef treble
\key c \major
\time 12/8
% excerpt from Grieg Piano sonata op. 7
\relative c'' {
% 16
4.->\ff -> -> ->\> |
% 17
s1.*0\! | % I had to add this measure to get the hairpin printed
}
}
}
You can multiply any rhythmic value with a number. Using 0 ensures the
endpoint of the crescendo is found without extending the music.
--
Orm
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Re: dotted semicircle indicating harmonics
Hi Pierre, Sylvius,
I did some tests to get a better understanding of lilypond's handling
of markup. Below is an even more condensed version and also an
iterative solution in comparison for anybody interested in scheme
programming: Both functions should create the same result; the first
is somewhat more sexy not needing (re)assignment, but the second
version might be easier to understand for people not familiar with
functional expressions like "fold".
Sorry for the continued noise, but I thought I'd post it in case it is
helpful for somebody on the list.
--
Orm
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? markup?)
(interpret-markup layout props
(let ((rep (abs num)))
(cond
((= num 0) (markup ""))
((= num 1) arg)
(#t (fold
(lambda (i prev)
(markup
(#:combine
(#:rotate
(* i (/ angle rep))
(#:concat (#:null #:hspace radius arg)))
prev)))
(markup (#:null))
(iota (1+ rep
#(define-markup-command
(circled-pattern-iterative layout props radius angle num arg)
(number? number? number? markup?)
(interpret-markup layout props
(let ((rep (abs num)))
(cond
((= num 0) (markup ""))
((= num 1) arg)
(#t (do ((i 0 (1+ i))
(res (markup (#:null))
(markup
(#:combine
(#:rotate
(* i (/ angle rep))
(#:concat (#:null #:hspace radius arg)))
res
((= i (1+ rep)) res)))
testOne = \markup "."
testTwo = \markup { "!" }
\markup\circled-pattern-iterative #5 #180 #15 \testOne
\markup\circled-pattern #5 #-180 #15 \testOne
\markup\circled-pattern #5 #180 #2 \testOne
\markup\circled-pattern #5 #180 #1 \testOne
\markup\circled-pattern #5 #180 #0 \testOne
\markup\circled-pattern #5 #180 #6 \testTwo
Am Samstag, den 07. Juli 2018 um 17:45:58 Uhr (+0200) schrieb sylvius:
> This is brilliant!
>
> Thanks to all for the various solutions!
>
> > On 7. Jul 2018, at 16:18, Pierre Perol-Schneider
> > wrote:
> >
> > But of course !! Thanks very much Orm !
> > Cheers,
> > Pierre
> >
> > 2018-07-07 16:15 GMT+02:00 Orm Finnendahl
> > :
> > Hi Pierre,
> >
> > Am Samstag, den 07. Juli 2018 um 15:54:41 Uhr (+0200) schrieb Pierre
> > Perol-Schneider:
> > > Plus : any idea why 'testTwo does not work ?
> >
> > because the argument type of "arg" was string?. Below is the updated
> > version:
> >
> > --
> > Orm
> >
> >
> > %circled-pattern
> > #(define-markup-command
> > (circled-pattern layout props radius angle num arg)
> > (number? number? number? markup?)
> > (interpret-markup layout props
> >(let ((rep (abs num)))
> > (cond
> > ((= num 0) (markup ""))
> > ((= num 1) (markup arg))
> > (#t (markup
> > (#:combine
> >(#:null)
> >(fold
> > (lambda (i prev)
> > (markup
> > (#:combine
> >(#:rotate
> > (* i (/ angle rep))
> > (#:concat (#:null #:hspace radius arg)))
> >prev)))
> > (markup (#:null))
> > (iota (1+ rep))
> >
> > testOne = \markup "."
> > testTwo = \markup { \rotate #45 "!" }
> >
> > \markup\circled-pattern #5 #180 #15 \testOne
> > \markup\circled-pattern #5 #-180 #15 \testOne
> > \markup\circled-pattern #5 #180 #2 \testOne
> > \markup\circled-pattern #5 #180 #1 \testOne
> > \markup\circled-pattern #5 #180 #0 \testOne
> >
> > \markup\circled-pattern #5 #360 #5 \testTwo
> >
> >
> > ___
> > lilypond-user mailing list
> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
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Re: dotted semicircle indicating harmonics
Hi Pierre,
Am Samstag, den 07. Juli 2018 um 15:54:41 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Plus : any idea why 'testTwo does not work ?
because the argument type of "arg" was string?. Below is the updated
version:
--
Orm
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? markup?)
(interpret-markup layout props
(let ((rep (abs num)))
(cond
((= num 0) (markup ""))
((= num 1) (markup arg))
(#t (markup
(#:combine
(#:null)
(fold
(lambda (i prev)
(markup
(#:combine
(#:rotate
(* i (/ angle rep))
(#:concat (#:null #:hspace radius arg)))
prev)))
(markup (#:null))
(iota (1+ rep))
testOne = \markup "."
testTwo = \markup { \rotate #45 "!" }
\markup\circled-pattern #5 #180 #15 \testOne
\markup\circled-pattern #5 #-180 #15 \testOne
\markup\circled-pattern #5 #180 #2 \testOne
\markup\circled-pattern #5 #180 #1 \testOne
\markup\circled-pattern #5 #180 #0 \testOne
\markup\circled-pattern #5 #360 #5 \testTwo
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Re: dotted semicircle indicating harmonics
Hi List, for conciseness the example should be reduced even more (if someone wants to post it to LSR I'd recommend this version). %circled-pattern #(define-markup-command (circled-pattern layout props radius angle num arg) (number? number? number? string?) (interpret-markup layout props (fold (lambda (i prev) (markup (#:combine (#:rotate (* i (/ angle num)) (#:concat (#:null #:hspace radius arg))) prev))) (markup (#:null)) (iota (1+ num)) % Test (markup a 180° circled pattern with radius 5 and 17 dots) : \markup\circled-pattern #5 #180 #16 #"." % an upside down pattern can be achieved with a negative angle: \markup\circled-pattern #5 #-180 #16 #"." ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dotted semicircle indicating harmonics
Hi Pierre,
I corrected your example (see below). It should work now.
--
Orm
Am Samstag, den 07. Juli 2018 um 13:11:25 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Hi All,
>
> I'm not sure that a poscript would be ideal.
> I'm thinking about a pattern markup command that would do :
>
> \markup{
> \combine
> \null
> \combine
> \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 1 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 2 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 3 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 4 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 5 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 6 (/ 90 7)) \concat { \null \hspace #5 "." }
> \combine
> \rotate #(* 7 (/ 90 7)) \concat { \null \hspace #5 "." }
> \null
> }
>
> etc.
> (Here it shows a 90° circled pattern with 7 dots (".") with radius 5)
>
> My attempt is limited by my Scheme knowledge...
Here is the corrected example:
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? string?)
(let* ((the-form
(markup
(#:combine
(#:null)
(fold
(lambda (i prev)
(markup
(#:combine
(#:rotate
(* i (/ angle num))
(#:concat (#:null #:hspace radius arg)))
prev)))
(markup (#:null))
(iota (1+ num)))
(interpret-markup layout props the-form)))
% Test (markup a 180° circled pattern with radius 5 and 17 dots) :
\markup\circled-pattern #5 #180 #17 #"."
% an upside down pattern can be achieved with a negative angle:
\markup\circled-pattern #5 #-180 #17 #"."
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Re: Custom clef horizontal adjustment.
Hi David, good you figured it out. As I'm doing this stuff frequently, here are some remarks, maybe it's useful for you: Am Freitag, den 06. Juli 2018 um 01:49:09 Uhr (-0400) schrieb dfro: > I figured out why copying and pasting the postscript code did not > work. The 'lineto, moveto, curveto' commands must come before the > numbers in the \path-like version, whereas in the postscript version > the 'lineto, moveto, curveto' commands come after the numbers. If I'm not mistaken, the name "Postsript" is actually related to the fact, that it is a postfix programming language ;-) There are lots of tutorials on Postscript in the net and I'd recommend reading some of them and learning the basics. Postscript is turing complete and therefore a very powerful programming language. If you insert " scale" or " translate" somewhere into your postscript code, all drawing afterwards will be scaled or translated accordingly. That might save you some number editing using spreadsheets. In Postscript you can also create macro-like definitions, build dictionaries and such. If you use emacs as a text editor, you can explore postscript in a very similar fashion as lilypond out of the box: Type the code in a text window and evaluate it to see the graphics shown in another window. When I design custom clefs or symbols for lilypond, I normally start by using inkscape (https://www.inkscape.org) for importing, drawing and exporting to ps or eps format and then open it in emacs and adjust/reduce the code. HTH, Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 5/4 full measure rest
Am Mittwoch, den 16. Mai 2018 um 10:11:30 Uhr (+0200) schrieb Menu Jacques: > Hello folks, > > What is the best way to write such a length, that cannot be written with dots? > > I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but: as a general rule: If a full measure rest is positioned in the center of the bar, it will *always* be written as a whole rest completely independent of the time signature. In case you want to spell out the rests, they should not be written as full measure rests and are postitioned aligned vertically to their respective beat. This is common practise and the way it's expected by musicians. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: gridlayout of Bars with Clef
Hi Brian, Torsten,
thanks, that's doing the trick!
--
Orm
Am Montag, den 30. April 2018 um 06:36:06 Uhr (-0700) schrieb Torsten Hämmerle:
> A *very* simple example, but that should give you an idea:
>
> %
> \version "2.19"
>
> \layout { indent = 0 \context { \Staff \remove "Time_signature_engraver" } }
>
> \markup {
> \override #'(line-width . 45)
> \column {
> \fill-line { \score { { c'1 } } \score { { g1 } } \score { { a1 } } }
> \fill-line { \score { { c'1 } } \score { { g1 } } \score { { a1 } } }
> \fill-line { \score { { c'1 } } \score { { g1 } } \score { { a1 } } }
> \fill-line { \score { { c'1 } } \score { { g1 } } \score { { a1 } } }
> }
> }
> %
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gridlayout of Bars with Clef
Hi,
for a preface I need a grid layout of single bars with barlines on
the left and right hand side, a clef for each bar and some music
within.
Below is a first attempt which should demonstrate the basic idea. My
problems with this example:
1. The systemStartDelimiter of the bars of the first row is drawn
across all staves.
2. I can't find a straightforward way to add a full size clef on the
bars in the second and third row.
It might be that a different approach altogether is better and I'm
open for any suggestions.
--
Orm
8<->8
\version "2.19"
empty = {\stopStaff s1 \startStaff}
\score {
<<
\new ChoirStaff \with { systemStartDelimiter = #'SystemStartBar } \relative
c' {
<<
\new Staff {
\clef "treble" \relative c' { c1 \empty g1 \empty a1}}
\new Staff {
\clef "treble" \relative c' { c1 \empty g1 \empty a1}}
\new Staff {
\clef "treble" \relative c' { c1 \empty g1 \empty a1}}
\new Staff {
\clef "treble" \relative c' { c1 \empty g1 \empty a1}}
>>
}
>>
}
\layout {
\context {
\Staff \omit TimeSignature
}
}
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Re: Creating orchestral score
Hi Daniel,
you have to separate the music content from the score/layout in the
parts. You end up with something like
1. files for the music content of each part
2. files with the score/layout block for each part, which have an
include statement for the respective music content file(s).
3. One file for the score with the score/layout block for the score
which includes the music content files of the parts.
--
Orm
Am Samstag, den 04. November 2017 um 21:33:08 Uhr (-0400) schrieb Daniel
Mehdizadeh:
>
> Now I've been trying to \include these part files in a score, and I was
> successful, however the score prints all the parts as a separate line or
> movement AND again it re-prints it together just like a score. So what I
> end up with is the flute part printed and next system with quite some space
> in between the next part and so on, then under all of it the score is
> printed. How can I just have the score? This is my score:
>
> \version "2.19.80"
>
> \include "Horn_Part.ly"
> \include "Violin_Part.ly"
> \include "flute_part.ly"
> \include "trumpet_part.ly"
>
> \score {
> <<
> \new Staff \hornNotes
> \new Staff \violinNotes
> \new Staff \fluteNotes
> \new Staff \trumpetNotes
> >>
> }
>
> \header {
> title = "Test"
> instrument = "Orchestra"
> tagline = ##f
> piece = \markup \smallCaps {"Score"}
> }
>
>
> Hope this makes sense. Thanks!
>
> Daniel
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Re: install lilypond info doc on linux
Hi David, thanks, that did it! @Martin: I use arch linux and installed the development version of lilypond (2.19.65) and its documentation. -- Orm Am Samstag, den 14. Oktober 2017 um 19:20:56 Uhr (-0500) schrieb David Wright: > On Sat 14 Oct 2017 at 15:02:08 (+0200), Orm Finnendahl wrote: > > 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. > > # cd /usr/share/info > # for j in foo.info bar.info etc.info ; do install-info "$j" dir ; done > > to install foo, bar, etc. Of course, you can just do the lot: > > # cd /usr/share/info > # mv dir dir-backup > # for j in * ; do install-info "$j" dir ; done > > which saves you missing any. > > If you install lilypond and its documentation under you own > home directory, you can also keep it all separate with > > $ cd .../path-to/share/info > $ for j in * ; do install-info "$j" dir ; done > > and use it with > > $ info -d .../path-to/share/info > > install-info makes a great deal of noise on my system, > which I just ignored (Debian). > > Cheers, > David. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
install lilypond info doc on linux
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
Re: compile time linux/windows
Am Donnerstag, den 04. Mai 2017 um 14:17:02 Uhr (+0200) schrieb David Kastrup: > The culprit is likely broken font caching. Fixed in more recent > versions. Thanx! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
compile time linux/windows
Hi List,
in the lilypond course at our school we encountered quite different
compile times for the attached score on Windows10 and linux.
The hardware is i7 laptops with comparable cpus (6500U and 5500U).
The measurements:
Windows 10, 5500U, 8GB Ram, Frescobaldi, lilypond 2.18.2:7.0 seconds
Linux, 6500U, 20GB Ram, commandline, lilypond 2.19.48: 1.1 seconds
To me a factor > 6 seems unlikely to be related to the hardware. On
the windows machine it hangs for quite a while during "preprocessing
graphical elements..."
Does somene have similar experiences and could someone with a Windows
computer maybe compile the score and report back to the list so that
we can narrow down the culprit?
Is it the lilypond version or could it be a wrong setup?
Yours,
Orm
------
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frankfurt am Main
\version "2.18.2"
\header {
title = "Der Doppelgänger"
composer = "Franz Schubert"
}
melody = \relative c' {
\clef treble
\key b \minor
\time 3/4 \tempo "Sehr langsam"
r2. | r2. | r2. | r2. |
r4 fis4 fis8. fis 16 |
fis2. |
r8. fis16 fis4 d8. b16 |
fis'4 fis r |
r8 fis fis8.[ g32 fis] e8 d|
cis8.[ fis16] fis4 r4|
fis4.. fis16 a8.[g16]|
fis2 r4|
r2. | r2. |
r8. fis16 fis4. fis8|
g4(fis) r4|
r8. fis16 fis4 d8[ b] |
fis'4 fis r |
r8 fis8 fis4 e8 d |
cis4( fis) r |
fis8. fis16 fis4 \turn (a8.)g16 |
fis2 r4|
r2. | r2. |
r8. d16 d4 d8 e |
fis2 r4 |
r8 fis fis b b8. b16 |
b4 ais r4 |
r8 d d4. d8 |
d4 cis r
r8 fis fis2~ |
fis4 fis,8. fis16 fis4~|
fis2 r4|
r4 d4.e8| g4 fis r|
r8. fis16 fis8 fis b8. b16|
b4 ais r4 |
r8. d16 d4. e8|
cis2 cis8 cis |
fis2 fis8 fis |
g2.~|
g4 r4 r|
r8 fis, fis4. fis8|
fis4 fis r |
r8 fis8 fis4 fis8 fis |
a4 fis r8 fis8 |
fis4. eis8 fis gis |
ais8. b16 ais4 r8 cisis,|
dis8. eis16 fis8 eis fis gis |
b4 ais r |
r r b |
fis'2~ fis8 e |
d2 d4 |
cis2 ( d8[ cis] |
\break
e4. d8 cis4) |
b2 r4 |
r2. | r2. | r2. | r2. | r2. | r2. | r2. | \bar "|."
}
text = \lyricmode {
Still ist die Nacht,
}
upper = \relative c {
\clef bass
\key b \minor
\time 3/4
2.\pp \(| 2.|2.|2.\)|
2.\(| 2.|2.|2.\)|
2. | <<{a2(fis4)} \\ {fis2.}>> % ligar as duas
2.\( | <ais' fis e cis>2.\) | % Descresc
\clef treble << {fis'2~ fis8. a!32 g} \\ { 2.} >> | 2. |
%ligadura de valor
\clef bass
<fis, b>2.\(| 2.|2.|2.\)|
2. |<<{a2 fis4} \\ {fis2.}>> % ligar as duas
2.( | <ais' fis e cis>2.) | % Descresc
\clef treble << {fis'2~ fis8. a32 g} \\ { 2.} >> | 2. |
%ligadura de valor
\clef bass
<fis, b>2.\> | 2.\! \>|2. \! \> |2. \! \>| % Cresc. poco a poco
2. \! |<<{a2(fis4)} \\ {fis2.}>> % ligar as duas
2.\fff \> | <ais'~ fis~ e~ c>2.~ \ff \> |
2. \! \decresc % FFz und
2. \p| | |
<fis, cis'>2. |
2. \! |<<{a2(fis4)} \\ {fis2.}>>
2.\ff \> | << { <ais'~ g e~ c~>2. \fff |
\stemDown2.\! } \\ {s2. \once \override NoteColumn.force-hshift = 1.5 \stemUp g2 ^(fis4)} >> | % danach und decresc.
2. \pp \> | \! \> | \! \> | % cresc.
\! \> | 2.\ff \> |
\ff \! \> |
2. \! \> |
\! \> |
\ff \! \> |
<d~ b~ fis~> \fff \! \> |
\! |
<cis~ b( g~ e~> | % legato?
\pp \( | | | \)
<b~ a fis dis>( \ppp | < b g e >) %legato?
<b~ fis~ dis~> |
\fermata \bar "|."
}
lower = \relative c {
\clef bass
\key b \minor
\time 3/4
\set doubleSlurs = ##t
2.\( | | | \) |
2.\( | | | \) |
2.\( | <a! fis a,!>2\)( fis4) |
2.( | <ais~ fis~ cis~> ) | <ais~ fis~ cis~> | | % Legato?
2.\( | | | \) |
2.\( | 2\)( fis4) |
2.\( | <ais~ fis~ cis~> \) | <ais~ fis~ cis~> | |
2.\( | | | \) |
2.\( | 2\)( fis4) | 2. |
<ais~ fis~ c~> | |
2.\( | | | \) |
2.\( | 2\)( fis4) | 2. |
<< { s2. \slurDown \once \override NoteColumn.force-hshift = 1.5 g2( fis4) }\\{ \tieUp <ais~ g~ c,~>2. | }
>> % umkehren?
2. | 2. | 2. | 2. | 2. |
| 2. | | < g g,> |
<fis~ fis,~> | | <fis~ fis,~> | |
2.\( | | | \) |
<b~ b,~> | | <b~ b,~> | |
}
\score {
<<
\new Voice = "mel" { \autoBeamOff \melody }
\new Lyrics \lyricsto mel \text
\new PianoStaff
<<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
>>
}
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Re: cross-voice ties and merging noteheads
Hi all, Am Samstag, den 25. Februar 2017 um 17:41:15 Uhr (+0100) schrieb Urs Liska: > Yes, but I think the issue is solved by now with Andrew's suggestion. it is indeed. Thanks Andrew! Yours, Orm -- Prof. Orm Finnendahl Komposition Hochschule für Musik und Darstellende Kunst Eschersheimer Landstr. 29-39 60322 Frankfurt am Main ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: cross-voice ties and merging noteheads
Am Samstag, den 25. Februar 2017 um 14:25:52 Uhr (+0100) schrieb Urs Liska: > An image would be helpful to avoid misunderstandings. attached. I tried to keep the file size small. Let me know if you need it in better resolution. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
cross-voice ties and merging noteheads
Hi,
in the example below (an excerpt of the left hand piano part of the
Schumann Song "Mondnacht") I'd like to resemble the rendering of
Clara Schumann's Edition in the Breitkopfärtel print.
%<
\version "2.19.48"
\score {
\new Staff \with { tieWaitForNote = ##t } {
\clef "bass" \key e \major
\time 3/8
\relative f' {
<<
{ e4. ~ 4 ~ s8 \stemDown e,,4 b8 ~ b4. }
\\
{ e''4.*2/3 b8 e,4 b8 ~ }
\\
{ s4. \tieUp e4. ~ 4. ~ b4. }
>>
}}}
%<
In the print,
1. the noteheads of the e of the first beat in measure 2 are merged
2. Both eigth note b on the third eigth of MM 1 and 2 are tied to the
first beat of the next measure.
I managed to merge the first note in measure 1 by using a scaled
dottet quarter in the second voice, but this doesn't seem to work if
applied to simultaneous notes in voice 2 and 3.
Any ideas?
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Re: Footnotes for subtitle
Hi Amir,
to my knowledge, lilypond doesn't provide a linebreaking mechanism
for text in a markup. You can either do the line breaking yourself
using the \column feature of the markup command or you edit the markup
in an external graphics program/publishing software which supports
linebreaking and which can export to eps and use the eps file in the
markup.
For markup commands see:
http://lilypond.org/doc/v2.19/Documentation/notation/formatting-text
--
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--
Prof. Orm Finnendahl
Komposition
Hochschule für Musik und Darstellende Kunst
Eschersheimer Landstr. 29-39
60322 Frankfurt am Main
Am Sonntag, den 29. Januar 2017 um 13:32:36 Uhr (+0100) schrieb Amir Teymuri:
> Hello Pierre,
>
> many thanks for your help. The line i am writing in there footnote is longer
> than one line and hence the remaining goes beyond the page. Do you know how
> to arrange the length of the footnotes to match into the page?
>
> Bests,
> Amir
>
> On Sun, 29 Jan 2017 09:13:26 +0100
> Pierre Perol-Schneider wrote:
>
> > Hi Amir,
> > For some reason the LSR is not reachable for the moment
> > but there is a snippet about footnotes in a header.
> > Try:
> >
> > \version "2.18.2"
> > \header { subtitle = "subtitle*" tagline = #f }
> > \markup { \null \footnote \null \italic \concat { "*"
> > \hspace #.3 "subtitle"}}
> >
> >
> > Cheers,
> >
> > Cheers,
> > Pierre
> >
> > 2017-01-28 22:38 GMT+01:00 Amir Teymuri
> > <ateymur...@gmail.com>:
> >
> > > Hello,
> > >
> > > is it possible to right a footnote about a word in the
> > > subtitle of the piece?
> > >
> > > Regards,
> > > Amir
> > >
> > > ...
> > > Amir Teymuri <ateymur...@gmail.com>
> > >
> > > X-Mailer: Sylpheed 3.5.0beta1 (GTK+ 2.24.25;
> > > x86_64-pc-linux-gnu)
> > >
> > > ___
> > > lilypond-user mailing list
> > > lilypond-user@gnu.org
> > > https://lists.gnu.org/mailman/listinfo/lilypond-user
> > >
>
>
> ...
> Amir Teymuri <ateymur...@gmail.com>
>
> X-Mailer: Sylpheed 3.5.0beta1 (GTK+ 2.24.25;
> x86_64-pc-linux-gnu)
>
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Re: Getting a new computer
Am Donnerstag, den 17. November 2016 um 13:24:24 Uhr (+1100) schrieb Vaughan McAlley: > Lilypond files, I was wondering which specs I should be prioritizing. As lilypond is single-threaded, the number of cores is less important, than CPU Freq and you should go for a lot of RAM (>= 16 GB). Since I've been using them, I find fanless, passively cooled systems with SSD Drives a must (completely silent!) Here are the ones I'm using: http://www.deltatronic.de Note that I'm not affiliated with the company, it's just an example! There are probably more companies out there. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: state-of-the-art for algorithmic hooks and Lilypond+(La)TeX
Am Dienstag, den 12. Juli 2016 um 09:26:38 Uhr (+0200) schrieb Urs Liska: > > You know that in Karlsruhe every student of music informatics and > musicology has to take a class in common lisp (in their 3rd > semester)? In Essen its part of the curriculum as well, but I'm not aware of many younger composers actually using it in earnest. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: state-of-the-art for algorithmic hooks and Lilypond+(La)TeX
Hi Kieren, Am Montag, den 11. Juli 2016 um 13:55:48 Uhr (-0400) schrieb Kieren MacMillan: > > 1. On the topic of algorithmic stuff, I sent him the link to > Abjad. If there’s a better starting place, or other links I should > forward to him, please let me know! Dated and by no means par to Trevor's approach, but probably worth mentioning (as of its lisp heritage): http://fomus.sourceforge.net/ and https://common-lisp.net/project/fomus/ He can also contact me. There is a lot of stuff written in common lisp for my own work on my hard drives. As it is very specific for my needs and in a language hardly anybody uses, I never bothered to make it available. -- Orm ------ Prof. Orm Finnendahl Komposition Hochschule für Musik und Darstellende Kunst Eschersheimer Landstr. 29-39 60322 Frankfurt am Main ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: always glissandi
Hi David, Am Donnerstag, den 23. Juni 2016 um 20:55:50 Uhr (-0500) schrieb David Nalesnik: > I'm thinking I'm safe in betting that I've spent more time on this > than this will ever save you :) true, but it clears up things for other users like me as well, so it's well invested ;-) Thanks for sharing! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: saxophon multiphonic, how to
Am Sonntag, den 20. Dezember 2015 um 17:47:39 Uhr (+0100) schrieb Stefan Thomas:
> Dear Andrew,
> I've tried it with the following code:
> mphonicXCII = ^\markup { \override #'(size . 0.4) { \woodwind-diagram
> #'saxophone #'((cc . (one two three )) (lh . ()) (rh . ())) } }
> But the saxophone player told me, the output was not the right chart.
I would strongly suggest, you ask the sax player for a chart, he is
willing to accept as there is no "right" or "wrong" chart for these
diagrams, but rather different systems used by different authors. It
is not unlikely that you will find a chart accepted by the player in
the other woodwind instrument's fingering chart systems.
In any case any sax player should be capable of understanding
lilypond's default fingering chart as this the closest to a pictorial
rendering of the keys of a Saxophone. Any instrumentalist with a
reasonable sense of cooperation should be able to deal with it ;-)
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Re: Chords and what they mean
Am Freitag, den 18. September 2015 um 08:05:03 Uhr (+0200) schrieb Blöchl Bernhard: > If one "colours" that up you get the bright colourful variety of > skilled music that began with the development of orchestral events outside > the churches and cathedrals and in the brothels of New Orleans. hmm, and what about the colours of Medieval and Renaissance music and the skills of people like Dufay, Ockeghem or Josquin? I'm really no church person, but Josquin was singing in the sistine chapel ;-) -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Way to flatten nested \include's?
Am Montag, den 24. August 2015 um 21:57:37 Uhr (+0200) schrieb Blöchl Bernhard: The attached file is a binary, not a lilypond file, regardless of the extension .ly? No, it is a text file but the mime type of the attachment is specified as application/octet stream. I changed it to text/plain in my Mail program and then it was no problem to open it. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: string harmonics with cue notes
Hi Stephen,
thanks for the help! Using your idea I ended up with this:
Cue = #(define-music-function (parser location note shift) (ly:music? number?)
#{
\override Stem.transparent = ##t
\override ParenthesesItem.padding = #0.2
\override ParenthesesItem.font-size = #1
\teeny \parenthesize \tweak X-offset $shift $note
#})
{ c' 4 } \\
{ \Cue c''' # 0.5 }
(it's a little different from your code, as in your example the length
of the ledger lines aren't resized).
I'd still prefer something which would't need an explicit new voice
context, more something along the lines of a pitchedTrill, but that
probably needs a deeper understanding of lilyponds internals on my
side.
--
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Am Freitag, den 14. August 2015 um 15:37:02 Uhr (-0400) schrieb Stephen MacNeil:
How about
\version 2.18.2
Pitch = #(define-music-function (parser location notes) (ly:music?)
#{
\override Stem.transparent = ##t
\override NoteColumn.force-hshift = #-.05
\override NoteHead.stencil = #(lambda (grob)
(grob-interpret-markup grob
#{ \markup
\concat
{
\lower #.5
(
\musicglyph #noteheads.s2
\lower #.5
)}
#}))
\teeny
$notes
#})
harmOn = { \override Voice.NoteHead.style = #'harmonic-black }
harmOff = { \override Voice.NoteHead.style = #'default }
{
{
%regular notes
a'1 \harmonic ^\markup { sul D }
\harmOn
b'4 c' d' e'
}\\
{
%harmonic notes
\Pitch a''1 b''4 c'' d'' e''
}
}
Stephen
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Remove 3rd Staff in PianoStaff if empty
Hi, in a piano score I'm writing sometimes a third staff on top of the other two standard staffs (with a G^15 clef) is used. I would like to remove this staff if empty, but *always* have the other two staffs active. If I remove the Keep_alive_together_engraver from the PianoStaff, every staff can get removed, which is not optimal as this requires manual tweaking. I tried all sorts of combinations of removing and consisting the keep-alive-together engraver, tried to create an explicit staffgroup for the main piano staves within the PianoStaff (this results in loosing the centered instrument name and the curly braces), but it didn't work. Does anybody know of a solution? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Remove 3rd Staff in PianoStaff if empty
Am Samstag, den 15. August 2015 um 16:04:02 Uhr (+0200) schrieb Malte Meyn: If PianoStaff accepts StaffGroup the alignment works, so here is a solution: great, thanks! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: string harmonics with cue notes
Hi Malte, I just realized from David's answer that your code somehow escaped my mailbox. Your solutions are exactly, what I was looking for, so please ignore my last post in that matter and thanks a lot: Your code is really helpful and very much appreciated! -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
string harmonics with cue notes
Hi,
I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.
Is there an easier way than the bloated example below?
\version 2.19.5
{
{
a' \harmonic 1 ^\markup { sul D }
} \\ {
\override ParenthesesItem.padding = #0.2
\override ParenthesesItem.font-size = #1
\once \override Stem.transparent = ##t
\teeny \parenthesize \tweak X-offset #0.5 a''4
}
}
It'd be probably much nicer to be able to define some expression which
draws a centered, parenthesized notehead above some noteevent with the
pitch given as an argument.
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Re: Score.skipTypesetting
Hi Barry, thanks for the answer. I might have been unclear: In a chamber music piece I'm writing, the first line of the score is (and should be) indented. While working on the score I want to typeset just the last part of the score and use Score.skipTypesetting = ##f in the beginning and set Score.skipTypesetting = ##t in some later part, e.g. after a \pageBreak. lilypond renders this partial score with the first line indented which is suboptimal as the beginning of this page will *not* get indented in the final (non partial) score. I was just proposing to fix that in case it's not very complicated. But as this is not a bug and I can circumvent this easily by setting the indentation to #0 when rendering partial scores I don't really want to start a bikeshed... -- Orm Am Donnerstag, den 13. August 2015 um 13:57:44 Uhr (+0100) schrieb Kevin Barry: Hi Orm, On Tue, Aug 11, 2015 at 3:13 PM, Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de wrote: As the instrument names are short, lilypond must know that it isn't at the beginning of the piece. It would be preferrable to have unindented first staffs, as that would better resemble the final layout, if the typesetting (re)starts at linebreaks. LilyPond won't really try to guess something like this based on instrument names. If you start a new \score block LilyPond will create a new score, indented, at bar 1 etc., which is as it should be IMO (i.e. it behaves consistently rather than trying to guess your intentions). Multi-movement forms (suites, sonatas) frequently do this (start a new indented score on the same page). Sometimes it can be a good solution to use a new \score block in place of a line break in an existing score, in which case the best thing to do would be to continue as you are. If you post a snippet illustrating the problem then perhaps someone could suggest an alternative that you haven't thought of. hth, 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
Score.skipTypesetting
Hi, this is only a minor issue: Is there a good reason, why the first bar of a partially rendered score starting in the middle of the piece is indented? As the instrument names are short, lilypond must know that it isn't at the beginning of the piece. It would be preferrable to have unindented first staffs, as that would better resemble the final layout, if the typesetting (re)starts at linebreaks. BTW: I know how to turn off indentation of the first staff it's more a question of overall consistency... -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Position FullBarRest
Hi, is there a way to position a FullBarRest on a specific line, like b' \rest (but with a FullBarRest centered in the measure)? I couldn't find anything in the docs. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Position FullBarRest
many thanks!
--
Orm
Am Dienstag, den 11. August 2015 um 18:39:11 Uhr (+0200) schrieb Malte Meyn:
Am 11.08.2015 um 18:22 schrieb David Kastrup:
Orm Finnendahl orm.finnend...@selma.hfmdk-frankfurt.de writes:
is there a way to position a FullBarRest on a specific line, like
b' \rest (but with a FullBarRest centered in the measure)?
\tweak Y-offset 2 R1
If you need this for more than just one rest in a row you also can use an
override (perhaps in combination with \once \override and \revert):
\version 2.19.24
{
R1*2
\override MultiMeasureRest.staff-position = 0
R
}
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Re: organizing orchestral music
Am Donnerstag, den 25. Juni 2015 um 11:35:18 Uhr (+0200) schrieb Gergely K.: Hi all! I'd like to engrave orchestral music, one sheet for violinist, cellist and one for conductor. I'd like to have the following structure: base.ly -- name and time signature of the music violin1.ly -- when opened in frescobaldi, should engrave violin1.ly main.ly -- when opened in frescobaldi, should engrave conductor's sheet So my question: can I declare in violin1.ly, that if that is the main ly, it should engrave violin1, and if not, it should not engrave anything? (In that case it will be included from main.ly) I don't know of a simple solution for that problem. I would suggest to use the canonical way to completely separate the layout files from the music files. So you'd come up with 3 files: violin-music.ly (containing the music only) violin.ly (containing the part layout and including violin-music.ly) score.ly (containing the score layout and including violin-music.ly) IMHO the extra file is well worth the gained clarity and flexibility for fine-tuning score and part layout. In addition I keep layout files and files containing the music in different directories. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: organizing orchestral music
Am Donnerstag, den 25. Juni 2015 um 18:12:42 Uhr (+0200) schrieb Gergely K.: No, you don't have to. Right-click on the tab of your main file and check always engrave this file. Thanks for the tip, one less keypress, but still have to press Ctrl-M to engrave, since only the included file is changed from perspective of violin.ly Hm, pressing a key in a program like lilypond to redisplay a file while being able to continue to work on the source is not exactly what I would consider harmful for the workflow (while working on a file I also happen to hit Ctl-s quite frequently as well even though this is not part of the file's music contents ;-). But if that *really* slows you down considerably or annoys you: For other reasons I use a simple shell script which checks regularly for file changes on dependent files and invokes lilypond automatically in that case. I don't know frescobaldi well enough, but if it automatically redisplays a changed pdf this could be a path to follow. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Paper size survey
Hi, for the orchestra parts I used B4 portrait. Orchestra musicians love this format as this fits well on a music stand (A3 is too big) and fits more music than A4 (less page turns). I also used thicker paper (120 g/m2) and a special binding method (glue and tape) to make the pages stay open and page turns less noisy. The score was A2, but it was extremely difficult to find companies which still have machines to print two-sided A2 in low volumes. I ended up asking Schott publishers where they printed their large format scores and they told me the print shop they're using. -- Orm Am Montag, den 20. April 2015 um 08:50:21 Uhr (+0200) schrieb Urs Liska: Am 20.04.2015 um 08:45 schrieb Andrew Bernard: So Ponders, What size paper do you print scores on? A4 exclusively, sometimes folded A3 (but only when letting print through external service providers). But I always suffer from that being somewhat too small for really usable scores. If I had the printer or would find a suitable service provider I would prefer folded A3+ Maybe we could extend this survey by the _type_ of paper? Of course for day-to-day use I print on standard office paper, but what I found extremely beautiful for scores is Munken Pure 100g/m2 or 130 g/m2. Urs Andrew ___ 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: Survey: Large scores
Hi,
this is the way how I finally had to do it in my piece, but
unfortunately this method doesn't work very well in orchestra parts
where instruments are changed (like Clarinets changing between Eb, Bb
and Bassclarinet, or French Horns changing from G-Clef to F-Clef) as
you either have to compensate for the transposition (which means you
have to be aware of the context, an instrument change is happening
in), or to not wrap the whole part in the transpose statement, but the
sections with the individual instruments.
Especially if you split the music into multiple sections this is
asking for trouble as you either have to live with dangling open
braces between sections or restate an instrument change which already
has happened.
--
Orm
Am Sonntag, den 19. April 2015 um 19:20:57 Uhr (-0700) schrieb H. S. Teoh:
This is not hard to implement at all, you just have to set things up
appropriately. I also always write at concert pitch, and I use a
combination of \transposition and \transpose so that the part is printed
with the correct transposition. Here's roughly how I do it:
clarinetIPart = \relative c'' {
... % clarinet music here
}
clarinetIIPart = \relative c'' {
... % clarinet music here
}
clarinets = new Staff {
set Staff.instrumentName = #Clarinets in B\flat I, II
\transposition bes
\transpose bes c' \partcombine
\clarinetIPart \clarinetIIPart
}
The music in \clarinetIPart and \clarinetIIPart is written in concert
pitch. Later on, \clarinets is used to create the conductor's score with
the right transpositions applied. A similar setup is used for generating
parts for the individual clarinets with the right transpositions.
Of course, all this can probably be encapsulated in a convenient macro
that takes a single argument specifying the transposition relative to
c', and generates the requisite commands to make it all work.
T
--
Why are you blatanly misspelling blatant? -- Branden Robinson
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Re: Survey: Large scores
Hi Kieren, Am Samstag, den 18. April 2015 um 17:54:44 Uhr (-0400) schrieb Kieren MacMillan: Would love to see it, but the link didn’t work for me… =\ that's strange. I just tried again and it works for me. Could it be that your browser complained because of a missing certificate as the system uses https? You have to ignore this message, the server doesn't have an official certificate. Here's the link again: https://www.selma.hfmdk-frankfurt.de/selmafile/f/4e45ac51ea/ Let me know if you still encounter problems and I'll send it in a private separate mail. Curious! For my 57-part orchestra piece, I only used one source file for the notes, and one each for the score and part(s). How do you break up all your files (beyond, I’m assuming, a notes-source file for each instrument), and what do you see as the big benefit(s) of having so many source files? I split up the music of each individual instrument part plus a file for the time-signatures and for the tempos into separate files plus a template for each part and the full score. The music was split up in different sections, so the number of music parts have to get multiplied by the number of sections. On top of this I generated lilypond files for each part and each section which basically just contained include references for the music and the templates. I chose this setup because 1. I was not sure how I'd keep the project manageable before I started as I feared long rendering times and I wanted to be able to write the piece in non-consecutive order and instrumented the piece directly into the lilypond score. 2. With the separation of score files and music I could decide at a later point how to handle divisi parts in the strings and whether they needed separate parts or not. To get this done I wrote a lisp script which would generate all the empty music and lilypond score and part files and the templates in separate directories and generate the dependencies in the makefile. That was quite some work but after generating and checking in with git everything else was downhill... This is a big one for me. I would love to see — and would be happy to help fund — a GUPPY (Grand Unified Partcombiner Project, Yay!) to tackle a rewrite from the ground up, taking into account all the recent advances in divisi writing (still only in openlilylib, I believe), etc. I would take part in it as well. Another thing: For me, also the implementation of transposing instruments is less than ideal (I prefer to write the pitches in concert pitch and have them transposed for the parts, rather than the other way around, as it is implemented at the moment). I would be very willing to sponsor this. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Survey: Large scores
Hi, Am Donnerstag, den 16. April 2015 um 19:43:38 Uhr (+0200) schrieb Urs Liska: ... I'd like to know what might be the biggest score anyone has successfully created with LilyPond. the biggest score so far for me is a piece for big orchestra, 6 soloists, live-electronics and fixed media from last year. Here is the pdf: https://www.selma.hfmdk-frankfurt.de/selmafile/f/4e45ac51ea/ It's only 40 Pages with 383 bars, but there are 49 independent parts with quite complicated divisi sections and I was very happy (and admittedly pleasantly surprised), how smooth everything went considering the amount of source files. The only really painful part was the partcombiner which seems very buggy, but was indispensable as I needed to save as much vertical space as possible. If anybody is planning something like that don't hesitate to contact me. The production process probably would have been close to impossible without tools like make, git, emacs and quite some lisp coding and I don't mind sharing my experiences. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: undefined
Am Freitag, den 17. April 2015 um 11:05:00 Uhr (+0200) schrieb Calixte Faure:
Hi everyone!
Traditionally, vocal scores are written without beams, except for melisma.
But modern scores tend to keep beams everywhere and put slurs to indicate
melisma.
Is it possible to have both output with one source, without complicating
the typesetting?
I have this in mind :
vocal = \relative c'{
c4 d8 e f[ g] a4
}
and a magic command (say \beamToSlur) would switch [ ] to ( ).
this would probably be rather trivial with a shell script acting as a
filter (using sed for example). I would argue this is the place
where this should get handled. I don't know about your lilypond setup,
operating system and skills, but it shouldn't be too complicated to
implement.
--
Orm
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Re: getting the argument list of a procedure
Dear David, Am Mittwoch, den 04. März 2015 um 15:35:46 Uhr (-0600) schrieb David Nalesnik: I would like to be able to return the argument list of a Scheme function, say as a list of symbols. I'm not sure I understand what exactly you're looking for. In scheme, you can assign a name to all arguments of a function and refer to it in the function body if you use dot notation. All arguments are accessible within the body as a list referred to by the symbol after the dot: (define (return-args . args) args) (return-args 1 2 3 'blah 'foo blub) - (1 2 3 blah foo blub) Does that answer your question? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: segmented glissando lines
Hi Pierre, Urs,
that's excellent and very instructional, thanks!
--
Orm
Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre
Perol-Schneider:
Hi Orm,
How about :
\version 2.19.15
#(define (add-gliss m)
(case (ly:music-property m 'name)
((NoteEvent) (set! (ly:music-property m 'articulations)
(append (ly:music-property m 'articulations)
(list (make-music (quote GlissandoEvent)
m)
(else #f)))
addGliss = #(define-music-function (parser location music)
(ly:music?)
(map-some-music add-gliss music))
\relative c'' {
\override Glissando.thickness = #2
\override Glissando.bound-details =#'(
(right (attach-dir . 1) (padding . 0))
(left (attach-dir . 1) (padding . 0)))
\override NoteHead.no-ledgers = ##t
\addGliss {
d,2
\omit Stem
\override NoteHead.transparent = ##t
f' d, f' e, g' d, f'
}
}
Cheers,
Pierre
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segmented glissando lines
Hi,
I can't find documentation about how to write segmented glissando
lines, like in the attached png. The line segments have to get notated
with precise rhythms, so I'm looking for something similar to
glissando notation but without noteheads.
I tried this:
\new Staff
\relative c'' {
\hide NoteHead
\hide Stem
d,8 \glissando f' \glissando
d, \glissando f' \glissando
e, \glissando g' \glissando
d, \glissando f' \glissando
}
But this only makes the NoteHeads invisible. Removing the
Note_heads_engraver makes the glissandolines disappear.
Does anybody know how to achieve this?
--
Orm
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Re: segmented glissando lines
Hi Urs,
Am Samstag, den 10. Januar 2015 um 22:22:15 Uhr (+0100) schrieb Urs
Liska:
Can't test right now, but what about \omit NoteHead?
same problem, glissandolines aren't drawn at all if NoteHeads are
omitted:
%
\version 2.19
\new Staff
\relative c'' {
\omit NoteHead
d,2 \glissando f' \glissando
d, \glissando f' \glissando
e, \glissando g' \glissando
d, \glissando f' \glissando
}
\paper {
ragged-right = ##f
}
%
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Re: Bar numbers below staff
Hi Jay,
try this:
%
\version 2.19.5
\relative c' {
\override Score.BarNumber.break-visibility = #'#(#t #t #t)
\override Score.BarNumber.direction = #DOWN
c1 d e f c d e f c d e f }
%
HTH,
Orm
Am Samstag, den 20. Dezember 2014 um 15:07:01 Uhr (-0700) schrieb Jay Hamilton:
Hello
Where in the manual(s) is the alignment for bar numbers below staff? I
found the engrave details but nothing (that I could find with my limited
wisdom) refers to putting them below the staff.
Thanks
Jay
BTW gang my opera The Map which was completely set and somewhat composed
with lily - 4-5 scenes of it will be performed in March. With the hopes
that this will create interst and $ to produce the whole thing later.
Jay
--
Thanks for reading
blogs at
https://learnivore.com/users/music#
www.soundand.com
www.themaptheopera.com
Jay
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Re: 3/4 time and whole notes
Am Samstag, den 13. Dezember 2014 um 02:57:03 Uhr (+) schrieb Henry Baxter:
Hi,
I'm certain this is online somewhere but I just can't find it. How do I
tell Lilypond I want a whole note?
Here are 2 ways:
\version 2.18.2
{
\time 3/4
c1*3/4 c1*3/4 c1*3/4 c1*3/4
}
or:
\version 2.18.2
{
\time 3/4
\scaleDurations #'(3 . 4) { c1 c1 c1 c1 }
}
--
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Re: Including a logo on the title page of a book
Hi John,
your file format looks strange. It seems to be some sort of binary
format which can't get converted to utf-8 in a straightforward way.
Try the file here:
https://www.selma.hfmdk-frankfurt.de/selmafile/f/c74efc507a/
(Click on any of the buttons labeled Herunterladen, which is the
german translation of Download).
I imported your file into inkscape and saved as eps with a new
name. The contents look much better on my system here.
--
Orm
Am Samstag, den 06. Dezember 2014 um 09:51:25 Uhr (-0700) schrieb John
McWilliam:
Hi Nick,
I tried your approach replacing my header code in the original code
shown above with your header code and replacing your eps file with mine
(subtitle = \markup {\epsfile #X #72 #Logo_LNPB.eps } all in the same
folder). I got an warning: 37: non-UTF-8 input. No pdf was generated. Would
this imply that there is something wrong with my eps file or is there
something else I have overlooked?
-
John McWilliam
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View this message in context:
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Sent from the User mailing list archive at Nabble.com.
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Re: m above beam in guitar notation
Hi Pierre, Federico, thanks! -- Orm Am Dienstag, den 02. Dezember 2014 um 08:58:47 Uhr (+0100) schrieb Pierre Perol-Schneider: Oups, space's missing. So, again, try fis-3 \2 -\tweak X-offset #-.5 \RH #3 2014-12-02 7:21 GMT+01:00 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com: Hi Orm, hi Federico, Try : fis-3 \2 -\tweak X-offset #-.5 \RH #3 Cheers, Pierre ___ 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
m above beam in guitar notation
Hi,
in the following example, the m is printed above the beam whereas
all other right hand fingerings are notated below the beam. Is this
related to the larger size of the letter m? Can someone shed a light
on this and how this could be avoided?
--
Orm
%-
\version 2.18.2
RH = #rightHandFinger
upper = \relative c' {
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(up)
\set stringNumberOrientations = #'(down)
\override StringNumber.transparent = ##t
e-1 \2 \RH #2 8
fis-3 \2 \RH #3
g-4 \2 \RH #2
a-1 \1 \RH #4
}
lower = \relative c {
\set fingeringOrientations = #'(left)
\set strokeFingerOrientations = #'(down)
\set stringNumberOrientations = #'(up)
\override StringNumber.transparent = ##t
e,-0 \6 \RH#1 2
}
\new StaffGroup
\new Staff {
\clef G_8
\key e \minor
\upper \\ \lower
}
\new TabStaff
\upper \\ \lower
%-
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Re: moving tweaks into markup-definition
Am Mittwoch, den 17. September 2014 um 07:53:48 Uhr (+0100) schrieb James: Do you have any other suggestions we could improve the documentation with perhaps? The main problem in this special case for me is the fact, that David's code suggests that the first three elements of the prop argument of a define-markup-command are alists which contain mutable properties, immutable properties and font-defaults (in that order). I couldn't (and still can't) find a place where that is documented. In addition, I don't know: 1. Which properties of layout objects are mutable/immutable? 2. Although David's set! instruction to reassign the props symbol makes that improbable: Could there be other elems at the end of the prop list (and which, if there are)? I already had read through everything David pointed me to before except for the c++ code which seemingliy gave David the insight to enable him helping me out. So maybe it would be a good idea to explain those arguments (layout props, etc.) somewhere in more detail with examples... Reading the interface for programmers documentation, other things remain unclear to me. One example is the following code from the define-markup-command documentation: #(define-markup-command (double-box layout props text) (markup?) #:properties ((inter-box-padding 0.4) (box-padding 0.6)) Draw a double box around text. (interpret-markup layout props (markup #:override `(box-padding . ,inter-box-padding) #:box #:override `(box-padding . ,box-padding) #:box text))) I don't exactly understand the syntactical function of the :properties keyword in the second line: Is it syntactical sugar for a let construct? So I tried this: #(define-markup-command (double-box layout props text) (markup?) (let ((inter-box-padding 0.4) (box-padding 0.6)) Draw a double box around text. (interpret-markup layout props (markup #:override `(box-padding . ,inter-box-padding) #:box #:override `(box-padding . ,box-padding) #:box text and that works as well. But I still don't know whether there are any drawbacks doing it with let (is there some machinery behind the scenes of the :properties construct doing more than assigning the values to the symbols?). For me personally (as I'm acquainted with lisp and its dialects) it would be very helpful if those non-scheme-standard syntactical constructs would be explained. I'm by no means complaining: It is a gigantic task to make a documentation of such a complex project and the current documentation is awesome already. Specifying something like the API of lilypond seems extremely tricky. I'm feeling somewhat challenged and think seriously about writing up something to help others. But first I need to be more aware of the internals and comfortable that I have really understood how it works. Unfortunately that seems a long way from where I am at at the moment... -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
markup on top staff of an orchestra piece
Hi, in a piece for large orchestra, I need text markup and tempo markings which only appear on the top staff of the score and each part. I defined an empty (invisible) staff with removed staff symbol, time signature, etc., using skips instead of rests, which works well. Unfortunately as soon as \RemoveEmptyBars is used in the score, the staff and all markup gets removed. Is there a way to persuade Lily never to remove that staff without adding any visual content to it (except for the markup of course...)? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup on top staff of an orchestra piece
I found it.
For someone googling this: You have to put
\new Staff \with { \override VerticalAxisGroup.remove-empty = ##f }
into your staff definition.
Sorry for the noise...
--
Orm
Am Dienstag, den 16. September 2014 um 22:04:38 Uhr (+0200) schrieb Orm
Finnendahl:
Hi,
in a piece for large orchestra, I need text markup and tempo markings
which only appear on the top staff of the score and each part. I
defined an empty (invisible) staff with removed staff symbol, time
signature, etc., using skips instead of rests, which works well.
Unfortunately as soon as \RemoveEmptyBars is used in the score, the
staff and all markup gets removed.
Is there a way to persuade Lily never to remove that staff without
adding any visual content to it (except for the markup of course...)?
--
Orm
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Re: markup on top staff of an orchestra piece
Hi Malte,
thanks for the recommendation. This isn't what I'm looking for as the
voice defined in the global variable included and repeated for each
staff results in the appearance of all markups like tempo and such on
all staffs. Defining a dedicated empty staff system (it's not the
piccolo) entirely for the purpose of these definitions and including
it once on top of the score, on top of some staffgroups and on top of
the part templates serves the same purpose as a global variable, but
makes them appear only at selected places, no matter, which staffs
have been removed.
The only thing I haven't figured out yet is, how I can make these
invisible staves disappear in case no staff of a certain staffgroup is
present at all. E.g. in large scores bar numbers normally get
displayed on top, but also above staff groups like the string
section. If there are no other instruments but strings, this makes the
bar numbers appear twice. If anybody knows how to get around this I'd
be glad to know... (but keep in mind that the score is sent to the
printer next Monday, so I'd need that information rather soon as the
score is in A2 and that costs about 100,- Euro for one copy).
Yours,
Orm
Am Dienstag, den 16. September 2014 um 22:35:20 Uhr (+0200) schrieb Malte Meyn:
There’s a much better solution which doesn’t need a piccolo (or whatever is
on top) staff that is always present, even if it’s only filled with pauses:
Put \tempo and \mark into a global variable and add this to all staffs; see
attachment. This also lets you change things like time signature or key in
all instruments simulatneously.
Am 16.09.2014 um 22:19 schrieb Orm Finnendahl:
I found it.
For someone googling this: You have to put
\new Staff \with { \override VerticalAxisGroup.remove-empty = ##f }
into your staff definition.
Sorry for the noise...
--
Orm
Am Dienstag, den 16. September 2014 um 22:04:38 Uhr (+0200) schrieb Orm
Finnendahl:
Hi,
in a piece for large orchestra, I need text markup and tempo markings
which only appear on the top staff of the score and each part. I
defined an empty (invisible) staff with removed staff symbol, time
signature, etc., using skips instead of rests, which works well.
Unfortunately as soon as \RemoveEmptyBars is used in the score, the
staff and all markup gets removed.
Is there a way to persuade Lily never to remove that staff without
adding any visual content to it (except for the markup of course...)?
--
Orm
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\version 2.19.13
global = {
\time 3/4
s2.*4
\mark \default
s2.*4
\time 6/8
s2.*4
\tempo 4 = 90
s2.*4
\tempo Allegro
s2.*4
}
silentpiccolo = {
R2.*20
}
busyviolin = \relative c' {
\repeat unfold 20 c2.:32
}
\score {
\new Staff \with {
instrumentName = Piccolo
shortInstrumentName = Picc.
}
\global
\silentpiccolo
\new Staff \with {
instrumentName = Violin
shortInstrumentName = Vln.
}
\global
\busyviolin
\layout {
\context {
\Score
\RemoveEmptyStaves
}
}
}
\markup { Parts follow: }
\score {
\new Staff \with {
instrumentName = Violin
}
\global
\busyviolin
}
\score {
\new Staff \with {
instrumentName = Piccolo
}
\compressFullBarRests %optional
\global
\silentpiccolo
}
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moving tweaks into markup-definition
Hi,
here is the next question:
Is there a way to move the tweaks in the following code into the
markup definition of secs so that they don't clutter up the score?
--
Orm
%
\version 2.19.5
#(define-markup-command (secs layout props numsecs)
(string?)
(interpret-markup layout props
(markup
#:fontsize -1
#:bold numsecs)))
{ r1 \fermata
-\tweak self-alignment-X #-0.5
-\tweak padding #4
^\markup \secs # 2\ }
%
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Re: markup on top staff of an orchestra piece
Am Dienstag, den 16. September 2014 um 23:29:14 Uhr (+0200) schrieb Orm Finnendahl: The only thing I haven't figured out yet is, how I can make these invisible staves disappear in case no staff of a certain staffgroup is present at all. E.g. in large scores bar numbers normally get displayed on top, but also above staff groups like the string section. If there are no other instruments but strings, this makes the bar numbers appear twice. If anybody knows how to get around this I'd be glad to know... Found that as well: Put an \omit Staff.BarNumber in the staff at the place where you don't want bar numbers and put \undo \omit Staff.BarNumber when they should reappear. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: markup on top staff of an orchestra piece
Hi Kieren, thanks for the note, I'll try to find that. Not sure whether it makes sense at this moment to change in the current score (although it's quite well modularized, the whole thing consists of about 600 files), especially since I seem to be able to get everything worked out quite well, but I will definitely consider that in the future. -- Orm Am Dienstag, den 16. September 2014 um 17:56:32 Uhr (-0400) schrieb Kieren MacMillan: Hi Orm, The only thing I haven't figured out yet is, how I can make these invisible staves disappear in case no staff of a certain staffgroup is present at all. Malte’s idea is the correct way to go, with a custom context (search for ScoreMarks or MarksLine in the list archives). To get it to disappear with the rest of a staff group, you use properties like keep-alive-together. I’m hoping to get a turn-key template uploaded to openlilylib someday, but in the meantime this information should help you find the right solution. Hope this helps! Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: moving tweaks into markup-definition
Hi David,
thanks a lot, that definitely helps! I tried to manipulate the assoc
list of props by consing to it but lacking the knowledge of the
structure of the prop variable didn't get me anywhere. I wonder
whether I could find that information without having to read through
and understand all of the sources of lilypond.
--
Orm
Am Dienstag, den 16. September 2014 um 17:52:47 Uhr (-0500) schrieb David
Nalesnik:
Hello,
On Tue, Sep 16, 2014 at 4:33 PM, Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de wrote:
Hi,
here is the next question:
Is there a way to move the tweaks in the following code into the
markup definition of secs so that they don't clutter up the score?
The only way I can think of doing this is to add (property . value) pairs
to the contents of props. The following works for your tweaks, but it
won't work for every overridable property: 'color and 'transparent don't
work, for example.
I'd be interested to know if there's a better way to do this.
Anyway, I hope this is useful.
%
\version 2.19.5
#(define-markup-command (secs layout props numsecs)
(string?)
(let* ((immutable (car props))
(mutable (cadr props))
(font-defaults (caddr props)))
(set! mutable (assoc-set! mutable 'self-alignment-X -0.5))
(set! mutable (assoc-set! mutable 'padding 4))
;(set! mutable (acons 'padding 4 mutable)) ; this doesn't take--why
not?
(set! props (list immutable mutable font-defaults))
(interpret-markup layout props
(markup
#:fontsize -1
#:bold numsecs
{ r1 \fermata
^\markup \secs # 2\ }
%
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Re: pitched note annotation
Hi,
Am Sonntag, den 14. September 2014 um 09:21:28 Uhr (+0200) schrieb
Pierre Perol-Schneider:
Try :
...
thanks a lot, that worked! I wrapped that in the definition below.
Two issues remain:
1. If the note is at the end of a bar, the annotation gets printed in
the following bar. The definition below is a workaround by multiplying
the durational argument of main and annotated note.
2. I'd rather omit the durational argument for the annotated note
altogether (I'd like to write g'4 \pitchAnnotation f' to get the
same result.
If there is a straightforwad way to realize that it'd be nice to hear
about it. But don't bother if there isn't, as I found a way to get the
desired result!
I could imagine, the definition qualifies for the snippet
repository. In case someone agrees, I could wrap that up with some
explanatory notes. It would be nice if someone on the list could
provide me with a hint on how to accomplish the submission.
Yours,
Orm
%---
\version 2.19.5
pitchAnnotation =
#(define-music-function
(parser location note)
(ly:music?)
#{
\new CueVoice\with {
\override InstrumentSwitch.direction = #DOWN
instrumentCueName = \markup { \fontsize #-4 (Klang) }
} {
\once\omit Stem
\tweak ParenthesesItem.font-size #0
\tweak ParenthesesItem.padding #0
\parenthesize #note
}
#})
{ r2. g'4*1/2 \pitchAnnotation f'4*1/2 r2.}
%---
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pitched note annotation
Hi,
I'd like to make a small annotation to a note specifying a sounding
pitch (in parentheses) for certain special playing techniques. To show
what I mean, the following snippet gives the desired result:
%---
\version 2.19.5
{ g' 16 \sf \new CueVoice { \once \override ParenthesesItem.font-size = #4
\once\override Stem.transparent = ##t
\parenthesize f'4*0 _\markup { \fontsize #-4 (Klang) } } r8. }
%---
Apart from the rather verbose code, sometimes (for reasons I don't yet
understand) the name of the instrument gets printed above the staff
and above the parenthesized note.
The parenthesized note should actually be treated in the same way as
e.g. a pitch indication for a pitched trill. So in general, a cuenote
is semantically not exactly, what is meant. It's more like an ugly
workaround.
Is there a better (canoncial) way to attach a parenthesized pitch
indicator to a note?
Yours,
Orm
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Re: fermatas in parentheses
Hi Pierre,
thanks, works like a charm. This'll save me a lot of typing (and
time), I really appreciate your help!
I consider this input invaluable for understanding some of the inner
workings of lilypond for practical purposes even if it's only on a
surface level!
--
Orm
Am Samstag, den 06. September 2014 um 10:37:23 Uhr (+0200) schrieb Pierre
Perol-Schneider:
Hi Orm,
2014-09-05 13:52 GMT+02:00 Orm Finnendahl
orm.finnend...@selma.hfmdk-frankfurt.de:
1. Is there a way to move the override for the font-size in the into
the definition of parenfermata
Try :
\version 2.19
parenFermata = -\tweak ParenthesesItem.font-size #0
#(let ((m (make-music 'ArticulationEvent 'articulation-type fermata)))
(ly:music-set-property! m 'parenthesize #t)
(ly:music-set-property! m 'tweaks
(acons 'font-size -1 (ly:music-property m 'tweaks)))
m)
\relative c' {
c \parenFermata
}
2. Can this be achieved that it applies to multimeasure rest fermatas
as well?
\version 2.19
parenFermataMarkup =
-\tweak stencil #(lambda (grob)
(grob-interpret-markup grob #{
\markup\concat {
\fontsize #0 \musicglyph #accidentals.leftparen
\hspace #.2 \lower #.6
\fontsize #-1 \musicglyph #scripts.ufermata
\hspace #.2
\fontsize #0 \musicglyph #accidentals.rightparen }
#}))
-\tweak staff-padding #'()
\fermataMarkup
\relative c' {
R1
\parenFermataMarkup
}
HTH,
Pierre
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fermatas in parentheses
Hi,
the following code snippet typesets a fermata in parentheses by
defining a custom articulation definition which modifies the default
fermata articulation:
%-
\version 2.19.5
parenfermata =
#(let ((m (make-music 'ArticulationEvent 'articulation-type fermata)))
(ly:music-set-property! m 'parenthesize #t)
(ly:music-set-property! m 'tweaks
(acons 'font-size -1 (ly:music-property m 'tweaks)))
m)
\relative c' {
\once\override ParenthesesItem.font-size = #0
c \parenfermata }
%-
There remain 2 questions:
1. Is there a way to move the override for the font-size in the into
the definition of parenfermata or should this get achieved with a
markup command definition instead? I'd like to keep the syntax as
close to the original definition of a fermata as possible
(e.g. without directional signs before the \parenfermata).
2. Can this be achieved that it applies to multimeasure rest fermatas
as well?
--
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partcombine problems
Hi,
I'm having terrible problems with partcombine. In the following code
bars 2 and 3 only show the first quarter rest.
\version 2.19.5
MusikObEins = {
R1 | % 214
\partcombineSoloI r4 r8 b 16- \sf r16 r4 r4 | % 215
R1 | % 216
\partcombineSoloI r4 r4 \times 2/3 { r8 gis' 8- \sf r8 } r4 | % 217
R1 | % 218
}
MusikObZwei = {
R1 | % 214
R1 | % 215
\partcombineSoloII r4 \times 2/3 { r8 gis' 8- \sf r8 } r4 r4 | % 216
R1 | % 217
R1 | % 218
}
\new Staff {
\clef G \partcombine
{ \MusikObEins }
{ \MusikObZwei }
}
I tried all kinds of combinations of \partcombineSoloIOnce,
\partcombineSoloIIOnce \partcombineAutomatic in all kinds of places,
but couldn't work out the mechanism.
Can someone shed a light on this or is it a bug?
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Re: partcombine problems
Am Sonntag, den 10. August 2014 um 11:01:30 Uhr (-0700) schrieb Keith OHara: % workaround: \grace s8 \partcombineSoloII Great, thanks a lot, that seems to be consistent and saves my day! I'll define a global definition for that which can be reverted in case the bug should get fixed. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
referencing and merging on the fly created staffs
Hi,
in the following example, an extra staff is created on the fly at two
non-adjacent times. Unfortunately the extra staffs are at different
vertical positions as they are considered different by lilypond. Is it
possible to reference the first extra staff by the second? I'm aware
that I could use stopStaff and startStaff but unfortunately the parts
are defined in different files and it would make the handling very
awkward.
--
Orm
\version 2.19.5
music={\relative c' {c4 d e f }}
\score {
\new Staff = violineeins
{
\music \\
\new Staff=newstaff \with { alignBelowContext = violineeins }
{ \music }
R1 R1
\music \\
\new Staff=newstaff \with { alignBelowContext = violineeins }
{ \music }
}
\layout {}
%\midi {}
}
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changing global staff size on the fly
Hi,
on Fri, 20 Jun 2014 07:19:15 +0200, Pierre Perol-Schneider wrote
No easy way.
See also http://lsr.di.unimi.it/LSR/Item?id=862 (just in case...)
Thanks, I was aware of that and had tried something like this:
\version 2.19.5
staffSize = #(define-music-function (parser location new-size) (number?)
#{
\set fontSize = #new-size
\override StaffSymbol.staff-space = #(magstep new-size)
\override StaffSymbol.thickness = #(magstep new-size)
#})
musik = { \relative c' \repeat unfold 100 {c' d e f} }
\score {
\new Staff { \musik \pageBreak
\stopStaff
\staffSize #-3
\startStaff
\musik \pageBreak
\stopStaff
\staffSize #0
\startStaff
\musik
}
}
The font size changes but the staffsymbol properties don't seem to be
changeable from within the staff content (in addition the parameters
for the vertical spacing might have to get adjusted as well).
I don't understand lilyponds pageBreaking and rendering mechanism and
don't even know whether it is possible to change global parameters
like staff size between subsequent pageBreaks in a single
score/book. It might just become too messy to deal with it.
I'm on 2.9.15.
:o... I thought that one's fossilzed !
sorry: 2.19.5
--
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changing global staff size on the fly
Hi, is there a way to reduce the global staff size of all staffs in an orchestral score for selected pages (or a selected region) on the fly (without having to put the music of these pages into seperate books/scores or something like that)? I'm on 2.9.15. (A simple no is sufficient in case it's too complex. I think I'd find a way to deal with it, then). -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: conditional markup
Hi,
Am Samstag, den 14. Juni 2014 um 16:56:36 Uhr (+0200) schrieb David Kastrup:
Notice the - before the markup, turning this into a post-event.
Thanks, that was the missing link. I had tried define-event-function
and got stuck as it appeared to be pre-event.
BTW: This meaning of the error message is unclear to me:
Parsing...
/tmp/markup-def.ly:11:20: error: music function cannot return (#procedure
line-markup (layout props args) (Test))
\relative c' { a'^
\sMarkup Test }
Does it complain, that a music function cannot return at all or that
it should return something different from a procedure?
I had tried to define a scheme function consing the markup in font of
the articulation slot of a note event, but I'm not sure whether this
is general enough for any context, a markup could be applied to (like
e.g. a chord). Unfortunately lilypond's engine is still quite a
mystery to me and despite the excellent documentation I couldn't find
the right entry point for understanding it (yet)... but that is
probably also related to missing time on my side.
--
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tags on tweaks
Hi,
just to verify: I assume it is always necessary to tag a complete
music expression, or can just tweaks themselves get tagged?
Here is an example for a use case: In the score the dynamics should
get offset to the left to optimize vertical space requirements. In the
part the dynamics should be left at the default position. It would be
nice if just the tweak could get tagged in order to avoid the
verbosity of explicitely repeating the musical expression with
different tags applied.
This works:
- begin snippet
\version 2.19.5
music = { \clef G r4
\tag #'score { fis'''8 -\tweak X-offset #-2.5 \f [ }
\tag #'part { fis'''8 \f [ }
ees'' c' a''' ] r4 }
{ \keepWithTag #'score \music
\keepWithTag #'part \music }
- end snippet
This doesn't work:
- begin snippet
\version 2.19.5
music = { \clef G r4
fis'''8 \tag #'score -\tweak X-offset #-2.5 \f [
ees'' c' a''' ] r4 }
{ \keepWithTag #'score \music
\keepWithTag #'part \music }
end snippet
--
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problems with partcombine
Hi,
below is another example with a couple of issues I can't resolve:
The issues:
1. With my lilypond version the clef change to the bass clef in the
second bar is ignored (although in other situations a clef change
in mid bar is printed).
2. All rests in the second bar of musictwo are not shown.
The second issue seems to happen, when one of the two partcombined
voices starts with a rest (especially if it is a multimeasure rest,
where it makes complete sense to suppress it), but this behaviour is
not consistent and I couldn't yet find a pattern or a reason where it
happens why and how to avoid it. In addition these rests (especially
multimeasure rests if displayed) often collide with music of the other
part in partcombined staffs. I guess this still is an unresolved issue
in lilypond but it would help a lot if someone who knows why it
happens could give me some explanation to better deal with it.
Yours,
Orm
\version 2.19.5
musicone = { b' 8 e'' 8~ e'' 8 r4. | % 48
r2. \tag #'score \clef F r8 cis! 8~ \ff cis 8 g 8~ | %
49
}
musictwo = { \time 3/4 gis'! 4 cis''! 4 g'' 4 | % 48
\time 5/4 c''' 4 r2 r2 | % 49
}
{ \new Staff { \clef G
\partcombine
{ \keepWithTag #'score \musicone }
{ \keepWithTag #'score \musictwo }
}
}
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Re: conditional markup
Am Sonntag, den 15. Juni 2014 um 14:26:36 Uhr (+0200) schrieb David Kastrup:
Orm Finnendahl orm.finnend...@hfmdk-frankfurt.de writes:
Would you have preferred
orm.ly:11:20: error: music function cannot return \markup \line { Test}
that doesn't really matter, the problem for me was, whether the error
message meant music function can't return (at all) or whether it
meant can't return a procedure (or whatever), but that is clear now.
However it is not yet clear to me, what actually is expected in which
context. IIUC, the respective part in the manual is 2.3.2 and it says:
Music functions may currently be used in several places. Depending on
where they are used, restrictions apply in order to be able to parse
them unambiguously. The result a music function returns must be
compatible with the context in which it is called.
I get stuck here:
- What is compatible with the context in which it is called?
- How can I find out what defines a certain context and what return
values lilypond expects or finds acceptable in that situation?
- Is \markup in its most general form even representable by a music
function?
I can use \displayMusic to find out, what is generated by lilypond
in a certain situation, and that gives me an example about a possible
return value I could mimic with a scheme function in that
situation. But it doesn't necessarily tell me in a general way, what
return values are acceptable. A markup for example is put into the
articulation slot if called after a note event, but where is it put if
used for specifying the name of an Instrument or used to specify a
system-separator-markup? What else can a markup apply to? Do I have to
know the context I'm called in in order to write a custom \markup
replacement scheme function which would work in all possible contexts?
In short, I assume, I'd need some overview about the different
categories of scheme forms used in lilypond (like events, musical
expressions or whatever), the context they're used in (and maybe the
different categories of lilypond forms and their parsing grammar). I
could imagine that's somewhere in the docs, but I haven't found it
yet.
--
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Re: conditional markup
Hi David, thanks a lot for the comment. Am Sonntag, den 15. Juni 2014 um 16:07:01 Uhr (+0200) schrieb David Kastrup: A music function has to return music, period. Different music may be used in different contexts, but a music function cannot return anything but music. Maybe it would be a good idea to extend the sentence in the manual in the following way: ... The result a music function returns must be music which is compatible with the context in which it is called. No. Markup is not music. I'll probably not mess with markup, then ;-) I guess to me it would help a lot having an overview about what markup actually is and what categories exist in lilypond altogether. That might be too complex to be put into the documentation easily, but referring to the sources to clear that up is well beyond reach for me at the moment... -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
conditional markup
Hi,
for defining markups which appear selectively either only in the
parts or only in the score I'm trying to use the following strategy:
I include a score-defs.ly or part-defs.ly file in the score or
part respectively and define commands like sMarkup for markup only
appearing in the score or pMarkup for markup only appearing in the
part by defining them to be effective or have no effect accordingly in
the part-defs and score-defs.
Unfortunately I can't seem to get the definition straight for the
custom markup command to mimic the original markup command.
Below is one of my futile attempts. Can anybody help?
\version 2.9.15
sMarkup =
#(define-music-function
(parser location markuptext)
(markup?)
#{
\markup { #markuptext }
#})
\relative c' { a'^ \sMarkup Test }
---
result:
Parsing...
/tmp/markup-def.ly:11:20: error: music function cannot return (#procedure
line-markup (layout props args) (Test))
\relative c' { a'^
\sMarkup Test }
/tmp/markup-def.ly:11:20: error: post-event expected
\relative c' { a'^
\sMarkup Test }
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Re: conditional markup
Am Samstag, den 14. Juni 2014 um 14:17:44 Uhr (+0100) schrieb Phil Holmes: Had you considered using tags instead? No, thanks, I wasn't aware of this. Seems to be exactly what I need. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond and multithreading
Hi, rendering a score on an i7-2640M with the option -djob-count=2 shows 100% cpu load only on one thread of one of the two cores while rendering. Is there some way or a recommended technique of setting up lilypond to better distribute the load? Or does lilypond have to get compiled with special compile options in order to take full advantage of multithreading? -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
bar numbers above StaffGroups
Hi,
I'm trying to print bar numbers not only at the top of the score, but
also above selected groups, (like brass, percussion, strings, etc.).
The code below does the trick, but the bar numbers are both printed in
columns above the topmost staff. Is there a canonical way to get them
printed directly above the StaffGroup?
I know there is a workaround by inserting an empty staff as topmost
staff of the group with Staff_symbol_engraver and such removed,
BarNumberEngraver enabled for that staff, keeping it alive and
reducing its height to 0. But I guess that wouldn't work very well if
notes on the topmost visible staff of that StaffGroup are sticking out
at the top: All bar numbers of the StaffGroup in that line then would
get printed way above the staff.
--
Orm
\version 2.19.5
music = { \relative c' { \repeat unfold 16 { c4 d e f } } }
\score {
\new Staff { \music }
\new Staff { \music }
\new StaffGroup = mygroup \with {
\consists Bar_number_engraver
}
{
\new Staff { \music }
\new Staff { \music }
}
\layout{
\context {
\Score
\override BarNumber.break-visibility = ##(#t #t #t)
}
}
}
Using \consists Bar_number_engraver doesn't seem to do anything if
defined in a StaffGroup, but works for staffs. This is disadvantegous
as the barnumbers above the topmost staff in a group disappear if the
staff gets removed with \removeEmptyStaves.
Below are some snippets to show what I'm talking about. Is there a way
to make this work for a Staffgroup?
--
Orm
This doesn't show any barnumbers above the strings:
\
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compound timesig in all staves?
Hi,
in the following example, the compound timesignature is only shown on
the top staff. Is there a mechanism to show it in all staffs with the
2+3/4 without wxplicitely having to restate the compundMeter
statement in each staff?
--
Orm
\version 2.19.5
\relative c' {
\new Staff = timesigs {
\compoundMeter #'((3 2 4))
\repeat unfold 10 s4 }
\new Staff { \repeat unfold 10 c4 }
\new Staff { \repeat unfold 10 c4 }
}
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Re: compound timesig in all staves?
Hi David, thanks. I agree this should be the default in LilyPond... -- Orm Am Donnerstag, den 29. Mai 2014 um 22:03:18 Uhr (+0200) schrieb David Kastrup: I think the \override Staff.TimeSignature.stencil bit should rather be \override Timing.TimeDignature.stencil instead. You can copy and fix this definition locally, but it's likely worth fixing in LilyPond itself as well. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
